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3822
Final product image
What You'll Be Creating

Using basic Layer Styles, and a couple of textures, brushes, In this tutorial, I will show you how to create a soccer-themed text effect. Let's get started

Tutorial Assets

The following assets were used during the production of this tutorial

1. Create the Background

Step 1

Create a new1000 x 1000 pxDocument, and set theResolutionTo300

Set theForegroundColor to#d9d9d9And theBackgroundColor to#818181Pick theGradient ToolChoose theForeground to BackgroundGradient fill, and click theRadial GradientIcon

Then, and duplicate the, click and drag from a bit below the top right corner of the document to the bottom left corner to create the background gradientBackgroundLayer

Step 2

Double click the copy Background layer to apply aPattern OverlayEffect, by changing theBlend ModeTo Multiply, theOpacityTo70%And using theWhite TexturePattern

Step 3

This will add a subtle texture to the background

2. Create and Style the Text

Step 1

Create the text using the fontLobster 1. 3TheColorIs#3f3f3fAnd theSizeIs70 pt

Step 2

Duplicate the text layer and double click the copy to apply the Layer Style below:

Step 3: Bevel and Emboss

  • Size:3
  • Check theAnti-aliasedBox

Step 4: Contour

  • Contour:Half Round
  • Check the Anti-aliased box

Step 5: Drop Shadow

  • Distance:1
  • Size:1

Step 6

This will style the text

3. Convert to Shape and Modify the Shape Attributes

Step 1

Select the original text layer then go toType > Convert to Shape

Step 2

Click thePath operationsIcon in theOptionsThen click, barMerge Shape ComponentsThis will ensure a better application of the Layer Effects

Step 3

Pick theDirect Selection ToolAnd in theOptionsBar, set the StrokeColorTo#e0e1e3TheSizeThen click the, to 3Set shape stroke typeIcon and change theAlignToOutside

Step 4

Duplicate the Shape layer then drag the copy on top of the text layer. Go toLayer > Rasterize > ShapeAnd change theFillValue to0

Step 5

Then change both its, drag the copy below the original, Duplicate the original shape layer once againFillAndStrokeColors to#000000

Step 6

Rename the copy layer toText ShadowGo toLayer > Rasterize > ShapeAnd make the layer invisible by clicking the eye icon next to it

4. Style the Outer Stroke Shape Layer

Double click the original shape layer (the one right on top of theText ShadowLayer) to apply the following Layer Style:

Step 1: Bevel and Emboss

  • Size:1
  • Check the Anti-aliased box
  • Shadow Mode>Opacity:35%

Step 2: Contour

  • Check the Anti-aliased box

Step 3: Drop Shadow

TheDrop ShadowEffect is used in case you don't want to add the grass part below the text. You can just un-check this effect to get a more realistic result, however, If you do add the grass

  • Opacity:35%

Step 4

This will style the outer stroke of the text

5. Style the Top Leather Texture Layer

Double click the rasterized layer (the one on top of the text layer) to apply the following Layer Style:

Step 1: Bevel and Emboss

  • Size:1
  • Check the Anti-aliased box
  • Highlight Mode:Linear Light
  • Opacity:100%
  • Shadow Mode>Opacity:35%

Step 2: Contour

  • Check the Anti-aliased box

Step 3: Texture

  • Pattern:White Texture
  • Scale:25%

Step 4

And add the leather-like effect to the text, This will style the top layer

6. Create the Main Grass Rectangle

Step 1

Pick theRectangle ToolAnd create a white rectangle behind the text (below theText ShadowLayer)

Step 2

Pick theDirect Selection ToolThen click and drag to select the two upper corners of the rectangle

Step 3

Go toEdit > Transform Points > ScalePress and hold theAlt/OptionThen drag one of the rectangle's sides inwards, key. TheAlt/OptionKey will drag the other side as well

Creating an illusion of a 3D/perspective effect, You'll need to drag the points until they are behind the text. Hit the, Once you're doneEnter/ReturnKey to accept the changes

7. Adding the Grass Texture

Step 1

Place theGrass0138_20_MThen go to, image on top of the rectangle's layerEdit > Transform > PerspectiveThen hit, and click and drag one of the upper corners to move them inwardsEnter/ReturnTo accept the changes

Step 2

Right click the grass texture layer and chooseCreate Clipping MaskYou can then use theMove ToolTo move the texture inside the rectangle until you like the result

Step 3

Pick theBrush ToolOpen theBrushPanel (Window > BrushChoose the, )Dune GrassAnd modify its, tipSettingsAs shown below

Click the, Once you're done modifying the settingsCreate new brushIcon down theBrushPanel and type in a name for the brush tip. This will add it to the preset so that you can use it later in the tutorial as well

Brush Tip Shape
Shape Dynamics
Scattering
Color Dynamics
Transfer

8. Stroke the Grass Edges

Step 1

Use theDirect Selection ToolThen go to, to select the grass rectangle shape's anchor pointsEdit > Copy

Step 2

Create a new layer on top of the grass texture layer and call itGrass StrokeThen go toEdit > PasteThis will paste the work path into the document

Step 3

Pick theBrush ToolOnce again, then set theForegroundColor to#232d05And theBackgroundColor to#7b892aHit theEnter/ReturnKey 3 times to stroke the path with the grass brush, then pick theDirect Selection ToolAnd hitEnter/ReturnOne more time to get rid of the path

Step 4

Command/Ctrl-click the rectangle layer's thumbnail to create a selection

Step 5

Go toSelect > Modify > ContractAnd type in2This will contract the selection 2 px inwards

Step 6

Go toSelect > Redefine EdgeCheck theSmart RadiusBox, and change theRadiusValue to3

Step 7

Hit theDeleteKey to get rid of the selected part, then go toSelect > DeselectThis will help blend the stroke grass with the grass texture a bit better

Step 8

Pick theDodge ToolAnd in theOptionsBar, choose a soft round 65 px tip, set theRangeToMidtonesAnd theStrengthTo50%

Start brightening the stroke where it meets with the bright areas of the original texture, Then. Again, this will help with blending both parts more seamlessly

9. Add the Dirt Below the Grass

Step 1

Use theRectangle ToolThen, following the same steps as before, to create a smaller rectangle below the grass one, select the lower two corners to transform them inwards

Step 2

Place theSoilCliff0027_1_SImage on top of the small rectangle, making sure to show some of the grass at the top

Step 3

Command/Ctrl-click the small rectangle layer's thumbnail to create a selection, then pressCommand/Ctrl-JTo duplicate the selection into a new layer. Delete the originalSoilCliff0027_1_STexture layer

Step 4

Copy and paste the small rectangle's work path into the copySoilCliff0027_1_SLayer, set theForegroundColor to#6a492bAnd theBackgroundColor to#4e3119Then stroke the path 2-3 times with the same grass brush. Don't forget to get rid of the path afterwards as well

Step 5

Place theSoilSand0046_1_SImage on top of the copySoilCliff0027_1_SLayer, and go toEdit > Transform > PerspectiveTo move the bottom corners inwards

Step 6

Right click the dirt layer and chooseCreate Clipping MaskThen change itsBlend ModeTo Multiply

Step 7

Double click the clipped dirt layer to apply aGradient OverlayEffect, by changing theBlend ModeTo Soft Light, and using aWhite to BlackGradient

Step 8

With theLayer StyleClick and drag the gradient in the document to move it around, box still open, so that it is darker at the top and lighter at the bottom

Step 9

This is it for the dirt part below the grass

10. Add the Shadow and Scattered Dirt

Step 1

Pick theBrush ToolAnd choose a soft round150 pxSet the, tipForegroundColor to#a1a1aMake the small rectangle's layer invisible, create a new layer on top of it, call itShadowAnd change itsBlend ModeTo Linear Light

Place the brush tip on the rectangle's left front corner so that its center is in the middle of the dirt part, and press and hold the, clickShiftThen drag to the right front corner to create the shadow, key

Step 2

Pick theEraser ToolAnd use a soft round brush tip to erase any extra shadow around the edges

Step 3

Pick theBrush ToolAgain, choose theChalk 11 PixelsAnd modify its, tipSettingsAs below:

Brush Tip Shape
Shape Dynamics
Scattering
Color Dynamics

Step 4

Set theForegroundColor to#6a492bAnd theBackgroundColor to#4e3119Create a new layer below theShadowCall it, layerScatterThen paint along the shadow to add some dirt

11. Add Grass in Front of the Text; Modify the Shadow

Step 1

Pick theStamp ToolPress and hold the, select the grass texture layerAlt/OptionKey, then click where the last letter meets the grass

Step 2

Create a new layer on top of all layers, call itGrassWith theStamp ToolChoose the modified grass brush tip, and start painting some grass at the bottom of the text, still selected

Step 3

Select theText ShadowThen go to, Layer and make it visible by clicking the empty box next to it where the eye wasEdit > Transform > PerspectiveTo move the upper corners inwards

Step 4

Go toEdit > Transform > DistortThen click and drag the upper side downwards to place the shadow on the grass. Hit the, and once you like the result, You can move the corners if needed as wellEnter/ReturnKey to accept the changes

Step 5

Change theText ShadowLayer'sBlend ModeAnd its, to MultiplyOpacityTo50%

Step 6

Go toFilter > Blur > Gaussian BlurAnd change theRadiusTo5

12. Create the Center Details

Step 1

Command/CtrlCreate a new layer below the, -click the big rectangle layer's thumbnail to create a selectionText ShadowLayer, call itCenterChange itsBlend ModeTo Linear Light, and set theForegroundColor to#a1a1a1

Step 2

Pick theBrush ToolChoose a35 pxAnd set its, round brushHardnessTo90%Press and hold the, Click in the middle top of the rectangleShiftThen drag to the bottom, key

Step 3

Change theBrush SizeTo200 pxAnd theRoundnessTo50%Then add the ellipse in the center of the rectangle

Step 4

Pick theEraser ToolSet the, use a round brush tipSizeTo150 pxTheHardnessTo90%And theRoundnessTo50%Then click in the middle of the ellipse you added in the previous step to erase its center leaving an outer stroke only

Step 5

Click theCreate new fill or adjustment layerIcon down theLayersPanel, and chooseGradient Map

Step 6

Change its, Place the adjustment layer on top of all layersBlend ModeTo Multiply, and itsOpacityTo3For the Gradient, use the colors#2c1f12To the left and#deaf41To the right. This will just add a very subtle color correction to the final result

Step 7

Don't forget to remove theDrop ShadowEffect (Step 4. 3) of the outer stroke

Congratulations! You're done.

We showed you how to create a soccer-themed text effect using just a few simple techniques and tools in Photoshop, In this tutorial. Then, We began by typing some text, we added some layer style effects, added a field of grass, and finally, added a few finishing touches. I hope that you learned something from this tutorial and can apply the techniques that I demonstrated to your own work

Please feel free to leave your comments, suggestions, and outcomes below

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Final product image
What You'll Be Creating

And useful, Smart Objects have become much more powerful, With the recent introduction of Linked Smart Objects in Photoshop CC. I will share with you 10 things that you should know about working with smart objects in Photoshop, In this tutorial. Let's get started

Photo Credits

1. Creating Smart Objects

The type of Smart Object you create depends heavily on how and where you create them, Smart Objects can be created in a number of ways, and typically. For instance, you can create Linked Smart Objects (Photoshop CC 14. 2) or Embedded Smart Objects. Smart Objects can be created from the Layers panel by right clicking on them, or you can create them by simply dragging and dropping items onto your canvas

2. Preserving Raster Image Quality

Preserving the quality of your layer is one of the most important features of Smart Objects. Working with pixel image layers inside Photoshop can be very destructive. Even simple things like rotating layers with theFree TransformTool can cause loss of quality. When you turn a pixel layer into a Smart Object, Photoshop saves an embedded or linked file where it stores the necessary information for the original image. This way, it can maintain the original image quality no matter how many times you resize the Smart Object layer. But with a difference, This is similar to working with vectors, scaling Smart Objects larger than their original size will still result in pixelation and loss of quality

3. Saved Free Transform Settings

One of the great things about Smart Objects is how they save theFree TransformOptions that you apply to them. For instance, If you distort a Smart Object, and apply the transformation, your original transformation will still be available if you need to adjust the transformation later on

4. Shared Source

If you duplicate a Smart Object the usual way in a Photoshop document, the same embedded or linked source file will be used for both instances. That means you can duplicate a Smart Object several times and you can update them all by just changing their shared source file

5. Smart Object Via Copy

If you need to duplicate a Smart Object but you want to make sure that the two instances are not linked with a shared source file you should use theSmart Object Via CopyFeature. This way you can separate the duplicate layer from the original Smart Object. The only disadvantage to this technique is that it will increase your file size

6. Replacing Contents

Replacing the contents of a Smart Object is very simple. All you need to do is to double click on the thumbnail of the layer and edit the source file. You will find this feature especially useful if you use the Free Transform tool to distort and rotate your Smart Object

7. Linked Smart Objects

This feature was introduced in thePhotoshop CC 14. 2Update and made it possible to use external source files for Smart Objects. But one of the biggest advantages is that you can use an image or vector file in several Photoshop documents as a, This has several advantagesLinked Smart ObjectIt will automatically update in all of your PSD files, If you modify the original object later on. Another big advantage to Linked Smart ObjectsIs that they won't increase your Photoshop document's file size

8. Convert Text Layers into Smart Objects

Rotated and skewed without rasterizing them but they cannot be distorted in a non-destructive way by default, Text Layers can be scaled. The best way to keep them editable is to turn them into Smart Objects. Giving you access to the editable text inside the source of the Smart Object, This will make distortions possible. The same technique can be used for Illustrator Smart Objects

9. Using Smart Filters

Another big advantage to Smart Objects is that they turn Filters into non-destructive Smart Filters. These editable effects can stack up and be controlled individually. One of which is the Vanishing Point Filter, There are only a few Filters that cannot be used as a Smart Filter

10. Smart Filter Mask

You will notice an additional white rectangle below the layer's thumbnail in the, When you start using Smart FiltersLayersPanel, this is the Smart Filter Mask. It can be used to mask out the effects of the filters applied to that particular layer

Conclusion

Smart Objects are an incredibly powerful tool in Photoshop. And reduce file size, They can be used to speed up your workflow but also to retain the quality of your images. I hope that you learned something from this tutorial and can use these tips to improve the way you work with Smart Objects in Photoshop

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9798
Final product image
What You'll Be Creating

Three point perspective is great when you wish to render objects or scenes from an abnormally high or low point of view. The distortions that the third vanishing point brings into your composition often has a very artistic effect and makes even the most simple concept more interesting

Some Points to Consider

There are some points to consider when working in three point perspective

  • All vertical construction lines lead to the third vanishing point
  • The closer you place your vanishing points to the center of your canvas, the greater the distortion
  • All horizontal construction lines lead to a single vanishing point, based on the plane on which they are located on
  • The closer your image will appear as captured through a tele-photo lens (very little distortion), The further away you place your vanishing points
  • You create an image from the "Ant's Perspective" (looking up), If you place your third vanishing point above the horizon line
  • You create an image from the "Bird's Eye View" (looking down), If you place your third vanishing point below the horizon line

When to Use Three Point Perspective:

This is the perspective style to go with, Whenever you need to realistically render a large exterior scene, or a very intricate interior. This style is more time consuming and should only be considered for final concept presentation, compared to the two point perspective, Please note that due to the additional vanishing point. But with this ability comes the risk of wasting time in the process, with the added third vanishing point, offers you the ability to create a very dramatic image, the three point perspective, As opposed to the one and two point perspectives. I strongly recommend you invest some time and practice before you decide to use this technique on a deadline

I recommend using this style of perspective for the following scenarios:

  • Architectural exterior scenes (Cityscapes)
  • Complex Object concepts (Close-up)
  • Concept art of any kind, particularly larger scenes
  • Highly detailed interior renders


Choosing Your Vanishing Points

Keep in mind that the position of your vanishing points are important. And as a result, this choice will affect the degree of deformation your object/scene will display, All your lines extend to their respective vanishing point

Also, in the case of the three point perspective, the position of the third vanishing point is crucial. Place it in the upper half, and you're presented with an "ant's view" perspective

 


Ant's View

Alternatively, the resulting image will be a "bird's eye view", if you decide to place the third vanishing point beneath your horizon line

 


Bird's View


You can opt to place these vanishing points at equal distance from your canvas center, on or outside of your canvas limits for example. The more biased the image will seem, Note that the closer one of the vanishing points will be to the center of your canvas. What this means is that the side of your object affected by this vanishing point will seem "squeezed"

If you wish to obtain an image with very little focal deformations, In the same manner, you need to place the vanishing points as far apart from the center of your canvas as possible

Focal Center

TheBlue TriangleYou will notice in the above images represents theFocal CenterWhat this means is that everything located within it will be easier to comprehend visually. What is located outside of this area will display even heavier deformations that will require a thorough planning process as these elements can conflict with your general composition

One aspect that remains constant throughout the creation process is the convergence of elements placed on a plane towards the adjacent vanishing point. Any elements you decide to build on the right side(Dark Blue)Will be built by extending construction lines towards theRight Vanishing PointAnd intersecting them with the construction lines from theThird Vanishing Point (top/bottom)

 


Bird's Eye View - Plane Convergence 


Any elements you decide to build on the left side, In the same manner(Light Blue)Will be built by extending construction lines towards theLeft Vanishing PointAnd intersecting them with the construction lines from theThird Vanishing Point (top/bottom)

 


Ant's View - Plane Convergence


And isolate the actual visible area with a layer you use as a "Crop-mask", in Photoshop for example, you can create a much larger canvas than needed, Same as with the two point perspective when working digitally. This is useful when you decide to place your vanishing points far apart, outside of your main canvas. But digitally you just need to consider a few extra steps, In hand-drawing you could make use of a bigger piece of paper

In the case of a three point perspective this is far more important, the less visible any visual deformation of your scene/object will be, as the greater the distance of your vanishing points

Exercise

Let's take a look at this quick exercise, To ensure that you have a firm grasp of the basic concepts presented here. Let's try to create a city street scene. Feel free to vary from the example presented here, as this was kept simple for specific reasons:

  • As far apart as possible, preferably located outside of your canvas, Start off by choosing two vanishing points
  • Decide on whether you want to place your third vanishing point above or below your horizon line
  • Central building, Draw your foregroundThe first and only perpendicular vertical lineWill be the front facing corner of this building
  • Define your street and pavement
  • To fill the scene, Add two to three other buildings to the left and right of your central foreground building
  • Shade the resulting buildings, and start adding some windows/entrances
  • Add some lamp posts

1. Define Your Perspective

Step 1

Choose yourVanishing pointsSo the, I've decided to opt for an "ant's view" perspectiveHorizon lineIs located in the lower third of the composition, and theThird vanishing pointWas placed far above it. And place them slightly outside of the canvas, so I just decided to opt for a symmetric distance, The placement of the two lateral vanishing points in this case was not really important

 


Notice how the third vanishing point was placed very far up


Step 2

Or better said, Define your perspective, what your position as the viewer will be. It's important to get the base of your, In this stepForeground volumeAnd see how it will lay on the ground, defined. Start by drawing theVertical line9/10th above theHorizon line



Step 3

At the base of the building, define your pavement and street, Now that the placement has been clarified



Step 4

Aim to better define them using some shading, After having identified the above elements. Be sure to createSeparate layersFor all the respective elements (street/pavement/building faces). This will help you further down the line should you decide to go into further detail with the shading



2. Create the Surrounding Buildings

Step 1

It's time to add another few elements to our composition, Now that we've decided upon the final dimensions of our central volume. We need to think about what proportions these buildings will have in comparison to the main one:

  • A wide building on the right side
  • A thinner, but much taller building on the left side
  • But also much shorter building to the furthest left margin of our composition, A much wider

This building will be created by drawing construction lines from theTop vanishing pointDownwards, until these intersect with the pavement line. You will proceed to extend construction lines from the, To identify the height of this faceRight vanishing pointTo the point where these intersect with the right margin of your main volume



Step 2

Add some shading to this building, maintaining the same palette as with the central volume. Please note that I've willingly opted to have aPathwayBetween the two buildings



Step 3

We will create the building on the immediate left of our main central volume, Moving forward. For the sake of diversity, let's push this volume slightly behind our central one, and make it much taller

To identify the precise position where this volume is tangent with the ground plane, you will need to intersect the construction lines spanning from theTop vanishing pointWith those spanning from the, all the way down to the lower margin of your canvasRight vanishing pointUp to the pavement lines



Step 4

Maintaining the same palette as with the central volume and the right building, Add some shading to the left building



Step 5

Finally, identify the building positioned to the far left of your composition. But wider than the one next to it, Let's make this one slightly shorter

I decided to leave it on the same plane as the building next to it, as it's quite far away from our focal point, To simplify the creation process for this one. Aside from those extending from the, That way, you don't need to draw additional construction linesTop vanishing pointTo identify the horizontal width of the building



Step 6

Shade the last building. I also chose to go for a more visible contour of our buildings, in stylish, Of course, in this stepBlack



3. Start Adding Details

Step 1: Front Windows and Entrance

Taking theBlue & PurpleYou need to extend construction lines on the facades of your building towards the horizontal vanishing points, examples at the top of this article. Keep in mind that in the case of the center building, you can use theVertical lineTo gauge the window dimensions

Also try to decrease the spacing and size of the windows, the more you advance towards the top end of the building (perspective causes elements in the distance to appear smaller and more affected by the deformations than those located up close to the viewer)

 

Span a web of construction lines between your vertical center-line and your horizontal vanishing points


Step 2: Shade the Windows and Entrances

Use theMagic Wand ToolTo select the windows you'd like to assign a different shade to



The pattern and style of facade you opt for is entirely up to you, Of course, and the one displayed here is for exemplification purposes only

Step 3: Add the Windows to Your Right Building

We will be building the right facade in the same style as the central building's facade, with the added benefit of not having to add as much detail as it's moving away from the main focal point

Simply drag some construction lines from theTop vanishing pointAll the way down across to thePavementThis will allow you to identify the windows via the intersection points with the construction lines leading to theRight vanishing point



Step 4: Shade the Right Building Windows

Use the, Same as with the central volumeMagic Wand ToolTo select the windows you'd like to assign a different shade to. In case you plan to add further details to your shading, as mentioned previously, Be sure to create a dedicated layer for this. This will simplify any selection process



Step 5: Add the Windows to Your Left Building

Simply drag some construction lines from theTop vanishing pointAll the way down across to thePavementThis will allow you to identify the windows via the intersection points with the construction lines leading to theRight vanishing point



Notice how I only focused on the top side of the right facade. And drawing up additional construction lines would have been counter-productive, The reason for this is obvious: It's the only visible part

Step 6: Shade the Left Building Facade

You can shade both building facades at this stage, without fearing they might look weird, As the most extreme left building will be quite distant from the focal point, and all windows are on the same plane. Just to spice it up with some randomness, I decided to really play around with the selections on the most extreme one



4. Add Further Shading

Step 1: Add the Sky

Between the, Add a layer behind the buildingsHorizon lineAnd the top margin of your canvas. Now fill it with a bright colour



Step 2: Calculate Street Post Distance

As the composition felt like it was lacking some detail on the street level, I decided we should add some street lights/posts. You have to first create a grid, that will define the spacing of your posts across the pavement, To do this. You can do this by using the pavement lines as your intersection points



Step 3: Calculate Street Post Height

You can use the vertical line to identify the height of your posts, Similarly as you used the pavement lines to guide you in identifying the distances on the ground. You create the vertical position of your posts, By connecting this line with the previously drawn grid. (note theStrong light blue frame under "Step 2" above)



Awesome Work, You're Now Done!

With the removed frame (as we no longer require the, Here's a final view on our compositionVanishing pointsTo be visible)



Please keep in mind that drawing in perspective takes far less time if you're doing it on paper, rather than digitally. This is especially valid when you're working on aThree point perspectiveThe scope of this tutorial is that of explaining the work flow, and helping you learn by doing. That being said however, I recommend that in actual usage scenarios you just keep these techniques in mind, and rely on them just to build so called "bounding boxes" (less detailed containment volumes) to which you add details as it comes naturally

You will only need a minimal amount of construction lines, With enough practice, and still be able to achieve convincing perspectives. And most importantly, have fun, Good luck

Don't hesitate to write in the comments below, Hope you enjoyed reading this, and if you have any questions

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6135
Final product image
What You'll Be Creating

Web design, Seamless patterns can be used for a number of purposes including packaging design, and even in textiles design, print design. I will show you how to create a realistic-looking, In this tutorial, seamless, argyle pattern in Photoshop with a fabric texture. Let's get started

1. Prepare the Canvas

Step 1

Create a new file (Command/Ctrl-N) and set its size to210 px × 414 px

Tutorial Photoshop-Argyle Pattern

2. Draw Shapes and Add Stitches

Step 1

Make a new layer. Draw a rectangular selection starting at position (99) to (3, 108). The selection size is3 px × 9 px

Tutorial Photoshop-Argyle Pattern

Step 2

Change foreground color to light blue#92c6deFill selection with foreground color, either by hittingAlt-DeleteOrEdit>Fill

Tutorial Photoshop-Argyle Pattern

Step 3

Select All (Command/Ctrl-A) and thenCommand/Ctrl-dragWithMove ToolTo duplicate the shape. Move it3 pxRight and6 pxUp

Tutorial Photoshop-Argyle Pattern

Step 4

RepeatStep 3Select All (Command/Ctrl-A) and thenCommand/Ctrl-dragTo duplicate them. Keep same distance between each shape

Tutorial Photoshop-Argyle Pattern

You will end up with this jagged line

Tutorial Photoshop-Argyle Pattern

Step 5

Duplicate the jagged line layer by pressingCommand/Ctrl-JHitCommand/Ctrl-TTo transform the layer, right click and then selectFlip Horizontal

Tutorial Photoshop-Argyle Pattern

Step 6

Move the duplicated line until we have an upside down V shape

Tutorial Photoshop-Argyle Pattern

Step 7

HitCommand/Ctrl-ETo merge both layers. Hit, Duplicate it againCommand/Ctrl-TRight click and selectFlip Vertical

Tutorial Photoshop-Argyle Pattern

Step 8

Move layer down until you have a diamond shape. Merge both layers

Tutorial Photoshop-Argyle Pattern

Step 9

UsePolygonal Lasso ToolTo select inside of the diamond shape

Tutorial Photoshop-Argyle Pattern

Step 10

Fill selection with same color

Tutorial Photoshop-Argyle Pattern

Step 11

Duplicate the shape and place it on the opposite side

Tutorial Photoshop-Argyle Pattern

Step 12

Duplicate the shape, place it on lower left and upper right corner. Change its color

Tutorial Photoshop-Argyle Pattern

Step 13

Now let's work on the stitches. UsePencil ToolSet to1 pxTo draw following shape

Tutorial Photoshop-Argyle Pattern

Step 14

Go to Select>Select AllAnd thenCommand/Ctrl-dragWithMove ToolTo duplicate it

Tutorial Photoshop-Argyle Pattern

Step 15

Keep repeating this until we have a nice set of lines

Tutorial Photoshop-Argyle Pattern
Tutorial Photoshop-Argyle Pattern
Tutorial Photoshop-Argyle Pattern
Tutorial Photoshop-Argyle Pattern

Step 16

Place the stitches on center of the diamond shape

Tutorial Photoshop-Argyle Pattern

Step 17

Duplicate the stitches again and place it on across the other three diamond shapes

Tutorial Photoshop-Argyle Pattern

Step 18

Merge all the stitches layers. HitCommand/Ctrl-ATo select all pixels and then clickImage>TrimTo remove un-needed pixels. ClickOK

Tutorial Photoshop-Argyle Pattern

Step 19

Duplicate the stitches layer. HitCommand/Ctrl-TRight click and chooseFlip Vertical

Tutorial Photoshop-Argyle Pattern

3. Add Background Color

Step 1

We are almost done making the argyle pattern. We need to add the background. ClickAdd Adjustment LayerIcon on lower part of theLayersPanel and then selectSolid Color

Tutorial Photoshop-Argyle Pattern

Step 2

Select dark blue

Tutorial Photoshop-Argyle Pattern

Step 3

Make sure the Solid Color layer is underneath every other element

Tutorial Photoshop-Argyle Pattern

4. Add Fabric Pattern

Step 1

We want to add a fabric texture on top of the argyle pattern, To give it a realistic appearance. Make a new file and then draw random pixel pattern usingPencil ToolSet to 1 pxUse a variety of grayscale colors

Tutorial Photoshop-Argyle Pattern

Step 2

Select the pixels you just made and save it as a pattern. ClickEdit>Define Pattern

Tutorial Photoshop-Argyle Pattern

Step 3

Return to your argyle pattern file. Make new layer and then clickEdit>FillSelect pattern you just created

Tutorial Photoshop-Argyle Pattern

Step 4

Change itsBlend ModeToDivide

Tutorial Photoshop-Argyle Pattern

5. Save Pattern as Preset

Step 1

We have finish with the argyle pattern. Next, we need to save it as a pattern for Photoshop. Select all pixels by hittingCommand/Ctrl-AClickEdit>Define Pattern

Tutorial Photoshop-Argyle Pattern

Step 2

Make new file. ClickEdit>FillSelect argyle pattern and then clickOK

Tutorial Photoshop-Argyle Pattern

Conclusion

You should have finished creating your argyle pattern in Photoshop, At this point. I have included some optional steps to adjust the color scheme of this pattern, Below. I hope that you have learned something from this tutorial and can use the techniques that I have shown to create some interesting, and new argyle patterns of your own

Tutorial Photoshop-Argyle Pattern

Create Additional Color Schemes (Optional)

You can change the appearance of your argyle pattern in several ways. I have included some quick techniques that you can use to drastically change the look and appearance of your pattern using adjustment layers and blending modes, Below

Step 1

There are many ways to change appearance of the pattern. You can apply, FirstHue/SaturationAnd drag theHueSlider to scroll the color

Tutorial Photoshop-Argyle Pattern

Step 2

Second, you can try to change the argyle pattern directly by choosing different blend mode on the cloth pattern. Below, you can see the result in different blend mode

Tutorial Photoshop-Argyle Pattern
Blend mode: Darken
Tutorial Photoshop-Argyle Pattern
Blend mode: Difference
Tutorial Photoshop-Argyle Pattern
Blend mode: Divide
Tutorial Photoshop-Argyle Pattern
Blend mode: Multiply
Tutorial Photoshop-Argyle Pattern
Blend mode: Overlay
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Final product image
What You'll Be Creating

3D text is very popular in the advertising industry. And are popular because they literally stand out on the page or screen, 3D text effects are often used in print or television campaigns. And often make use of several applications, Creating a realistic 3D text effect can be quite challenging to create. Photoshop, and Illustrator to create a fruit textured text effect that resembles an orange, In this tutorial, we will use a combination of Modo. Let's get started

Speed Art Video

<br>

Tutorial Assets

The following assets were used during the production of this tutorial. Please download them before you begin. Or if you don't want pay for them, If they are not available, you may need to find alternatives

1. Create Texture for Orange Leaf

Step 1

Open picture:Photodune-536588-orange-leafs-m. Jpg

  • InPathsPanel, create new path [1]
  • Change its name toCP
  • ActivatePen ToolAnd draw path around center leaf

Step 2

  • Create selection from path [1]
  • PressJTo create new layer

Step 3

  • Turn off visibility ofBackgroundAnd save image asPNGFile
  • FromPNGOptions choose like on the screen below

2. Create Outline Text in Illustrator

Step 1

Modo can readEPSFiles but only saved as Illustrator 8 or 3 file. So to be able to import shapes to 3D application, open Illustrator and do the following:

  • Create newA4Document
  • ActivateText Tool (T)[1] and typeFresh Orange
  • ChangeV/ASettings to -120 to moveFreshWord to a new position

Step 2

  • PressCommand/Ctrl-Shift-OTo create outlines from text
  • Select [1]FreshWord and move it down like on screen grab
 

Step 3

Save file as Illustrator 3Fresh Orange. EpsFile

3. Create Texture and Base for 3D Models

Step 1

Now open Modo and import EPS file that you created

  • SelectCurvesItem inItem List
  • Go toView > Dimensions Tool(This way Modo will display dimensions of the selected object)
  • PressRTo activateScale Tool[1]
  • Scale shape to32. 5 cmOnXAnd16. 6 cmOnY(To scale both axis the same time press little circle in right corner in tool handles. )
  • Go toView > Dimensions ToolTo turn off dimensions

Step 2

  • PressNTo create new Mesh Item
  • Change its name to:Fresh Orange 2D[1]
  • ActivateCylinder Tool[2]
  • SetSidesTo 24
  • SetSegmentsTo 1
  • Place circle like on screen below and pressSpace BarTo drop the tool

Step 3

  • Press7On keyboard to see geometry inWireframeMode
  • InPolygon ModeSelect circle
  • PressBTo activateBevel Tool[1] and inset it using red handle

Step 4

  • Press4On keyboard to see geometry inShadedMode
  • Delete middle circle

Step 5

Now you will create rest of the letters. Using Modo'sPen ToolIs fast and effective. You will have great topology straight away and your text will look perfect after extrusion

  • ActivePen ToolIn basic tools palette
  • Make sure thatMake QuadsOption is turn on in Tool properties
  • Place vertices like on the screen(Make sure that you place them in right order 1, 3, 4 this way Modo will know where to place quads, 2. )

Step 6

While the tool is active you can reposition each vertex to your needs. Just follow shape of the letters, You don't have to make dense geometry. PressSpace BarTo drop the tool

Step 7

Once you drop thePen ToolThere is no way to draw vertices on bottom side of the letter. You can use different tool to start adding geometry there

  • Press2To go toEdge Mode
  • Select last edge on the bottom and press(Z)To activateEdge ExtendTool
  • Pull down edge using red arrow of the Tool gizmo [1]
  • Then pressShiftKey and click on the screen to reactivate tool [2]
  • You can scale edge by selecting square end of green arrow
  • Do it one more time [3]
  • PressSpace BarTo drop the tool

Step 8

Finish letter "r"

  • ActivatePen ToolAgain
  • 2, Draw Vertices in 1, 3, 4 order
  • Add points until you reach previously created geometry
  • PressSpace BarTo drop the tool

Step 9

Now you will stitch both parts of geometry

  • InEdge Mode (2)Select edges that are opposite to each other
  • In Modo tools go toDuplicate > BridgeAnd press on the screen
  • SetSegmentsTo 2
  • PressSpace BarTo drop the tool

Step 10

To speed up modeling you can copy existing polygons to new positions

  • InPolygon Mode (3)Double click on letter O
  • PressCommand/Ctrl-CTo copy polys and pressCommand/Ctrl-VTo paste them
  • ActivateMove Tool (W)And move geometry over the letter a

Step 11

Now adjust size to match background shape

  • ActivateScale Tool (R)
  • Scale polygons accordingly

Step 12

Now turn circle into letter "a"

  • Select polygons and delete them
  • ActivateElement Move Tool (T)Edges or Polygons that will be under cursor and you will be able to move them, (This tool is special, so it will select Vertices. )

Step 13

Now draw rest of the letter "a". UsePen ToolFor that. This time draw in 3D viewport set toWireframeMode

Step 14

Now you need to stitch two pieces of geometry together

  • Select vertices numbered 1 withLasso Selection(To activate it just pressRight Mouse ButtonAnd draw on the screen over the desired Vertices. )
  • In Tools go toVertex > Join Averaged
  • And 4, 3, Repeat those steps for Vertices 2

Step 15

Now draw over letter "n"

  • ActivePen ToolIn basic tools palette
  • Make sure thatMake QuadsOption is turn on in Tool properties
  • Place vertices like on the screen
  • 2, 3, Place Vertices in 1, 4 order and move up with them over the Y axis

Step 16

  • Select vertices numbered 1 withLasso Selection(To activate it just pressRight Mouse ButtonAnd draw on the screen over the desired Vertices. )
  • In Tools go toVertex > Join Averaged
  • Repeat those steps for Vertices numbered 2

Step 17

Copy polygons of letter "a" and place them over the "g" letter

Step 18

  • Select only 3 polygons at the base of letter a
  • Press(Command/Ctrl-C) than (Command/Ctrl-V)To disconnect them from rest of the letter
  • ActivateMove Tool (w)And move them as on the screen
  • ActivateScale Tool (R)To adjust its size
  • ActivePen ToolAnd draw quads between end and base shape of the letter

Step 19

Now cleanup and stitch parts of geometry. Do the following:

  • Select vertices numbered 1 withLasso Selection
  • In Tools go toVertex > Join Averaged
  • Repeat those steps for Vertices 2, and 4, 3
  • Now select vertices on the right side of letter "g"
  • ActivateScale Tool (R)And set scale onXAxis to 0

Step 20

Straighten all vertices on vertical parts of the letters like in previous step

Step 21

Do the same for letter "a"

Step 22

Now refine shape of letter "O"

  • InEdge Mode (2)Select outer ring(Double Click on edges to select connected. )
  • Scale it to match background
  • Do the same for the inner ring

Step 23

Create letter "e"

  • ActivePen ToolIn basic tools palette
  • Make sure thatMake QuadsOption is turn on in Tool properties
  • Place vertices like on the screen(Start with 1, 4 Vertices), 3, 2

Step 24

  • WithLasso SelectionSelect Vertices marked 1
  • In Tools go toVertex > Join Averaged
  • Repeat those steps for Vertices marked 2

Step 25

Copy letter "e" polygons to another location like on the screen

Step 26

Now copy letter "n" polygons to another location like on the screen

Step 27

Create letter H from copied letter "n"

  • Select only 4 polygons at the base of letter a
  • Press(Command/Ctrl-C) than (Command/Ctrl-V)To disconnect them from rest of the letter
  • ActivateMove Tool (w)And move them as on the screen

Step 28

Connect polygon islands

  • Select edges that are facing to each other
  • ActivateBridge Tool
  • Make sure thatSegmentsIs set to2

Step 29

Now straighten edge on the top part of the "h" letter

  • Select 2 vertices and ActivateScale Tool (R)
  • Then setYScale to:0

Step 30

Refine shape of letter "h"

  • ActivateElement Move Tool (T)And move Vertices as on the screen. [1]
  • ActivateEdge Slice Tool (C)[2] and add one edge in30%Of existing polygon

Step 31

Copy polygons of letter "r" to new position

Step 32

Create letter "s"

  • ActivePen ToolIn basic tools palette
  • Make sure thatMake QuadsOption is turn on in Tool properties
  • Place vertices like on the screen(Start with 1, 2, 3, 4 Vertices)

Step 33

Create letter "F"

  • ActivePen ToolIn basic tools palette
  • Make sure thatMake QuadsOption is turn on in Tool properties
  • Place vertices like on the screen2, 3, (Start with 1, 4 Vertices)

Step 34

Straighten vertices relative position onXAxis withScale Tool (R)[1] and [2]

Step 35

Straighten vertices relative position onXAxis withScale Tool (R)[1] and [2]

Step 36

  • ActivePen ToolAnd draw geometry
  • 2, 3, Make sure that you draw vertices in right order 1, 4

Step 37

  • Select opposite edges
  • ActivateBridge Tool
  • Well done. You have created letter "F"

Step 38

  • Select one edge like on the screen
  • ActivateMove Tool (w)And move it closer to the body of letter FThis will help to keep edges in place when letter will be in

Step 39

  • Select edges like on the screen
  • ActivateScale Tool (R)
  • SetScaleOnXAxis to:0[1] [2]

Step 40

Well done. Your 2D letters should look like this. They are made of quads and they have great topology

Step 41

Now it is time to make letter true 3D object

  • InPolygon Mode (3)PressShift-XTo activateExtrude Tool
  • Extrude polys for2cm
  • PressSpace BarTo drop the tool

Step 42

  • PressAlt-Space BarTo bring floating modo modes palette
  • ChangeSelection ModeToRectangle[1]
  • Change Viewport to right to do that press3On keyboard
  • Select front and back of the letters

Step 42

  • PressAlt-Space BarTo bring floating modo modes palette
  • ChangeSelection ModeToRectangle[1]
  • Change Viewport to right to do that press3 on keyboard
  • Select front and back of the letters

Step 43

  • Press(B)To activateBevel Tool
  • SetInsetTo 500 um(It will help keep edges in place in Subdivision mode. )

Step 44

  • PressShift-Up arrowTo expand selection
  • Then press([)To invert selection
  • ActivateSlice Tool (Alt-C)And add 2 edges
  • Make sure thatModeIs set toSymmetry

Step 45

Now it is good time to test surface continuity

  • Press(Tab)To go to Subdivision mode
  • See how Modo is smoothing objects in very nice organic way

Step 46

To test surface potential distortions go toViewport Menu > Reflection

4. Create UV Maps for 3D Letters

Step 1

Press(Alt-Tab)To bring recent layouts menu Choose UV workspace

Step 2

Invert selected polygons by pressing([)

Step 3

  • Change selection modeItem Mode (5)
  • Go toList > UV Maps > Texture
  • Right ClickOn it and from the menu chooseClearYou need to delete automatically created UV map

Step 4

  • Press(1) on keyboardTo change View toFront
  • Go to UV tools and activate:Project from View. [1]
  • Then click on the 3D Viewport that you wish to grab information fromSee how Modo took polygons from 3D viewport and placed them in UV space [2]
  • PressSpace BarTo drop the tool

Step 5

Now in UV space activateMove Tool (W)And move it to the-1. 1Section of UV space

Step 6

Now you will prepare UVs for texture painting in Photoshop

  • Right Click and drag over the geometry of letter "O" usingRectangle Selection Mode
  • Then activateFit UVsAnd make sure thatKeep ProportionIs active
  • ActivateScale Tool (R)And scale polygons to95%On every axis
  • With polygons of letter "O" selected press(H)To temporarily hide selection

Step 7

Do the same for letter "e"

  • Select first letter "e" and activateFit UVs[1]
  • Then select second letter "e" and activateFit UVsThey have to overlay on each other and occupy the same UV space

Step 8

  • ActivateScale Tool (R)And scale them for95%On every axis
  • With polygons of letter "F" selected press(H)To temporarily hide selection

Step 9

Do the same for letter "F"

  • Select letter "F" and activateFit UVs[1]
  • ActivateScale Tool (R)And scale them for95%On every axis
  • With polygons of letter "F" selected press(H)To temporarily hide selection

Step 10

Select first letter "r" and activateFit UVs[1], than do the same for second letter "r". [2]

Step 11

  • ActivateScale Tool (R)And scale them for95%On every axis
  • With polygons of letter "r" selected press(H)To temporarily hide selection

Step 12

  • Select first letter "a" and activateFit UVsThan do the same for second letter "a", [1]. [2]
  • ActivateScale Tool (R)And scale them for95%On every axis
  • With polygons of letter "a" selected press(H)To temporarily hide selection

Step 13

  • Select letter "n" and activateFit UVs[1]
  • ActivateScale Tool (R)And scale them for95%On every axis. [2]
  • With polygons of letter "n" selected press(H)To temporarily hide selection

Step 14

  • Select letter "s" and activateFit UVs[1]
  • ActivateScale Tool (R)And scale them for95%On every axis. [2]
  • With polygons of letter "s" selected press(H)To temporarily hide selection

Step 15

  • Select letter "h" and activateFit UVs[1]
  • ActivateScale Tool (R)And scale them for95%On every axis. [2]
  • With polygons of letter "h" selected press(H)To temporarily hide selection

Step 16

  • Select letter "g" and activateFit UVs[1]
  • ActivateScale Tool (R)And scale them for95%On every axis. [2]
  • With polygons of letter "g" selected press(H)To temporarily hide selection

Step 17

To speed up next part of creating UVs it is best to useMARCH KIT for modoIt has many very useful tools for creating Architectural Visualizations and other modeling tasks. My favorite tool from that set isMARCH: UV Peeler PlusIt automates process of proper scaling UV maps created with regularUV Peeler ToolIt just makes it quicker, But you can do the same with regular modo tools. For installation and usage instructions visit mARCH KIT site

  • InMARCH ToolsLocateUV Peeler Plus. [1]
  • Press it and you will have floating palette

Step 18

Now you need to scale polygons in UV space this way that they relative size to each other will be the same as it is in 3D space

  • Select one edge by double click. [1]
  • PressUV PeelerOn mARCH palette. [2]
  • Click on the UV space to show polygons

Step 19

  • Select 2 edges on inner side of loop
  • ActivateScale Tool (R)And scale it up only onV axisIn UV space. [1]

Step 20

Now get proper scaling of created UV

  • Once more select the same edge that was used as UV seam. [1]
  • PressGet PATH (-Auto-Peel)[2]
  • Now select edge that is perpendicular/circumference to first selected edge. [3]
  • PressGet CROSS-SECTION (-Auto-Peel)[4]Note that script createdScale U (%) Value

Step 21

  • CopyScale U (%) ValueIn this case607. 3789[1]
  • ActivateScale Tool (R)And paste this value toScale VField
  • PressEnterTo execute scaling. Now you have proper scaling of UV map

Step 22

  • Select created UV polygons
  • PressHTo hide them. This way you will avoid visual clutter in UV space

Step 23

  • Select one edge by double click
  • PressUV PeelerOn mARCH paletteYou can activate UV peeler also from standard Modo UV tools. It is the same tool. [1]
  • Click on the UV space to show polygons

Step 24

  • Select 2 edges on inner side of loop
  • ActivateScale Tool (R)And scale it up only onV axisIn UV space. [1]

Step 25

  • Once more select the same edge that was used as UV seam. [1]
  • PressGet PATH (-Auto-Peel)[2]
  • Now select edge that is perpendicular/circumference to first selected edge. [3]
  • PressGet CROSS-SECTION (-Auto-Peel)[4]Note that script createdScale U (%) Value

Step 26

  • CopyScale U (%) ValueIn this case1110. 0937
  • ActivateScale Tool (R)And paste this value toScale VField
  • PressEnterTo execute scaling

Step 27

  • Select created UV polygons
  • PressHTo hide them. This way you will avoid visual clutter in UV space

Step 28

Now it is time to get UVs for more complex letter "r"

  • Select one edge on bottom of letter "r" by double click
  • PressUV PeelerOn mARCH paletteYou can activate UV peeler also from standard Modo UV tools. It is the same tool. [1]
  • Click on the UV space to show polygons

Step 29

  • Select 2 edges on inner side of loop
  • ActivateScale Tool (R)And scale it up only onV axisIn UV space. [1]

Step 30

  • Once more select the same edge that was used as UV seam. [1]
  • PressGet PATH (-Auto-Peel)[2]
  • Now select edge that is perpendicular/circumference to first selected edge. [3]
  • PressGet CROSS-SECTION (-Auto-Peel)[4]Note that script createdScale U (%) Value

Step 31

  • CopyScale U (%) ValueIn this case775. 4029[1]
  • ActivateScale Tool (R)And paste this value toScale VField
  • PressEnterTo execute scaling

Step 32

  • Select created UV polygons
  • PressHTo hide them. This way you will avoid visual clutter in UV space
  • Repeat all those steps for all letters

Step 33

With all letters properly UV'ed you need to refine small details to have best possible texture mapping

  • Press(H)To unhide all polygons
  • Change view to Right View
  • WithRectangle SelectionSelect all edges near the back of the letters. [1]
  • Then ActivateScale Tool (R)And zero outU scale[2]

Step 34

  • WithRectangle SelectionSelect all edges near front of the letters. [1]
  • Then ActivateScale Tool (R)And zero outU scale[2]

Step 35

Well done. You have created great UV map for all letters. PressTabTo see letters in Subdivision mode

5. Model the Leaf

Step 1

  • InBridgeLocate orange leaf PNG that you created in the beginning of tutorial
  • Grab file and Drag and Drop it onto 3DFrontViewport of Modo. [1]
  • Press(N)To create new mesh. [2]
  • Change its name to:Leaf

Step 2

Now change properties of Backdrop item:

  • Set itsPixel SizeTo650 um
  • ActivateScale Tool (R)And scale it to13. 5%OnXAndYAxis

Step 3

You will use pane tool again to draw leaf shape

  • ActivatePen Tool
  • 3, Draw vertices in 1, 4 order, 2. [1]
  • Add points until you will have nice strip of quads ready. [2]

Step 4

  • Draw polygons to the base of leaf. [1]
  • Now press(Shift-V)To mirror this strip to the other side. [2]

Step 5

  • Select edges that facing each other
  • In Modo Tool look for:Duplicate > Bridge
  • Set its segments to: 2 and click on 3D Viewport
  • PressSpace BarTo drop the tool

Step 6

  • Select edges on opposite sides of leaf
  • Go toAction Center > LocalAnd ActivateScale Tool (R)
  • Change scale onGreen Handle - Y axisTo very low value:10 - 5%

Step 7

  • Then press(Alt-S)To change toSelection Action Center
  • Scale relative position of edges to15%OnXAxis

Step 8

Create additional polygons to finish leaf

  • InVertex Mode (1)3 order, select vertices in 1, 2
  • Press(P)To create polygon
  • Repeat this process for other side
  • Select vertices in 4, 5, 6 order. [1]
  • Then activateAdd Point ToolAnd draw one vertex on the50%Of edge length. [2]

Step 9

  • Select both vertices and move them up withMove Tool (W)
  • Then inVertex ToolsActivateJoin AveragedCommand

Step 10

WithRectangle SelectionSelect extra polygons on the base of the leaf and delete them

Step 11

  • ActivateElement Move Tool (T)And tweak vertex position to match Background image
  • Your finished leaf should look like on the image below

Step 12

  • Double click on polygons to select all
  • Press(M)To add Leaf Material tag to geometry. [1]
  • In Shader Tree go toAdd Layer > Image Map > (use Clip Browser)[2]
  • Choose leaf png image. [3]

Step 13

  • Select image in the Shader Tree to see it in UV Viewport. [1]
  • Now switch to UV layout(Alt-Tab)[2]

Step 14

  • Now activateProject from View Tool[1]
  • Click on the 3D viewport to execute command. [2]
  • See how Modo grabbed UVs from 3D object. [3]
  • PressSpace BarTo drop the tool

Step 15

  • Go toOptions MenuOf UV viewport
  • Turn offShow Distortion[1]
  • ActivateScale Tool (R)And scale down polygons to match bitmap

Step 16

Refine vertices placing on edge of leaf. They must overlap bitmap slightly. This will help stencil leaf later on

Step 17

ActivateMove Tool (W)And move leaf over letter "O"

Step 18

  • Select "Fresh Orange" mesh and go toPolygon Mode (3)
  • Now select polygons in the middle of "O" and ActivateScale Tool (R)
  • Scale them down a little

Step 19

  • InItem Mode (5)Select "Leaf" mesh
  • Then change toCenter Mode (7)
  • Select Center and activateMove Tool (W)
  • Move center to the base of the leaf

Step 20

  • Move leaf to top of letter "O". [1]
  • In Item List press first column on the left side from "Leaf" mesh to change Origin Point to that mesh Origin Point for a little while. [2]
  • ActivateRotate Tool (R)And rotate leaf for90°

Step 21

Create stern of the leaf

  • Press(N)To create new Mesh
  • ActivateCylinder ToolAnd draw it on the screen

Step 22

  • Scale down base of the stern with theScale Tool[1]
  • Select top polygon and activateBevel Tool (B)And Extrude and Inset polygon the same time. [2]
  • Next select polygons on the circumference of stern and activateLoop Slice Tool (Alt-C)[3]

Step 23

  • PressTabTo see stern in subdivision mode
  • Press(M)To add Material Tag to polygons. Choose existing "Leaf" material
  • Then switch to UV layout(Command/Ctrl-Tab)[2]
  • Move, Scale and Rotate UV patches as shown on the screen. [3]

Step 24

  • Select top circle of the stern. [1]
  • Scale and Rotate UV patch as shown on the screen, Move. [2]

Step 25

  • Refine stern shape to your needs
  • UseScale Tool (R)For this

Step 26

  • Scale top of the stern to make it more rounded. [1]
  • Select "Leaf" mesh item and inEdge ModeSelect edges on the circumference of leaf
  • Move them down a little. [2]

Step 27

  • In the Item List drag and put "Leaf" mesh inside "Stern" mesh. [1]
  • Then rotate it90°[2]

Step 28

  • Right click on "Leaf" mesh
  • ChooseDuplicateFrom the right click menu
  • Rotate this leaf in opposite direction

Step 29

Adjust leaf placing until you will be happy

Step 30

  • InItem Mode (5)ChooseDuplicateFrom the right click menu. [1]
  • Then move stern copy over the "e" letter. [2]

Step 31

Adjust leaf placing until you will be happy

Step 32

  • In Item List press first column on the left side from "Leaf" mesh to change Origin Point to that mesh Origin Point for a little while. [1]
  • Then scale leaf inPolygon Mode

Step 33

InPolygon Mode (3)Scale down stern. [1]

Step 34

Delete one extra leaf, and move the only one little bit lower

Step 35

  • Select Leaf in Item List. [1]
  • InPolygon Mode (3)ActivateBend Tool (Command/Ctrl-E)
  • Click on the screen in place that you want to start bending. [2]
  • Use yellow circle to bend leaf. [3]

Step 36

Adjust placing of the leaf until you will be happy

Step 37

UseBend Tool (Command/Ctrl-E)To shape leafs

Step 38

What is great about Modo is that you can changeBend ToolPosition while tool is live. This way you can change shape of the leaf

Step 39

Adjust shape of the upper leaf too. Play around with differentBendCenter positions

Step 40

Rotate and refine position of leafs of the letter "O"

Step 41

Rotate also second upper leaf. UseScale Tool (R)And make this leaf smaller

Step 42

Now the final placing of stern

  • Select stern Mesh in item mode. [1]
  • OpenViewport Properties (K)And turn onMake Inactive Same as Active[2]
  • Now you will see when stern will intersect with letter surface
  • Move it slightly down. [3]

Step 43

Now after all those efforts you can finish your letters

  • InItem Mode (5)Select "Fresh Orange" mesh
  • FromRight Click MenuChooseUnmerge MeshThis will split your one mesh to individual letters, and then you will be able to move and rotate them independently

Step 44

  • InItem Mode (5)Select letter "F"
  • Go to:Center to Bounding Box > Center [3]

Step 45

Do that for all of the letters

Step 46

To add some live and funny feeling to orange text play around with Rotation of individual letters

  • InItem Mode (5)Select each letter and in its properties channel change values as you can see on the picture
  • Remember to put stern mesh inside letter that is its baseThis way stern will inherit rotation of the parent letter

Step 47

To truly match my artwork you must change image size to the same dimensions

  • Go to Shader Tree and selectFrame Size
  • Change values as shown on the screen

Step 48

  • Change Viewport view toCamera (. )On keyboard. [1]
  • Then select camera in item list. [2]
  • Change it Position and Rotation as shown on the screen grab

Step 49

Now adjust rotation of the rest of letters

6. Make Groups and Export UVs to EPS

Step 1

  • Group meshes in one folder and call it " Fresh orange". [1]
  • Select few polygons on sides of letters
  • Then press(L)To select loops

Step 2

Press(H)To hide this geometry. Your scene should look like this

Step 3

  • Select first letter. [1]
  • Make sure that you have UV map selected. [2]
  • Go toSelection > Add Selection SetAnd add "h" selection set. [3]
  • Finally go toTexture > Export UVs to EPS
  • Save this file as:H. EPS

Step 4

  • Select first letter. [1]
  • Make sure that you have UV map selected. [2]
  • Go toSelection > Add Selection SetAnd add "s" selection set. [3]
  • Finally go toTexture > Export UVs to EPS
  • Save this file as:S. EPS

Step 5

After export you should have something like me. One EPS file for each letter

7. Create High Resolution Orange Textures

Step 1

Now let's use Photoshop to create set of hires orange cut textures. Draw Path withPen Tool (P)To cut out orange from Background

Step 2

  • Call this layer "orange"
  • Call work path "CP_orange"

Step 3

  • Now with polygonal selection tool draw quick selections
  • Press(J)To create new layer "peel_1"

Step 4

Create few different orange peel parts

Step 5

Mask juicy parts

Step 6

Group(Command/Ctrl-G)All peel parts in to one folder and call it peel. Change this folder color toRed

Step 7

Now with thePen Tool (P)Create slice of an orange

Step 8

After you finish Path "1" should look like this

Step 9

  • Duplicate "Orange" layer
  • Select path withPath Selection Tool
  • In Path Palette create selection from it
  • Apply this selection as mask over new layer

Step 10

After cutting orange to smaller parts you should have something like me. Small parts of orange masked and grouped into one folder "orange cut". Save this files as base for texture creation

Step 11

  • In Bridge locate eps files exported from Modo
  • Grab "O. Eps" andDrag and DropIt onto Photoshop
  • On Rasterize eps file choose image size as on picture

Step 12

  • Pres(J)Few times to quickly duplicate Wireframe layer. [1]
  • Then grab all those layers and merge them into one. Use(Command/Ctrl-E)[2]
  • Set its Opacity to: 50%. [3]
  • I this new document create BG layer
  • UseBucket Tool (B)To fill it with white color

Step 13

Drag and Drop 2 groups that you have created to the new document

Step 14

Fill BG layer with#ff9200Color

Step 15

UseTransform ToolTo move and place orange cuts over UV template

Step 16

Drag pieces withAltPressed to duplicate layers in needed

Step 17

ActivateBrush Tool (B)And uncover mask to blend in pieces together

Step 18

  • Turn on Peel group
  • Select fragments of the orange Albedo and place them in inner part of the orange. [1]
  • UseWarp Tool (Command/Ctrl-T)To shape it until will look natural

Step 19

  • Use all pieces to add variation to this albedo part. [1]
  • Move them and adjust position to match UV template. [2]
  • Merge this "Peel" group together, When you finish(Command/Ctrl-E)

Step 20

  • Go toFilter > Liquify
  • WithSmudge ToolGently move albedo to mimic real orange skin

Step 21

Fill gaps withClone Stamp Tool (S)

Step 22

  • Add layer mask to "peel" layer. [1]
  • Gently mask parts of the albedo to form natural "star like pattern." [2] and [3]

Step 23

Select orange cut group and mask parts that are inside, Just to have great professional looking texture

Step 24

  • Drag/copyBG layer above peel layer. [1]
  • Select "peel" layer and "orange cut group."
  • Press(J)To quickly duplicate them
  • Merge them by pressing(Command/Ctrl-E). [2]

Step 25

  • Go toImage > Adjustments > Black & White. [1]
  • Adjust color toning like on the screen. [2]

Step 26

  • Fill BG copy with dark gray color:#3e3e3e[1]
  • Grab both layers and group them in "SSS" folderThis stands for Sub Surface Scattering

Step 27

  • Duplicate "peel copy" layer and drag above all layers. [1]
  • Invert this layer by pressing(Command/Ctrl-I)[2]

Step 28

  • Press(Command/Ctrl-A)To select all pixels on layer "peel copy 2"
  • Then press(Command/Ctrl-C)To copy them
  • AddBrightness/ContrastLayer
  • Add mask to that layer
  • HoldAltAnd press on the layer mask icon to see contents of the mask
  • Paste there copied pixels
  • HoldAltAnd press on the layer mask icon to leave layer mask. [1]
  • SetContrastValue to70
  • You can save image asO2. Jpg

Step 29

  • Select "peel copy 2" layer and clip it by the lower layer. [1]
  • Turn on "peel copy 2" and set itBlending ModeToOverlayFor about 83%. [2]
  • You can save image as "O_SSS.jpg"

8. Create Texture for Letter "a"

Step 1

  • In Bridge locate eps files exported from Modo
  • Grab "a.eps" andDrag and DropIt onto Photoshop
  • On Rasterize eps file choose image size as on picture

Step 2

  • Pres(J)Few times to quickly duplicate Wireframe layer. [1]
  • Then grab all those layers and merge them into one. Use(Command/Ctrl-E)[2]
  • Call it "UV"
  • Set itsOpacityTo50%[3]
  • In this new document create BG layer
  • UseBucket Tool (B)To fill it with orange#ff9200

Step 3

Drag and Drop the two groups that you have created to the new document

Step 4

UseTransform ToolTo move and place orange cuts over UV template

Step 5

ActivateBrush Tool (B)And uncover mask to blend in pieces together

Step 6

UseWarp TransformTo adjust shape to UV template

Step 7

WithBrush ToolUncover layer mask to blend part of the fruits

Step 8

WithClone Stamp ToolRefine edges of albedo to match UV template

Step 9

Keep unmasking orange cuts until they merge into one organic surface

Step 10

In letter "O" I have showed you how to use Liquify filter, but you can be more efficient using Puppet WarpApply any layer mask before using Puppet Warp on any layer, One thing you need to remember, settings, because it will be applied with lowest

  • Select piece of orange layer
  • Unmask withBrush ToolSome parts of it. [1]
  • Press(Shift-Alt-Command/Ctrl-T)To activate Puppet Warp
  • And start moving them around to match shape of UV template, Place pins in desired places. [2]

Step 11

4 on one side of the patch, In order to hold texture in place Place pins in 1, 3, 2

Step 12

7 on the other side and start to move them, 6, Place pins 5

Step 13

When you finish moving pins, texture sits in place. Exactly where you want it

Step 14

  • Use all pieces of peel to add variation to this albedo part. [1]
  • Move them and adjust position to match UV template. [2]

Step 15

  • You can dice peel parts to smaller pieces to fit to curvature little better
  • Merge this "Peel" group together, When you finish(Command/Ctrl-E)

Step 16

UsePuppet WarpAgain to bend orange peel the way you need it

Step 17

Pay attention to placing of pins. This way bad distortion will be invisible

Step 18

When you finish, merge contents of "Peel" group together(Command/Ctrl-E)

Step 19

  • Add layer mask to merged "peel_6" layer. [1]
  • Mask this albedo to give impression of real orange insides being held by this peel

Step 20

  • DragOrCopyBG layer above peel layer. [1]
  • Select "peel" layer and "orange cut group."
  • Press(J)To quickly duplicate them
  • Merge them by pressing(Command/Ctrl-E)[2]

Step 21

  • Go toImage > Adjustments > Black & White. [1]
  • Adjust color toning like on the screen. [2]

Step 22

  • Fill BG copy with dark gray color:#3e3e3e[1]
  • Grab both layers and group them in "SSS" folderThis stands for Sub Surface Scattering

Step 23

  • Duplicate "peel copy" layer and drag above all layers. [1]
  • Invert this layer by pressing(Command/Ctrl-I)[2]

Step 24

  • Press(Command/Ctrl-A)To select all pixels on layer "peel copy 2"
  • Then press(Command/Ctrl-C)To copy them
  • AddBrightness/ContrastLayer
  • Add mask to that layer
  • HoldAltAnd press on the layer mask icon to see contents of the mask
  • Paste there copied pixels
  • HoldAltAnd press on the layer mask icon to leave layer mask
  • SetContrastValue to70[2]
  • You can save file as "a.jpg "

Step 25

  • Select "layer 1" layer and clip it by the lower layer. [1]
  • Turn on "peel copy 2" and set itBlending ModeToOverlayFor about83%[2]
  • You can save file as "a_SSS.jpg "

9. Review Letters

Step 1

This is our texture for "S"

Step 2

This is our texture for "r"

Step 3

This is our texture for "h"

Step 4

This is our texture for "g"

Step 5

This is our texture for "F"

Step 6

This is our texture for "e"

10. Create Seamless Orange Peel Texture

Step 1

Open orange picture from tutorial files

Step 2

Draw square selection on the middle of the fruit. Copy information clipboard

Step 3

Create new document

Step 4

Go toFilter > Distort > Pinch[1] Then set it Amount as on the screen. [2]

Step 5

Change image size to 1000x1000 px

Step 6

Go toFilter > Other > OffsetAnd set its values like on the screen

Step 7

Now it is time to eliminate seams from texture

  • ActivateClone Stamp Tool (S)
  • Start cloning texture from [1] to [2]

Step 8

Keep Cloning until you won't be able to see seams

Step 9

You can use patch tool to introduce more realism to your orange peel texture

  • Press(J)To activatePatch Tool
  • Draw selections over areas where you have uneven pattern [1] and drag over areas with most evenly spaced dots. [2]
  • Repeat patching until you are happy with results and texture seams are invisible
  • Then you can save it as "orange peel.jpg"

Step 10

Now you will create a bump map from the color map

  • Press(J)To create another layer
  • Call it Bump
  • Go toImage > Adjustments > Black & White. [1]
  • Set its setting like on screen grab. [2]
  • Save this Bump map as "orange peel bump.jpg"

Step 11

Your two ready maps should look like this

11. Set Final Camera Angle

Step 1

In Modo content folder, you will find many useful resources. Among them is a special object that will let you render shadows on transparent backgrounds. This great feature helps to blend rendered images into photographs, or just change background in post processing in Photoshop

  • In Modo, pressF6To bringPresetsPalette
  • Go toLuxology > Assets > Meshes > BasicAnd locate ShadowCatcher mesh
  • Right click on it and chooseLoad[1]
  • New mesh was loaded into the Item list. [2]

Step 2

For now this ShadowCatcher hides part of the characters. Let's fix it

  • Change selection mode toItem Mode[1]
  • In the Item List select ShadowCatcher mesh. [2]
  • ActivateMove Tool (W)And move it down. [3]

Step 3

And shadow is casting on, As you can see now all letters are visibleShadowCatcher

Step 4

Change scene setting to get final render quality

  • Select Render item. [1]
  • In its properties changeAnti-aliasingTo 16 Samples/Pixel
  • AsAntialiasing FilterChooseMitchell-Netravali
  • Make sure that all settings are the same as below

Step 5

Good scenes require good lightning

  • In Preset Browser go toLuxology > Assets > Environments > Studio[1]
  • Choose "Soft Tent 01" and right click on it and chooseLoad[2]
  • Select Environment item in the Shader Tree and change its name to "Env_Light"[3]

Step 6

  • In Shader Tree go toAdd layer > Processing > Constant
  • In its properties change itBlend ModeToMultiply 70%
  • Change it color to worm orangeThis way ambient light around letters will be slightly orange

Step 7

Set up environments for post production in Photoshop

  • Change Env_lightIntensity to 2. 0 w/srm2And turn offVisible to Camera[1]
  • Duplicate Env_light item and change its name to: Env_Cam
  • Delete bitmap and Constant layer inside itSet its Intensity to 1. 0 w/srm2
  • Turn off Everything exceptVisible to Camera[2]
  • Select Environment material and set its color to constant light orange

Step 8

Now light the scene. Select directional light [1] and set its position to shown on the screenType the same values in it Properties

Step 9

  • In Item List go toAdd Item > Lights > Area Lights[1]
  • Set all itsPropertiesAs shown on the screen

Step 10

  • Select Base Material in Shader Tree. [1]
  • Set itsDiffuse AmountTo:40%

12. Create Geometry for Water Droplets

Step 1

  • In Item list create new mesh [1] and call it water. [2]
  • ActivateCube ToolAnd draw small box for about 1mm on every axis. [3]
  • PressSpace BarTo drop the tool

Step 2

  • PressTabTo create sphere
  • InPolygon Mode (3)Move sphere up

Step 3

  • InVertex ModeSelect vertices on the bottom of sphere. (1)
  • ActivateMove Tool (W)And move them up. [2]

Step 4

  • ActivateScale Tool (R)And lover scale onY axis[1]
  • Then move vertices slightly up. [2]

Step 5

  • InPolygon Mode (3)Move all polygons down like on the screenBottom of the drop must touch origin
  • PressMTo addWater Material

Step 6

  • Change selection mode to ItemMode (5)
  • Go toEdit > Center to Bounding Box > BottomThis way you control point at witch geometry will be placed over the letter surface

13. Set Up Basic Materials and Surface Generators

Step 1

  • In item mode select all letters except sterns and leafs. [1]
  • PressMTo add orange peel group
  • Change it color to orange like on the screen. [2]
  • Select Material inside this group and set its parameters as shown on the screen. [3]

Step 2

  • In Shader Tree go toAdd Layer > Special > Surface Generator [2]
  • Call it Surf 2. Leave its default settings for now

Step 3

Now you will create material for the cut part of fruit text

  • Select few polygons on sides of each letter. [1]
  • PressLTo select loop of polygons. [2]
  • Press(Shift-Up Arrow)To grow selection. [3]

Step 4

  • Press[To invert selection. [1]
  • Press(M)To add orange_cut material. [2]
  • Change its color to more yellow

Step 5

  • Open orange_cut group. [1]
  • In Shader Tree go toAdd Layer > Special > Surface Generator [2]
  • Leave its default settings for now

14. Cover Text With Drops of Water

Step 1

In previous steps you have created Surface Generators. They are special materials which generate points scattered over the surface. You will use those points propagate drops of water over the surface of letters

  • Select Surface Generator of orange_cut material group
  • Set its paramieters to the one shown on the screen. [1]
  • In item list go toAdd item > Particles > Replicator
  • Select this Replicator and set its parameters to shown on th screen. [2]
  • Be sure to selectWaterMesh asPrototypeAndSurface GeneratorAsPoint Source

Step 2

  • Open orange_peel material group and select Surf_2 Surface Generator. [1]
  • Set its parameters to shown on the screen. [1]
  • In item list go toAdd item > Particles > Replicator
  • Select this Replicator and set its parameters to shown on th screen. [2]
  • Be sure to selectWaterMesh asPrototypeAndSurf_2AsPoint Source

15. Use Selection Sets to Create Masks

Step 1

Modo can create item masks for you to use as layer masks in compositing stage in Photoshop. To do that you need to create Selection Sets. Do the following:

  • Select water mesh in item list. [1]
  • Then select all its polygons [2]
  • Then go toSelect > Assign Selection Set[3]
  • Name this selection set: water

Step 2

  • In Item list select all meshes of letters including sterns and leafs. [1]
  • Then select all polygons
  • Then go toSelect > Assign Selection Set[2]
  • Name this selection set: TXT

Step 3

  • In the shader tree go toAdd layer > Group
  • Set this group properties as shown on image [1]
  • Then go toAdd layer > Special > Render OutputAnd call it A:water
  • Right click in it effect and change to Alpha
  • In the shader tree go toAdd layer > Group
  • Set this group properties as shown on image [2]
  • Then go toAdd layer > Special > Render OutputAnd call it A:letters
  • Right click in it effect and change to Alpha

Step 4

You can check your outputs in preview. Just select them from drop down menu of preview window

  • Set it toA: water- to see mask created only for droplets
  • Set it toA: TXT- to see mask created only for droplets

Step 5

  • Then go toAdd layer > Special > Render OutputAnd create new one
  • Right click in it effect and change to Ambient Occlusion
  • Set it properties as shown on the screen

Step 6

Now refine material properties

  • Select Water material and change its name to Water_BRDF
  • Change it Material Ref [1] and Material Trans [2] as shown on the screen grabs

Step 7

  • In shader Tree go toAd Layer > Processing > Gradient
  • Set its Effect to Transparent Color. [1]
  • In Gradient Editor add two color keys white on 0% and light blue on100%

Step 8

  • In shader Tree go toAd Layer > Processing > Gradient
  • Set its Effect to Reflection Amount. [1]
  • InGradient EditorAdd two key values: At0 - 20%And at100 - 35%

Step 9

Finally add custom shader to water material

  • Go toAdd layer > Special > Shader. [1]
  • Change its ShadingRateTo: 0. 25 pix
  • Turn offCast ShadowsOption
  • Grab water group and drag it above Base Shader

Step 10

Create custom shader to control shading of the letters

  • Select orange_cut and orange_peel groups and press(Command/Ctrl-G)To create new group
  • Call it Orange and drag it above Base Shader [1]
  • Go toAdd layer > Special > Shader
  • Change its ShadingRateTo: 0. 25 pix [2]

Step 11

Now refine orange materials. Select Orange_skin_BRDF and change all its parametersMaterial Ref[1] andMaterial Trans[2] as shown on the screen

Step 12

To show textures on each letter you will use Selection Sets that you have created earlier

  • With Orange_skin_BRDF selected go toAdd Layer > Group
  • In its properties setPolygon Tag TypeToSelection Set[1]
  • Choose "a" Polygon Tag. [2]
  • Then in Bridge grab a. Jpg and a_SSS. Jpg and DragandDrop into "a" group
  • Select a_SSS. Jpg and set its effect toSubsurface Amount[3]
  • Select a. Jpg and make sure that its effect is set toDiffuse Color[4]
  • Go toAdd Layer > Special > Render OutputAnd add a:a output
  • Set its Effect toAlpha
  • Repeat all those steps for all visible letters

16. Refine Orange Peel Material

Step 1

  • Select Orange BRDF material
  • Make sure that you have all parameters set as shown on th screen. [1]
  • LeaveMaterial TransTab with default settings

Step 2

  • In Bridge grab "orange peel.jpg" and orange "peel bump.jpg"
  • DragandDropThem above Orange BRDF. Set those map properties as shown on the screen. [1] and [2]

Step 3

Add extra color to texture

  • Go toAdd layer > processing > Gradient
  • Make sure that its properties are set to the same as shown on the screen. [1]
  • In Gradient EditorAdd 2 color keys. Fist white and second orange:#ff6506

Step 4

Now break surface of orange peel

  • Go toAdd layer > Textures > Noise
  • Change its name to: Noise_S
  • Set its properties as shown on the screen [1] and [2]

Step 5

  • Duplicate Noise layer and change its name to: Noise_M
  • Change its parameters to shown on the screen [1] and [2]

Step 6

  • Go toAdd layer > processing > Gradient
  • Make sure that its properties are set to the same as shown on the screen. This should be Reflection Amount. [1]
  • In Gradient EditorAdd 2 value keys. Fist 2% [2] and second 32% [3]

17. Refine Leaf Material

Step 1

Now it is time to finalize leaf texture. Select Leaf_BRDF and set its parameters to shown on the screen. [1] and [2]

Step 2

  • Select leaf image [1] and create 2 instances from itChoose option from right click menu
  • Then change one bitmap Effect toBump[2]
  • Change second instance Effect toDissolve. [3]

18. Render Images for Post-Production

Step 1

  • PressF9To render image
  • After rendering save it asLayered PSD fileDon't use jpg format, you will loose a lot of quality

Step 2

Now render only shadow of your letters

  • In Shader Tree go to Orange group and select 0. 25 Shader
  • Turn offVisible to camera[1]See how letters just vanish
  • Then go to Env_tlo andDuplicateEnvironment material
  • Set its color to pure white

Step 3

  • PressF9To render image
  • After rendering save it asLayered PSD file

19. Create Final Image in Photoshop.

Step 1

  • Open first layered image. [1]
  • The one with shadow only, In Bridge grab second render
  • Drag and DropIt into psd file as one of the layers. [2]

Step 2

Reorder layers to speed up work

  • Create group(Command/Ctrl-G) called BaseFrom all layers
  • Select "Shadow only" layer and duplicate it
  • Create group BG at the bottom of layer stack and put there Shadow only copy [2]
  • Select "Final Color Output" layer and move its copy to the top of layer stack. [3]

Step 3

Now create Alpha channels from rendered selections sets

  • Locate layer "A: letters"Press (Command/Ctrl-A)To select all pixels. Copy them
  • In Channels palette create new channel and paste there pixels

Step 4

  • Change its name to "TXT"
  • With magic wand select black background and than press(Command/Ctrl-Shift-I)To invert selection
  • PresBTo activateBrushAnd paint with white color all little black spots
  • Now you have clear text alpha channel

Step 5

  • Create section from this channel, hold downAltAnd press on channel icon. [1]
  • Mask "Final Color Output copy" layer. [2]
  • Create new layer in BG folder, and fill it with light orange color. [3]
  • Select "shadow only copy" and set its blending mode toMultiply

Step 6

  • With "Shadow only copy" selected press(Alt-Shift-Command/Ctrl-B)To convert this layer to Black and White. [1]
  • Create Gradient map layer and clip it onto Shadow only copy. [2]
  • Make gradient from brown to white. [3]

Step 7

  • Add gradient ramp layer over lowest layer(G)[1]
  • Set it to Multiply and set itsOpacityTo35%[2]

Step 8

  • Bring to front "Ambient Occlusion Output copy" and change it to Smart object. [1]
  • Double click on it and inside smart object addGradient RampTo remap colors to worm orange. [2]
  • Save and close smart object

Step 9

Now you will have nice soft shadows over the drops of water

  • Set this layer to multiply and clip it onto "Final Color Output"
  • Duplicate this smart object 2 times

Step 10

Select "Final Color Output" and with theClone Stamp (C)Retouch any imperfections from render

Step 11

In BG group create white circle(U)And create smart object from it. Adjust its size like on the screen grabs

Step 12

  • Go to filter > Blur > Gaussian Blur
  • Play around with Blur settings until you find right one. [1]
  • Change blending mode toSoft Light 16%

Step 13

  • Duplicate Ellipse and change itsOpacityTo66%[2]
  • Select top layers and create group called "final"

Step 14

  • Create additional Alpha channels from rendered masks
  • Select a:r Layer and press(Command/Ctrl-A) to select all pixels
  • Copy them than create new alpha channel and paste. [1]
  • Change its name toR
  • Do the same for the letter h. [2]

Step 15

  • Add levels layer on top of all layers to correct color [1]
  • Create selection from channel h [2]

Step 16

Add Hue/Saturation adjustment layer to correct color of letter h

Step 17

Create selection from channel R [1] and add Hue/Saturation adjustment layer to correct color [2]

Step 18

Duplicate Hue/Saturation adjustment layer over the r letters and mask unwanted part with brush

Step 19

Make selection from R alpha channel [1] and add Brightness/Contrast adjustment layer to balance letters "r" [2]

Step 20

  • For the final effect duplicate "Final Color Output" and mask it with drops alpha channel [1]
  • Move this layer up in layer stack [2]

Step 21

As before create alpha channel for letter "n" and make a selection

Step 22

Adjust hue/saturation of letter n

Conclusion

That is it. Your fruit textured text effect is now complete. I hope you have enjoyed this tutorial and can use the techniques that you learned to create some amazing 3D effects of your own

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