In 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 for the first time.
The text effect shown above is the effect I will show you how to create here in this tutorial. If you would like to create both a GTA photo effect from your photos and a GTA text effect, using a single click and in just a few minutes, then check out my Grand Theft 2 Photoshop Action.
What You’ll Need
To recreate the design above, you will need the following font:
1. How to Get Started
First, go to File > New to create a new file to work with, name it GTA Text Effect, and use the settings below:
2. How to Create a Text
In this section we are going to create some text. Choose the Horizontal Type Tool (T), and set the Font to Pricedown, Font Size to 550 px, and Text Color to #000000. Then, click anywhere inside the canvas to create a new text layer and type grand.
Now, with the same settings for the Horizontal Type Tool (T), click anywhere inside the canvas again to create another text layer and type theft.
We need to create one more text layer. With the same settings for the Horizontal Type Tool (T), click anywhere inside the canvas and type action.
Now, using the Move Tool (V), move the text layers vertically and horizontally to position them as shown below:
While the action layer is selected, Shift-click on the grand layer to select all layers at the same time. Then, press Control-E on your keyboard to merge them into one layer. Name this layer Text.
3. How to Create a GTA Text Style
Right-click on the Text layer and choose Blending Options. Then, check the Color Overlay style, and set the Blend Mode to Normal, Colour to #ffffff, and Opacity to 100% as shown below:
Right-click on this layer and choose Rasterize layer. Then Right-click on this layer again and choose Blending Options. Check the Stroke style and use the settings below:
Now go to Layer > Layer Style > Create Layer to create a new layer using a layer style.
Control-click on the thumbnail of the Text layer to make a selection of this layer. Then, select the Text’s Outer Stroke layer and go to Layer > Layer Mask > Hide Selection to create a layer mask that hides the selected area of the layer.
Now Right-click on the layer mask and choose Apply Layer Mask. Then, Right-click on the Text layer and choose Blending Options. Next, check the Inner Shadow style and use the settings below:
Right-click on the Text’s Outer Stroke layer and choose Blending Options. Check the Stroke style and use the settings below:
Control-click on the Text layer to select both layers at the same time. Then, go to Layer > New > Group from Layers to create a new group from the selected layers and name it GTA Text.
Press Control-A on your keyboard to make a selection of the canvas. Choose the Move Tool (V), and click on Align Vertical Center and then on Align Horizontal Center to align the text both vertically and horizontally.
You Made It!
Congratulations, you have succeeded! Here is our final result:
If you would like to create both a GTA photo effect
from your photos and a GTA text effect, using a single click and in just a
few minutes, then check out my Grand Theft 2 Photoshop Action.
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:
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:
You can also try other tutorials about drawing animals in a simple way:
In this tutorial you will learn how to create an amazing, scribble sketch effect. I will try to explain everything in so much detail that everyone can create it, even those who have just opened Photoshop for the first time.
The effect shown above is the one I will show you how to create in this tutorial. If you would like to create the even more advanced scribble sketch effects shown below, or a typography sketch, then check out my Typography Sketch Photoshop Action.
What You’ll Need
To recreate the design above, you will need the following photo:
1. Let’s Get Started
First, open the photo that you want to work with. To open your photo, go to File > Open, choose your photo, and click Open. Now, before we get started, just check a couple of things:
Your photo should be in RGB Color mode, 8 Bits/Channel. To check this, go to Image > Mode.
For best results, your photo size should be 1500–4000 px wide/high. To check this, go to Image > Image Size.
Your photo should be the Background layer. If it is not, go to Layer > New > Background from Layer.
Now we need to expand the canvas a little bit on the top so we have more space around the subject on this side. Go to Image > Canvas Size and use the settings below:
We are going to do the same thing for the left and right sides of the canvas. Go to Image > Canvas Size and use the settings below:
2. How to Create Brushes
this section, we are going to create a few sketch brushes we’ll need.
Take a pencil and paper and draw three scribbles. Then scan the scribbles that you drew.
If you have drawn each
scribble on a separate sheet of paper then you should have three scanned scribble
files now. If not, then using some of the selection tools in Photoshop,
select each scribble, and move it to a separate file so you have three
files. Here are the scribbles that I drew.
don’t have to replicate my scribbles, of course—draw them uniquely. But scribbles should be drawn sharply and have similar
density to the scribbles I drew. As you’ll draw unique scribbles, there
will be a density difference, but if you draw them so they are noticeably
drawn much thicker or more sparsely, your sketch effect may appear too thick
or the reverse.
Now open the first scribble scan, go to Edit > Define Brush to define this scribble as a brush, and name it Temp Brush 1.
Open the second scribble scan, go to Edit > Define Brush to define this scribble as a brush, and name it Temp Brush 2.
Now open the latest scribble scan, go to Edit > Define Brush to define this scribble as a brush, and name it Temp Brush 3.
Now that we have defined our brushes, we need to adjust their settings and then define them again as new brushes. Press B on your keyboard, Right-click anywhere inside the canvas, select the Temp Brush 1 brush, and hit Enter. Then go to Window > Brush and in the Brush window use the settings below:
To define this brush with new settings as a new brush, click on the top right icon in the bottom right corner of the Brush panel, and name it Scribble_Brush_1.
Now press B on your keyboard, Right-click anywhere inside the canvas, select the Temp Brush 2 brush, and hit Enter. Then go to Window > Brush and in the Brush window use the settings below:
To define this brush with new settings as a new brush, click on the top right icon in the bottom right corner of the Brush panel, and name it Sketch_Brush_2.
Now press B on your keyboard, Right-click anywhere inside the canvas, select the Temp Brush 3 brush, and hit Enter. Then go to Window > Brush and in the Brush window use the settings below:
To define this brush with new settings as a new brush, click on the top right icon in the bottom right corner of the Brush panel, and name it Sketch_Brush_3.
Now we have our brushes ready. If you want, you can delete all temporary brushes we defined by Alt-Clicking on each of them.
3. How to Create the Base
In this section we are going to create the base that
determines the subject in our photo, and we will also create the background. Go to Layer > New > Layer to create a new layer and name it Base.
While the Base
layer is selected, fill your subject with a color. You can do it in
various ways. For example, you can create a selection of your subject
using the Pen Tool (P), Magic Wand Tool (W), Lasso Tool (L) or some other tool, and then just fill the selection with a color. Or you can choose the Brush Tool (B) and brush over your photo using a hard or soft brush. It doesn’t matter
what color you use.
Select the Background layer and go to Layer > New Fill Layer > Solid Color to create a new solid color fill layer. Name it Background Color, and set the color to #000000 as shown below:
4. How to Create a Subject Sketch
In this section we are going to create a sketch from our subject using the scribble brushes that we made at the beginning of the tutorial. Select the Base layer, go to Layer > New > Layer to create a new layer and name it Scribble_Sketch_1.
Now set the foreground color to #000000 and choose the Brush Tool (B). Then, pick the Scribble_Brush_1, and brush over the color fill area of the Base layer as well as over the edges of the color fill. Feel free to use different brush sizes.
Select the Base layer, go to Layer > New > Layer to create a new layer, and name it Scribble_Sketch_2.
Now set the foreground color to #000000 and choose the Brush Tool (B). Then, pick the Scribble_Brush_2, and brush over the area where you want to have more details. Feel free to use different brush sizes again.
Select the Base layer, go to Layer > New > Layer to create a new layer, and name it Scribble_Sketch_3.
Now set the foreground color to #000000 and choose the Brush Tool (B). Then, pick the Scribble_Brush_3, and brush over the area where you want to have more details. Feel free to use different brush sizes again.
Set the Opacity of this layer to 78%.
Now select the Base layer, hide it, and drag it to the top of the layers in the Layers panel.
5. How to Reveal Subject Details
In this section we are going to reveal subject details. Control-click on the Base layer thumbnail to make a selection of this layer. Then, select the Background layer and go to Layer > New > Layer Via Copy to create a new layer via copy.
Now drag this layer just above the Scribble_Sketch_1 layer in the Layers panel and name it Subject_Details_1.
Press Control-Shift-U on your keyboard to desaturate this layer. Then change its Blending Mode to Soft Light and set the Opacity to 59%.
Now press Control-J on your keyboard to duplicate this layer, and name this new layer Subject_Details_2.
Drag this layer just below the Subject_Details_2 layer. Then, change the Blending Mode of this layer to Normal and set the Opacity to 25%.
6. How to Add Texture
In this section we are going to place a texture over the sketch. Go to File > Place Embedded andchoose the texture from the link. Then set Width and Height of the texture to 29.48% as shown below and name this layer Texture.
Change the Blending Mode of this layer to Soft Light.
7. How to Make a Final Adjustments
In this section we are going to make some final adjustments to the design. Select the Subject_Details_1 layer, go to Layer > New Adjustment Layer > Curves to create a new curves adjustment layer and name it Overall Brightness.
Now Double-click on this layer thumbnail, and in the Properties panel use the settings below:
Double-click on the Background Color layer thumbnail and set the color to #767676 as shown below:
Now select the Overall Brightness layer and hide the Texture layer. Then, press Control-Alt-Shift-E on your keyboard to make a screenshot.
Go to Filter > Other > High Pass and set the Radius to 2 px as shown below:
Now show the Texture layer again. Then, change the Blending Mode of this layer to Overlay and name it Overall Sharpening.
You Made It!
Congratulations, you have succeeded! Here is our final result:
The action works so you just brush over your photo and play the action. It’s really that simple! The action will do everything for you, giving you fully
layered and customizable results. You can choose from three different scribble sketch styles, and you can also create a typography sketch.
The action comes with a detailed video tutorial that demonstrates how to use and customize the results to get the most out of the effect.
Introducing Gravit Designer—a completely free vector design application launched earlier this year. It’s available in the browser as well as on Linux, Mac, ChromeOS and Windows, making it arguably the most accessible application of its type in the world.
Gravit is packed with professional-level features that position it as the next big up-and-coming graphics app. Whether you’re a UI designer, an illustrator, or any other kind of digital artist, Gravit could quickly find a regular place in your design workflows.
In this course, instructor Kezz Bracey takes you through all of Gravit’s key features and major strengths, showing you how to get productive fast.
Here are some free lessons from this course, as a preview of what you can expect:
In this video, you’ll get an overview of the most important elements of the Gravit interface. Discover each main section and some of the key settings you’ll work with in Gravit.
Gravit brings its own collection of path creation tools, offering some functionality uncommon in other applications. In this video you’ll discover the options you have available to you and how to use each one.
Shape Tools Overview
Gravit includes some very powerful shape creation functionality that lets you make all kinds of interesting and complex forms. In this video, you’ll learn about the shape drawing tools included, and how you can work with the modifiers of each one.
Take the Course
You can take our new course straight away with a subscription to Envato Elements. For a single low monthly fee, you get access not only to this course, but also to our growing library of over 1,000 video courses and industry-leading eBooks on Envato Tuts+.
Plus you now get unlimited downloads from the huge Envato Elements library of 400,000+ creative assets. Create with unique fonts, photos, graphics and templates, and deliver better projects faster.
Learn the basics of typography in this quick video!
Typography: The Anatomy of a Letter
The more we communicate, the closer we become. Typography inspires us by reminding the world of a simpler time without connection. As designers and artists, we can carry that fascination into our work by studying the makeup of letters.
Start with the basics with this quick video below. Learn the anatomy of a letter.
Common Typography Terms
Familiarize yourself with these terms to get a better handle on typography.
The invisible line letters rest on.
A single vertical stroke upwards to create letters like L or F. Connect one stem to another using a crossbar detail, like the letter H.
Letters with downward strokes that extend past the baseline have Descender strokes. Alternatively, if the stroke moves upward and away from the main body of the letter, we call that the Ascender stroke.
Uppercase letters are capital letters. Lowercase letters are smaller ones. Use uppercase letters for names and places, and lowercase letters for casual settings and more readability.
For lowercase letters, the X-height is the main body of the letter.
Counters and Spine
Fully or partially closed spaces found in letters like O, A, and B. If the letter isn’t fully closed, then it’s an Open Counter.
Ear and Shoulder
An Ear is a decorative detail that pokes out from letters like g. A Shoulder is a bumped curve seen in letters like m and n.
Serif vs. Sans Serif
Serif types feature extended stroke details also known as feet. These details are missing in Sans Serif styles.
Learn More About Typography
Typography is an art form every designer can admire. Continue exploring your interest in typography to build your skills over time.
Get Amazing Design Resources
Want to create videos like this? Download the resources used in this video:
Check out these tutorials to learn more from our experts:
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 and Snap to Pixel options found under the View menu, which will transform into Snap to Pixel each time you enter Pixel Preview mode (if you’re using an older version of the software).
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
Once we’ve set up our document, it would be a good idea to structure our project using several 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 five layers, which we will rename as follows:
layer 1: reference grids
layer 2: first snowflake
layer 3: second snowflake
layer 4: third snowflake
layer 5: fourth snowflake
4. How to Create the Reference Grids
The 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 once 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 64 x 64 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 64 x 64 px orange (#F15A24) square, which will help define the overall size of our icons.
Add a smaller 56 x 56 px one (#FFFFFF) which we will position on top of the previous shape, since it will act as our active drawing area, thus giving us an all-around 4 px padding to work with.
Select and group the two squares together using the Control-G keyboard shortcut, and then create the remaining grids using three copies (Control-C > Control-F three times) spaced 28 px horizontally from the original. Once you have all the reference grids, group (Control-G) and then center align them to the underlying Artboard, making sure to lock the current layer before moving on to the next one.
5. How to Create the First Snowflake Icon
Assuming you’ve successfully managed to create the little reference grids, move on to the next layer (that would be the second one), and let’s kick off the project by creating the first flake.
Create the vertical section of the snowflake using a 52 px tall 4 px thick Stroke line with a Round Cap, which we will color using #7FD7E5 and then center align to the empty active drawing area.
Switch over to Pixel Preview mode (Alt-Control-Y), and then draw the v-shaped crystal formation using a 4 px thick Stroke (#7FD7E5) with a Round Cap, which we will position as seen in the reference image.
Create the bottom
detail using a copy (Control-C >
Control-F) of the one that we’ve just finished working on, which we will horizontally
reflect (right click > Transform >
Reflect > Horizontal) and then position on the opposite side of the
active drawing area. Once you’re done, select and group all three shapes
together using the Control-G keyboard shortcut.
Create the flake’s
vertical section using a copy (Control-C
> Control-F) of the one that we’ve just grouped, which we will rotate at
a 90º angle using the Rotate tool (right click > Transform > Rotate > 90º).
Add the left diagonal
section using another copy (Control-C
> Control-F) of the vertical one, which we will rotate at a 45º angle (right click > Transform > Rotate > 45º), as seen in the
Make sure that the
rotated shapes are perfectly snapped to the Pixel Grid by switching over to Pixel Preview mode (Alt-Control-Y)
and then individually selecting and positioning them back onto the grid with
the help of the Direct Selection Tool
Finish off the current
snowflake by creating the right diagonal section using a copy (Control-C > Control-F) of the one
that we’ve just finished
working on, which we will vertically reflect (right click > Transform > Reflect > Vertical). Once you’re
done, select and group (Control-G)
all of the strokes together before moving on to the next one.
6. How to Create the Second Snowflake Icon
Assuming you’ve finished working on the
first icon, move on to the next layer (that would be the third one), and let’s start
working on our second snowflake.
Create the vertical
section using a 36 px tall 4 px thick Stroke line with a Round Cap,
which we will color using #7FD7E5 and then center align to the underlying
active drawing area.
Add the top and bottom end sections using two 8 x 8 px circles with a 4 px
thick Stroke (#7FD7E5), which we
will position as seen in the reference image.
Draw the two detail segments using a 4 px thick Stroke (#7FD7E5)
with a Round Cap, using the
reference image as your main guide. Take your time, and once you’re done, select
and group (Control-G) all of the
current shapes before moving on to the next step.
Create the flake’s horizontal section using a copy (Control-C > Control-F) of the shapes
that we’ve just grouped, and then rotate them using a 90º angle (right click >
Transform > Rotate > 90º).
Finish off the current icon by adding its diagonal sections using a copy
(Control-C) of the ones from the previous
snowflake, which we will paste (Control-F)
onto the current layer, making sure to align them as seen in the reference
image. Once you’re done, select and group (Control-G)
all of its composing shapes, before moving on to the next one.
7. How to Create the Third Snowflake Icon
By now you know the drill, so make sure
you’ve positioned yourself onto the next layer (that would be the fourth one),
and let’s jump straight into it.
Start by creating the
center section of the snowflake using a 12
x 12 px circle with a 4 px thick
Stroke (#7FD7E5), which we will
position in the center of the third reference grid.
Start working on the vertical section, by creating a 16 px tall 4 px thick Stroke segment (#7FD7E5) with a Round Cap,
which we will position onto the circle’s top anchor point as seen in the
Turn on Pixel
Preview mode (Alt-Control-Y),
and then draw the top v-shaped segment, using a 4 px thick Stroke (#7FD7E5) with a Round Cap,
making sure to start from the vertical segment’s top anchor point and go all
the way up to the active drawing area’s top edge.
Take a couple of moments and draw the remaining
segments, making sure to maintain a 4 px gap between their end anchor points, and 8 px between their center ones. Once you’re done, select and group
(Control-G) all four shapes together
using the Control-G keyboard
Create the vertical section’s bottom segment using a copy of the shapes that we’ve just grouped, which we will horizontally
reflect (right click > Transform >
Reflect > Horizontal) and then position on the opposite edge of the
active drawing area.
Finish off the snowflake by adding its
horizontal section using a copy (Control-C
> Control-F) of the vertical segments that we’ve just created, which we
will rotate at a 90º angle (right click > Transform > Rotate >
90º). Once you’re done, select and
group (Control-G) all the shapes
together, before moving on to the next icon.
8. How to Create the Fourth Snowflake Icon
We are now down to our fourth and last
icon, so make sure you position yourself onto the fifth layer, and let’s wrap
Start by making a
copy (Control-C) of the snowflake
that we’ve just finished working on, which we will paste onto the current
layer and then ungroup (right click
> Ungroup), removing some of its details as seen in the reference image.
Adjust the length of the vertical segment by
selecting its top anchor point with the help of the Direct Selection Tool (A) and then dragging it upwards until its
top end touches the active drawing area’s outer edge.
Create a copy (Control-C > Control-F) of the v-shaped segment, and position them 4 px from one another, at a distance of 4 px from the vertical segment’s top anchor point. Once you’re done, select and
group (Control-G) all three shapes
together, before moving on to the next step.
Create the snowflake’s bottom segment using a
copy of the one that we’ve just finished working on, which we will horizontally
reflect (right click > Transform >
Reflect > Horizontal) and then position on the opposite edge of the
active drawing area.
Add the horizontal section using a copy (Control-C > Control-F) of the two
vertical segments, which we will rotate by 90º (right click >
Transform > Rotate > 90º).
Take a couple of moments, and draw the top-left
diamond shape using a 4 px thick Stroke (#7FD7E5) with a Round Join, which we will position 10 px from the active
drawing area’s top-left corner.
Finish off the snowflake, and with it the
project itself, by adding the remaining diamonds using three copies (Control-C > Control-F three times)
which we will horizontally and/or vertically reflect (right click > Transform > Reflect > Vertical and/or Horizontal) and then position as seen
in the reference image.
Take your time, and once you’re done, select and group
(Control-G) all of the icon’s
composing shapes together before hitting the save button.
There you have it, fellow snowflake lovers, a nice and easy tutorial on how
to create your very own icon set, using nothing more than a few strokes
and geometric shapes.
As always, I hope you had fun and managed to
learn something new and useful during the process.
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You can find more details on all of these deals and links to the discounted items on the Envato Cyber Monday Sale page. So head over there to stock up on all the digital assets you’ll need for the coming year, at unbeatable prices.
The Starry Night by Vincent van Gogh is easily one of the most recognizable pieces in art history.
And I’ll show you how to make it in this tutorial! Build the famous composition from scratch, using free stocks, Photoshop, and amazing filters from Filter Forge.
The following assets were used in the production of this tutorial.
How to Download Filter Forge
To use Filter Forge, you’ll need to download it first. After you run the installation, it’ll automatically update in Photoshop CC under the Filter menu.
To launch the program and peek around, go to Filter > Filter Forge > Filter Forge 7.
Browse their massive collection of over 12,000 filters for smart photo effects, 3D textures and more. Search their selection online or use the Download More Filters option within the program to get started.
Here are all the filters you’ll need for this tutorial:
1. How to Create the Starry Night Scene
The first step is always the research. And it’s pretty crucial in this scenario. We’re challenging ourselves to emulate a very famous painting, so we want to pay homage and our respects by paying close attention to details.
Here’s a little backstory on the Starry Night from my Art History article on Impressionism:
Vincent painted The Starry Night as a patient at the Saint Rémy de Provence asylum in southern France. Like many of his works, it features cypress trees and a small town under a glowing night sky.
With this in mind, here are a few notes to remember:
Oddly enough, none of the scenery in The Starry Night matches the actual location. It’s not a plein air painting, but one from imagination.
However, you can find stocks that still match the original layout. Look for items like cypress trees, old historical towns, and general landscape photography.
Also, Impressionism is a very loose style of painting, so the filters we’re using should match that too.
To build the Starry Night scene, we’ll need these images:
Create a New Document in Photoshop at 1250 x 950pixels. Then Copy and Paste this Field reference onto its own layer.
If you have trouble with perspective, references like this can help you learn how to ground the landscape and figure out the layout. For the most part, we’ll be placing images on top of this field, so it’s just a placeholder for now.
To show you exactly what I mean, let’s add the main focal points—the trees and sky. Extract the tree from the Cypress image using the Magnetic Lasso Tool (L).
Delete the white background layer.
Then Copy and Paste the tree onto its own layer above the field. Control-J to Duplicate the layer twice. Use the Free Transform Tool (Control-T) to resize the other two trees to match the painting.
Now that we have the trees ready, we need to change their shape to look more fluid, like the Impressionist style. We’ll do this by using the Liquify Tool.
Bring the first tree into Liquify. Select the Tree layer and go to Filter > Liquify.
Use the Forward Warp Tool (W) to push the branches and leaves inward. Create curvy, S-like shapes like the ones Vincent loved. And make the base of the trees more round.
Do this for all three trees. Keep checking back with the original Starry Night to see which shapes work best. Here is my result.
The next part of this puzzle is the sky.
Both the sky and trees make up the biggest pieces to this puzzle. And this Sky and Mountains stock is pretty awesome because the high mountain shapes on the right side look just like the painting.
So let’s add it in, shall we?
Copy and Paste the sky and mountain reference onto its own New Layer above the field. Use the Move Tool (M) to position the image higher on the canvas, allowing the mountains to hit their mark in Van Gogh’s scene.
Next, add a Layer Mask to the sky and mountains layer. Now we must reshape the mountain image. Select the Brush Tool (B) and use a Hard Round Brush to paint black onto the mask. Mask out the areas seen below.
This step should help guide your eyes to understand where things intersect within the painting. One image alone will help create the perfect background elements!
If you’re picky about the details, let’s adjust this mountain before we move on. Go to Filter > Liquify and push the mountain higher using the Forward Warp Tool (W).
Now for a little surgery!
To create a sky more like the painting, we have to redistribute the clouds we see.
Use the Polygonal Lasso Tool (L) to create a large selection on the left side in order to cut out that section. Hold Control-J after your selection to Paste it onto a New Layer.
Flip the sky piece. Go to Edit > Transform > Flip Horizontal.
Place it above the right mountains. Use a Layer Mask to diffuse the edges with a Soft Round Brush.
Now repeat these steps to add more clouds to the scene. Select the clouds first, and then Flip and Mask them. Use a Soft Round Brush to help blend the clouds into the mountains and sky.
Here is the result.
Time for some more trees!
Copy and Paste this Landscape stock onto a New Layer above the clouds. Add a Layer Mask to mask out the sky. Then use a Soft Round Brush to feather out the trees near the top of the landscape.
Here is the result. The extra benefit of this stock is that it’ll help fill in the gaps of our painting.
Before we move on, let’s fix the color. Add a New Adjustment Layer of Curves and set it as a Clipping Mask to the landscape layer. Adjust the curves for the RGB, Blue, and Red Channels to make the landscape more blue.
This image will represent the middle ground area. This is where the town in the painting should be.
Paste, Mask, and then recolor, remember? Copy and Paste the image, or just an extraction onto a New Layer. Add a quick Layer Mask to clean up the edges around the buildings. Then add a New Adjustment Layer of Curves, this time lowering the RGB Channel for more contrast.
Feel free to use bits and pieces from the other stocks to fill in parts of the scene.
Before we move on, add a New Adjustment Layer of Color Lookup. We’ll use this to finish the photo composite portion of this Starry Night effect.
Set the 3D LUT File to FoggyNight.3DL and lower the Opacity to 60%.
Here is the result.
2. How to Apply the Starry Night Filters
Time for filters!
The Starry Night is well known for its beautiful, painterly style. We’ll achieve this by using several filters from Filter Forge.
Let’s start with the trees.
Control-Click on the first tree layer. Then go to Filter > Filter Forge > Filter Forge 7.
Choose the Van Gogh Flowfilter under theEffects > Creative category.
Choose the default preset, and then add the following settings.
Apply this filter to the rest of the trees. Use the same settings as above.
Apply the Layer Masks to the town and landscape layers, and then Merge them together.
Using the same process as before, we’ll apply the Van Gogh Flow filter to this merged result.
But first, Control-J to create a Duplicate of the merged layer. Use the copied layer for this effect. This time, choose the third preset on the list,and add the following settings.
Here’s the end result.
Next, let’s do the field layer. Using the same filter again, we’ll make some minimal changes to the settings to make the brush strokes more short and fat.
For the sky and mountains, we’ll be using the Brush Engine Van Gogh filter instead. Merge the sky and mountain layers together. Then, using the default preset and settings, apply this brush engine filter.
Here is the result after all the filters have been applied.
3. How to Paint Impressionist Details
The filtered results look great, but now they need to blend well together. Vincent often had a habit of outlining his work, so we’ll have to do the same before painting more color.
But first, let’s add a moon!
Create a yellow #c6b16f ellipse with the Ellipse Tool (U). Place it in the top right corner and set the Blend Mode to Vivid Light.
Now let’s outline each section. Create a New Layer and select the Brush Tool (B). Use a Hard Round Brush (50-80% Opacity)to paint black lines outlining the landscape and town.
Build the line weight and texture by going along with the Impressionist style.
Start to incorporate some more color. Choose ones Vincent loved himself!
Use the Eyedropper Tool (E) to pick up colors from the scene and use them as your Foreground Colors.
Here I used colors like yellow #bca736 and red #693d38 to make the painting pop with colorful outlines and stars. Then I drew in a simple moon shape for a fun addition.
Set a New Layer to Overlay. Use a Soft Round Brush to give the stars and moon a bright yellow glow.
To finish this Starry Night effect, you’ll need to add a few more layers of painterly brush strokes, specifically white highlights. Study the original painting and experiment with different brush textures for more fun.
Here’s the Starry Night painting so far.
4. How to Add a Frame
If you want to take this another step, add a frame! Merge all the layers together.
Copy and Paste the Starry Night painting onto the canvas. Control-click the layer and go to Filter > Filter Forge > Filter Forge 7.
Select this Painting Frameand use the default preset with the following settings:
Here is the framed result against a nice #ababab tan background.
If you’d like to add even more texture to this piece, consider an old, cracked painting effect. Select the Starry Night with the Rectangular Marquee Tool (M). Control-J to make two layers of copies, and then use just one of the copies for this filter.
Control-click one copy and go to Filter > Filter Forge > Filter Forge 7.
The result may appear a little dull. So set the second copy to Lighter Color to bring out the painting again.
Looks great! Feel free to add a Drop Shadow for a realistic finish.
5. How to Apply the Effect to a New Painting
But wait…there’s more!
You can take this effect to the next level with a little painting inception. That’s right. A painting, within a painting… movie style.
To do this, we’ll need another piece to work from. Bedroom in Arles is another popular painting of his: a still life of his bedroom in France.
To recreate this scene in his famous Impressionist style, we should definitely try a shorter route! As it turns out, there’s this super awesome picture of a sculpture of his room that we can use instead.
Open the image in Photoshop.Hold Control-J to create a copy of the background, set it to Linear Light, and lower the Opacity to 22%.
Control-click the copy and Run Filter Forge to apply the Starry, Starry Night filter. Use the default preset with the following settings:
Next, add two New Adjustment Layers.
The first is Levels. Adjust the settings for the RGB Channel for more brightness.
Then add a Color Balance Adjustment Layer.
Almost there! Let’s rebuild the color scheme in these next few steps.
Fill a NewLayer with brown #392b24. Set the Blend Mode to Hue and lower the Opacity to 54%.
Create another New Layer and use the Brush Tool to paint orange #f7a300 onto the wall. Set the Blend Mode to Subtract (it turns the wall blue) and lower the Opacity to 52%. Clean up the edges with a Layer Mask.
Create another New Layer for the flower. Paint brown #8f786b onto the floor, and then set the layer to Hue.
Fill a New Layer with blue #3f00cd and set it to Difference. Lower the Opacity to 20%.
Now insert the Starry Night painting! Hang it on the wall in the back.
Make the Starry Night blend into the new painting by applying a filter. Use the same Starry Night filter from before.
Add a New Layer and dedicate it to adding some texture to the walls. Paint soft white strokes reminiscent of the style we created earlier.
Use this same layer to play with the line weight of the other items. When you’re through, Merge all the layers together.
Let’s add the final filters to complete this second painting. Duplicate the merged layer.
Run Filter Forge and apply the Van Gogh Flow filter to the copy. Use the default preset, with the following settings.
Set this layer to Multiply and lower the Opacity to 35%. Now the painting should have a great Impressionist feel.
For more texture, Duplicate the copy.
Run Filter Forge on this layer, using the Impressionist Channels filter this time. Use the default preset and settings, and then set the layer to Saturation. Adjust the Opacity to 100%.
Here is the alternative inception effect!
Congratulations, You’re Done!
Impressionism is a cool art style you can achieve digitally. And painting like the masters is possible with Filter Forge. Develop the right eye for stocks and compositing, and you’ll master photo manipulations with time.
Place your results in a cool gallery scene for more fun. I used this Frame Mockup from Envato Elements. Just duplicate the folder of the frame to add another.
I hope you’ve enjoyed following along. Feel free to leave your comments and result below.
Create more incredible effects with Filter Forge—check out these tutorials:
In the following steps, you will learn how to create a retro long shadow text effect in Adobe Illustrator.
For starters, you will learn how to create some text. Taking full advantage of the Appearance panel and using a neat Transform effect, you will learn how to add the long shadow effect without expanding your text. Some basic blending techniques and a simple Gaussian Blur effect will be the final touches for your text effect.
For more inspiration on how to adjust or improve your final text effect, you can find plenty of resources at GraphicRiver.
1. How to Create the Text
Hit Control-N to create a new document. Select Pixels from the Units drop-down menu, enter 850 in the width box and 610 in the height box, and then click that More Settings button. Select RGB for the Color Mode, set the Raster Effects to Screen (72 ppi), and then click that Create Document button. Don’t forget to set the unit of measurement to pixels from Edit > Preferences > Units.
Pick the Type Tool (T) and open the Character panel (Window > Type > Character). Select the Insaniburger font and set the size to 200 px.
Move to your artboard, click on it, and add your piece of text about as shown below. Make it black.
Use the same tool and character attributes to create the last letter of your text. Make it blue and place it right above the black one.
Keep adding separate blue letters until you cover all your black text. Once you’re done, go to the Layers panel (Window > Layers) and remove your black text.
2. How to Add the Long Shadow Effect
Select one of your letters, focus on the Swatches panel (Window > Swatches), and click that [None] swatch to remove the blue text color.
Move to the Appearance panel (Window > Appearance) and add a new fill using the Add New Fill button. Select that new fill and set the color to R=255 G=245 B=225.
Make sure that your “S” is still selected and focus on the Appearance panel. Add a second fill and select it. Drag it to the bottom of the panel, set the color to R=0 G=146 B=69, and then go to Effect > Distort & Transform > Transform. Drag both Move sliders to 0.5 px, enter 700 in that Copies box, and then click OK.
Make sure that your “S” is still selected and keep focusing on the Appearance panel. Add a third fill and select it.
Drag it between the existing two fills and set the color to black. Lower its Opacity to 10% and then go to Effect > Path > Offset Path. Enter a -10 px Offset, click OK, and then go to Effect > Distort & Transform > Transform. Drag both Move sliders to 15 px, click OK, and then go to Effect > Blur > Gaussian Blur. Enter a 5 px Radius and then click OK.
Focus on the Layers panel, open your layer, and use those target icons to easily apply the Appearance attributes used for your first letter to the rest of your letters. Target icons are the little round icons displayed at the far right of each individual layer or shape.
Hold the Alt button from your keyboard, click the target icon that stands for your “S“, and then drag it onto the target icon that stands for your “T“. Select your “T“, focus on the Appearance panel, and replace the green used for that bottom fill with R=255 G=154 B=9.
Move to the “O” and apply the same Appearance attributes, but replace the green with R=244 G=54 B=44.
Select that “P” and apply the same Appearance attributes, but replace the green with R=7 G=132 B=170.
3. How to Create a Background and Add More Text
Pick the Rectangle Tool (M) and create a shape that covers your entire artboard. Fill it with R=42 G=27 B=67 and send it to back (Shift-Control-[).
Pick the Type Tool (T) and focus on the Character panel. Make sure that the Insaniburger font is still selected and set the size to 50 px.
Add the “DON’T” piece of text and place it as shown in the following image. Again, remove the text color and focus on the Appearance panel. Add a fill using that Add New Fill button, select it, and set the color to R=255 G=245 B=225.
Make sure that your “DON’T” piece of text stays selected, focus on the Appearance panel, and add a second fill. Select the bottom fill, set its color to R=255 G=80 B=145, and then go to Effect > Distort & Transform > Transform. Enter the attributes shown in the following image and then click that OK button.
Make sure that your “DON’T” piece of text is still selected and keep focusing on the Appearance panel. Add a third fill and select it.
Drag it between the existing two fills and set the color to black. Lower its Opacity to 10% and then go to Effect > Path > Offset Path. Enter a -2 px Offset, click that OK button, and then go to Effect > Distort & Transform > Transform. Drag both Move sliders to 5 px, click that OK button, and then go to Effect > Blur > Gaussian Blur. Enter a 3 px Radius and then click that OK button.
Pick the Type Tool (T) and add the “BELIEVING” piece of text. Set the text color to R=255 G=245 B=225 and place it as shown in the following image. Make sure that this new piece of text is selected and go to Effect > Stylize > Drop Shadow. Enter the attributes shown below and then click that OK button.
Congratulations! You’re Done!
Here is how it should look. I hope you’ve enjoyed this tutorial and can apply these techniques in your future projects. Don’t hesitate to share your final result in the comments section.
Feel free to adjust the final design and make it your own. You can find some great sources of inspiration at GraphicRiver, with interesting solutions to improve your design.
Written by Taira Sabo, Wix Design Community Expert.
Out of all of the creative people in the world, designers have a very clear vision of what their online portfolio should look like. Their line of work demands a site that lives up to their standard, showcases the diversity of their creations, while capturing the essence of their signature. In other words: they are likely to think of their website as a piece of art in itself. As they should.
Whether you’re building your own online presence, or somebody else’s one, you need a platform that can fulfill even your wildest design fantasies. To create a website, you want to benefit from the most advanced features, intuitive to use and a platform that provides beautiful results. This way, you’re in control from design to live.
Speaking of lively results, there’s no better way to prove a point than with some stunning evidence. So without further ado, here are 10 designers who used the unlimited creative possibilities of Wix to imagine and realize portfolios that are not only functional, but serve as a true testament to their work.
2018 will see the confirmation of a now well-established trend: long-scrolling websites. The visual impact is great, and it fits perfectly the new mobile habits. You just need to make sure that the different strips will ‘feel’ clearly separated, while speaking the same language. This portfolio solves the perilous equation with a splash of red color that repeats on every single strip. A perfect example of how playing with only few chromas can create a memorable experience.
Like it or not, the 80’s are back – and web design is no exception, as shown by this eye-catching designer’s portfolio. The combination of a vintage computer layout and bright colors immediately gives that ultimate pop feel. The “Work” and “Info” buttons anchored on either side of the page complete the bold approach. The result? Another piece of evidence that when a website looks like candy, everyone wants a taste.
Grid-based layouts will probably be one of the most widespread trends in 2018. Adding strips and columns helps your site to breathe, and organize the content in a more elegant way. This illustrator clearly mastered the art of composition, with her projects allocated in small boxes. For the animation, have a look at the bottom, with the film displayed in a full strip thanks to the genius tool that is Wix Video. Of course, the sketch wouldn’t be complete without the author’s signature. You’ll find it in the header, smartly transformed into the cutest and most authentic logos.
Sometimes less is more. Obviously not here. This site proves that you can go crazy with colors, animations and a busy design language, and still create a fantastic-looking opus! If you happen to need a multilingual site, take some inspiration at how effortlessly this portfolio switches from English to Japanese.
Some pieces of art are so strikingly beautiful that they need very little introduction. This website went for a long-scrolling page that allows the visitors to discover the galleries gently and quietly – like in a museum. Don’t discard all textual content just yet. If you go for the same inspiration, the footer is the perfect place to stuff all your crucial information – such as your contacts and social media.
GIF, GIF, GIF is all we can say! While the animations (and colors) may be busy, the perfectly boxed layout calms down the craze. The very prominent logo is balanced out with clean and simple “Services” and “About” pages. Another smart move: the rolling Instagram feed directly displayed on the homepage, and which looks like the most appetizing candy necklace.
A powerful portrait as the header of your website is a classic, yet efficient way to lure users in and tempt them to continue to scroll. Another great find: check out how this design challenged the standard photography portfolio structure, by showcasing the gallery in a striking two-column grid.
You learned it in your first year of (web) design school: white space is a crucial element to draw your users’ eyes onto what’s really important. This portfolio put the theory into practice in a masterly fashion, with white borders and a vast amount of space between the images. As a result, the website looks like it ‘breathes’ – even though a lot of pictures are displayed. We also love the sharp and ‘broken’ letters of the logo, which give off an edgier feel to an overall elegant design.
If your work involves a sense of humor and color, why not place it front and center to catch your visitors’ attention? This über-talented designer does exactly that. His fun, bright, and neon-colored animations are the most inviting. Note the clean background that helps balance out all the adventurous hues, and ease the navigation.
Giving your website a character, if not a personality, is crucial. Somewhere between Wes Anderson’s movies and the sophisticated designs of the 60’s, this site clearly found its own language. We could elaborate for hours on this homepage that is supremely enticing, thanks to the lovely pink overlay and the slow motion video background. ‘Adieu’ film maybe, but ‘bienvenue’ to stunning web design!