Author Archive

Deke’s Techniques: How to make a hand turkey in Photoshop

Published by | Tuesday, November 20th, 2012

Here in America we have a long-standing tradition of giving thanks every November by tracing around our hands and decorating the drawing like a turkey. In this free video, Deke shows you how to release your inner artistic child by creating a hand turkey in Adobe Photoshop.

Although many of us learn this technique in kindergarten, the Internet provides galleries of evidence that the practice is not limited to youngsters. In fact, since many of us learned this skill when we were fearless children, the act of decorating a hand tracing for Thanksgiving can be quite liberating!

The first step is to trace your hand. Since this will be a Photoshop project, it’s preferable that your tracing yields a result that looks like an electronic outline. There are as many options for accomplishing this as there are recipes for Thanksgiving turkey. Deke traces around his hand on a Wacom tablet. I shot a picture of my hand with Photo Booth, opened it in Photoshop, and used the Pen tool to trace a path around it. Because wiggly lines add to the nostalgia of the project, my ineptitude with the Pen tool has a benefit for once! Regardless of which method you choose, you’ll need to end up with the outline on an otherwise transparent layer and a white background layer:

An outline of a hand

 

Deke notes that you should be sure to trace your wrist as well, since those lines are great for establishing the feet. (They didn’t teach me that in kindergarten!) On separate layers, he adds some feathers, a handsome face with beak and waddle, and feet:

The hand outline with turkey-like features

After setting up a layer-based barrier to ensure the colors stay within their respective coloring book–style lines, it’s safe to fill in the feathers, beak, and waddle with the Paint Bucket tool. To ensure that the colors fill their entire areas, Deke uses the Minimize filter to expand the colors just past the inner edge of the outline. (The Minimize filter reduces transparent areas, so the colored areas actually grow.)

Different color fills in Adobe Photoshop

After coloring the body a decidedly human flesh color, Deke adds an Inner Shadow effect to the hand area to give it some volume. He duplicates and adjusts the Inner Shadow for each area of the hand:

The colored turkey drawing with an inner shadow effect

After inexplicably deciding his turkey needed underwear (except that it’s a chance to show you how to paint carefully, erase judiciously, and tweak the inner shadow to the appropriate color so that it looks correct against white), it’s time to give the “flesh” some texture. By applying several filters to a smart Smart Object layer filled with nothing but black, Deke sets that layer blend mode to Overlay and clips it to the Body layer below.

Drawing with texture added

 

Aside from letting you recall the joys of one of your earliest art projects, much of the whimsy of this technique comes from the fact that there is a lot of room for personal expression. I mean, you’re beginning with your own distinct handprint, and then you can modify the colors, embellishments, and textures as you wish. Here are my observations from creating my own hand turkey (as seen on the left below):

1. Unlike Deke, I’m right-handed, which of course means my turkey is facing the other way. While this may seem trivial, it actually means I had to flip my Inner Shadow effect to the mirror image of Deke’s. So Deke used an angle of -125 degrees, and I had to change mine to -55 degrees to give volume to the analogous areas of my turkey.

2. Tracing an image of your hand with the Pen tool is great practice for learning how it works since there are lots of subtle curves required to create a hand outline. Plus, if you mess up it just adds to the homespun nature of your turkey.

3. I made different decisions on colors, textures (I actually used the Stained Glass filter instead of Grain), wrinkles, and of course wardrobe.

Two final Turkey hand drawings made using Adobe Photoshop

But clearly, Jenny and Jake—as I’ve affectionately named our turkey friends—are personal expressions of the same general approach. It’s a great way to have nostalgic fun while learning useful features of Photoshop.

Meanwhile, lynda.com members can give thanks for an exclusive movie this week called Creating a depth-of-field cast shadow, in which Deke gives his turkey a realistic shadow.

Deke will be back with another technique next week. Happy Hand Turkey Day!




• The entire Deke’s Techniques weekly series on lynda.com
• Courses by Deke McClelland on lynda.com
• All Photoshop courses on lynda.com

Suggested courses to watch next:
• Photoshop CS6 One-on-One: Fundamentals
• Photoshop CS6 One-on-One: Intermediate
 Ed Emberly, Children’s Book Illustrator

 

Deke’s Techniques: Creating the parts of a looping braid for an Illustrator Pattern brush

Published by | Tuesday, November 13th, 2012

In this week’s Deke’s Techniques series, Deke McClelland shows you how to create an intertwined-rope pattern, then he shows you how you can use the perfectly aligned rope pattern with the Adobe Illustrator Pattern brush feature. Unlike a similar circular-stroke pattern Deke created a few episodes back in “Creating a currency-style emblem in Illustrator,” this approach creates a pattern that can successfully navigate 90-degree corners.

The entire pattern begins with a simple, unassuming line segment:
A simple line segment

The wave pattern is created by applying the Zig Zag effect, setting the absolute size to 4 points and the number of ridges per segment to 1.

A curved line with the Zig Zag dialog box in Adobe Illustrator

 

Next, Deke creates the second strand of the twist by using a Transform effect that reflects the now wavy segment over the y-axis:

Intertwined lines and the Transform Effect dialog box in Adobe Illustrator

 

Deke completes the straight portion of the pattern by copying one link of the twist and attaching it to the end. He then duplicates those same two segments and rotates them to begin building the corner component of the pattern.

Two intertwined lines with the Rotate dialog box in Adobe Illustrator

To make the looping design in the corner, Deke starts with a carefully measured Arc segment:

Arc Segment Tool Options dialog box

After rotating the arc into place, Deke lines the segment up and attaches it to the existing pattern using the Join tool. In the Join dialog box, you can tell Illustrator to create a smooth point at the join site.

The Join dialog box in Illustrator

The link shape is then duplicated, truncated, and rotated to become the basis for the next part of the corner loop. Again these end points are joined to the existing path:

The join dialog box with the link shape rotated

 

To create the very outer turn of the corner, Deke uses a modified ellipse. By measuring the distance he wants to cover ahead of time, Deke can tell Illustrator precisely the dimensions he needs for the ellipse:

An ellipse added in Illustrator

 

Once the ellipse is clipped in half, maneuvered into place, and joined up, the corner loop design is complete:

The finished loop in Adobe Illustrator

Deke also uses a similar measure, draw, cut, and rotate procedure to make the end segment. The result: three perfectly aligned components ready to serve inside the Illustrator Pattern brush feature. (I temporarily changed their stroke colors so you can see where each begins and ends.)

The final result with the three components ready for the Illustrator pattern brush

To see how these pieces are put to work, Deke has a member-exclusive movie this week called Assembling a seamless pattern brush, in which he shows you how to set your pattern pieces up for use in a Pattern brush.

Deke will be back next week with another free technique.

Interested in more?
• The entire Deke’s Techniques weekly series on lynda.com
• All Illustrator courses on lynda.com
• All courses by Deke McClelland on lynda.com

Suggested courses to watch next:
• Illustrator CS6 One-on-One: Fundamentals
• Illustrator CS5 One-on-One: Fundamentals
• Illustrator Insider Training: Drawing without the Pen Tool

 

InDesign Secrets: Placing one InDesign file inside another InDesign file

Published by | Thursday, November 8th, 2012

In this week’s InDesign Secrets video, David Blatner explains how you place one InDesign file inside another and, perhaps more importantly, provides some reasons why you might want to exploit this feature.

Placing an InDesign file inside of another InDesign file works much like adding any other type of file, such as a PDF. Once you use the standard File > Place command, choose your desired InDesign file and position it where you want it to appear in the layout of your original InDesign document. Just like any other placed file, the new file will appear in the Links panel, and any edits made externally to the placed InDesign file will automatically update. Accordingly, changes made will also appear with the same warnings and update ability that any placed link would display in the Links panel.

The Links panel in Adobe InDesign

Initially, the new InDesign file behaves just like a static, uneditable PDF or picture, but you can use the Edit Original command to open the linked file in InDesign. David also has a tip in the video for downloading a free plugin that allows you to convert the placed file into its constituent objects. That way, you can change the layout and other features just like you would any other page in your document.

For members of lynda.com, David’s partner in InDesign secrecy, Anne-Marie Concepción, also has an exclusive video in our library called Creating bookmarks for PDFs, in which she explains how to create bookmarks in InDesign that will appear when your document becomes a PDF.

Anne-Marie and David will be back in two weeks with more InDesign Secrets.

 

Interested in more?
• The entire InDesign Secrets biweekly series
• Courses by David Blatner and Anne-Marie Concepción on lynda.com
• All lynda.com InDesign courses

Suggested courses to watch next:
• 
InDesign CS6 New Features
 InDesign CS6 Essential Training
Up and Running with Acrobat XI

 

 

Deke’s Techniques: Creating 3D punched letters in Illustrator

Published by | Tuesday, November 6th, 2012

In this week’s Deke’s Techniques, Deke McClelland shows you how to transform plain text into punched-out 3D letters in Adobe Illustrator.

Graphic with the word "good" in plain text

In order to keep the original type intact, Deke begins by making a copy of the type layer to work on. After converting that copy to outlines, he also makes a copy of the outlines layer to work on. This way, the original type isn’t destroyed in the design process. Safety observed, Deke then removes the black fill and adds a 4-point white stroke, setting the stroke to align to the outside of the letters.

The plain text with white fill in Adobe Illustrator

After converting the stroke to outlined fills, the type is ready for 3D extrusion. From the Effects menu, choose 3D > Extrude & Bevel, and set the  Z value to 0 degrees, and the X and Y values to 4 degrees.

The Adobe Illustrator 3D Extrude and Bevel Options panel

The next step involves some careful expansion, selection, grouping, and the creation of a compound path to prepare the edges of the letters for a white fill and the extruded edges for a red fill. And by careful, I mean follow Deke’s instructions carefully here and you won’t go wrong. Cavalierly ignore certain aspects of the instruction in this section, as I may have done, and you may go astray—as I may have done.

The layers panel in Adobe Illustrator

After some housekeeping in the Layers panel (using the Reverse Order command to put the letters g-o-o-d in the right order), it’s time to do a little straightening of the letters themselves. The application of the 3D effect tends to misalign the letters and their edges a bit, so switching to the Outline mode (Command/Ctrl+Y) allows you to drag the paths back into alignment.

The outline mode in Adobe Illustrator

The next step is to take a hypotrochoid pattern and duplicate it over each letter. (Check out this episode of Deke’s Techniques for more on how to create the hypotrochoid pattern.)

The 3D text effect with a spirograph pattern

After pasting the pattern in back of the letters, Deke creates a clipping mask for each letter/pattern combination, eventually filling the inside of each letter with the pattern.

A clipping mask applied to a text effect in Adobe Illustrator

After refilling the letters with red and adding a narrow stroke, it’s time for another round of alignment, which again is best done in Outline mode.

Aligning the letters in the Adobe Illustrator Outline Mode

Lastly, a drop shadow, another stroke around the letter edges, and the application of the Multiply blend mode provide the final touches to this sculptural letter effect:

The final 3D punched-out letter text effect

Of course, this rich graphical 3D effect would not be the same without its fancy intertwined border, so next week, Deke will show you how to create that design using a pattern brush in Illustrator.

Interested in more?
• The entire Deke’s Techniques weekly series on lynda.com
• All Illustrator courses on lynda.com
• All courses by Deke McClelland on lynda.com

Suggested courses to watch next:
• Illustrator CS6 One-on-One: Fundamentals
• Illustrator CS5 One-on-One: Fundamentals
• Illustrator Insider Training: Drawing without the Pen Tool

 

Deke’s Techniques: How to create a Halloween-worthy headless stranger

Published by | Tuesday, October 30th, 2012

If last week’s Deke’s Techniques episodes on various ways to carve a pumpkin in Adobe Photoshop weren’t enough spooky spirit for you, then you’ll be pleased to discover that this week’s episode shows you how to create a headless stranger who haunts this eerie forest:

background photo of a misty forest

Deke begins with this unsuspecting gentleman whose head is still decidedly intact:

Photo of a person

Using the Calculations command (twice), he isolates his hapless subject in an alpha channel. Then, some devious hand painting and a cruel inversion of the channel result in this mask:

A layer mask of the figure outline

Deke then lops of his model’s head with a clever selection applied to the mask, and methodically reconstructs the stump by cloning the victim’s collar and scarf on a new layer:

The composite photo of the figure without a head

Next, he places his now headless stranger into the misty woods, tormenting his subject further by stretching him vertically with the Transform command:

A headless man in a misty forest scene

Deke then drains his victim of all color with an adjustment layer and dissolves away the legs with a gradient mask:

The stranger in the misty scene and the Layers panel

In his final act of imaginary Photoshop treachery, Deke uses the Save for Web command with the quality set to Low to degrade the picture (since you wouldn’t have a tack-sharp shot if your hand was trembling as you were ran running from a headless man stalking you in the woods!).

The final photo composite of a headless man in the woods

Don’t worry. The good-natured, benevolent Photoshop master Deke will be back with a less spooky technique next week. Happy Halloween!

Interested in more?

• The entire Deke’s Techniques weekly series on lynda.com
• Courses by Deke McClelland on lynda.com
• All Photoshop courses on lynda.com

Suggested courses to watch next:
• Photoshop CS6 One-on-One: Fundamentals
• Photoshop CS6 One-on-One: Intermediate
 Photoshop CS6 One-on-One: Advanced

Deke’s Techniques: Carving a pumpkin in Photoshop

Published by | Tuesday, October 23rd, 2012

In this week’s free Deke’s Techniques video, Deke celebrates his favorite holiday by showing you how to carve a ghoulish but gorgeous graphic into the face of a pumpkin using Adobe Photoshop.

First, start with an image of an otherwise unsuspecting pumpkin:

Original photo of a girl holding a pumpkin

Next, draw the face you want carved into your pumpkin on a transparent background. For this evil grin, Deke used a Wacom tablet and his own vivid imagination:

A scary face in Photoshop, drawn with a Wacom tablet

With the face drawn, Deke adds the face to the original photo using the Transform command to get it to the size and angle he’s looking for:

The scary face positioned onto the pumpkin in the original photo

A mask, created with the Color Range command and some hand-crafted detail, removes parts of the face that have spilled off the pumpkin onto the girl’s arm:

The composited photo modified with a mask

A variety of layer effects—a drop shadow, color overlay, and outer glow—along with an application of the Median filter, digitally carve the face into the pumpkin flesh.

The composited photo with a variety of layer effects in the Layer Panel

The final touches are added by duplicating the mouth of the face, coloring the teeth white, and giving the teeth some transparency by changing the blend mode in the Layer Style dialog box.

The final composite of a girl holding the now-carved pumpkin

For lynda.com members, Deke also has another exclusive Halloween video this week called Simulating a glowing jack-o’-lantern, in which he shows you how to create a classic glowing-eyed jack-o’-lantern effect, starting with the a fresh, faceless pumpkin image.

 

Interested in more?
• The entire Deke’s Techniques weekly series on lynda.com
• Courses by Deke McClelland on lynda.com
• All Photoshop courses on lynda.com

Suggested courses to watch next:
• Photoshop CS6 One-on-One: Fundamentals
• Photoshop CS6 One-on-One: Intermediate
 Photoshop CS6 One-on-One: Advanced


Deke’s Techniques: Creating a currency-style emblem in Illustrator

Published by | Tuesday, October 16th, 2012

In this week’s free Deke’s Techniques episode, Deke McClelland shows you how to use Adobe Illustrator to create a filigree emblem worthy of being used in your money-like design.

Deke begins with a dark background covered with intricate, scaled, hypotrochoid patterns based on last week’s Spirograph technique:

Spirograph-style filigree emblem background in Adobe Illustrator

Next, he adds some scalloping to the edges of the black background circle using the Distort & Transform effect called Zig Zag. By setting the points to Smooth, the default sharp corners of the Zig Zag effect become gentle waves:

Spirograph-style background with scalloped edges and Zig Zag effect

By duplicating the effect and turning it 9 degrees, Deke creates a second set of scalloped edges that will come in handy for the next step.

Spirograph-style emblem with a second set of scalloped edges

After moving the two scallop shapes to the top layer, deleting their fills, and applying a 4-point white stroke and a 6-point black stroke to each, the result is this intertwined braid around the edges of the Great Seal of Deke:

Emblem with an intertwined braid effect on the outer rim

In order to make the braid a continuous shape (as opposed to looking like two intertwined lines), Deke moves the Transform effect up above the Stroke effects in the Appearance panel. Then to give his emblem a more American-currency hue, he changes the white stroke color to a pale green.

Emblem with a green braided outer rim

He also applies that pale money-green fill to the 5 character and gives it a shadow by creating a copy of the fill and using Transform to move the shadow down and to the right:

Emblem with a green fill and dropped shadow

Deke then adds another Stroke effect to beef up the shadow, applies a thin stroke above the green fill, and uses the Offset Path effect set to a negative value (-3) to really sell the currency effect:

Emblem with an Offset Path effect on the 5 character

Finally, the filigree lines created with the Spirograph pattern are given the same pale green color. In the video, you’ll see the quick tips Deke uses to select all those paths and make sure no pale green lines extend beyond the emblem. The result is this currency-like seal:

Next week, Deke begins his Halloween techniques weeks!

Interested in more?
• The entire Deke’s Techniques weekly series on lynda.com
• All Illustrator courses on lynda.com
• All courses by Deke McClelland on lynda.com

Suggested courses to watch next:
• Illustrator CS6 One-on-One: Fundamentals
• Illustrator CS5 One-on-One: Fundamentals
• Illustrator Insider Training: Drawing without the Pen Tool

InDesign Secrets: Using Illustrator to tweak InDesign vector shapes

Published by | Thursday, October 11th, 2012

In this week’s free InDesign Secrets episode, David Blatner reveals the secrets of using Adobe Illustrator to tweak your InDesign shapes. This technique is really a matter of allowing each application in the Creative Suite to do what it does best: InDesign is great for page layout, but when it comes to high-powered vector manipulation Illustrator is the stronger choice.

For instance, let’s say I had this InDesign document with a ho-hum six-point star and some surrounding text:

Plain white star in Adobe InDesign

By copying the star shape from InDesign and pasting it into Illustrator I can easily leverage dynamic, transforming effects. In this case, I used the Zig Zag effect in Illustrator to quickly and efficiently change my star into a snowflake by adjusting two simple numerical settings:

Star with added Zig Zag effect in Adobe Illustrator

After the shape is modified so it’s looking how I want it, it’s just a matter of copying the new shape in Illustrator and pasting it into InDesign where it becomes a fully editable path outline:

A snowflake shape in InDesign

While Illustrator and InDesign are meant to work together, and using Illustrator to dynamically transform shapes is much more efficient than trying to make transformations in InDesign with the Pen tool or other workarounds, you should be aware of some tricks and traps along the way. In the video above, David shows you how to exploit and avoid these tricks and traps.

David’s partner in InDesign secrecy, Anne-Marie Concepción, also has an exclusive video for lynda.com members this week called Automating Find/Change with the Find/ChangeByList script, in which she explores how to use a special script to automate the Find/Change command.

David and Anne-Marie will be back in two weeks with more InDesign Secrets.

 

Interested in more?
• The entire InDesign Secrets biweekly series
• Courses by David Blatner and Anne-Marie Concepción on lynda.com
• All lynda.com InDesign courses

Suggested courses to watch next:
• 
InDesign CS6 New Features
 InDesign CS6 Essential Training
Illustrator CS6 Essential Training