Posts Tagged ‘Deke McClelland’

Deke’s Techniques: Creating a 2013 hexagonal calendar

Published by | Wednesday, January 2nd, 2013

This week’s Deke’s Techniques video celebrates the New Year by showing you how to create a one-page full-year calendar in Illustrator. The idea for using hexagons in calendars was originally inspired by the 2010 oeuvre of illustrator Germán Ariel Berra, but it seems Gérman has moved on from calendars in the past few years, so it’s Deke’s Techniques and Illustrator to the rescue for 2013.

The project begins by drawing a simple hexagon in the upper-left area of the artboard by using a shape tool set to a Radius of 98 points and a Sides value of 6 (naturally.)

Creating the initial polygon shape for our calendar

By default, Illustrator draws its hexagons with a flat side up, so Deke uses the Rotate tool to turn the shape 30 degrees:

Set the rotate angle to 30 degrees

Since this particular hexagon will eventually become the month of February, Deke sets the fill to medium blue, which he’s chosen to represent that month. He thickens the stroke to 2 points and sets it to white.

Note: You can choose any color you like, as long as it says “February” to you. I’m using the colors that have been stuck in my head since my parents gave me my first cool calendar (with stickers on the back!), likely to have been created in the early ’70s. It just so happens I like medium blue for February, too:

Set the color for your first hexagon shape.

Next, Deke duplicates the first stroke and applies a Transform effect at 95 percent scale to give the hexagon a double ring.

Duplicate the stroke and apply a transform effect to give the hexagon a double ring.

With the entire hexagon selected, Deke then drags duplicates into place to complete a row of four. The trick here is to click and drag the upper-left point of the original hexagon until you sense it snap into place on the right, holding down the Alt key to create a duplicate. After that, you can use Ctrl+D (Command+D) to create duplicates in the correct places. He then sets the colors for March through May accordingly.

Four hexagons as the base of our calendar

Next, he selects three of the four hexagons, and drags a duplicate row into place. These shapes are colored for June and July 2013 respectively. (Deke and I apparently agree that July is red.)

More hexagons placed and aligned correctly with their colors set.

Next, the appropriate number of hexagons are copied into place and colored appropriately to finish the year.

We now have twelve hexagons ready to be labeled.

Next, Deke creates the February month title by first clicking inside the “February” hexagon (not on the edge).

Adding the month names to the hexagons.

Move and position the month names within the hexagons.

To align the month properly, Deke switches to the Outline view, turns on the shape centers, and then aligns the February text to the center of its hexagon and drags out copies to the next three months. After changing the text appropriately for each month, he selects all the month text and uses the Move tool to set them at a distance of –41 points. This way all the months are centered properly and equally positioned from the top of their respective hexagons.

If you’re creating this project on your own, rather than using Deke’s files, you can drag copies of the months out to the other cells, position them using the same commands, and retype each of the names. (A year of Februaries would be short and cold and full of too many Valentine’s Days.)

To make the days of the week and the days, Deke has a very smart and efficient approach that he demonstrates in the second video of the week. (It’s like having two Tuesdays in one week; only it’s Wednesday!) In this video, you’ll see how creating a table of text allows you to quickly adjust each month for its appropriate number of days and starting day of the week. Here’s my completed calendar with my own type choices and color connotations.

The final hexagon calendar.

For members of lynda.com, there’s yet another exclusive movie this week called Branding your calendar with a field of logos, in which Deke shows you how to create a pattern of your logo to fill out the rest of the calendar.

The 2013 Hexagonal calendar as a desktop wallpaper.

Deke will be back with another technique next week. Happy Hexagonal New Year!

Suggested courses to watch next:

• Entire Deke’s Techniques Collection
• Photoshop CS6 One-on-One: Intermediate
• Illustrator CS6 One-on-One: Intermediate

Deke’s Techniques: Making a glowing panic button in Photoshop

Published by | Tuesday, December 4th, 2012

In this week’s free Deke’s Techniques, Deke McClelland takes the beautiful glowing jewel he created in last week’s technique, and turns it into a beautiful glowing panic button. Because this time of year, if you’re going to freak out, you want it to be pretty and decorative.

Deke begins the project where we left off last week, with the glowing cabochon he created out of pure Photoshop pixels. Since few people wear panic buttons around their necks (although that would be handy), the first step is to turn off the gold necklace layer. The result is that the glimmering jewel becomes a glowing button.

From glowing jewel to panic button

Next, Deke selects the original ellipse that represents the amber part of the button and gives it a white-to-transparent gradient fill.

Use a gradient fill

Using the Transform command, he moves the new gradient-filled elipse up to create a highlight on the top side of the button, which starts to distinguish it from its jewel predecessor.

Transform the gradient

Deke blends in the highlight by increasing the ellipse’s Feather value to 5 pixels and reducing the Opacity of the adjustment layer to 80 percent.

Feather the selection

The text begins life as a simple text layer, to which Deke first applies a Radial Blur so that the edges of the outer letters start to distort.

Add a radial blur

Then, Deke increases the effect by adjusting the black and white points of the Underlying Layer style. The result is a full-fledged Panic button.

Adjusting the black and white points

But really, is that what we want to think about this time of year? Panicking? The beauty of this effect is that everything is editable, including the text. So a simple change of letters, hue adjustment, and layer style fine-tuning gives us a button that immediately makes any day a holiday. Now that’s a cure for the holiday panic!

Because the technique is non-destructive, changes are easy to make.

Deke will be back next week with another free technique.

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 glowing cabochon jewel in Photoshop

Published by | Tuesday, November 27th, 2012

This week’s free Deke’s Techniques video is one of those delightful projects where Deke manages to create something precious entirely within Adobe Photoshop. In this case it’s a rounded shimmering jewel.

Deke starts with nothing more than the plain black ellipse you see on the left, and builds the glowing amber cabochon on the right using little more than Photoshop layer effects (and a suitable background of marble and gold chain, of course).

The before and after images of the jewel effect

First, he applies a red fill with a subtle gradient to the ellipse.

An elipse with a red gradient fill in Adobe Photoshop

Then the layer styles begin. The first layer style creates a 20-pixel-thick brown stroke that will eventually serve as the gold ridge around the jewel:

The stroked ellipse with the Layer Style dialog box

Next, Deke applies a substantial Inner Shadow effect that uses the Cone Inverted contour setting to really establish a rich, round glow:

The ellipse with an inner shadow effect

Applying a dark red Inner Glow effect adds volume:

The ellipse with an added inner glow effect

Deke then employs the Bevel & Emboss layer style and chooses a Pillow Emboss style effect with a Depth value of 400% to shape the edges of his gemstone. For the Pillow Emboss shading, he chooses a very pale orange as the Highlight mode and dark reddish brown for the Shadow mode. (Note at this point how much the preview swatch in the dialog box looks like a faceted gem itself!)

The ellipse with the Bevel and Emboss effect

Before he closes the Layer Style dialog box, there’s one more effect to apply; a Drop Shadow where the jewel as a three-dimensional object would reflect against the marble.

The ellipse with a drop shadow effect

The final polishing comes from a few shape layers made into crescent shapes with the ellipse tool. With the right blend modes applied and an unorthodox use of the Drop Shadow effect, the elliptical shapes become glossy highlights, and, voila, Deke has created a precious jewel from nothing but pixels!

The final cabochon effect and the Layers panel

For members of lynda.com, Deke also has another video this week called Cutting and brushing light on a gem that further refines this jewel effect. Here’s what cutting and brushing light on a gem looks like in beautiful picture form:

The finished jewel effect in Adobe Photoshop

Deke the Photoshop Alchemist, turning black pixels into glowing amber. He’ll be back with another free technique next week.

 

 

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: 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

 

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: 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 Spirograph-style art in Illustrator

Published by | Tuesday, September 18th, 2012

In this week’s free Deke’s Techniques episode, Deke McClelland uses Adobe Illustrator to recreate the classic Spirograph toy effect. Rather than watching this work take shape with a pen stuck into a plastic gear, Deke shows you how to grow your Spirograph shape with the simple application of dynamic transformations viewable in the Illustrator Appearance panel. In fact, all you have to do for this effect is draw one single circle in Illustrator, then duplicate and transform your circle’s stroke to create the hypotrochoidic shape. (Deke’s Techniques, bringing you great graphic techniques and free vocabulary expander words!)

As you can see in the video above, Deke begins this technique by selecting the central circle in a simple circular logo design:

Simple circular logo design

By simply selecting that circle, using the Transform command to make the circle an ellipse, and duplicating the ellipse over and over with variations, a familiar Spirograph pattern begins to quickly take shape. You can see from my Appearance panel screen capture below that this effect is the result of multiple transformations.

Adobe Illustrator Appearance panel showing many transformations of an ellipse to create a spirograph

In the end, the skeletal logo we started with becomes the intricate, refined logo we see below, complete with outer circle, thin edge around the inner circle, and intertwining ellipses in the center created by transforming the original outer circle.

Final project with spirograph-style art created inside the inner circle of the original logo

Even if you’re new to Illustrator and not particularly gifted at drawing, you can achieve this technique with some concentration and Deke’s advice. (And if you are new to Illustrator, this is also a good lesson on how to use the Transform effect.)

For members of lynda.com, Deke also has an exclusive movie in our library this week, called Tracing scalloped gear teeth around a circle, in which he dynamically adds gear-like teeth to the outer circle of our example logo using a similar type of dynamic Illustrator approach.

Deke's spirograph-style logo with gear teeth added on the outer rim using Adobe Illustrator

Deke will be back with another free technique next week.

 

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: Rethinking the Essentials