1985 – A Free Vector Pack of Your Favourite 80s Icons

1985 – A Free Vectors Pack of Your Favourite 80s Icons

Big hair, mix tapes, boom boxes, BMX, roller skates and skateboards were all icons of the 1980s. This vector pack contains them all, plus more retro goodness! The pack contains 11 scalable vector graphics, for use as icons or as resources for your illustrations or design projects.

Previews

Vector boombox

Vector mix tape

Vector roller skate

Vector skatebord

 

Download

Download Here!

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school_bell

Ornate Bell-Adobe Illustrator Tutorial

In this Illustrator tutorial, I’ll demonstrate how to create an ornate bell using Adobe Illustrator. The creation process is quite simple: We will create shapes using the Pen Tool and Pathfinder Panel, as well as mix and match color gradients until we achieve a nice 3D result. Let’s get down to business!

Preview

Step 1: Set Up a New Illustrator Document

Open up Illustrator and create a new document by pressing Ctrl/Cmd + N. Set the artboard’s size to 400×500px.

Step 2: Create the Basic Outline

When you have to draw an object with symmetrical sides, it’s much easier to create just one side and then make a mirror copy of it — this not only saves time, but more importantly, ensures that the two sides are identical and symmetrical.

First, Grab the Pen Tool (P) and draw just one side of the bell.

Select the vector path we just drew with the Selection Tool (V) and then choose Object > Transform > Reflect. Choose the Vertical option and then click on the Copy button to create a mirror image of the vector path.

Hold down Shift (to constrain the movement horizontally) and then drag the copy to the right until the upper terminal anchor points match.

Grab the Direct Selection Tool (A) and select only the endpoints of both paths. Right-click on the anchor points and choose Join in the menu that appears.

Let’s completely close the path. Switch to the Pen Tool (P) and click on the lower endpoints to close the path. Remove the Stroke and set the Fill color of the vector object to red just to make things easier to see (we will change this color later on).

Step 3: Dividing the Bell Shape into Segments

We have to try to get rid of the flatness of our bell. In order to do that, we will divide the shape of the bell into several segments, and then we’ll fill those segments with color gradients to simulate a 3D appearance later on.

With the Pen Tool, draw two arcs as shown below.

Switch to the Selection Tool (V) to select the shape of the bell and one of the arcs, and then, in the Pathfinder Panel (press Shift + Ctrl/Cmd + F9 if the panel is hidden), click on the Divide button. This segments our bell shape into two parts.

While the resultant object is still selected, ungroup it (Shift + Ctrl/Cmd + G). Then select the lower part of the bell shape and the other arc, then hit the Divide button again. This will create the lowest part of the bell. Our bell shape should now be divided into 3 parts.

Step 4: Create the Bottom of the Bell

Grab the Ellipse Tool (L) and create an ellipse for the lower part of the bell. Make sure to match the anchor points on the left and right so that you end up with smooth, contiguous sides.

Step 5: Divide the Upper Part in Half

Now we have to divide the upper part of the bell in half. This will enable us to apply color gradients more easily.

Choose the Line Tool (/) and draw a straight vertical line down the middle of the bell.

To make sure the vertical line is dead-smack at the center, select all the segments of the bell and the vertical line, then, in the Align Panel (Press Shift + F7 to toggle the panel’s visibility), click on the Horizontal Align Center button.

Next, select the line and just the upper part of the bell. Then press the Divide button in the Pathfinder Panel.

Ungroup (Shift + Ctrl/Cmd + G) the resultant object and then get ready for some fun. We’re going to apply gradients next!

Step 6: Applying Color Gradients

Let’s choose some good colors and create color gradients to make our bell come alive.

To start, make sure the Gradient Panel is open; if you can’t locate it in your workspace, go to Window > Gradient or press Ctrl/Cmd + F9. We will apply the same radial gradient to both upper sides of the bell.

For the middle part of the bell, we will use a linear gradient.

And for the lower part of the bell, we will also use a linear gradient.

For the ellipse, we will use linear gradients too.

Let’s create the thickness of the bell. To do this, we have to duplicate the ellipse we already have and then we need to scale it down.

Apply the radial gradient as shown below.

Step 7: Adding Reflections and Shadows

In this step, we will create the necessary reflections and shadows in order to be accurate with the light source.

Golden objects are capable of reflecting light in different ways. We will use that ability to create all sorts of reflections (dark, light, semi-transparent, etc.).

In this process, the Pathfinder Panel will have a major role.

Select all parts of the bell, except the ellipses. Duplicate them (Ctrl/Cmd + C, Ctrl/Cmd + F) and unite them using the Unite Pathfinder command.

To create a reflection, we will have to combine a copy of the shape we’ve just created with the copy of the different parts of the bell. Let’s try this out to see what we can create.

Duplicate the green shape of the bell and, in the Layers Panel, lock the original object and then hide it. We will save the shape for later, but for now, we lock and hide it so it won’t disturb us as we continue working.

Select the visible copy of the green shape and nudge it 2px to the right and 2px down.

Duplicate all three visible parts of the left side of the bell. Then, make three copies of the green shape (one for each of the duplicate parts).

Combine each copy of the bell with each copy of the green shape using the Minus Front button in the Pathfinder Panel. This will create small reflection shapes on the left side of the bell.

Set the Fill color of the reflection to #FFFABC.

Select the remaining green shape of the bell and move it to the right a little bit more.

Create the copy of the upper part of the bell on the left side and a copy of the green shape. Select both copies and hit the Minus Front button in the Pathfinder Panel.

Apply a linear gradient to the new shape.

In order to create another reflection, repeat the previous process.

Copy the green shape and move the copy to the right. Select both shapes and, in the Pathfinder Panel, click on the Minus Front button.

We have to intersect the shape with other parts of the bell. Create copies of each part of the bell on the left side and two copies of the green shape. Select each copy of the bell and the copy of the green shape and click on the Intersect button in the Pathfinder Panel.

Apply a linear gradient to the new shapes.

For the right side of the bell, we will need a few reflections and a couple of shadows as well.

I think you get the idea of how to create all the shapes you need, so I’ll let you make them yourself. You just have to combine different shapes and fill them with the right colors.

Now it is time to unlock and toggle the visibility of the green shape we created earlier. You will need it to create the shadows and reflections on the right side of the bell.

For the shadows, apply the linear gradient below.

Feel free to play around with gradients until you achieve a desirable result.

Also, create a small edge reflection on the right side.

Step 8: Create Horizontal Curvatures

We want to reinforce the shape of the bell better. To do this, we should define the curvatures of the bell horizontally.

Duplicate the middle part of the bell twice and nudge one of the copies a few pixels downwards. You can scale up the copy if needed. Select both copies and, under the Pathfinder Panel, click on the Minus Front button. The resultant object should be a horizontal strip.

Apply the radial gradient on the horizontal strip as shown below.

Now we need to intersect the shape with the reflections and shadows we made earlier. This means we need to make copies of each part we want to use to intersect.

Create another strip below the first one and give it a radial gradient.

We need highlights now. Using the same technique for creating reflections, try to create fine highlighted edges on the strips. Give the highlights a thickness of about 1px.

Set the Fill color of the highlights to #FFFABC.

Step 9: Create a Shadow Inside the Bell

Now we need a shadow inside the bell. Select the inner ellipse of the bell and copy it in front. Grab the Ellipse Tool (L) from the Tools Panel and create the blue ellipse shown below.

Select the blue ellipse and the inner ellipse copy and then, under the Pathfinder Panel, hit the Minus Front button.

Apply the linear gradient shown below in order to create the inner shadow.

Step 10: Creating a Clapper

Bells need a clapper inside it to make sound; it’s the component of a bell that hits the inner walls of the bell to make ringing sounds.

To start, grab the Ellipse Tool (L) and create a circle at the bottom right of the bell.

Duplicate the inner ellipse of the bell. Select the duplicate and the red circle we created and press the Intersect button in the Pathfinder Panel.

All we need is to apply a nice radial gradient in order to give the clapper a 3D appearance.

Duplicate the clapper, apply the linear gradient shown below, rotate it a bit and send it behind the clapper. This is the shadow the clapper is creating on the inner wall of the bell.

Step 11: Create a Crown

We now need to create a handle on top of the bell (known as the crown). To create a crown, we will need two ellipses and a few reflections.

To begin, grab the Ellipse Tool (L) and create two circles on top of each other, with the one on top smaller than the one below it. Make sure that the inner circle is centered on the bigger circle by using the Horizontal Align Center and Vertical Align Center command in the Align Panel.

Select both circles and press the Minus Front button in the Pathfinder Panel.

Apply the linear gradient shown below.

Next, we will create a highlight object. Duplicate the crown twice. Move them to form a highlighting shape, select them both and then hit the Minus Front button in the Pathfinder Panel. Then give the highlight object a linear gradient (as shown below).

Select all the parts of the crown, group it (Ctrl/Cmd + G) and place it on the top of the bell. Send it back (Shift/Ctrl/Cmd + [).

At the end, you can add decorations such as a sign or a colorful ribbon, as I have below.

Tutorial Summary

Lots of people have trouble with the Pen Tool, but thankfully the Pathfinder commands allow us to make sophisticated illustrations using simple shape-drawing tools such as the Ellipse Tool. With a lot of imagination, there is almost nothing you can’t create with Pathfinder commands.

I hope you liked the tutorial. Thank you for reading!

Download Source Files

Credit to:

http://designinstruct.com

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final

Create a Vector Snake Using Mesh Tormentor – Illustrator CS5 Tutorial

Final Image Preview

In this tutorial we will learn how to create a vector snake using the Mesh Tormentor – Free Gradient Mesh plugin, which will make your work with the gradient mesh simple and enjoyable. I was trying to describe the creation of a complex object in order to reveal more features of this wonderful plugin, but believe me, it can do much more than I managed to describe. The matter depends on your imagination.


Tutorial Details

  • Program: Adobe Illustrator CS5, Mesh Tormentor;
  • Difficulty: Intermediate
  • Estimated Completion Time: 2 Hours

Step 1

Take the Pen Tool (P) and create a broken outline as it is shown in the figure below. This outline determines the shape of the snake body and can be arbitrary.

Select the anchor points of the outline with the Direct Selection Tool (A) and convert them from corner into smooth ones. By controlling the handles of the anchor points, try to bring the outline to a perfect shape.


Step 2

For further work we need to know the length of the created outline. Select the outline, open the Document Info palette, select Objects in the palette menu and write down or memorize the length value.


Step 3

Take the Rectangle Tool (M) and draw a rectangle, so that its width was equal to the length of the outline that you created earlier.

Now begin to transform a rectangle into a shape resembling a snake, stretched horizontally. With the Pen Tool (P) put a new anchor point in the center of the right side of the rectangle and with the same tool remove its right corners. As a result we got a triangle shown in the figure below.


Step 4

Now add a new anchor point in the center of the left side of the triangle.

Direct Selection Tool (A) select left corners of the triangle and move them slightly to the right while holding down the Shift key.

Create a vertical guide and place it as shown below. Lock the guide in the Layers palette, take the Pen Tool (P) and create two new anchor points at the intersection of the figure with the guide.

Move the created points to the center of the shape, you can use the arrow keys.

Select all the points of the snake head and convert them from corner into smooth ones.


Step 5

Add two more points in the middle of the snake body, move them from the axis of the shape and convert into smooth ones.

Move the created shape into Brushes palette, choose the Art Brush and check the Stretch Between Guides option in the dialog box.

Of course, you can ask a reasonable question: why did we create the shape of the brush of a certain length, when anyway it will stretch along the path? Be patient, you will understand why I did it when it comes to the scale.


Step 6

Now the “try on” the brush to the outline created at the beginning of this tutorial. Select the path and click on the brush image in the Brushes palette.

Thus, our snake needs editing. We can adjust the shape of a snake, by changing the stroke width in the Stroke palette.

As well as moving the guides in the Art Brush dialog window. You can get the access to the parameters of the brush through the Appearance palette, or double-clicking on the image of the brush in the Brushes palette.

Watch the shape of the snake in the process of editing, when it gains an acceptable result, click on the OK button in the dialog box, Art Brush, then Apply to Stroke.

Write down all the brush settings, we will need them in step 10.


Step 7

Now, when it fits perfectly, apply the basic stroke to the outline, canceling the applied brush in the Appearance palette.

Copy this outline and paste it in front (Cmd / Ctrl + C; Cmd / Ctrl + F), locking the upper outline in the layers palette and make it invisible, it will be needed in further creation. Do not skip this step, it is very important!


Step 8

It’s time to launch heavy metal. Further on we will be working with the Mesh Tormentor, it is a plugin for work with the Gradient Mesh. You can download and learn more about its features following these links.

Duplicate the created shape of the brush, drag it down holding down the Opt / Alt. Select the bottom of the shape and go to Object> Create Gradient Mesh …. Set the number of rows and columns in the dialog box and select the Appearance: To Center, to add dissimilarity to our image.


Step 9

Open the Mesh Tormentor palette, it will be available from the Windows menu after installing the plugin. Select the mesh object and click on Make BMG button. This operation transforms the mesh object into a set of simple vector objects with the same geometry as the original object.


Step 10

Now drag the created group of objects to the Brushes palette and save it as an Art Brush with the same parameters as the brush we created in step 6.

Apply a new brush to the contour of the snake, and set the same stroke width as in step 6.


Step 11

Keeping the snake selected, go to Object> Expand Appearance.

Now we have to do the opposite action – turn a set of objects into a mesh object. To do this, simply click on the Convert BMG into mesh button.


Step 12

As you can see, we got artifacts on the areas of mesh overlapping. This happens because the whole object lies in one plane. To achieve the desired result mesh object should be cut into pieces. Cut the mesh with the Split command from the Mesh Tormentor palette. It divides the mesh into two parts along the line passing through selected side node.

If the existing lines of the mesh are not in those areas, create new ones using the Gradient Mesh Tool (U) and divide the mesh along these lines.


Step 13

Now that mesh objects have achieved the right shape of a snake, we can proceed to light and shadow on the snake. Let’s start with the head, coloring the nodes of the mesh with the shades of gray, as shown below.

Nodes coloring at the junctions of the mesh should not be unlike, otherwise the seams will be visible. Lock all the mesh objects in the layers palette except for the object being edited. Now select one node at a time at the junction with the help of the Direct Selection Tool (A) and with the Eyedropper Tool (I) color the nodes in the colors of the neighboring areas.


Step 14

In my case, the light source is located to left of the snake. Therefore, the inner parts of the snake which are closer to the light source must be painted in lighter shades than the remote objects. To create a more realistic light and shadow, you can create new grid lines, using the Gradient Mesh Tool (U) in this work.


Step 15

Get to the creation of the scale. Take the Polygon Tool and create a hexagon of any size and color. With the Selection Tool (V) and holding down Opt / Alt slightly increase its width.

Keep the scale selected, go to Effect> Stylize> Round Corners … and set the radius of the rounding.

Now go to Object> Expand Appearance.


Step 16

With the Selection Tool (V) reduce the scale to the desired size, balancing its size with the size of the snake’s head.

Select the cell and go to Effect> Transform & Distort> Transform, now setting the parameters of the scale displacement in the dialog window (I have not done any calculations, but simply moved the sliders of the horizontal and vertical displacement, watching the result).

Click OK in the dialog box, now apply the effect again (Effect> Transform & Distort> Transform), but with new parameters.

And the last time Effect> Transform & Distort> Transform, select the number of copies in the dialog box so that the length of the scale was approximately equal to the length of the brush shape (length of the snake outline).

Keeping the scale selected, go to Object> Expand Appearance.


Step 17

Keeping the scale selected, go to Object> Transform> Rotate … and set the rotation angle of 90 degrees in the dialog box.

Fill the cells with red color, now create a set of horizontal rails, conventionally dividing the scale into equal parts, you do not need to be very accurate here.

Lock the guides in the Layers palette.


Step 18

With the Lasso Tool (Q) select the scales in the area of the horizontal guide, and replace the color of the fill with yellow.

Using the same tool select areas above and below the yellow scales and fill them with black.

Using this technique, recolor the pieces of the scale along its entire length.


Step 19

Select the shape of the brush and go to Object> Transform> Rotate … and set the rotation angle of 90 degrees in the dialog box. Make sure to include this shape in the underlayer above the scale.

Select scale and shape of the brush and go to Object> Envelope Distort> Make with Top Object. As a result the scale got the shape of the brush.


Step 20

Keeping the shape selected, go to Object> Transform> Rotate … and rotate it at -90 degrees in order to return it to horizontal view. Now drag the scale to the Brushes palette and save it as an Art Brush with the same parameters as in step 6.

Now unlock and make visible the contour of the snake that we saved in step 7. Select this path and apply the brush of scales.

If we applied the Art Brush, excluding the length of the path, we would have got stretched or compressed scales, which would not resemble the scales of snakes.


Step 21

Keeping the upper outline selected set the Multiply Blending Mode for it in the Transparency palette.


Step 22

In area of the snake body intersection we can see the scales overlapping each other. This defect must be fixed. Select the upper outline with scale and go to Object> Expand Appearance, now with the help of the Direction Tool (A) select the scales, which should not be visible, and delete them by pressing the Delete button.

Scales, which lie at the boundaries in the intersection of the snake body do not have to be removed. Select and group them up for convenience. Move the group of these scales in the layers palette so that it was located under the mesh object, which is supposed to lie above them.

After moving these scales set the Multiply Blending Mode for them again in the Transparency palette, as they were moved from the group that has these properties.


Step 23

Create glare on some scales. Select scales and fill them with linear gradient from the basic color to white one.


Step 24

Create snake eye. Take the Ellipse Tool (L) and create a circle. Fill the circle with radial gradient from black to black with 0% opacity. It will be a deepening of the eye in head of the snake.

Now create another circle – it will be the eye of the snake. Fill this circle with radial gradient from light brown to dark brown. Locate the center of the gradient according to the location of the light source will help of the Gradient Tool (G).

Create another circle filled with a solid light brown color – it’s the glare of light in the eye of the snake.


Step 25

Create shadows under the snake, using the same technique when creating snake body, described in 9-12 steps with the help of Mesh Tormentor.


Conclusion

I hope you enjoyed this tutorial. I think I still write a few more tutorials revealing other functions of the Mesh Tormentor.

Final Image
Credit to:

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speaker00

Audio Speaker-Illustrator Tutorial

In the following steps I will show you how to create a nice audio speaker in Adobe Illustrator. You will only need a simple circle. Using the Appearance panel, seventeen fills, five stroke plus numerous effects you will reach the result shown in the image below. Give it a try and you might be impressed by the power of the Appearance panel.

Tutorial Details

  • Difficulty: Intermediate
  • Estimated Completion Time: 1 hour 30 minutes
  • Number of Steps: 20

This is What You’ll Be Creating

step00

Step 1

Create a 300 by 300, RGB document then pick the Ellipse Tool(L). Click on your artboard, enter 215 in the width and height boxes then click OK. This will create a 215 by 215px shape. Fill it with R=65 G=64 B=66 then open the fly-out menu of the Appearance panel and click on Add New Fill. This will add a second fill for your shape. Select it from the Appearance panel and make it black. Return to the first fill, select it and go to Effect > Stylize > Inner Glow. Enter the data shown below, click OK then move to the second fill. First, lower its opacity to 5% then go to Effect > Artistic > Film Grain. Enter the data shown and click OK. Now, your shape should look like in the image below.

step1

Step 2

Add a third fill for your shape. Select it from the Appearance panel, move it below the existing fills and use the linear gradient shown below. The white numbers from the gradient image stands for Location percentage. With this fill selected go to Effect > Distort&Transform > Transform. Drag the Scale-Horizontal and the Scale-Vertical sliders to 115%, click OK then go to Effect > Stylize > Inner Glow. Enter the data shown in the following image then click OK.

step2

Step 3

Select the fill made in the previous step and click on the Duplicate Selected Item button from the bottom of the Appearance panel. Obviously, this will duplicate the fill made in the previous step. Select this copy, remove the Inner Glow effect then lower its opacity to 25% and change the blending mode to Overlay. Next, you will need a nice pattern for this fill. Open the fly-out menu of the Swatches panel and go to Open Swatch Library > Pattern > Basic Graphics > Basic Graphics_Textures. A new window with a group of cool patterns should open. Make sure that the newest fill is selected and click on the USGS 21 Intraticate Surface pattern. Now, your shape should look like in the image below.

step3

Step 4

Add a new fill for your shape and make sure that it is placed in the top of the Appearance panel, above all other fills. Select it, use the linear gradient shown below then go to Effect > Distort&Transform > Transform. Drag the Scale-Horizontal and the Scale-Vertical sliders to 83% and click OK.

step4

Step 5

Duplicate the fill made in the previous step. Select this new fill. Replace the exiting gradient with the one shown in the following image then open the Transform effect (from the Appearance panel) and drag the slider to 82,5%.

step5

Step 6

Again, duplicate the fill made in the previous step. Select this new fill, replace the linear gradient with the color shown below (R=35 G=35 B=40) then open the Transform effect and drag the sliders to 79%.

step6

Step 7

Once again, duplicate the fill made in the previous step. Select this new fill, replace the color with the linear gradient shown below then open the Transform effect and drag the sliders to 76%.

step7

Step 8

One more time, duplicate the fill made in the previous step. Select this copy, replace the gradient with the color shown below (R=40 G=40 B=40) then open the Transform effect and drag the sliders to 74%.

step8

Step 9

One last time, duplicate the fill made in the previous step. Select this fresh fill, set its color at R=65 G=64 B=66 then open the Transform effect. Drag the sliders to 70%, click OK then go to Effect > Stylize > Inner Glow and enter the data shown below.

step9

Step 10

Make two copies of the fill made in the previous step. Select each of these new fills, remove the Inner Glow effect then use the radial gradient shown below. The yellow aero from the gradient image stands for Opacity percentage.

step10

Step 11

Duplicate one of the fills made in the previous step. Select this new fill, replace the gradient with the USGS 7 Vineyard pattern then duplicate it. Select this new fill, lower its opacity to 15% and replace the pattern with the color shown below (R=35 G=31 B=32).

step11

Step 12

Duplicate the first fill made in the previous step (the one with the pattern). Select this new fill, move it in the top of the Appearance panel, replace the pattern with the color shown in the following image (R=40 G=40 B=40) then open the Transform effect and drag the sliders at 20%.

step12

Step 13

Again, duplicate the fill made in the previous step. Select this fresh fill, replace the color with the linear gradient shown below then open the Transform effect and drag the sliders at 16%.

step13

Step 14

Once again, duplicate the fill made in the previous step. As usual, open the Transform effect and drag the sliders to 15% then replace the existing gradient with the one shown in the following image.

step14

Step 15

Now, it’s time to add some strokes. Add a 0.5pt, white stroke. Lower its opacity to 30% then open the Stroke panel (Window > Stroke) and click on the Align to Outside button.

step15

Step 16

Select your shape, open the fly-out menu of the Appearance panel and click on Add New Stroke. This will add a new stroke for your shapes. Select it and set the color at R=128 G=130 B=133. Align it to outside, lower its opacity to 50% then go to Effect > Distort&Transform > Transform. Enter 100,5 in the Scale-Horizontal and Scale-Vertical boxes then click OK. Select this fresh stroke and click on the Duplicate Selected Item button from the bottom of the Appearance panel. Obviously, this will create a copy of the selected stroke. Select it, raise its opacity to 100%, set the color at R=147 G=149 B=152 then open the Transform effect and drag the sliders to 114%.

step16

Step 17

Duplicate the last stroke made in the previous step. Select this fresh stroke and make it 6pt wide. Set the color at R=65 G=64 B=66 then open the Transform effect and drag the sliders at 104%. Next, open the Stroke panel. Click on the Round Cap and Align to Outside buttons then check the Dashed Line box and enter 0 in the dash box and 113 in the gap box. With this stroke still selected add the Inner Glow (Effect > Stylize > Inner Glow) and the Drop Shadow (Effect > Stylize > Drop Shadow) effects shown below.

step17

Step 18

Duplicate the stroke made in the previous step. Select this new stroke. Remove the Inner Glow and the Drop Shadow effect then go to the Stroke panel. Enter 0,5 in the dash box and 112,5 in the gap box. Now, it should look like in the image below.

step18

Step 19

Reselect the entire path and go to Effect > Stylize > Drop Shadow. Enter the data shown below then click OK.

step19

Step 20

Finally you can replace the steel frame with a wooden one. All you need to do is replace some patterns, colors and effects as shown in the following image.

step20

Conclusion

Now your work is done. Here is how it should look like.

step00

Credit to:

http://vforvectors.com

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abstract-design-sm

Cool Abstract Radial Pattern Design-Illustrator Tutorial

The design we’ll be creating this time makes use of a radial pattern that draws in the viewer to the centre. Alternating colours give the design a cool and funky feel and textures add a touch of authenticity to the artwork.

Create a new document in Adobe Illustrator at the dimensions of your preference and draw a rectangle across the whole artboard.

Toggle on Smart Guides (CMD+U) and draw a small circle from the centre of the rectangle. Copy and paste this circle and scale it larger than the artboard itself. With both selected go to Object > Blend > Make.

Go back to Object > Blend > Blend Options and adjust the settings to Specified Steps with a count of 8.

Draw a line from the centre of the document, then with the Pen tool add a point at the halfway point. Use the Convert Anchor Point tool to drag bezier handles from the point to give a smooth curve.

Select the Rotate tool and ALT-click a pivot point in the centre of the document. In the options box enter 18 degrees and press the Copy button.

Repeatedly press the shortcut CMD+D to repeat the transformation until you have a series of 20 lines spaced evenly around the circle.

Select the concentric circles and go to Object > Expand. Select the Object checkbox to convert this blend into editable paths.

Draw a selection across all objects, then Shift-click the background rectangle to deselect it. Create a Compound Path (CMD+8) then with both the compound path and background rectangle selected, click the Divide option from the Pathfinder palette.

Right click and Ungroup, then delete out the excess linework beyond the edges of the artboard. Elsewhere on the document set up some gradient colour swatches for use in your design. Here I’m using grey, blue and green each with changes in tone from light to dark.

Hold Shift while selecting alternating shapes in the inner portion of the radial pattern. Give these shapes the grey gradient fill with the eyedropper tool.

On the next and subsequent rows select alternating shapes to create a chequerboard style pattern. Continue until you’ve filled the whole design.

Use the green gradient to fill the leftover shapes in the centre area of the pattern, then switch to blue for the next row.

Alternate between blue and green fills until the whole design is filled with gradient colours.

Currently all the gradients are flowing in the same direction. Manually select each shape in turn and adjust the gradient angle with the Gradient tool.

After a lot of clicking and dragging all the gradients will follow the same radial path, which gives the design a much more dynamic feeling.

The vector work is complete, but let’s switch over to Photoshop to give the design a more tactile feel. Paste the design into a large PSD, then import a cool grunge texture.

Change the blending mode of the texture to Overlay to allow the texture and colours to interact with the vector pattern.

Switch back to Illustrator and clear out the fills from all the objects, then add a white stroke. Copy and paste this graphic into the Photoshop document.

Go to Filter > Blur > Gaussian Blur and enter around 3px to take the harsh edge off the white strokes.

Change the blending mode to Overlay at 50%, then dab a few spots of black with a large soft brush on a layer mask to adjust the impact of these glowing lines.

Add a soft spot of white in the centre of the design and change the blending mode to Overlay to finish off the design with a vibrant highlight.

View the abstract radial design

Credit to:

http://www.blog.spoongraphics.co.uk

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light_bulb_preview

Semi-Realistic Light Bulb-Adobe Illustrator Tutorial

In this Illustrator tutorial, you will learn how to draw a light bulb illustration. Most of the time, we’ll be using the Pen Tool, so this is great practice for those struggling with drawing freehand. A light bulb is a complex object that contains many small parts and details, and we will try our best to draw them all, in order to create as close to an accurate portrayal as possible.

Preview

Tutorial Resources

Step 1: Create a New Illustrator Document

First, let’s set up our artboard. Create a new Illustrator document that’s 500×500px in size.

Step 2: Import a Reference Photo

I used a light bulb I had at home as a reference photo; I’ve provided it to you for this tutorial. Download this light bulb image and open it in Illustrator. Lock the layer of the photo to avoid accidentally moving it.

Step 3: Draw the Light Bulb’s Outline

Create a new layer above the reference photo; the new layer is where we’ll draw our illustration.

To start, we’ll draw the outline of the light bulb. Grab the Pen Tool (P) and trace the left side of the light bulb.

Switch to the Selection Tool (V) then click on the path we have just created to select it. Go to Object > Transform > Reflect. Select the Vertical option and then hit the Copy button. This will create a mirror image.

Hold down Shift, click on the reflected path, and then drag it to the right; we have to hold down Shift so that movement is constrained horizontally.

Grab the Direct Selection Tool (A) and select just the upper anchor points of both the left and right paths. Right-click on one of them and then choose Join from the contextual menu that appears to combine both anchors.

To join the lower anchor points, just grab the Pen Tool (P) and click on each anchor point to close the outline’s vector path.

Step 4: Draw the Screw Cap’s Shape

Next, we’ll create the lower part of the light bulb (the metallic part) which is commonly called the screw cap.

Select the Pen Tool (P) and start to draw the top part of the screw cap where it meets with the bulb.

The middle part of the screw cap is a little bit tricky to draw. But it doesn’t need to be perfect, just try to follow the shape of the cap and do your best. Make sure to draw smooth lines and curves, and don’t worry if you can’t draw it nicely the first time around; you can always adjust and tweak individual anchor points using the Direct Selection Tool.

Keep drawing until you have all the main parts of the metal cap.

Step 5: Draw the Threads on the Screw Cap

Now we need to make the screw cap’s threads. Select the Rounded Rectangle Tool and then create the rectangle shown below.

We need to distort it a little bit. Select the rectangle then go to Object > Envelope Distort > Make with Warp.

In the Warp Options dialog window, choose Arc for the Style option, choose the Horizontal option, and set the value for Bend to -9. This will bend the rectangle exactly in half.

With the Direct Selection Tool (A), select four anchor points at the middle of the rectangle by holding Shift and clicking on each of the anchor points. When the anchor points are selected, use the Left Arrow key to nudge the anchors a few pixels to the left. It will distort the rectangle a bit more, which will contribute to the realistic look.

Switch to the Selection Tool (V) and click on the rectangle to select it, then expand it by choosing Object > Expand. Afterwards, move it on the metal cap of the light bulb.

Duplicate it several times and place the duplicates as shown below.

More or less, this is the basic shape of the metal cap:

Step 6: Applying Gradients to the Screw Cap

With nice metal color gradients, we can make the lower part of light bulb more persuading. It will also help us create some depth in this illustration.

To apply gradients, go to Window > Gradient (Ctrl/Cmd + F9) to open the Gradient Panel.

For the threads, apply the gradient shown below.

For the electrical contact, we’ll use a simple radial gradient.

Continue using metallic gradients until you reach the desired look.

Step 7: Creating Metallic Highlights

Let’s highlight some edges. It will improve the metallic look of the screw cap. Select the upper part of the cap and duplicate it two times by copying (Ctrl/Cmd + C) and then pasting in front (Ctrl/Cmd + F) twice. You should know have three copies; the original plus two duplicates. Nudge one of the duplicates 2px upwards and scale it up a little bit. Then select both copies and, under the Pathfinder Panel, press the Minus Front button.

Apply the linear gradient shown below.

Do the same thing for the lower part of the cap.

Step 8: Create the Inner Components of the Light Bulb

In this step, we’ll use our reference photo to create the elements inside the glass part of the light bulb.

To start, just grab the Pen Tool (P) and start drawing. A tip: Just follow the shape of the object you’re drawing; it doesn’t need to be perfect because we can adjust individual anchor points in case we don’t like how it looks. As a reference while you’re drawing, follow along in the progression below.

To create the coiled tungsten filament — the curly wire that goes across in the middle — select the path we drew at the top and then go to Effect > Distort & Transform > Zig Zag. Set the Size to 1.5pt, Ridges per Segment to 20, Points to Smooth.

Without the light bulb reference photo, our illustration should look like this:

We’re moving along quite nicely, wouldn’t you say?

Step 9: Apply Colors to the Glass Part of the Light bulb

Our light bulb looks flat and it certainly needs some color. Let’s apply a nice blue gradient and see what we get.

First, we’ll create a white outline for the glass of the light bulb. Select the glass and then choose Object > Path > Offset Path. Set the Offset to -3.

Select the inner shape of the glass and then duplicate it.

Set the Stroke color of the larger shape to a light gray (#C2C4C6) and the Stroke color of the smaller shape to white (#FFFFF). Select them both and go to Object > Blend > Make.

Now, select the other copy of the smaller shape and set the Fill color to a light blue (#ADE0ED).

Grab the Ellipse Tool (L) and create a circle at the middle of the glass. Give the circle a nice blue-to-white radial gradient.

Step 10: Applying Reflections and Shadows

We are almost done! All we need to do is to create some nice reflections and shadows (it is a light bulb, after all!) Reflections can be various shapes and forms, but the best way to make them is to follow the shape of the object.

Select the blue shape of the light bulb and create two copies. Move one of the copies, then rotate it a bit. Select both copies and, under the Pathfinder Panel, hit the Minus Front button.

Select the resultant shape and scale it down a bit. Apply the radial gradient shown below.

Let’s do the same thing, but on the other side of the light bulb. Create two copies of the blue shape again, move one of the copies a little bit, rotate it, scale it up or down (feel free to be creative and follow your instincts). This way, you can mimic the non-uniformity of reflections in the real world. When you’re satisfied, hit the Minus Front button in the Pathfinder Panel to create the reflection.

Select the reflection object and give it a radial gradient.


Using the same technique, create a few more interesting reflections.

We should do the same with the inner components of the light bulb. Each time you want to create a reflection, use the same technique: duplicate the object twice, move one of the copies, rotate, scale it up or down and when you’re happy with the shape of the reflection, hit the Minus Front, Unite, or Intersect button in the Pathfinder Panel depending on what you’re trying to achieve.

The more details we focus on, the more compelling and realistic our illustration will be. Just make sure not to exaggerate; we don’t want to create a busy, overcrowded and unfocused illustration.

When you’re done creating reflections and details, adjust the position and size of all the elements in order to complete the light bulb illustration.

Also, don’t forget to create the shadow.

Tutorial Summary

In this tutorial, we used the Pen Tool quite a lot. The Pen Tool is really a powerful Adobe Illustrator feature, but it requires practice to master. Also, I showed you a popular technique that many illustrators do, which is to use a reference photo for helping us draw our illustrations. It’s much easier when you have a reference image that you can use for tracing. I hope you liked this tutorial and thank you for following along!

Download Source Files

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HowtoCreateanIcecoldPosterwith3DText

50 Useful Poster Designing Tutorials

A poster is any piece of printed paper which typically includes both textual and graphic elements. Although a poster may be either wholly graphical or wholly text; they are mainly designed to convey information and message. They are a frequent tool of advertisers; particularly of events, musicians and films. If you are short of ideas on how to create a poster then you got to look at the poster designing tutorial I have collected today. I am sure these will help you in making your next poster designing more professional. Enjoy!

 

1. How to Design a Geometric Poster in Photoshop

Poster Designing Tutorials

2. How to Make a High-Impact Fashion Poster in Photoshop

Poster Designing Tutorials

3. How To Create Your Own Fiery Ring Poster in Photoshop

Poster Designing Tutorials

4. How to Create an Intense Movie Poster in Photoshop

Poster Designing Tutorials

5. Design a Grunge Vintage Poster in Photoshop

Poster Designing Tutorials

6. How to create a Ying Yang Inspired Poster in Photoshop

Poster Designing Tutorials

7. Design a Horror Looking, Extreme Grungy Style Poster in Photoshop

Poster Designing Tutorials

8. Create a Futuristic Portrait Poster in Photoshop

Poster Designing Tutorials

9. Create a Fun Horror Movie Poster Design in Photoshop

Poster Designing Tutorials

10. Create a Vibrant Space-themed Poster in Photoshop

Poster Designing Tutorials

11. Create a Pop Art Style Poster with Urban City Background in Photoshop

Poster Designing Tutorials

12. Create an Abstract Light Streaks poster in Photoshop CS5

Poster Designing Tutorials

13. Design a Stylish Poster mixed with displacement effect in Photoshop CS5

Poster Designing Tutorials

14. How to create a dynamic nature poster in Photoshop

Poster Designing Tutorials

15. Gigposter Design: The New Sex

Poster Designing Tutorials

16. Your Own Crazy Movie Poster

Poster Designing Tutorials

17. Create abstract poster effects

Poster Designing Tutorials

18. Designing a war movie poster

Poster Designing Tutorials

19. Create a Vintage Art Deco Poster with Illustrator’s Grain Effect

Poster Designing Tutorials

20. Create an Inspirational Vector Political Poster

Poster Designing Tutorials

21. Soul Rebel Poster Tutorial

Poster Designing Tutorials

22. How to Create an Ice-cold Poster with 3D Text

Poster Designing Tutorials

23. Make an Inspiring Artistic Poster with Drawn Elements

Poster Designing Tutorials

24. Create a Furious Pink Panther Poster

Poster Designing Tutorials

25. Design a Creepy Gothic Poster

Poster Designing Tutorials

26. Create a Stylish Club Poster

Poster Designing Tutorials

27. Design A Killer Fashion Model Poster

Poster Designing Tutorials

28. Retro Modernist Poster Design with 3D Typography

Poster Designing Tutorials

29. Design an Epic Fantasy Scene with Photoshop

Poster Designing Tutorials

30. Design a Retro Styled Poster

Poster Designing Tutorials

31. Design a Colorful Illustration Using Patterns and Shapes

Poster Designing Tutorials

32. Create an Awesome Music Poster

Poster Designing Tutorials

33. Creating the Spoiled Princess Fashion Poster

Poster Designing Tutorials

34. Creating a Grunge Rock Poster

Poster Designing Tutorials

35. Create a Retro Metal Text poster in Photoshop

Poster Designing Tutorials

36. Design a Contemporary Poster

Poster Designing Tutorials

37. Create and Then Shatter a Grid, while Making a Typographic Poster

Poster Designing Tutorials

38. Blend and Mask Yourself a Great Poster

Poster Designing Tutorials

39. Inception Poster with Repousse in Photoshop CS5

Poster Designing Tutorials

40. Design a Grungy, Rock & Roll Gig Poster

Poster Designing Tutorials

41. Design a Vintage Style Swissair Travel Poster In Photoshop

Poster Designing Tutorials

42. Create a Stylish Grunge Poster with 3D Typography in Photoshop

Poster Designing Tutorials

43. Create a Cosmic Sci-fi Poster Design in Photoshop

Poster Designing Tutorials

44. Create a Refreshing Beer Themed Poster Design in Photoshop

Poster Designing Tutorials

45. Design a High Impact Gig Poster Suitable for Screen-Printing

Poster Designing Tutorials

46. Create a Hellboy Poster in Illustrator

Poster Designing Tutorials

47. How To Create The Expendables Winged Skull Poster Art

Poster Designing Tutorials

48. Create a Funky Perspective of a Model Riding Digital Volume

Poster Designing Tutorials

49. Create a retro grunge typographic poster in Photoshop

Poster Designing Tutorials

50. Awesome Colorful Poster Tutorial

Poster Designing Tutorials

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vectorize-mole-torino020b

Vectorize a Landscape Photo Into a Watercolor Painting-Photoshop\Illustrator Tutorial

Resources Used In This Tutorial

Final Image

Here is a preview of the image that we are going to be creating:

Introduction: the easiest way

There are several interesting and creative ways to create vector illustrations. The technique obviously depend on the final work you want to get, the kind of image you have (if you have one), and your experience to do the job.

The most common way are three, you can start from a blank canvas, from a sketch, or use a photo.

Starting from a blank canvas is the most difficult way. You have no lines to follow and you are alone with your creativity. The bad side of the technique is that you need to be really able and having strong hand-drawing skill.

The second option is hand-drawing a sketch of what you want first. Even to do this step you need to be able with hand-drawing but, once scanned the image, youíll have a template to work to.

The last way is the easiest one and that is the one we are going to use with this tutorial. You start from a photo of the thing you want to vectorize and use it as template building it up level by level.

Choosing the Right Photo

Once chosen the procedure the next extremely important step is choosing the right photo. Not anyone is good to start with. The right photo has to be well contrasted and not too dark but with definite distinction between light and shadow areas. This will help you in identifying the contours.

If you are not comfortable with taking picture than you can purchase images, from a stock photo service, which are suitable for your upcoming creation. Anyway the best thing to do is using shots from your own so that you are not occurring in copyright problems.

Preparing the Image in Photoshop

Step 1

Once identified the technique and chosen the image there are still few steps to accomplish. Before we get started are a few basics need to be covered. To make the vectorization working better once within Illustrator platform we need to prepare it by adjusting lights and levels, turning the image in w/b and deleting some areas of the picture.

As suggested, I prefer taking the picture which I use by myself. Last weekend, having a walk around Iive taken several pictures of the Turinís Mole Antonelliana. Among the various shots Iíve selected this nice and clear pic of the historical monument:

It contains several typical city elements: the Mole, the characteristic dormer windows, a beautiful streetlamp and an old-style tram recently restored. I think it well represent Turin and its beautiful elegance.

Open up the image in Photoshop. Adjust contrast and lights as you like and turn the image w/b by going to Image > Mode > Grayscale.

This is what you get:

Duplicate the level as backup and go ahead.

Step 2

Click CTRL + L (or CMD + L) to open the Level panel.

Adjust levels so that the gray in the sky disappears and leaves all around the main subject clean. Move the handles so that you clean the borders from exceeding gray or black shadows. Move the white handle toward the right side and the black handle toward left has shown below.

Step 3

Go then to Filter > Stylize > Trace Contour

This feature traces the areas in the picture that have the most contrast in value to each other.

Set Upper Edge and a tracing level high to better outline the image. Experiment with the options. These are the value and setting which Iíve used.

Step 4

Once that the photo has been stylized we need to make the lines darker. Duplicate the level, and apply a Multiply blending.

This is what we get.

Step 5

Select the white color by using the magic wand tool and refine the selection by going to Select > Similar.

Delete the white color and leave the image in a transparent level.

Step 6

Select the Rubber Tool. From the Rubber option panel select a dry brush, increase the size and delete part of the artwork. Consider that too many details will make the Illustrator file heavy to manage once vectorized. The cleaning up of the image will avoid a useless proliferation of anchor points.

In the example Iíve removed branches from the trees. In addition Iíve removed the border making the image suitable to fit different shapes without the need of constraining it in a frame.

Have you reminded yourself to save? If not (bad boy/girl!) than do it now.

Polished and with its undefined silhouette the image is now ready to be managed in Illustrator and turned in a vector.

Vectorizing the Image

Step 7

Create a new document by going to File > New.

The document size depending on what your artwork you are going to use for. Iíve selected a 15 x 25 cm size to be sure I can use it as design for a merchandising t-shirt.

In the advanced options choose CMYK as color mode because it has printing use, and High Resolution Raster Effect.

Step 8

Take your photo already managed with Photoshop and import it into Illustrator. To do that go to File > Place and choose the .psd file which you have previously saved.

Place it inside your artwork area.

Step 9

Keep the object selected and go to Object > Live Trace > Tracing Options

Step 10

This step is extremely important. The Tracing Option Panel contains a lot of parameters which are going to affect the vectorizing result. Let’s have a close reading to them.

Preset Specifies a tracing preset.

This change between different presets that Illustrator offers.

Mode

Specifies a color mode for the tracing result.

It allows to switch from black and white, grayscale, or color mode.

Threshold

Specifies a value for generating a black and white tracing result from the original image. All pixels lighter than the Threshold value are converted to white; all pixels darker than the Threshold value are converted to black. (This option is available only when Mode is set to Black and White.).

Palette

Specifies a palette for generating a color or grayscale tracing from the original image. (This option is available only when Mode is set to Color or Grayscale.)

To let Illustrator determine the colors in the tracing, select Automatic. To use a custom palette for the tracing, select a swatch library name. (The swatch library must be open in order for it to appear in the Palette menu.).

This allows you to specify your own color.

Max Colors

Specifies a maximum number of colors to use in a color or grayscale tracing result. (This option is available only when Mode is set to Color or Grayscale and when panel is set to Automatic.).

Obviously the more are the color the heavier is the file.

Output To Swatches

Creates a new swatch in the Swatches panel for each color in the tracing result.
This will give you a control on the colors automatically picked up from the image so that you may change them later.

Blur

Blurs the original image before generating the tracing result. Select this option to reduce small artifacts and smooth jagged edges in the tracing result.

Resample

Resamples the original image to the specified resolution before generating the tracing result. This option is useful for speeding up the tracing process for large images but can yield degraded results.

Fills

Creates filled regions in the tracing result.

Strokes

Creates stroked paths in the tracing result.

Max Stroke Weight

Specifies the maximum width of features in the original image that can be stroked. Features larger than the maximum width become outlined areas in the tracing result.

Min Stroke Length

Specifies the minimum length of features in the original image that can be stroked. Features smaller than the minimum length are omitted from the tracing result.

Path Fitting

Controls the distance between the traced shape and the original pixel shape. Lower values create a tighter path fitting; higher values create a looser path fitting.

Minimum Area

Specifies the smallest feature in the original image that will be traced. For example, a value of 4 specifies that features smaller than 2 pixels wide by 2 pixels high will be omitted from the tracing result.

Corner Angle

Specifies the sharpness of a turn in the original image that is considered a corner anchor point in the tracing result.

Raster

Specifies how to display the bitmap component of the tracing object.

Vector

Specifies how to display the tracing result.

[Italic text from Adobe Illustrator CS4 Help http://help.adobe.com/en_US/Illustrator/14.0/WS714a382cdf7d304e7e07d0100196cbc5f-6226a.html]

Not cited from the Adobe Help we still have:

Ignore White

It omits white from the vectorization. This means that all white areas will be empty and left transparent.

Preview

Le t you see what you have to expect from your settings. Pay attention that depending on the inserted values the preview may slow your computer in the image calculation process.

Info

The shown details hereby listed are the result in terms of anchor points, colors, etc, which coming from your chosen options.

Step 11

Go to Object > Live Trace > Expand the image shows the paths and you can edit whatever you like. This will give you a great flexibility if you need to modify shapes or anchor points.
Once finished lock the level and save.

Step 12

Once you have accomplished this step the main part of the work is completed. At this point the only thing to do is making it better by adding some creative elements. In the example, Iíve decided that my Mole Antonelliana artwork have to look like a watercolor painting. Thatís why I need now is the right tool for the job: a watercolor brush for Illustrator.

You can produce by yourself watercolor brushes or, otherwise, you can use free resources from the web to provide you with the elements you need to finish your artwork. Please, always pay attention to copyright and license of use for any resource you get. Respect your fellows work!

In the example Iíve downloaded the nice Vectips Watercolor Brushes from Vectips.com http://vtfreebi.es/65MP).

Download the resource and load the brush by going in the brush palette. Select the drop down menu and choose Open Brush Library > Other Library. Load the brush from the folder where you have saved it

Step 13

Letís start to paint our artwork to make it more attractive.

Create a new level. Choose brush number 5 and draw a line onto the tram. Change the color with a bright green one.

Step 14

Select brush number 1, pick a bright yellow color and draw few lines around the city lamp.

Step 15

Select brush number 6 and a dark green color. Make irregular circle in the branches area.

Step 16

Select brush number 5 again and with a gray color paint the city lamp pole.

Step 17

Choose cyan color and select brush number one. Make a circle in a new layer and move this layer behind that one which contains the Mole outline.

Step 18

We still can add a touch of color to the Mole by selecting brush n. 4 and red and drawing a single vertical line.

Step 19

Do not forget you sign! Otherwise how can people recognize your work? Sign in a new layer by using your tablet or, otherwise, scan your sign and follow a similar workflow as that one just accomplished to vectorize it well. To stick with the general style of the artwork Iíve handwritten it with my tablet.

And We’re Done!

Here below you can see the final image we get. The subtle and elegant watercolor effect matches perfectly with the general elegance of Turin as city. The outline is clear but detailed, really different form a cartoon style or a simple black silhouette skyline.

As said I think it is a perfect artwork to be printed on city merchandise. Here below Iíve mounted it on a t-shirt to let you see what I mean.
What do you think about?

Credit to:

http://psd.fanextra.com

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Conclusion

Cool Typography with the Blend Tool-Illustrator Tutorial

In this tutorial I will show you how to create a text effect using the Blend Tool in Illustrator and then we will use Photoshop for some final retouches to make the effect more subtle. The technique is very simple and it won’t take more than 30 minutes to achieve the same effect.

Step 1

Open Illustrator and create a new document. I used A4 for the size, but it is not really important because we will copy the illustrator vector and paste it in Photoshop later on.

With the Pen Tool (P) create a Z with just a few points. Every time you create a new anchor point, hold the mouse button to transform it to a curve.

Typography with the Blend Tool in Illustrator

Step 2

Duplicate the Z and move it down a little bit.

Typography with the Blend Tool in Illustrator

Step 3

Select the Blend Tool (W), then click on one of the segments and then on the other to create the blend object.

Typography with the Blend Tool in Illustrator

Step 4

With the blend object selected double click on the Blend Tool icon or go to Object>Blend>Blend Options. Change the Spacing to Specified Steps using 15 steps.

Typography with the Blend Tool in Illustrator

Step 5

With the Direct Selection Tool (A) start moving some anchor points to change the blend object, the idea here is to add some movement to the letter Z.

Typography with the Blend Tool in Illustrator

Step 6

Now let’s create the other letters, in my design I used the name of my design studio, Zee. Repeat the same thing we did in the Step 2, 3 and 4.

Typography with the Blend Tool in Illustrator

Step 7

Apply the Blend Tool (W) for the letters E. Once again, with the Direct Selection Tool (A) move some anchor points to make the necessary adjustments in order to make the design smoother.

Typography with the Blend Tool in Illustrator

Step 8

With the Direct Selection Tool (A) you can select the 2 lines of the Blend Object and change their colors, below you can see 2 examples with blue and pink and yellow and pink.

Typography with the Blend Tool in Illustrator

Step 9

Copy the blend object in Illustrator and then paste it in Photoshop to make some adjustments. Then in Photoshop with the Eraser Tool(E) or using mask, use a very soft brush to erase some areas like on the beginning of the letter Z (1). To the end part you will have to use the Polygonal Lasso Tool(L)(2) to select just the part you want to erase, otherwise you will delete part of the E as well. Then do the same for the end of the second E. (3).

Typography with the Blend Tool in Illustrator

Conclusion

This tutorial was a reader’s suggestion sent to us via email and it’s amazing how many things we can do using the Blend Tool in Illustrator, it’s a very powerful tool and using it for texts is not that common but the result is really good.

Typography with the Blend Tool in Illustrator

Click here to download the Illustrator file used for this tutorial

 

Credit to:

http://abduzeedo.com

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life_belt

3D Lifesaver-Illustrator Tutorial

Lifesavers (also known as lifebuoys) are iconic objects associated with maritime life. In this Illustrator tutorial, I will show you how to create a lifesaver using excellent Illustrator techniques, including the creation of a custom Illustrator art brush (which we will use for the rope around the lifesaver). We’ll end up with an illustration which can be used as an icon or design element in your projects.

Preview

Step 1: Creating the Illustrator Artboard

We will start by setting up our Illustrator document. It should be 500×500px in size.

Step 2: Creating the Shape of the Lifesaver

Grab the Ellipse Tool (L) from the Tools Panel and create the ellipse shown below.

Let’s make a hole in the ellipse. Select it with the Selection Tool (V) and then go to Object > Path > Offset Path. Set the value for Offset to -70pt.

Since we are observing the lifesaver from a specific angle, we have to make sure that we create the proper perspective for our illustration. Select the smaller ellipse we’ve just created and move it a little bit towards the right side.

Select both ellipses and then, in the Pathfinder Panel, hit the Minus Front button to create the hole.

The next thing we have to create is the back side of the lifesaver. The viewer will be observing the lifesaver from the left side, so that means they will be able to see a little bit of the back side of the lifesaver as well. To start, duplicate our ellipse shape by copying it (Ctrl/Cmd + C) and then pasting it in front (Ctrl/Cmd + F). Select the duplicate and move it leftward and upward.

Now we need to remove an area of the copy we’ve just created. Select the Rectangle Tool (M) and then create a rectangle (as shown below).

Select the rectangle and the blue ring, then press the Minus Front button in the Pathfinder Panel.

We have to repeat the process for the upper part of the lifesaver. To see how much of the blue ring you have to remove, send it behind the red ring (Ctrl/Cmd + [).

Let’s remove the top of the blue shape. Grab the Rectangle Tool and create another rectangle. Select the rectangle and the blue ring and then press the Minus Front button in the Pathfinder Panel.

You should end up with something like this:

Step 3: Dividing the Lifesaver

Now it’s time to divide the lifesaver into smaller parts. We need to create four red and four white parts. Later we will apply color gradients to these parts.

To divide the lifesaver into eight sections, we will use the Arc Tool. Just create a curved path with the Arc Tool as shown below.

Continue making curved paths until you have all of the paths we’ll need to divide out the lifesaver into eight parts.

Group the curved paths together (Ctrl/Cmd + G) and, while holding Shift, select the red ring of the lifesaver as well. Afterwards, press the Minus Front button in the Pathfinder Panel.

Ungroup the shape (Shift + Ctrl/Cmd + G). Select all the parts from the middle part of the ring and delete them.

Step 4: Applying Color Gradients

We’ll try to simulate a plastic surface appearance for our lifesaver by using color gradients.

For this step, we’ll be using radial gradients with three colors.

We have to do the same thing for the back side of the lifesaver. Grab the Arc Tool again and create curved paths for it. Select those paths and the blue part of the lifesaver and then press the Divide button in the Pathfinder Panel, just like we did for the front side of the lifesaver.

Ungroup the shape we’ve just created and apply linear gradients to each part.

Step 5: Creating the Rope Holders

Next, we will create rings that will hold the rope that we’ll make later on around the lifesaver.

Use the Ellipse Tool (L) to make a small ellipse.

Go to Object Path > Offset Path. Set the value for the Offset to -5.

Use the Rounded Rectangle Tool to create a rounded rectangle that matches up with the ellipse. Send the rounded rectangle back behind the ellipse (Shift + Ctrl/Cmd + [).

To be consistent with the orientation of the lifesaver, we have to use Envelope Distort on the rope holder. Select the blue rounded rectangle and then go to Object > Envelope Distort > Make with Warp.

We have to perform some adjustments until we are satisfied with the result. Try scaling up and down and adjusting anchor points until you get something like this:

Once done, go to Object > Expand so that we can make further edits on the rounded rectangle.

Duplicate the red ellipse. Select the duplicate copy and the blue rectangle, and then press the Minus Front button in the Pathfinder Panel.

Ungroup (Shift + Ctrl/Cmd + G) the new shape and delete the parts we don’t need. Create a copy of the smaller ellipse, move it to the right, and then adjust its position to match up with the right side of the rounded rectangle.

Select the rounded rectangle and the ellipse, then, in the Pathfinder Panel, hit the Unite button.

You should end up with something like this:

Step 6: Applying Gradients to the Rope Holder

Now it’s time to apply gradients to the rope holder.

Place the rope holder at the top of the lifesaver.

Step 7: Create More Rope Holders

Make three copies of the rope holder and place them all around the lifesaver. Change the size and the angle of the rope holders as needed; place them in the same perspective as the lifesaver.

Step 8: Creating the Rope

In order to make a rope around the lifesaver, we have to create an art brush.

First, we’ll create a shape that will be the basis of our art brush. Use the Pen Tool (P) to draw the shape below. Set the Fill color to a light tan brown (#CA9E67).

Duplicate the shape, move the duplicate copy to the right, and then change its Fill color to a slightly darker brown (#B17F4A).

Repeat the previous process, but this time, set the Fill color to an even darker brown ( #936037).

Select all three shapes and group them (Ctrl/Cmd + G). Duplicate the group and then move the copy to the right.

Duplicate the group until you end up with a long rope.

Grab the rope and then drag it into the Brushes Panel (Window > Brushes). When you drop the rope in the Brushes Panel, the New Brush dialog window will appear. In the dialog window, choose the New Art Brush option.

Use the Pen Tool to draw a path around the lifesaver. Make sure that the path is overlapping the rope holders.

Apply the brush we’ve just created and adjust the anchor points of the path (if needed).

You should end up with something like this:

Now we have to hide parts of the rope that are by the rope holders to make it look like it’s going through them. This is quite simple to achieve.

Select the larger ellipse and the body of the rope holder. Duplicate them both. Press the Unite button in the Pathfinder Panel.

Now, duplicate the smaller ellipse. Select the shape and the copy we’ve just made and then press the Minus Front button in the Pathfinder Panel.

You should end up with something like this:

Grab the Rectangle Tool (M) from the Tools Panel and create the rectangle shown below. Select both shapes (the green one and the blue one ) and, under the Pathfinder Panel, hit the Minus Front button.

All we have to do now is apply the linear gradient to the new shape.

Repeat the process for the other rope holders.

Credit to:

http://designinstruct.com

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