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JOSELYN MUNOZ 6th http://still-scripts.com/photoshop/creating-out-of-bounds-photoshop-effect-tutorial/

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http://www.photoshopsupport.com/tutorials/jf/hand-colouring-a-black-and-white-photo/hand-colouring-a-black-and-white-photo.html

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Create a 3D soda can using actions.

http://design.tutsplus.com/tutorials/create-a-3d-soda-can-using-actions--psd-17316

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Actions are a powerful tool in Photoshop. They can be used to automate all sorts of tasks. In this tutorial we will explain how to use actions to create a 3D soda can. Let's get started!

Action in Use

The video below will show you how the final action will work.

Tutorial Assets

The following assets were used during the production of this tutorial.

Introduction

The following tutorial walks the reader through the steps required to recreate a product photo as a Photoshop Action.

Preparation Work

Before jumping in, lets quickly review the capture process which we should be aware of even though it's slightly out-of-scope for this article. Creating Actions that exactly mimic the source material demands that the source material be as high quality as possible. You don't need to be a photographer, but if you want great content then you will need a basic light box (search for Cubelite if you don't think you can build your own), a digital camera with 10+ megapixels and 4 Flashpoint Spiral Fluorescent Bulbs 85 Watts. Once these three things are acquired we have a basic home studio in which we can capture thousands of product shots of anything we require - all without running afoul of someone else's copyrights. Basic lighting setups and tripod positions can be derived from the many hundreds of hours of video tutorials on YouTube when searching for the term Cubelite.

During the photo session, it's a good idea to capture the photograph at various ISO levels. This will help identify shadows and highlights, ideally there should be no reflections from outside a light-box. A good light-box will provide lighting from beneath the surface and make the product look as if it's floating, this happens because the subsurface lighting cancels out any shadows the object is casting. When cast shadows disappear we have a perfect shot, in the sequence below our perfect shot happened between ISO 160 and ISO 200 (lighting and fabric around the light-box may affect individual results).

Our source material, unfettered by copyrights, is now ready to be used as a background template.

We also need a 2D design which we want to apply to the can. The image below is our 2D design and is supplied by stock vector provider Letterstock on the envato network

The dimensions of our can, in millimeters, is 207mm wide by 115mm high which is much too small a size to create a usable texture from. However, if we treat a millimeter as a pixel and multiply these dimensions by 24, a randomly chosen value, we arrive at a very workable 4968px x 2736px. Our base texture will be a green backdrop with a halftone pattern created from parts found in Letterstock's soda label artwork above.

And here is what the final design will look like when the components are assembled together.

Step 1: Creating the Action Set

Lets begin by creating an Action set into which we will be saving our recored steps. Use the Window menu in Photoshop to open the Actions palette, once the palette is open click on the top right corner to access the Actions menu. Select New Set... and type Soda Can into the subsequent dialog box. Press Return on your keyboard and a folder icon labelled Soda Can now appears selected in our Actions palette.

Step 2

This Action has 2 parts, part 1 will create a template for the designer to place their work. Part 2 will render the soda can and apply the artwork. Lets create part 1. With the Soda Can set highlighted, press on the Action menu...

Step 3

Select New Action... from the menu and the New Action modal appears. Enter Render 2D Template into the field and press the Record button.

Step 4: Recording the Template (Part 1 of 2)

Notice that the RECORD button at the bottom of the Actions palette is now red, we are ready to begin recording our Action. Lets start by creating the canvas onto which the 2D soda can design will be placed. Under the File menu select New...

Step 5

A modal appears asking us for the document specifics. The dimensions for the design come from the soda can which measures 207 millimeters wide by 115 millimeters high which is far too small to work with so we multiply those dimensions by 24 to get 4968 x 2736. This is more than large enough for publishing the results to the web or having them printed in a magazine or even presented in an HD video.

Step 6: Supply Instructions

We are recording the template onto which a designer will place their work. No matter how straightforward the process may look we should always supply some instructions for the designer to follow. Select the text tool and type PASTE YOUR DESIGN
OVER THIS TEXT directly in the center of the canvas. Use the Type menus to set the size of the text to something hard to miss such as 36pt with a leading of 34pt.

Step 7

If we zoom out and look at the design it's obvious that the dimensions of the document represent the entire can. However, only
50% of the can is actually visible after the final render so we need to place guidelines at 1242px and 3726px to mark-off the area that will be rendered. Do this now while still recording, the placement of the guides will be added to the recording.

Step 8

Return to the Actions palette and click the Stop recording button at the bottom of the palette. We have just completed part 1 of this 2 part Action! If you want to see it work, simply select Render 2D Template and click the Play button at the bottom of the Actions palette. A new document will immediately be created that looks identical to the current canvas.

Step 9: Prepare the 2D Design

Whether or not we have a final design for the soda can is not important at this stage. However, to correctly map a 2D design to the soda can we will need something to simulate a 2D design during the creation of the Action. Fortunately we do have a final design for this tutorial. So for the next few minutes we will pretent that we are a designer placing their 2D artwork onto the canvas (we are not recording these steps). Simply place the design on our newly created canvas above the instructional text and scale it to fit the canvas entirely. Next, grab this grid texture and place it on top of the design. DO NOT SCALE IT. Set the layer effect of the grid to Multiply and the opacity of the grid layer to 30%.

Step 10: Create Final Render Action (Part 2 of 2)

Now that we have the design and grid properly placed it's time to start recording part 2 of this Action. Return to the Action palette menu and choose New Action.... When the dialog appears type Render Final and press RECORD.

Step 11: Duplicate the Design Template

The document into which we placed and scaled our design is not used for part 2. We need to work in a new document where we can flatten the design and work with larger dimensions to draw the can. Go to the Image menu and select Duplicate...

Step 12

When the Duplicate document modal appears simply press OK, do not give this duplicate document a name.

Step 13

The design template is now duplicated into a new document, the number of layers and document dimensions exactly match the original.

Step 14

Next we need to flatten this new document and reset the color swatches to their default Black and White state. Use the Action menu to flatten the document and then click on the reset swatches icon in the toolbox (remember, our Action palette is still in RECORD mode).

Step 15

The document now has the correct dimensions required to create our can. Notice that the Layer palette only has a single layer name Background.

Step 16

The Background layer is really our source design so lets rename that layer to source.

Step 17

Now we need to modify the dimensions of this document to accommodate the soda can we want to create, choose Canvas Resize... from the Image menu. When the modal appears, enter a new width of 4000px and new height of 3600px. Click OK and dismiss the subsequent dialog that appears warning you that cropping will occur.

Step 18

Now lets run through five quick steps which are represented as the series of highlighted items in the Actions palette below. Create a new layer above the source layer and name it background. Then, move background layer below the source layer. Finally, fill the entire background layer with white and select the layer source.

Step 19: Basic Shapes

If we think about the soda can for a moment, it's really made up of just 2 basic shapes: The lid and the body. Everything else we see resides within those 2 shapes.

Step 20

With the source layer still selected and recording still in effect, lets start with the can's basic shape by creating a new group and naming it can shape mask followed by a new layer called can shape.

Step 21: STOP EVERYTHING

Ok, let's stop recording. Press the stop button at the bottom of the Actions palette to halt recording. Before we continue we need to import our can photo which we prepared in the light-box at the beginning of this tutorial. The photo will serve as a guide that we can trace to ensure our Action will faithfully recreate the can from our photo. Paste the photo of the can just above the background layer, then hide the source layer so we can see the can while we trace shapes off it.

Step 22

With the can photo layer selected, merge it down to the background layer. We do this to ensure that the soda can photo layer is not accidentally recorded into our Action, if it was recored it could led to layering issues for us later.

Step 23: Trace Our Can Shape

With the can photo securely in position, return to the can shape layer and RESUME RECORDING by clicking on the record button at the bottom of the Actions layer. Then, with the lasso tool selected, zoom into the photo to between 500% and 700% and begin tracing the can shape. A good way to work is to hold down the Option (Alt) key and choose a starting point to begin tracing by clicking the mouse, while continuing to hold down the Option (Alt) key simply continue to follow the outline of the can and clicking the mouse to increase the selection progressively as we go around the entire can.

Step 24

With our trace complete and marque selection closed we fill the selected region with solid black.

Step 25

With our filled selection we will now turn the selection into a mask for the shape of the can. In the layers palette, choose the can shape mask layer, then move the cursor to the bottom of the layers palette and click on the Add Vector Mask button. A mask is instantly generated for this group and the marque selection disappears.

Step 26: Trace Our Can Lid

The process for tracing the can lid is identical to the can shape. First, stop recording the Action by clicking the stop icon at the bottom of the Action palette. Then we hide the layer can shape so that the can below is clearly visible to us while tracing the can lid. Return to the layer group can shape mask and RESUME RECORDING.

Step 27

Similar to the process we followed with the can shape, we will now create a new group called can rim mask with a layer called rim shape. Now carefully trace the can lid and fill it with the color black. Lastly, with the selection still active, select the layer can rim mask and click on the Add Vector Mask button at the bottom of the layer palette.

Step 28: Create the Pull-Tab Mask

The pull-tab is what's used to break the seal of the can and allows the soda to flow out. The pull-tab is within the can rim mask group so we will create the group and shape layer for the pull-tab here. With the can rim mask group still selected (see previous step) we will select the layer rim shape before creating the new group. With the layer rim shape selected, create a new group named pull-tab mask then create a new layer called pull-tab shape.

Step 29: Creating the Pull-Tab

Next we select the lasso tool and select the shape of the pull-tab.

Step 30

Fill the selection with black...

Step 31

Now we need to cut out the holes in the pull-tab, this requires that we temporarily set the layer transparency to 50% so we can see through the pull-tab shape in order to select the negative areas of the pull-tab in the photo beneath.

Delete the selection and reset the layer to 100%.

Step 32

The pull-tab has a base color onto which we will be layering several abstract shapes to create the rendering of this section of the can. Set the layer effects of the pull-tab shape layer to the values shown below.

The result is a near solid white fill.

Step 33

Before we start adding layers to build up the definition of the pull-tab we need to create a mask for the group. While holding the Control-Key (Cmd) hover over the pull-tab shape thumbnail and click, this will highlight the pull-tab shape.

Step 34

Next, select the layer pull-tab mask then click the Add Vector Mask button at the bottom of the layer palette. A mask for the pull-tab layer appears.

Step 35

With the pull-tab shape layer hidden we can now clearly see the pull-tab in the photo. Looking at the pull-tab and deciding how to proceed can be a headache, many of the reflections and highlights are abstract shapes because the pull-tab was crudely formed from a thin piece of steel.

Step 36: Visualizing Shapes

The best way to figure out where to start is by squinting our eyes and visualizing the reflections and highlights as several clumpy shapes. Doing this allows us to break the pull-tab down to just a few components so we can get through this portion quickly and efficiently. Here's what I see when I visualize something that appears complex...there are barely 7 shapes here, easy!

Step 37

With the pull-tab shape layer still selected, create a new layer called tab edge. This new layer is going to represent the RED area we see in step 36. Once the layer is selected, choose the lasso tool and set the feather radius to 6px. This guarantees that the shapes we are about to create on the pull-tab have a diffuse appearance to them.

Step 38

Make a selection around the backside of the negative space in the pull-tab and fill the area with black. Notice that our feather radius gives us a soft edge. Set the selection to none and open the layer style palette for this layer...

Step 39

Set the Bevel and Emboss to the settings below...we get these values from continuously eyeballing the photo to see how close we are to mimicking what we see.

Step 40

Now set the Gradient Overlay to the following values, these values come directly from the can itself. By using the eye-dropper tool we can set the gradient to exactly match what we see in the photo.

To view the result, toggle the visibility of the layer pull-tab shape on and off to compare the new gradient shapes with the photo - keep in mind that before you toggle the visibility of any layer to take a peak that you will need to stop recording otherwise the act of toggling the layers will be recorded into our Action.

Step 41

Next, lets create a new layer called tab edge highlight. Using our visualized pull-tab from step 36 lets continue using the lasso with 6px feather to create the remaining shapes.

Set the Outer Glow of layer tab edge highlight to the following. This color comes from using the eyedropper tool to pick the color from the can photo in the background layer.

Next we'll set the gradient of this layer to the following...

And the result.

Step 42

Next we'll create the shape on the leading edge of the pull-tab. First, start by creating a new layer called shape edge, then with the lasso tool still set to 6px feather we create the shape and set the fill to black.

Set the bevel and emboss to the following settings. What we're trying to emulate is the soft drop-off in tone from the shape onto the pull-tab.

And lastly, set the gradient to the following values and use the eyedropper to pick the colors right from the photo.

And the result so far.

Step 43

Next is a little specular highlight on top of the shape edge layer. First we need to create a new layer titled shape edge highlight and with the 6px feather lasso we'll create the outline and fill it with black.

Now set the outer glow of the shape edge highlight to the values displayed below.

And next we'll complete the specular highlight by setting the gradient for this layer to the following values.

And the result of our specular highlight.

Step 44

Next we're going to add some pure white specular highlights to multiple areas of the pull-tab. First, let's start by creating a new layer called simply highlights. Next, with the lasso tool set to 6px feather, trace the outline of the whitest specular shapes on the pull-tab and fill the result with black. As with the previous steps, we will need to temporarily stop recording the Action in order to hide some layers so we can see the can photo on the background layer to trace our shapes. Once the layers are hidden do not forget to turn recording back on.

Set the layer effect for this shape to solid white color overlay as show in the image below.

And the result so far. We can finally see the pull-tab gaining some thickness.

Step 45

Next we're going to add a gradient base to the front end of the pull-tab. The pull-tab actually has a deformation due to a rivit which causes the metal flap to be lower than the rest of the pull-tab causing a situation where the pull-tab is casting a shadow onto itself.

Create a new layer called rivit slab gradient and trace out the area around the slab and fill it with black.

Stop the recording in the Actions menu and hide as many layers as required to properly see the enter can photo on the background layer. Then, set the layer Fill for layer rivit slab gradient to 0% to make the shape transparent while we set the layer styles. START RECORDING again and open the layer style palette, set the values to those shown below.

After setting the layer styles we need to turn RECORDING OFF to re-enable the hidden layers. The style for the layer is too dark so we need to set the layer opacity to 48%. And here's the result.

Step 46

START RECORDING. Next, lets create a new layer named dimple gradient and trace out the shape and filling it with black.

Next, set the layer effects for layer dimple gradient to the following. And if you're wondering if you should stop recording and hide layers and set the Fill for the layer to 0%...yes.

And the result. We can continue adding more and more detail but there is a point at which that extra detail makes little difference, and we've reached it. The resolution of this object is so high that shapes and gradients will be nicely blended together when the absolute final result is scaled down to something usable in a TV ad spot, magazine or web article.

Step 47: Creating the Pull-Tab Rivit

Before we start creating the rivit it's important that we ensure we are recording again. On a project such as this we can often forget to turn recording back on after pausing it. It's good to have a neurotic sense of it otherwise you can find 20+ minutes of work just went unrecorded.

Now that we have confirmed we are still recording and that we didn't capture any undesirable events such as toggling the visibility of layers we can continue with the task of creating the rivit shape. Lets start by creating a new layer named rivit shape and filling the selection with black.

Now we're going to apply some layer effects, but this time, instead of hiding all the layers that are blocking our view of the can photo we're simply going to stop recording and move the entire background layer out from under all the layers so we can see it. Then return to the rivit shape layer, start the recording again and proceed to setting the layer effects of the following settings.

Let's start by using the eyedropper to choose the overall color of the rivit.

Next, we'll find the best color that represents the tone of the shadow.

Now we need to fake the thickness of the rivit by setting the inner shadow with a slightly darker color than the base rivit color.

And finally we'll add a bevel and emboss effect to give the rivit some extra depth.

And here's the result with the background layer moved back into position.

Step 48

Let's finish the rivit by giving it a few highlights to make it look like polished metal. Start by creating a new layer named rivit highlights and fill the selection with black. Now, turn recording off and shift the photo out from under the layers so we can see the pull-tab so we can use the eyedropper tool. Don't forget to return to layer rivit highlights and start recording again.

Choose the color directly off the photo which is the best representation of the highlight color.

And here's the result.

Step 49: Adding the Rivit Relection

Without a reflection the rivit is ungrounded ans appears to float above the pull-tab. We can overcome this by adding a reflection of the rivit on the pull-tab. First, lets start by creating a group named rivit reflection. This group will act as a mask as well as contain the layers required to represent the reflection.

The pull-tab is not a very reflective metal, looking at one in the real-world we can see that there is a slight brushed appearance to it causing anything which is reflected to appear slightly blurred. We're going to simulate a blur by simply creating a mask which has a feathered edge, this will cause anything within the mask to taper off gradually rather than leaving a high contrast edge.

With the lasso tool set to 3px feather we draw an oval, when the selection is complete, hit the Add Vector Mask button at the bottom of the layers palette. A mask of the shape is now applied to this group.

While holding down the Command Key (Command/Ctrl) click on the thumbnail of the rivit shape layer to get an outline selection of the rivit.

With the selection still active, lets return to the group rivit reflection.

Create a new layer named the reflection and fill the selection with black (you can do this while holding down the Option Key (Alt) and pressing delete on the keyboard).

Next we will flip the shape Vertically using the Edit > Transform > Flip Vertical menu.

Double-Click the layer to open the Layer Styles palette and set the color to these settings. The color was chosen by using the eyedropper tool to select a color directly rom the photo which was nearest the point of interest. Be sure to stop and restart recording in the Actions palette prior to, and after, shifting the background layer.

And the result.

Step 50: Adding the Shadow Reflection

The pull-tab is a reflective metal and as such is reflecting it's own shadow off the surface of the can as well as the rim. So lets add the shadow and rim element in the form of a simple emboss effect along the bottom edge of the pull-tab. Start by selecting the pull-tab shape layer, then by holding down the Command Key (Command/Ctrl) and clicking on the thumbnail of the layer pull-tab shape.

Set the fill of the selection to black.

Set the layer styles of the current layer to the following. The background photo is momentarily turned to greyscale so we can avoid limiting the lid color to a specific color (more details will follow).

And the result.

Step 51: Add Reflective Color to Pull-tab

Lets start by creating a new layer named color spill. This layer will be how we apply the color of the reflected lid on the pull-tab. With the layer created, use the lasso tool with a 3px feather to create a freeform shape around the bottom edge of the pull-tab.

Fill the selection with black.

Double-click the layer to open the Layer Style palette and apply the following settings. Again, remember to stop, then restart the recording after shifting the background layer. To set the color, type the value as shown or pull the color from the can photo with the eyedropper tool.

And here's the result.

Step 52: Creating the Can Lid

To begin working on the can lid we must reposition ourselves to the correct layer. Start by selecting the layer can rim mask...

Next, create a new layer named rim shape which will appear just under the can rim mask group, we must drag this new layer to the very bottom of the group can rim mask.

From this point on we'll be creating gradient shapes that when combined as a series of layers will approximates what we see in the can photo. We can do this with the current photo as it exists, however, we would end up with a can lid with a very specific color applied to many gradients on many layers. Anyone using our completed action to create a can with a red, blue or green lid seen on popular energy drinks would have some work to do.

Therefore, we are going to stop recording, go to the background layer and desaturate the photo completely. We will add a single customizable layer for the lid color later in this tutorial.

Now lets create the shape of the entire lid, we can do this by using the lasso tool to trace out the shape again or simply get the selection from the mask we created for the can rim mask group by holding down the Command Key (Command/Ctrl) and clicking on the mask thumbnail of the group can rim mask. When done, fill the selection with black.

For the layer style, use the following inner shadow settings which will provide the appearance of depth to the lid shape.

The following gradient values are pulled directly from the can photo using the eyedropper tool.

And the result.

One annoying distraction to creating an action such as this is having to stop recording to turn layers off to see the source material below. Maintaining a consistent layer structure is crucial when creating an action, so we can't continuously move the background layer to new positions in the layer palette. Therefore our only option is to stop recording, hide a layer (often immediately after creating it), and restarting the recording. Unfortunately, while the process is manageable during the recording of the action, it will be a distraction in this tutorial.

From Step 53 to step 67 the reader can safely assume that the author was consistently stopping the recording of the action to hiding blocking layers, restarting recording and continued to trace the content in the background layer and stop recording again to turn layers back on to view the result in context. Steps 53 to 67 will focus on this last part, viewing the process in context.

Step 53: Creating the Inner Rim

At this point the workspace is getting crowded, not only do we need to see what we are tracing but we need to pull color values from the can photo on the background layer. Pulling a color from the photo will be very hard to do with an active shape layer covering the area of interest, luckily we can fix this problem with some cloning. Let's stop recording and go to the background layer where our photo is. With the lasso tool, trace out the lid of the can and clone it downward so that we now have 2 lids.

Return to the rim shape layer. START RECORDING again. Now lets create a new group named inner rim mask and hide the group pull-tab mask and layer rim shape so we can see the soda can photo. The inner can rim, highlighted in red in the image below, is the area we are focused on.

With a 3px feather value applied to either the oval or lasso tool, create and fill the selection with black on a new layer named inner rim within the group inner rim mask. Notice that although we are focused on the inner rim as highlighted in red in the previous image, we are actually creating a solid oval. Cutting out a crescent is pointless as all the layers we need to create above this particular layer makes the process of being exact moot.

If it's going to be covered up or masked out don't waste time fiddling with details.

Edit the layer styles for inner rim to the following settings.

Next, lets apply the following gradient to the inner rim. This image also illustrates why we had to clone the can lid, it makes the picking of colors from the photo much easier.

And the result.

Step 54: Creating the Interior Chamfered Rim Edge

Now that we have created a shape for layer inner rim, lets use that shape to set the mask for the group inner rim mask. Set the selection of layer inner rim to the shape we made by holding down the Command Key (Command/Ctrl) and clicking on the layer thumbnail. The selection is immediate as shown in the image below.

With the mask set, our next target is to draw the chamfered edge just below the inner rim (highlighted in yellow).

Lets select the shape on inner rim again.

With the selection ready, create a new layer named rim 07, then fill the selection with black. Finally, move the shape down into position.

From this point forward we'll be creating several more layers to help define our rim, so our layer names will become less creative. Layer names only help us to keep track of extremely large Actions (several hundred recorded steps for this particular action) and prevent us from losing track of layers. By using numbers at the end of the layer name it lets us know that the layer is a subset of a base shape or group mask, doing this allows us to more quickly browse the layers palette and understand which layers are base shapes and which are responsible for adding definition.

Next, edit the layer styles for this layer and apply the following settings.

And the result.

Step 55: Building up the Lid Structure

As we continue to build up the lid we need to be mindful of how our shapes are interacting with each other. While we may be technically correct in our methods, things can still look like crap. In this case the edge where our two previous shapes meet are at angles from each other causing very slight shadows to appear on both surfaces. So we're going to create those shadows...

Create a new layer named rim 10, fill it with black and set the FILL for layer rim 10 to 0% (highlighted in green).

Open the layer styles palette and enter the following Drop Shadow settings.

And the result.

Step 56

Now we're going to create the second shadow, the one caused by the inner rim and cast onto the rim 07 layer. Let's create a new layer named rim 11 and with the exact same selection as the previous step fill the new shape with black. Although shown here in solid black, go ahead and set the FILL for this layer to 0%.

Edit the layer styles and apply the following settings.

And the result.

Step 57: Sprinkling of Specular

Now we're going to add some specular highlights on the interior rim. Set the feather radius of the lasso tool to 3px and trace out the specular in the photo and fill the selection with black. Now we need to se the FILL opacity to 0% so that the layer style will look as intended. The red arrows below are highlighting the specular we are replicating.

Use the following settings to apply a gradient to the current layer.

And the result.

Repeat the exact same process on the right side on a new layer named specular highlight eight.

Step 58: Attention to Detail

Next is creating a tiny hairline crease that appears near the bottom of the chamfered edge and bends into a groove. The area, highlighted in green below, is a minor detail that could easily be ignored to save time, however, it's the small details that make the end result look real. So lets start by creating a new layer named rim 08 and then making an oval selection with the crease as our guide. When the selection is complete, fill it with black.

Set the FILL opacity to 0%.

Now lets apply the following settings for this layer style.

And the result. What we are seeing is the shadow within the groove, we will create the highlight in the next step.

Step 59

This next shape is identical to the previous step. So let's create a new layer named rim 06 and replicate the selection and filling it with black.

Just a note, duplicating a layer can sometimes be an option, but when making an action, the process of duplicating a layer with a Layer Style already applied means we would need to record the process of deleting that layer style and creating a new one. Any layer style which is recorded, then modified while still recording will cause the Layer Style palette to appear every time the action is run. This is true even if the Action is explicitly set not to show the palette and will force the person using the Action to stay at their computer pressing "ok" several times during the playback. It's much easier to work around this annoying behaviour by creating a new layer.

Now we need to apply some styles to this layer. Use the following setting to apply the drop shadow effect for this layer.

Next are the settings for an inner shadow.

And finally, the gradient to be applied on the inside portion of the shape.

And the result, a thin hairline crease around the inside of our can.

Step 60: Creating the Groove

The can lid has a deep groove on the surface of the lid, highlighted in turquoise below (the part that we're always trying to suck the soda from when the can is empty). This shape presents a minor issue in that we cannot simply trace the shape directly, the issue is highlighted with the red arrows. The problem is that the feathered edge is significantly thinner along the top of the shape as compared to the sides.

Create a new layer named rim 00 and with the oval tool selected set the feather radius to 20px. Now draw a circle which is approximately the width of the area of interest and fill the selection with black. The result is a perfect circle with a uniform feathered edge. Note that the entire project is hidden in the next two images to better show the reader what is being done, we did not actually hide all the layers.

Using the transform tool, lets scale the new shape vertically until it perfectly matches the height of the groove. The following image has an exaggerated feathered radius to illustrate what we are trying to achieve - a thinner feather at the top of the shape compared to the sides.

Now we'll apply the following gradient style to the layer.

And the result. The layer FILL should be set to 0%.

Step 61: Creating the Dome

Soda cans have 2 domes to protect against the internal pressures of the carbonated liquids inside. The top of the can has a positive dome while the underside has a more uniformly shaped inverse dome (which is not visible for this action). In this step we're going to start building up the layers to create the dome on the top of the lid - create a new layer named rim 01 and trace out the dome shape using the oval tool which should have no feather radius. Fill the selection with black and set the layer FILL to 0%.

Lets add a base color to this part of the dome with the following value.

And the result.

Step 62

Now we're going to create the upper portion of the dome which is a near identical shape to step 61 expect that it will be slightly thinner on each side by a few pixels. Create a new layer named rim 02 and fill the selection with black and the layer FILL opacity to 0%.

Now we will apply the following layer style settings.

And the result. The dome is starting to take shape.

Step 63

Now we're going to add more definition to the dome by creating another layer with an identical shape to step 62. Name this new layer rim 04 and set the fill to black and the layer FILL opacity to 0%.

Now we apply the final styles to the dome with the following values.

And the result.

Step 64: Creating the Pull-tab Shadow

Now we need to create the shadow for our hidden pull-tab. The entire lid is semi-polished so that anything reflected in it is very blurry. We can replicate that by setting the feather radius of our lasso to 8px and applying some layer styles. Lets keep things tidy and create a new group named lid surface details and place a new layer named pull tab shadow within the new group. Now use the lasso tool to create the outline of the pull-tab shadow, obviously since the pull-tab is blocking the shadow in the photo we will have to take our best guess. We only need to punch out one hole because the second hole near the rivit is not visible in the photo so we'll ignore it. Set the layer FILL opacity to 0%.

To complete the shadow effect we need to apply the following 4 layer styles.

And the result

Step 65: Creating Lid Perforation Lines

Next we'll create the perforation lines that tear open when the pull-tab is peeled forward. Create a new layer named perforation one and use the photo to trace out the perforation shapes, then fill them with black and set the layer FILL opacity to 0%.

Apply the following layer style settings.

And the result.

Step 66

The next element will be the final detail for the lid. Lets create a new layer named pressure and trace out the outline surrounding the pull-tab and perforation lines. When the selection is done fill the result with black and set the layer FILL opacity to 0%.

Now we'll apply the following layer style settings.

And the result.

With the internal structure of our lid complete, we can stop recording and turn our pull-tab layers back on as well as the exterior rim layer name rim shape, shown in purple. With the layers now visible, restart the recording.

Step 67: Finalize Rim Details

The can lid looks pretty good but there are still a few items missing such as the flat portion of the rim. With the layer rim shape selected, create a new layer named rim edge and with the oval tool feather radius set to 4px we will trace out an oval that is just a few pixels wider than the layer inner rim. When the selection is complete, fill the result with black and set the layer FILL opacity to 0%.

Now lets apply the following gradient layer style using the following values.

And the result. Notice that the ends are dark but we have a slight highlight which has formed near the center edge. Overall we have given the rim some thickness which has so far been lacking.

Step 68

Next we're going to add some realism to the can to make the metal appear reflective. Create a new layer named specular highlight and trace out the wedge shaped highlight in the can photo with the lasso tool set to a 3px feather. When the selection is complete, fill the result with black and set the layer FILL opacity to 0%.

Now we will apply a radial gradient fill using the following values.

And the result. As with the inner rim highlight, a radial gradient provides a nice bright core at the center of our shape which tapers off in brightness towards the edges.

Using the exact process above, create a new layer named specular highlight two and create an opposite specular highlight for the other side of the rim.

Step 69: Colorizing the Lid

Next is the lid color. We want to create a layer that the end user of our action can easily access and change the color for whatever their needs are. Create a new layer named can lid color above the group inner rim mask. Trace out the shape of the can rim and fill the selection with black, then set the layer FILL opacity to 0%.

Now we are ready to apply the color overlay to our shape. However at this point we will need to stop recording and replace the photo in the background layer with the original can photo so we can pick a color from it. Once the photo is updated, resturn to the can lid color layer and restart the recording.

And the result. Anyone who needs to modify the yellow can lid can now do so in 2 layers, the layer we just created and the one inside the pull-tab.

Step 70: Prepare the Can Body

Next is the can body. Our source texture layer is currently hidden so we need to stop recording, turn on the layer visibility of both the source layer and the can shape layer. Doing this will obstruct our view of the can photo which is ok, we do not need to see the photo at this time. Now we're going to apply a style to the can shape layer so we need to select it the layer and set the FILL opacity for that layer to 0%.

The shape of the can is under the design but a small part of the base of the can sticks out of the bottom of the final render. Lets add the following layer style to simulate the reflective aluminium at the base of the can with the following layer style settings.

And the result.

Step 71: Masking the Design

Next, we're going to select the layer source and with the marquee tool select exactly the left half of the texture and cut it to the clipboard. Notice that we cut within the guidelines we provided at the template stage of this action.

Return to the can shape layer and set the selection to that of the can shape.

Using the Edit menu, choose Paste Into. Selecting Paste Into will instantly create a mask for us and place the clipboard contents within that mask. We can see in this image that the texture is masked near the bottom of the can. Name this new masked layer can design left and UNLINK the design from the mask.

Next, lets return to the source layer and repeat the process with the remaining half of the texture. The result should be both halves laying over each other perfectly. Name this new masked layer can design right and UNLINK the design from the mask.

Now we will go to the layer can design left and select Transform > Scale from the Edit menu. We are not scaling the texture but merely using the transformation tool to move the texture to the left until the right edge of the texture lines up with the center of the can. Press Enter on the keyboard to confirm the transformation. Next, go to the layer can design right and repeat the process and align the left edge with the center of the can. The grid texture we applied to the design will help to ensure everything is perfectly lined up.

Step 72: Transforming the Texture

Now we need to transform the texture to make it appear as if it really is wrapped around the can. Click on the layer can design left and select Transform > Warp from the Edit menu. Use the handles on the left side of the warp mesh to position the texture. If we manipulate any of the handles along the right edge we risk breaking the perfect alignment we have with the other half of the design. Do not try to warp the top of the texture yet, we will do this next.

Next, with the marquee tool, select the top quarter of the can design left layer and choose Transform > Warp from the Edit menu. Using the top-left node and handle, reposition the node closer to the top of the can rim. Use the handles to warp the texture to conform to the shape of the can - the grid is our guide to ensuring that our warping is correct.

Now we'll repeat the process with the can design right. When completed, select the layers can design left and can design right and merge them together. This will bond the two layers together so that a seam does not appear down the center of the can between the two design halves when the file is scaled down.

To avoid Layer Style issues, it's good practice to recommend to your end user to flatten all the layers before they scale their final results.

The final step is to resturn the the source layer and delete it. It is no longer needed.

Final Word and Render

And the final render. Many product shot actions come with a minimal amount of highlights and shadows with the expectation that users will modify the final result to cast a longer shadow or have a light source on just one side. Keep that in mind when you hand off your actions to end users, many of the users will want your action to do the grunt work but they may have other ideas for what the final result will look like. Therefore, if you choose to add these elements keep it to a minium so that a basic user has something but that an intermediate or expert user can easily remove or modify.

As you can see, creating an Action that closely replicates product photography can be time consuming, so why do it? As a photo with a resolution of 4000x3600, the can in this tutorial represents a 32MB uncompressed file (7.5MB LZW compressed tif). However, as an Action these can be as small as 60k making them much easier to provide to clients and users over the Internet or via email (imagine the saved bandwidth on hundreds of such Actions!). Another advantage is that Photoshop stores Actions internally in the Actions palette so you don't have to manage a series of bloated documents on a hard drive, having them stored in the Actions palette also makes them easier to access for new Photoshop users not fully familiar with the tool (new kids every day!)

But why are the dimensions so large? The recording capabilities of Actions in Photoshop are quite limited - there are no complex vector tools in Photoshop as there are in Illustrator. And for backward compatibility for CS2 through CS6 and beyond, we have to use the marquee and lasso tool for creating shapes. These are not exactly high-fidelity tools to work with and scale upwards quite poorly. Therefore we start by creating massive documents that can easily be scaled down, and that's a good thing because any errors we make are not multiplied when the final result is scaled down. Errors and imperfections are blended away, and hard edges become softer. Our final result simply looks better when it's scaled down to something we want to use on a webpage or printed magazine (at these resolutions they would even look good in an HD commercial).

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Actions are a powerful tool in Photoshop. They can be used to automate all sorts of tasks. In this tutorial we will explain how to use actions to create a 3D soda can. Let's get started! The video below will show you how the final action will work.

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I think it would be cool to try and create some environments using pixel art in 8-bit or 16-bit 80's arcade style. it would not have to be this big, and could be anything as long as the creator put a good amount of effort into it. I think this would be a great project because I think that a lot of people would enjoy it and it would teach us how how to use CS6 in a completely new way.

The tutorial is relatively old, but it still is usable.

http://www.instructables.com/id/Pixel-Art-in-ImagereadyPhotoshop/

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how to place separate photos together in a seamless manor

http://www.digitalartsonline.co.uk/tutorials/photoshop/add-eastern-twist-your-art/#1

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This gives a look at masking and how you can give your work a sense of depth using this technique, as well as layering textures and elements to help lift your piece – in this case using paper to create rock and mountain-like elements.

http://www.digitalartsonline.co.uk/tutorials/photoshop/texture-effects-for-beautiful-compositions/

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http://design.tutsplus.com/tutorials/how-to-create-a-super-retro-style-game-controller--psd-299

Create Old School joystick using this tutorial

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How to make different text effcts

http://www.companyfolders.com/blog/55-cool-photoshop-text-effect-tutorials

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http://planetphotoshop.com/using-the-dodge-and-burn-tools-2.html

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This tutorial details the creation of the tree pixel art image shown below. While the tutorial does not cover other sorts of pixel art images, the concepts learned in the tutorial can be applied to other objects. The full project could consist of the creation of many objects and putting them together in a scene or landscape. In Photoshop, the project could center around the use of adjustment layers to get many different color schemes for the similarly formed and duplicated objects. The link is this: http://design.tutsplus.com/tutorials/how-to-create-an-isometric-pixel-art-tree-in-adobe-photoshop--cms-23606

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http://www.worth1000.com/tutorials/163487/bite-me-a-vampire-tutorial

The idea is to make someones face look like a vampires face. It should take 2-3 days if you do every step and give it the best you got.

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How to draw an ink painting in Photoshop. http://design.tutsplus.com/tutorials/quick-tip-draw-an-ink-painting-in-photoshop--psd-9082

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how to create  water drenched photo images http://www.digitalartsonline.co.uk/tutorials/photoshop/create-amazing-water-drenched-photomontages/#1

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world on fire dood

http://pixeltango.com/tutorials/effects/how-to-set-the-world-on-fire-with-photoshop/

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Create a lighting effect...http://abduzeedo.com/amazing-photoshop-light-effect-10-steps

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The tutorial shows how to create this Iron Man effect: http://www.photoshoplady.com/tutorial/iron-man-view-interface-effect-in-photoshop/1091

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In this tutorial, it is going to show you how to create the Iron Man screen interface, we will use Illustrator to create some vectors and Photoshop to put everything together. Using your imagination, you can create something like the movie scene.

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Iron Man View Interface Effect in Photoshop - Photoshop Lady

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In this tutorial, it is going to show you how to create the Iron Man screen interface, we will use Illustrator to create some vectors and Photoshop to put everything together. Using your imagination, you can create something like the movie scene.

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Ashley Allen sixth period

http://www.photoshopstar.com/photo-effects/add-texture-to-skin-in-photoshop/

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this tutorial will teach you how to make a car have cool lighting effects to where it will look like light streaks are coming off the car.

http://psd.fanextra.com/tutorials/photo-effects/give-a-car-photo-super-slick-lighting-effects/

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Human Aquarium: http://free-web-design.co.cc/human-aquarium-illustration-photoshop-tutorial.html

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This tutorial shows you how to replace maybe a boring dull sky with ant sky or background you want there instead of the old one.

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Written by Steve Patterson.

In this Photoshop tutorial, we'll learn how to easily replace the sky in a photo! We'll use a basic selection tool and a layer mask to separate the sky from the area below it, then we'll learn how Photoshop's Advanced Blending sliders make it easy to hide the original sky so the new sky can takes its place!

Here's the photo I'll be starting with. I purposely chose this photo because of all the trees, with the sky poking through the leaves and branches. You may be thinking that the Magic Wand or the Color Range Command would be good choices for selecting the sky, but in this tutorial, we're going to learn how to use the Advanced Blending sliders, found in the Layer Style dialog box, to both select the original sky and hide it from view at the same time:

Here's the image of the sky I'll be using the replace the original sky in the above photo. One thing I should point out before we continue is that both of these photos have the exact same pixel dimensions (width and height). To keep things simple, you'll want to make sure that both of your photos are the same size as well, which may mean you'll need to resize one of them before moving on:

Here's what the final result will look like with the new sky added in:

I'll be using Photoshop CS5 for this tutorial but any recent version of Photoshop will work. Let's get started!
Download this tutorial as a print-ready PDF!
Step 1: Select And Copy The Original Photo

The first thing we need to do is move both of our photos into the same document so we can blend them together. With both your original photo and your replacement sky photo open in Photoshop, make sure the original photo's document is active, then press Ctrl+A (Win) / Command+A (Mac) on your keyboard to select the image. You'll see a selection outline appear around its edges. Once the photo is selected, press Ctrl+C (Win) / Command+C (Mac) on your keyboard to copy the image to the clipboard:

Press Ctrl+A (Win) / Command+A (Mac), then Ctrl+C (Win) / Command+C (Mac) to select and copy the image.

Step 2: Paste The Original Photo Into The Sky Photo's Document

Switch over to the replacement sky photo's document, then press Ctrl+V (Win) / Command+V (Mac) on your keyboard to paste the original photo into the document. If we look in the Layers panel, we see that Photoshop placed the original photo on its own layer (Layer 1) directly above the sky photo on the Background layer, which is why the original photo is now blocking the sky photo from view in the document window:

The original image is placed on a new layer above the sky image.

Step 3: Duplicate Layer 1

Photoshop's Advanced Blending sliders, which we'll be using shortly, can select and hide areas of an image based on their color, which means they should have no problem selecting and hiding the blue sky without affecting the green trees. But when we tell the blending sliders to hide areas of blue, they won't simply look at the sky. They'll look across the entire photo and hide all areas that contain blue. Remember that other colors may also contain blue, especially gray or white which contain every color, which means there's a good chance other areas of the photo will be affected by the sliders unless we first take steps to prevent that from happening, which is what we're about to do.

The first thing we'll do is make a copy of our main photo. Make sure Layer 1 is active in the Layers panel (it should be highlighted in blue), then press Ctrl+J (Win) / Command+J (Mac) on your keyboard to quickly duplicate the layer. Nothing will seem to have happened in the document window, but we can see in the Layers panel that we have now a copy of Layer 1 above the original:

The Layers panel showing a copy of the main photo above the original.

Step 4: Turn The Top Layer Off

We don't need the top layer (Layer 1 copy) for now, so click on its visibility icon (the eyeball) on the far left of the layer to temporarily turn it off and hide it from view in the document:

Clicking the layer visibility icon to turn the top layer off.

Step 5: Select Layer 1

Click on Layer 1 in the Layers panel to once again make it the active layer:

Clicking on Layer 1 to select it.

Step 6: Select The Area Below The Sky

Next, we'll draw a selection outline around the area of the photo below the sky. In other words, the area we want to protect from the Advanced Blending sliders. You can use Photoshop's standard for this if you like. I prefer using the Polygonal Lasso Tool which I'll select by clicking on the Lasso Tool icon in the Tools panel and holding my mouse button down until the fly-out menu appears. Then I'll choose the Polygonal Lasso Tool from the menu:

Selecting the Polygonal Lasso Tool.

With the Polygonal Lasso Tool in hand, I'll click around the area I want to protect to select it. For the most part, I can be fairly loose with my selection through the trees as long as I stay below any areas where the blue sky is showing through. The only part where I need to be more precise with my selection is along the top of the house, especially the area around the top of the chimney where it's completely exposed to the sky above it. The chimney and sky are very similar in tone and color which will cause problems with the Advanced Blending sliders, so I'll need to be careful and keep my selection tight around the top of the chimney:

Making sure to select only the chimney, not the sky above it.

Other than that, the selection is pretty simple. Everything I want to protect from the Advanced Blending sliders is now selected:

The lower part of the image below the sky is selected.

Step 7: Add A Layer Mask

Now that we've selected the area we're protecting, let's convert the selection into a layer mask. Click on the Layer Mask icon at the bottom of the Layers panel:

Clicking on the Layer Mask icon.

Photoshop adds a new layer mask to Layer 1, and if we look at the mask's preview thumbnail in the Layers panel, we see that the area we selected is filled with white, which means it should still be visible in the document, while the area that was not selected is filled with black and should now be hidden from view:

The selection has been turned into a layer mask.

And if we look at the image in the document window, sure enough, that's exactly what we see. The area I selected is still visible, while the area above it is now hidden, revealing the sky photo on the Background layer below it. We've replaced the sky in the original photo, but it's not looking terribly professional just yet:

The image after adding the layer mask.

Step 8: Select And Turn On The Top Layer

Click on the top layer (Layer 1 copy) to make it the active layer, then click on its visibility icon to turn the layer back on in the document:

Clicking on the top layer's visibility icon after re-selecting the layer.

The entire original photo will re-appear in the document window:

The original photo is back, for now.

Step 9: Open The Blending Options And Change The "Blend If" Option To Blue

Double-click directly on the top layer's preview thumbnail in the Layers panel:

Double-clicking on the layer's thumbnail.

This opens Photoshop's Layer Style dialog box set to the Blending Options in the middle column. What we're looking for are the two slider bars at the bottom of the dialog box, in the Advanced Blending section. Directly above the slider bars is the Blend If option which, by default, is set to Gray. Click on the word Gray and choose Blue from the list that appears:

Change the Blend If option from Gray to Blue.

Step 10: Drag The Top Right Slider Towards The Left

As soon as you change the option to Blue, the two slider bars will change from black-to-white gradients to black-to-blue gradients. You can ignore the slider bar at the bottom. The one we want is the top one (the one that says This Layer above it). Click on the small slider below the far right of the top bar and begin dragging it towards the left:

Dragging the right slider towards the left.

As you drag the slider, you'll begin to see the original sky in the photo disappearing, revealing the replacement sky underneath. Notice that the area we selected back in Step 6 is not being affected by the slider. Only the sky itself is disappearing. Continue dragging the slider towards the left until most of the original sky is gone:

Dragging the slider causes the original sky to disappear.

Step 11: Adjust The Transition Between The Photos To Remove Fringing

The only problem now is that we're seeing a lot of harsh edges and fringing around the trees and leaves, which is color that's left over from the original sky. To fix that, we need to soften the transition between the two photos, and to do that, we need to split the slider in half.

Release the slider for a moment, then press and hold your Alt (Win) / Option (Mac) key on your keyboard. With the key held down, click back on the slider and continue dragging it towards the left. This will split the slider into two halves that we can now drag independently of each other (you can release your Alt / Option key at this point). We can adjust the softness of the transition between the original photo and the replacement sky photo by increasing or decreasing the distance between the two halves of the slider.

Keep an eye on your image in the document window as you drag each half of the slider left or right until all of the fringing around the trees and leaves (and anywhere else you happen to notice fringing) disappears:

Adjust the space between each half of the slider until the fringing around the trees is gone.

When you're done, click OK in the top right corner of the Layer Style dialog box to close out of it. Here's my final result after removing the fringing:

And there we have it! That's how to easily replace the sky in a photo using a simple selection, a layer mask and the Advanced Blending sliders in Photoshop! Check out our Photo Retouching section for more Photoshop image editing tutorials!

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How To Replace The Sky In A Photo With Photoshop

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Written by Steve Patterson. In this Photoshop tutorial, we'll learn how to easily replace the sky in a photo! We'll use a basic selection tool and a layer mask to separate the sky from the area below it, then we'll learn how Photoshop's Advanced Blending sliders make it easy to hide the original sky so the new sky can takes its place!

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How to create an aging effect on a colorful abstract poster.http://www.tutorial9.net/tutorials/photoshop-tutorials/create-a-colorful-aged-poster-with-special-lighting-effects/

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This Tutorial will teach how to add different lighting effects in Photoshop using brushes, the Lasso tool and adjustment layers. The goal is to create an image with a deep blue/magenta cast, in keeping with the cold outer-space backdrop.

http://www.digitalartsonline.co.uk/features/illustration/61-best-photoshop-tutorials/#3

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Create a speeding car scene with light affects. http://slodive.com/photoshop/cool-photoshop-effects/

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To give a paint splatter effect to a picture. http://alfoart.com/unreal_roses_bouquet_1.html

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Making Captain America's shield in photoshop. http://abduzeedo.com/captain-america-shield-photoshop

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Colouring Inked Artwork

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Digital colouring techniques for hand-inked artwork

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Illustrator Tim McDonagh shows how Photoshop can be used to add colour and depth to your inked artworks

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Designing a high-tech power button.

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With this tutorial we will create a hi-tech style button that can be used in splash pages, applications or Powerpoint presentations. We will use Illustrator to create complex vectors and Photoshop to develop realistic effects.

Step 1

Using Illustrator we create a rectangle with the size shown. With the Rectangle tool we click on the work area and a window will appear that will allow us to determinate the exact sizes for the object. I recommend to set Illustrator preferences using pixels as measure unit.

Step 2

We place a guide as a reference for horizontal alignment. Using the Plus Pen tool (to add anchor points to an existing vector) we add one extra anchor point in the upper side of the rectangle.

Step 3

Now we select this new anchor point and take it higher than the line and we separate the lower anchor point from each other to obtain an object with this approximated shape.

Step 4

With the anchor point handles we use the upper point as an axis for a soft curve.

Step 5

Now we have to get two more objects that will integrate a three point object. We rotate this vector using its central bottom part as rotation axis. To start we select the Rotation tool and click on the bottom part. Then we will see the cursor change into a little black arrow.

Step 6

Pressing Alt key (that it is used to duplicate -you will see the black arrow together with a white arrow), we drag the object. We use the Information window to rotate the duplicated object a certain amount of degrees. Considering this is a three point object, we must divide 360° for this number (3), so our duplicated vector must rotate 120°. Drag it until you see this approximated number in the Info window.

Step 7

Pressing Ctrl+D (Windows) we automatically duplicate what we have done. So this vector will be duplicated again at 120°.

Step 8

We unite these objects into one. In the Pathfinder window we unite the vectors: click the Unite option and click the Expand button to convert the group into one solid object.

Step 9

Now we round the corners of this object. Go to Effect > Stylize > Round Corners.

Step 10

Set a 10 pixel Radius and preview the result by checking the Preview option box. The Radius depends on the curves amplitude you have drawn in the main object. With the Preview option you will realize if the Radius softens correctly the corners: if the amount of pixels is excessive the object will look distorted and not softly rounded.

Step 11

Now let's separate the appearance (the created effect) from the original vector. Go to Object > Expand Appearance and obtain the final vector.

Step 12

This is the result of our work with vectors in Illustrator. It is a complex object to be done manually and this is why we use some techniques to achieve a symmetrical and ergonomic vector.

Step 13

As our button will have an inner insertion -some kind of assembled object in the frontal part- we will repeat the previous steps but this time with a much smaller and shorter object.

Step 14

Following exactly the same steps from Step 1 to Step 12, we create this new object. The rest of the vectors can be created manually or in an automatic way without so much complexity.

Step 15

We create just one half of a new object and then we reflect it to make it symmetrical. Please follow carefully the steps you see on this graphic.

Step 16

Using the Reflect tool we duplicate the object keeping the Shift+Alt keys pressed.

Step 17

Now we unite both halves using the Pathfinder tool. You can erase the remaining anchor points of this union with the Minus Pen tool.

Step 18

We use the same duplication method described before, rotating the object 120° to obtain also 3 identical objects and evenly distributed.

Step 19

Finally we create a simple circle, a vector that will be used as LEDs that will light up the button in its hover state. We will finalize the editing in Photoshop to add shaped layers masking techniques.

Step 20

Now we select all the vectors and pressing Ctrl+C (Windows) we copy them into the system clipboard.

Step 21

We close Illustrator and we open Photoshop. We create a .PSD of 1024x768 pixels and this initial configuration.

Step 22

We paint the initial layer in black. Then we apply a layer style to create a background gradient.

Step 23

Using dark grey and black colors, we create a Radial gradient and take it to its maximum scale (130-150%). Please remember that in this layer style window you can drag the gradient to take its center to the place in the screen that you wish.

Step 24

Now we paste the vectors as Shape Layers. Ctrl+V or Edit > Paste.

Step 25

We have the vectors in one Shape Layer and we must separate them in different layers. Let's duplicate as much layers as parts we have got -4 in this case- and eliminate the unnecessary objects on each of them leaving the shape we are interested in.

Step 26

The order of the layers is the one you see in the picture and do not forget to name every layer to organize better your work. Some layers will be added to these ones that will be created completely in Photoshop. We will add layers styles to our main button.

Step 27

Making a double click on the layer at the main button window, we open the Edit window of this layer styles. On "Blending Options: Default" we take the opacity of this layer to zero in order to see only our layer effects. We start by adding a circular gradient using the same background colors #333333 (dark gray) and #000000 (black). Make sure this gradient is soft from the center to the edge, increasing its size up to 120%.

Step 28

With an inner shadow and unclicking the Use Global Light option (that we will ALWAYS use at 90°) we invert this shadow, dragging the angle editor of the shadow to -90°. This will help us to reinforce the bottom area shadows. .

Step 29

We have concluded the first part of the button editing process. We now have ready the frontal part of it that has an opaque surface that we will later add gloss and pseudo 3D extrusions.

Step 30

Now we create a chromed stroke around the button. We add a 3 pixel Stroke with Gradient type fill. We add some more details to this gradient inside the stroke. We reproduce a chromed metal reflective surface where we use the resource of reflecting the horizon and the sky of an outdoor stage.

Step 31

We apply the Reflected style to the gradient to enlarge the amount of chromed reflections. By turning the angle of the gradient we place the lighter areas where we wish to. In this case the maximum brightness should be seen in the upper area of the stroke.

Step 32

Now we make the chromed surface more complex by adding more lights and shadows details to the metal. With Bevel & Emboss and the Gloss Contour you see in this picture we add more little details to the surface.

Step 33

With Inner Glow we add an inner beveled edge to the button as if it was 3D, trying to make sharper the merge with the object's background.

Step 34

Now we need a selection to paint some details manually over the button. The first step is to use the shape layer of the button and obtain a selection that will be used as a mask for it to be painted. Go to Paths window and select the button layer to create a selection with the same shape.

Step 35

Now we contract the size of this selection by going to Select > Modify > Contract. We reduce 10 pixels the selection from its original size.

Step 36

Now we soften the selection. Go to Select > Modify > Feather or Alt+Ctrl+D (Windows). We apply 1 pixel feather and press OK.

Step 37

We hide the selection using Ctrl+H to visualize better what we will do. With the Brush tool, using a 35 pixel brush and a 10% Flow, we paint inside a new layer some light reflections over the button, using white color. As the light of our scene comes from above, we will apply more brightness to the upper area of the button and we will enhance with little light spots some dark areas in the bottom part of the object.

Step 38

Still holding our selection (which will become visible again with Ctrl+H) we reduce it some pixels to erase a little of the work we have done with the brush and achieve a more sophisticated effect. This time we contract 3 pixels the selection.

Step 39

We hide this selection again by using Ctrl+H and pressing the Delete key we erase some parts of our previous brush traces. This allowed us to paint manually and then polish our work creating a beveled edge area that reinforces the 3D aspect of the button and giving a plastic texture to its surface.

Step 40

We ended the button structure. Now we must create an insertion on its center. The first step is to bring the shape layer opacity to zero (0%).

Step 41

Let's create a new Inner Shadow in the inverted angle just like we did before for the main button. Make sure to add the values you see in this picture.

Step 42

Now a little Stroke will represent a bevel between both objects.

Step 43

The following step is a Drop Shadow used as a lighted surface by the Blend Mode Screen and the white color. The size of this light must be 2 pixels to make it very sharp, as if it was a beveled edge that receives some light from above.

Step 44

Finally with an Inner Glow we recreate the beveled edge of the inner button. This makes the observer interpret this object as a little beveled edged panel that is meshed inside the main button.

Step 45

We are done with the main button. Actually it is not a button placed on a background: through some additional effects it will be seen as an inset of the background surface, that has a metallic stroke around and that contains a button inside that can be pressed down.

Step 46

Now we create the Power icon of the button. Download this free font: http://www.dafont.com/guifx-v2-transports.font . You will be able to create this object by using the "q" key and this font in 48 points.

Step 47

In this picture you see how we can add an external beveled edge to the icon, using a 3 pixel stroke of the same color than the button surface and then applying the Stroke Emboss effect with these values.

Step 48

The Stroke Emboss effect as an option to create a beveled edge will allow us to create the beveled effect of the icon on the background.

Step 49

Finally we add a metallic texture to the icon using a gradient as you can see in this picture.

Step 50

Now we create 3 leds that will light up the button when we place the mouse over it. The first step is to give the Shape Layer the color #06B9FB, doing double click on it to edit its color.

Step 51

Using the Shape Layer of the main button we create a selection.

Step 52

We expand the size of this selection by going to Select > Modify > Expand.

Step 53

We set an 8 pixels expand and we press OK.

Step 54

We invert this selection by using Select > Inverse.

Step 55

With this inverted selection we create a mask to obtain the final shape and size of the leds around the button.

Step 56

With a Stroke with same color of button surface (use color picker to get it) we create a small bevel around these lights. This will allow us to give the idea of an inserted object on the background surface.

Step 57

With Bevel and Emboss we give an upper shadow and a bottom light to our Stroke (as if the light from above would impact on these beveled edges).

Step 58

With an inverted Inner Shadow and Multiply we create an acrylic reflection over the upper area of these leds.

Step 59

We finalize the edition of these objects with a Drop Shadow that allow us to give the idea that these details in the button design change the background surface, pressing it down and creating shadowed areas around them.

Step 60

This is how our button looks like by now, but there are still some effects missing.

Step 61

We will duplicate the layer of the previous LEDs and paint this new Shape Layer in white. We start to create the light up led effect with Outer Glow and these values.

Step 62

We add the lighting of the area near the leds using Drop Shadow on Screen Blend mode.

Step 63

The Rollover state of the button it's done. Now, by using a selection with 20 pixels Feather inside the new layer we make the background to have a convex appearance behind the button as if the background would come out from its center creating a soft 3D ball that will react to the above light.

Step 64

We paint this selection in white, previously softened with a 20 pixels feather. You can use the Paint tool or the keyboard shortcut Alt+Backspace that paints the layer with the color you are using as Foreground.

Step 65

We set the opacity of this sphere on zero (0%) in the Layer Styles edition window.

Step 66

Now with a gradient at 50% transparency and Blend Overlay (using white and black colors that are set by default in the gradients editor) we reach this spherical sensation on the button background.

Step 67

Now we are finished with the button and all its details. We just need to create some beveled edges on the background using the symmetrical vectors created in Illustrator.

Step 68

As always we take the opacity to zero.

Step 69

With a Stroke and these values we create the bas-relief of these bevels in the background.

Step 70

With white Drop Shadow and Blend Screen, we create the lighted up area of these beveled edges.

Step 71

Finally we hide a part of these beveled edges with a 20 pixels softened mask. The idea is that these would merge softly with the background and disappear towards the corners.

Conclusion

It was a long ride but the results were worth it. The final touch is a little lens flare over the upper bright area of the chromed edge. Always save a .PSD file with these resources that provide a realistic and photographic effect to reflective objects. You can view the final image below or view a larger version here.

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How to Create a Highly Detailed Hi-Tech Power Button

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With this tutorial we will create a hi-tech style button that can be used in splash pages, applications or Powerpoint presentations. We will use Illustrator to create complex vectors and Photoshop to develop realistic effects. Using Illustrator we create a rectangle with the size shown.

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this is a tutorial on how to make a human slash cyborg image.

http://www.digitalartsonline.co.uk/tutorials/photoshop/cyborg-revealed/

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Software How-To articles, brought to you from the experts at Tech Advisor, the trusted source for consumer tech info and advice.

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Create a Stunning City Skyline Made of Text
http://www.photoshoplady.com/tutorial/making-a-text-based-on-a-city-skyline/10853

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How to create a colorful scene with flowing lights.

http://photoshoproadmap.com/video-tutorials/yt/dNqt4Urw__c/

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How to mold paint splatter to a face.There's a video and written down way to do it.

http://design.tutsplus.com/tutorials/how-to-mold-paint-splatter-to-a-face-in-photoshop--psd-3314

http://design.tutsplus.com/tutorials/how-to-mold-paint-splatter-to-a-face-in-photoshop-screencast--psd-4022

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In this tutorial, we'll learn how to take splattered paint Photoshop brushes and apply them to the contours of a model's face. This is a relatively simple technique, which yields excellent artistic results. Let's get to it!

Final Image Preview

Take a look at the image we'll be creating.

Video Tutorial

Our video editor Gavin Steele has created this video tutorial to compliment this text + image tutorial.

Preparation

First thing you will need to do to create this effect is find some nice paint splatter/spray brushes. For this particular piece I used brushes from Brusheezy: 842-Splatter. You'll also need an image to apply this to. In this case, I shot this image myself.

Step 1

Copy the background and paste it onto a new layer. Rename the new layer Subject and turn the background layer to white.

Create a new layer labeled "Extra Skin." Then using the Clone Tool, Alt-click on other parts of the face that best match the color of skin you want to copy. I suggest using a soft brush to blur out the edges.

For this I usually just play around with the Cloning Tool until I get close to something that looks right. This may take some experimentation, as you have to pay close attention to the light source in the photograph. To see a more in-depth tutorial on the cloning tool you can visit this page on Psdtuts+.

Step 2

Once we have covered all the facial features, select the "Extra Skin" layer and the "Subject" layer, then press Command + Alt + E on to merge the layers into a new layer. Rename this layer "Faceless Subject."

Step 3

Now we can start building our paint splatter area. Create a new layer and call it "Paint map." Select the Brush Tool and start to paint out the area you want the paint splat to appear in. This is where your paint splatter/spray brushes will come in handy.

It doesn't matter what color you use; here I have chosen yellow (#ffc924). It also helps to lower the opacity of this layer so that you can better line up the splats over the subject's face.

Make sure that you only paint where you want the splatter to occur, you may have to paint/mask/erase a bunch to get a nice paint splatter. Take your time with this Step; it may be the most important one of the process.

Step 4

Once completed you will want to get rid of any layer masks by right-clicking on the "Paint map" layer and selecting Convert To Smart Object. After that, change the layer style of the "Paint Map" layer to Overlay. You should now have something that looks similar to the picture below; keep in mind that no two paint splatters will be exactly the same.

Step 5

Next create a new layer under the "Paint map" layer, and name this layer "Extra Skin 2." With this layer selected Command-click the "Paint map" layer to select the paint splat you have created. Next click on the Add Layer Mask button at the bottom of the layers palette.

Step 6

Turn the visibility of the "Paint map" layer off. With the "Extra Skin 2" layer selected, grab your Cloning Tool again and start copying portions of skin into the area that has no skin.

Again try to match the lighting of the photo; you are basically creating an extra skin layer that will become paint once colored. I find it helpful to turn off the Aligned option for the cloning tool in the top tool bar.

Step 7

Once you've created a nice splatter area made from skin, turn the visibility of your "Paint map" layer back on. You should have something that looks like the image below.

Step 8

Create a new layer above the "Extra Skin 2" layer and name it "shadow." While holding down the Alt key, click between the "Extra Skin 2" layer and "shadow" layer to clip it.

Step 9

Grab a big, soft brush and paint some black to amp up the shadows needed for the "Extra Skin" layer.

Step 10

Turn the opacity of the "shadow" layer down to around 75%.

Step 11

Create a new layer above the "Faceless Subject" layer and name it "Paint Background." With the foreground color set to black, start painting some paint splats with the splatter brushes.

Step 12

All we have to do now is add a little bit of shadow to create the illusion the paint is lifted off the face. First create a new layer and name it "Shadow 2," then Command-click on the "Paint Map" layer to select it. Making sure you are still on the "Shadow 2" layer, fill the selection with black.

Step 13

Making sure the selection is still active, click on the Create Layer Mask button on the the bottom of the layer's palette.

Step 14

Select the mask for the "Shadow 2" layer and invert it by pressing Command + I, or going to Image > Adjustments > Invert. This should invert the mask and hide the black area we just filled.

Step 15

Disable the link between the mask and the shadow paint by clicking on the chain between the layer icon and the mask, as shown.

Step 16

Make sure the paint portion of the "Shadow 2" layer is selected and go to Edit > Transform > Warp.

Slightly adjust the shadow so that it peeks out from behind the paint splat. Depending on how much you want the paint to appear lifted, you can adjust it a lot or a little. Once you have the shadow right where you want it, apply the change.

Step 17

You are bound to have some unwanted shadow from the "Shadow 2" layer; to clean it up, simply paint over what you don't want in the layer mask.

Step 18

Lower the opacity of the shadow to around 72% and you should be all set!

Conclusion

The final image is below. Enjoy applying these techniques in your own work! If you want to take a shortcut with applying special effects in Photoshop, check out the range of Photoshop add-ons available at Envato Market.

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How to Mold Paint Splatter to a Face in Photoshop

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In this tutorial, we'll learn how to take splattered paint Photoshop brushes and apply them to the contours of a model's face. This is a relatively simple technique, which yields excellent artistic results. Let's get to it! Take a look at the image we'll be creating.

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How to make a psychedelic picture

http://photoshoproadmap.com/quick-and-simple-worn-out-psychedelic-poster-in-photoshop/

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Adobe Photoshop offers a lot of ways to apply color effects to your images. But maybe the Gradient Map adjustment layer is the most flexible and easy to use of them all. With this tool you can apply one of the many great sample gradients provided by Adobe in the standard Photoshop installation. you can create all kinds of color or artistic effects with just one click. And believe me, many, many of them are really outstanding.

In this tutorial we are going to create a psychedelic poster with just an image, a gradient map and a texture.

Download the base image. Author: Benjamin Portland. check the usage rights here.

Now, go to the layers palette and click on the ADJUSTMENT LAYERS icon. Select GRADIENT MAP from the list.

A new adjustment layer will be created using the default gradient map. Now, go to the Adjustment layers palette and 1) Click on the gradients pulldown menu 2) Click on the gradients palette options icon 3) Select Spectrums from the bottom of the pulldown menu. Click on Append when requested. 4) Select the color spectrum gradient marked in the image below.

The gradient will be applied to the image giving it a psychedelic style

This is all you need to give a psychedelic look to your image. Let's now wear it out a bit. Go to the Adjustment Layers icon and choose Hue/Saturation adjustment layer. Then, go to the Hue/Saturation palette and move the Saturation control a bit to the left. -30 is fine. Ugly, isn't it? Don't worry. Let's move on.

Now let's add a creased grunge paper texture to the image. Download this paper texture by Spiketheswede from Deviant Art. Read the usage rights before using it in any project.

Open the image you just downloaded. Do not paste it into the project file yet. Keep it in a separate file.

You will notice that it is a bit large (1700 x 2246px). So, let's resize it to 1000 x 1321px using IMAGE > IMAGE SIZE... menu command.

Now that it has been resized, copy the image and paste it into our project. Move the texture until the creases are somewhat symmetrical.

Then set the layer blending mode to Overlay and the opacity to 50%.

Since the texture was a bit light, the colors lost visual impact. Let's add the final touch creating a new LEVELS adjustment layer right above the texture. Set the black point to something like 25. This will give a better contrast to the image.

This is the final result:

The main color effect was based only in the gradient map layer. The rest of the layers were used to fine tune the result. Since we used Adjustment Layers you can keep on tweaking the image to get different effects.

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Quick and Simple Worn Out Psychedelic Poster in Photoshop

# data[].attributes.attachment_link.description
Adobe Photoshop offers a lot of ways to apply color effects to your images. But maybe the Gradient Map adjustment layer is the most flexible and easy to use of them all. With this tool you can apply one of the many great sample gradients provided by Adobe in the standard Photoshop installation.

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http://abduzeedo.com/super-cool-watercolor-effect-10-steps-photoshop

How to create a water color look to go with your pictures.

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how to crack and peel peoples face!

http://planetphotoshop.com/cracking-and-peeling-face-effect.html

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Each time I see an image where someone has blended a dramatic texture, such as peeling paint, with a face, the surprising juxtaposition stops me in my tracks. When a scene elicits such strong emotion, I can barely wait to reverse engineer it and share the secrets. In today's tutorial, we'll explore the techniques necessary to create a striking crack-n-peel face effect.
Step 1: Open a Headshot
Open a close-up image of a face. For the most impact, choose a subject with light skin that will contrast well with dark cracks.
Step 2: Import a Texture
Open an image of peeling paint or cracked mud. For best results, pick one with dark cracks on a light surface.

Press Command-A (PC: Control-A), then Command-C (PC: Control-C) to copy the texture. Activate the face document and press Command-V (PC: Control-V) to paste the texture.
Step 3: Blend the Texture
In the Layers panel, change the mode to Multiply. Notice how this change appears to apply the cracks directly to the face (and everything around it).

Press Command-T (PC: Control-T) to activate Free Transform. Scale and rotate the texture until it covers all skin areas in an appealing way.

Press Return (PC: Enter). If the Adjustments panel is not open, choose Window>Adjustments. While pressing Option (PC: Alt), click on the Levels adjustment layer icon. In the New Layer dialog, check the Use Previous Layer to Create Clipping Mask box to link the Levels adjustment with only the texture layer below. Press OK. Drag the Shadows and Highlights Input sliders inward to add contrast to the cracks.

Step 4: Distort the Texture
In order to contour the cracks to the face, we'll use the Liquify filter. Activate the texture layer and choose Filter>Liquify. Activate the Forward Warp tool in the upper left corner. Set the Brush Density to 25 and the Brush Pressure to 100. Check the Show Backdrop box and set the Opacity to 35. Experiment with brush size and paint short, deliberate strokes anywhere where the texture should contour to the face, such as along the nose. Keep the adjustments subtle.

Press OK.
Step 5: Mask the Texture
Now we'll hide the texture from non-skin areas. While pressing Option (PC: Alt), click the Add layer mask icon at the base of the Layers panel. This adds a black-filled mask. Activate the Brush tool, establish white as the Foreground Color, and set the opacity and flow to 100%. Paint over all skin areas except the lips and nostrils. Be careful to avoid eyebrows and lashes.
Step 6: Sharpen the Texture
The cracks in my example are already fairly sharp, but a touch of sharpening will enhance them a little. Zoom the image to 100% magnification. In the Layers panel, activate the texture layer thumbnail and choose Filter>Sharpen>Unsharp Mask. Depending on image resolution and the desired amount of sharpening, set the Amount somewhere between 50 and 150, the Radius between .6 and 1.5, and the Threshold to 4.

Press OK.
Step 7: Add Drama
As a final step, we'll use a nifty trick to add dramatic lighting to the subject. Activate the top layer. While pressing Option (PC: Alt), choose Layer>Merge Visible to create a composite layer at the top of the stack. Choose Image>Adjustments>Desaturate. Change the blend mode to Soft Light and watch as the lighting becomes more interesting. If the effect is too strong, reduce the layer's opacity.

Here's the image before adding the cracks.

And here it is after.

Mark S. Johnson Photography
msjphotography.com

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Cracking and Peeling Face Effect - Planet Photoshop

# data[].attributes.attachment_link.description
Each time I see an image where someone has blended a dramatic texture, such as peeling paint, with a face, the surprising juxtaposition stops me in my tracks. When a scene elicits such strong emotion, I can barely wait to reverse engineer it and share the secrets.

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How to make a person a "zombie"

http://www.photoshopstar.com/effects/turn-a-portrait-into-a-zombie/

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Make a 3D Can

http://www.photoshoplady.com/tutorial/design-a-3d-can-of-coke/7922

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How to Turn Humdrum Photos Into Cinematic Portraits
http://design.tutsplus.com/tutorials/turn-humdrum-photos-into-cinematic-portraits--psd-2809

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cool water effect

http://www.photoshopessentials.com/photo-effects/water-reflection/

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Add a fantasy effect to a picture

http://www.digitalartsonline.co.uk/tutorials/photoshop/fantasy-light-effects-in-photoshop/

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create a partial color effect

http://planetphotoshop.com/partial-color-effect.html

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Create a fantasy-horror scene in photoshop. Find your own pictures.

http://www.wegraphics.net/blog/tutorials/photoshop/create-a-fantasy-horror-scene-in-photoshop/

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Create an Eerie Eye Photo Manipulation in Photoshop

http://www.photoshopstar.com/photo-effects/eerie-eye-photo-manipulation/

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how to make an impressionist painting from a photo.

http://www.psawesome.com/tutorials/how-to-make-an-impressionist-painting-from-a-photo

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How to Add Light and How to Darken Landscape Images

http://www.photoshopstar.com/photo-effects/light-and-how-to-darken-landscape-images/