Welcome to the 2nd session of creating a space ship in 3dsmax 2010. In this session we will go over mirroring, welding and other various detailing elements including the thruster system and decals. This tutorial should be used as a guide to create and design your own space ship.

I hope you enjoy this session.

Author: Ryan W. Knope

Ryan W. Knope is a freelance 3D / 2D Artist / Consultant with 13 years experience in the 3D and 2D industry. His main artistic love lies with interior and exterior rendering although he takes on just about every type of graphics work. Recently he has directed and created most of the artwork for the game "Lacuna Expanse".

Ryan is also the architectural / interior voice for 3D Artist Magazine’s Question and Answer Panel. He lives with his wife Krista, in sunny Denver, Colorado.

Tutorial Details

• Programs: Autodesk 3dsmax 2010
• Difficulty: Medium (Prior Knowledge of 3dsmax interface and tools is a plus.)

Supplied Data

• .MAX Zip: spaceship-session2.zip (Only to be used for educational purposes)

Step 1: Where We Left Off

At the end of the last session we had loosely modeled both sides of the ship, then started refining one side, while leaving the other side basic. We also added detailing with the "Greeble Plugin" on one side. The engine bay was left open in back for placement of a thruster system later on.

Step 2: Fine Tuning Vertices

To start with, we need to go over the active side of the model (The side we will use) and make sure that the base is what we want it to be. The last thing you want to do is to have to go back and edit a ton of vertices on both sides of the ship independently to fix problematic inaccuracies making the ship sides different in design.

Check over the model and make sure vents, inlets, and all other items are modeled the way you want. Try to remove any pinching by moving vertices so that faces do not cross.

Also soften any edges you wish to, via the chamfer tool in edit poly, vertex or face modes. This can be done at any point, but is easier when only doing half of the model.

Step 3: Slice Plane – Cutting In Half

Here we have to find the center point and cut the model in half. We will do this using "Slice Plane" under edit poly with "Element Mode" activated. Make sure that you have the "Angle Snap Toggle" activated, because you may need to rotate the slice plane. This will ensure that the cut is perfectly vertical.

Once the slice plane is located perfectly center click the "Slice" button.

Step 4 – Deleting The Other Half

Select the un-needed half with "Polygon" Selection mode activated. This part can be tricky and you may have to zoom in very close to the model to make sure that you have all of that sides faces selected. Once fully selected, press delete.

Double check to make sure you have a clean mid section and delete any random faces that might be sticking out.

Step 5 – Mirroring

Now that we have cut our model in half we need to mirror the model and match them together so that we can weld the center vertices in the next step.

Select the model and SHIFT + Move and create a copy. Now mirror the copy along the, axis in the front viewport. Move the mirrored copy to match / touch the other side, zoom in and get it as closely matched as possible.

Step 6 – Welding Vertices

Now that we have the centers matched, we can attach and weld the 2 models together to create 1 mesh / element.

Hide all objects except the 2 sides we are working on. Select side 1 and under edit poly hit the "Attach Dialogue Box" button. This will bring up a list of objects to attach. Pick Side 2. Now the 2 sides are the same model, but different elements.

Next, with vertice selection mode activated, scroll down and hit the "Weld Dialogue Button". This will bring up the weld vertices entry box, as shown below. Since I built this model to scale, or close to it, 3 inches is a very small distance. If you built your model out of scale, you will need to change your threshold accordingly.

You should see the number of vertices change as matching doubles become 1. Test render the newly welded model to make sure you didn’t over or under weld.

Step 7 – Editing And Adding Base Items

Now that we have 2 sides that match, you can extrude and detach panel faces and apply the greeble plugin to them. Do this using the same methods we used in session 1. You can also use "Soft Selection" to edit the shape of the ship in a more organic manner. It is best to do this by selecting both parallel faces (Same face on both sides).

Below you can see the result of detaching and adding more details with Greeble and creating side windows.

Step 8 – Thruster Overview

Below you can see the thruster both assembled and disassembled. Each piece was started as a basic object from the create panel. Then I used "Edit Poly" to change the shaping accordingly.

The wires were created from renderable splines. The front turbine area was created in the same manner, then using edit poly I enlarged the front area. You could then instance the turbine nodes manually or use the array or spacing tools.

I won’t delve into the creation of this too much. The methods employed should be a lot more self explanatory once seeing the exploded view below.

Step 9 – Adding Decals – The Overview

There are a few different methods for adding decals or graphics to the ship. You could unwrap and texture the entire body of the ship, which I will not cover as it is tedious and does not need to be done with this type of model. You could add a ship name or number with the text tool. Finally you could extract a set of faces and apply a material that includes a diffuse and opacity map. This I will cover.

Below, you can see the product of adding the decals.

Step 10 – Adding Decals – Creating The Faces

To create the decal geometry, go into edit poly "Face" mode and select the faces that you want the decal on. In this case it is the back wing. SHIFT + Move this face out just ever so slightly, you will now see the "Clone Part Of Mesh" dialogue. Make sure you pick "Clone To Object" unless you want to use a "Multi / Sub Object Material".

Now that the decal object is created, we need to create the material for it.

Step 11 – Adding Decals – Materials And Maps

For the decals I will be using an "Arch + Design" material. This material should include diffuse (Color) and Cutout (Opacity) maps. Notice the difference in the maps. With opacity maps, Black = 0% visibility.

Step 12 – Adding Decals – UVW Maps

Now you need to add a UVW map for each of the decal objects, otherwise the material will not show up in the proper location. Select one of the decal objects, hit the down arrow at the modify panel and select "UVW Mapping" from the modifier list. Use Planar Mapping.

You may need to change the alignment axis as shown below.

You will most likely also need to rotate the "Gizmo". To do this click where is says "Gizmo", under UVW Mapping and use the rotate tool to fit it properly to the object.

Changing the length and width will most likely need to be done as well.

Step 13 – Hatch Detailing – Detaching

This step is pretty simple. Under polygon selection in "Edit Poly" select the hatch faces, and hit the "Detach" button. This will separate this area from the rest of the model, creating a new object.

This new object will later have a different material.

If you do not want to separate the object for material purposes then you can also use a different material ID and use a "Multi / Sub Object Material".

Step 14 – Hatch Detailing – Extrude

I wanted to add just a bit of depth to the hatch detailing. I did this by extruding a short distance. After extruding I added the darker brushed metal material that we created in the last session..

Step 15 – Vent Details

For the vents I simply added boxes matching the curve of the vent. I did this for both front and back vents. Then I added an "Arch + Design" Material that was a complete default setting other than changing to diffuse color to black.

Step 16 – Conclusion

Over the past 2 sessions we have went from a box to a detailed space ship. The many items covered can be applied to a multitude of different objects. When going through any tutorial, try to think of where tools and topics could have been applied in the past models that you have created, along with the models you plan to create in the future.

On an object such as this I could go on detailing for days and days. Remember that depending on the time line and project pipe line, this process will not work for every project. In-Game models will require a very different method.

I hope you enjoyed this session along with learning a little. Thanks for reading.

-Ryan W. Knope

Related posts:

1. Creating A Space Ship In 3DS Max
2. Creating A Detailed Master Plan Rendering – Part 3 – 3D Studio Max and Photoshop
3. Creating A Detailed Master Plan Rendering – Part 4 – 3dsmax and Photoshop

Here we will be begin to cover the modeling of a space ship in Autodesk 3ds Max. This is part 1 of a 2 part series. In this installment box modeling, soft selection, plugins and the use of modifiers will be covered. A general understanding of 3ds Max is needed for this tutorial. Topics covered in this tutorial can be applied to modeling a wide array of objects.

In this tutorial, I start by modeling both sides of the ship. About half way through, I stop modeling the other side of the ship, because we will mirror the other side, making it match perfectly.

Author: Ryan W. Knope

Ryan W. Knope is a freelance 3D / 2D Artist / Consultant with 13 years experience in the 3D and 2D industry. His main artistic love lies with interior and exterior rendering although he takes on just about every type of graphics work. Ryan is also the architectural / interior voice for 3D Artist Magazine’s Question and Answer Panel. He lives with his wife Krista, in sunny Denver, Colorado.

Tutorial Details

• Programs: Autodesk 3dsmax 2010
• Difficulty: Medium (Prior Knowledge of 3dsmax interface and tools is a plus.)

Supplied Data

• .MAX Zip: spaceship-session1.zip (Only to be used for educational purposes)

Step 1: Starting As A Box

Start by creating a box. Add as many segments as you feel you need to create the base detail and shaping. I have added several segments for each side. It is also wise to work in scale. Make sure you have the units set to what you prefer (Standard or Metric). When creating the initial box, please keep in mind the size of ship that you wish you create. This boxes size will make up the bulk of this space ship.

Step 2: Deforming The Nose

Apply "Edit Poly" to the segmented box. You can find it under the "Modifiers Tab". Activate the "Vertice" selection mode and turn on "Soft Selection". Soft selection will create a blended range of deformation as you scale the vertices. To change the blend amount, change the falloff value. You can also experiment with "Pinch" and "Bubble".

I selected and scaled down only the front vertices, setting the falloff as shown below.

Step 3: Nose Shaping

In this step I have pulled the nose out further without soft selection. I have also selected side edges and moved them inwards and downwards. Start by activating the "Edge Selection Mode" and move the edges to the desired location. You have to be careful not to pinch the model. I did not use soft selection in this step. You can use soft selection is you prefer a more organic looking ship.

Step 4 – The Basic Cockpit / Helm

For creating the basic shape of the cockpit I went back to "Vertice Selection Mode" and made sure to check "Ignore Back facing". This allows you to make a selection in the top viewport without selecting the ships bottom vertices. Pull the vertices to the desired height, angle and location.

Without ignore back facing on, you will either have to deselect the ship’s bottom vertices or you will be deforming the bottom of the ship as well.

Step 5 – Beveling The Nose Inlet

Select the inner snout faces and activate the "Bevel Tool". I have only beveled them slightly.

Step 6 – Pulling Back The Nose Inlet

Bevel the nose inlet a few more times. Then pull the nose inlet backwards with the move tool, creating some depth for the inlet.

At this point you should be familiar with Soft Selection, moving vertices / faces, using the Bevel Tool and the Scale Tool for shaping the model.

Step 7 – Beveling The Snout Edges

In this step, I simply beveled the remaining front faces of the snout. Creating details like this helps accentuate highlights and shadows along with reflections.

Step 8 – Cockpit Edges 1

In this step I have moved vertices to shape the "hatch or cockpit" area a bit better. After you are satisfied with the location of the vertices go to edge selection mode and select the edges as shown below.

Step 9 – Chamfering The Edges

I wanted to add some detailed edges to the cockpit / hatch areas. In this step I have ‘Chamfered" the edges twice. Now we have faces that we can extrude or bevel.

Step 10 – Adding Hatch Glass Definition

Here, in the polygon selection mode I selected certain faces and used the "Bevel" tool to extrude and chamfer them at the same time. Then at the front of the hatch I pulled the top faces backwards.

The bevel tool essentially take care of 2 steps in one, saving time.

Step 11 – Creating Vents

These vents or inlets were created using the same tools that we have already covered. The faces were extruded, then the top vertices were moved to create a certain slope in all directions. The front and back faces were then beveled.

You may have to move the inside face inwards a bit to create the effect you want.

Step 12 – Sculpting The Rear

In this step I have sculpted the rear of the ship a bit. First I selected the 3/4 rear vertices with "ignore back facing" OFF. Then I scaled them down making a bevel effect. The rear of the ship was scaled up and rotated. You can edit the vertices to create any type of ship rear.

You can also use the cut tool under "Edit Poly" to create new faces if you so desire.

Step 13 – Detaching The Hatch Glass

This step is pretty simple. Under polygon selection in "Edit Poly" select the hatch faces, and hit the "Detach" button. This will separate this area from the rest of the model, creating a new object.

This new object will later have a different material.

If you do not want to separate the object for material purposes then you can also use a different material ID and use a "Multi / Sub Object Material".

Step 14 – Adding Side Windows

I decided to add some windows on the sides. This again was done by using the "Bevel" tool. Then I detached the windows just as we previously did with the hatch.

Step 15 – Turbosmooth

At this point I wanted to test out adding the "Turbosmooth" modifier to check how a more organic feel would look. It is up to you whether or not to use it. If you prefer a more blocky space ship then you may not want to add this modifier.

If you do add this modifier be careful setting the number of iterations. Many times I have been asked "How come 3ds Max freezes or crashes when I set the Iterations to 10?" This is because of the mesh density created.

I prefer to stick to 1 or 2 iterations
.

Step 16 – Editing The Base Cage

With Turbosmooth applied, you can edit the "Base Cage" while viewing the smoothed result. This makes sculpting organic shapes much easier. You can see the cage below in orange.

Go back to "Edit Poly", edge selection mode and check "Show Cage". Now you can move, rotate or scale the edges as you see fit.

Have fun moving the cage and experimenting with different shaping.

Step 17 – Comparing Smoothed and Un smoothed

In this step I set the render engine to Mental Ray and added a MR Sun and MR Sky. The Exposure Control was set to MR Photographic Exposure Control with the "Outdoor Daylight, Clear Sky" option set. You can read more on setting this up Here. It is covered in Step 10 of that article.

Then I applied an "Arch + Design" material to the main ship. Under templates I picked Brushed Metal. I did the same for the glass objects, but picked the glass (Thin Geometry) preset.

Both rendered options can be seen below. Now we can decide if we want to go with the smoothing or without.

Step 18 – Adding More Base Detail

Now that I have seen both smoothed and un smoothed, I have decided to use the version without turbosmooth. In this step I plan on adding more base surface detail. I am chamfering edges, editing vertices and extruding faces.

One goal is to Generally create a more pleasing model by softening the edges manually (Chamfering).

I have also detached certain faces that were extruded inwards. Then I applied a copy of the brushed metal material to them and made the base color darker (Diffuse Color)

Step 19 – Using The Greeble Plugin For Details

Greeble is a plugin for 3ds Max that creates boxy structure quickly and easily. It proves very useful for adding mechanical wall type details. This plugin has saved me days of time while working on a game titled "Lacuna Expanse".

You can download and read about Greeble HERE.

Install the plugin and then reopen 3ds Max. Select the faces that you have detached. (The ones that have the darker brushed metal material.) Now go to the modifier panel and select Greeble from the list. You should automatically see the geometry change. Play with the distances and amounts to get the right look.

You can view the options I chose below, along with the end result.

Step 20 – Conclusion

So far in this tutorial we have created the base of the ship and began some detailing. Many tools were discussed and used. All of the tools can be used to create a wide array of objects, please keep that in mind as you try new things.

In the next session we will go over the majority of detailing items, materializing the model and then finally rendering it in Mental Ray.

Related posts:

1. Creating A Space Ship In 3DS Max (Session 2)
2. Creating A Detailed Master Plan Rendering – Part 4 – 3dsmax and Photoshop
3. Creating A Detailed Master Plan Rendering – Part 2 – 3DS Max and Photoshop

Author:Tudor-Ionel Cucu (nickname:Crimz)

Freelance graphic designer Cucu Tudor-Ionel is a student located in Bacau, Romania and currently writing tutorials based on personal projects. At the age of 13 he started working in Photoshop doing virtual-tuning, and then creating different tutorials and websites in his non-existent free time.

See my GraphicRiver portfolio

These are free to download and you can use them in any application whether it’s personal or commercial. Please just be sure to let people know where you got the icons from. We’re offering them at 256px (PNGs) and 500px (PSDs). Download, and be sure to tell your friends to come visit the site to download their icons as well, and as a courtesy, we hope you’ll link to our site. We have a lot more great things coming!

Freebie Details

• Program: Adobe Photoshop CS4
• Version: CS4
• 15 Social Media Icons
• Sizes:256px / 128px
• Zipfile includes: PSD, PNG

DOWNLOAD THE ZIP FILE

Related posts:

1. Free Icon Pack Plus Bonus Set of Social Media Icons
2. Awesome Christmas Icon Pack Freebie!
3. Free Graphic Design Tutorials in Photoshop, Illustrator and More

In this tutorial I`ll be using Adobe Photoshop CS3 but you can use any version of Adobe Photoshop.
There is an image for every step that will be very helpful.
After you have made all the steps you`ll be able to make an original bodykit for your car using 100% brush/dodge/burn tool techniques .

Author: Pintilei Adrian-Dumitru

Pintilei Adrian-Dumitru is a graphic designer in Romania. He learned how to use graphic design software by practicing virtual-tuning projects for several years. He lives with his parents in a little village called Vorniceni but he studies at the National College A.T. Laurian in Botosani, Romania. His dream is to be an important computer-programmer in his country.

Tutorial Details

• Program: Adobe Photoshop
• Version: CS 3
• Difficulty:Intermediate

Donors

• Donors for car : Donors

Step 1: Starting the tutorial

Open a picture with a car

Step 2: Place it into a new background.

I moved the car in the new background . If you don`t know how , search for “Virtual Tuning Tutorial Part 1 ” on the Instatuts site.

Step 3: Stroke technique

Make a new layer , call it “Sketch”. Using Stroke Path technique (Brush size : 2px) make next sketch :

Step 4: Brush technique

Make a new layer , call it “Brush ” , put it under the “sketch” layer then fill it with the selected color.

Step 5: Lighting

With pen tool , make next path :

Step 6

Again use stroke technique with the white color , (Brush size : 2px size ) , then erase the bottom of the stroke :

Step 7

Using same stroke technique make all the edges.

Step 8: Pavement reflections

Select the “Background” layer , make a selection like in the next image using PEN TOOL or LASSO TOOL then , right click – Layer via copy :

Step 9

Put the selected pavement on the front bar , lower the opacity and erase a little in the bottom of the reflection.

Step 10

Like in the step 9 , copy a piece of pavement.

Step 11

Lower the opacity , and erase a little in the right part of the reflection.

Step 12

Repeat those steps for all the front bumper

Step 13: Gaussian Blur

Blur a little the white strokes using Gaussian Blur ( 0.3 px )

Step 14

Select this part . Use Feather Radius on 0.3 px.

Step 15

Right click -> Layer via copy

Step 16: Resizing

Edit-Free Transform :

Step 17: Stroke sketch

Make a new layer , make next sketch for orientation . I used pen & brush tool for the sketch. (Brush size : 2px)

Step 18

Select and fill the selection with black color (Remember , for better selections use Feather Radius : 0.3 px )

Step 19

Make next selection :

Step 20: Smudge tool

Select the “car” layer and smudge like in the next picture :

Step 21: Repeat step 20

Repeat step 20 .

Step 22: Smudging result

You should obtain something like this :

Step 23:Update sketch

I added some new elements on the sketch.

Step 24: Highlights/shadows

Make a new layer , call it “Highlights/Shadows” , select next color :

Step 25

With pen tool make next path :

Step 26:Stroke technique

Right Click – Stroke path ( Brush size : 2px)

Step 27

Erase the parts where the light can`t reach.

Step 28: Resize the stroke layer

Duplicate the “Highlights/Shadows” then resize a little.:

Step 29

Replace green color with white color.

Step 30

Lower the opacity to 40%

Step 31

Select this part (Remember , for better selections use Feather Radius : 0.3 px )

Step 32: Add Mesh

Load the selection in the picture with the mesh donor.

Step 33:

Move the selected mesh to our picture.

Step 34: Adjustements

Go to -> Image-Adjustements-Brightness/Contrast , make next settings :

Step 35: Shadows

Using Burn Tool , add some shadows in bottom of the mesh :

Step 36:

Make a new layer , with pen tool , make next path :

Step 37: Stroke technique

Set Brush size on 3px , Right click-> Stroke Path (white color , Brush size :3px)

Step 38:

Lower the opacity to 90% and erase a little the line sides.

Step 39: Intercooler

Add an intercooler . You have the car with the intercooler in the “Donors” archive.

Step 40: Adjustements

Go to -> Image-Adjustements-Brightness/Contrast , make next settings :

Step 41: Desaturate it

Go to -> Image-Adjustements-Desaturate

Step 42

In a new layer make next selection on the top of the intercooler :

Step 43:

Fill the selection with the selected color :

Step 44:Stroke technique

Using stroke technique , make a line like in the next picture :

Step 45

Lower the opacity to 38%

Step 46: Shadows

Add a shadow under the created layer.

Step 47: License plate

Add a license plate , i made this license plate , so you can use it. You have the license plate in the “Donors” archive.

Step 48

Make next shape using black color :

Step 49

Make next path using pen tool :

Step 50: Stroke technique

Right click->stroke path ( Brush size : 2px), lower the opacity :

Step 51: Highlights

Using Dodge Tool to add a little highlight on the begining of the hole.

Step 52

Go to the car layer and make next selection

Step 53: Eliminate the old reflections

Eliminate the Old reflections by smudging with smudge tool.

Step 54: Headlight effects

Select the headlight , and make next settings for brightness/contrast :

Step 55

Make same thing for the other one.

Step 56

Make next selection (Remember , for better selections use Feather Radius : 0.3 px )

Step 57

Move the selection on the bonnet , then copy and paste on the headlight :

Step 58

Same selection , in a new layer under the eyelid layer.

Step 59

Fill it with black color and blur a little :

Step 60

Add an eyelid on the other headlight

Step 61: Wheels

Add wheels ( I used same technique like in the “Virtual Tuning Tutorial Part I “. You have the wheels donor in the “Donors” archive.

Step 62: Resizing

Edit – Free Transform , fix it to look better.

Step 63

Make same thing for the back wheel :

Step 64: Sideskirt

Now let`s make the sideskirt. Make next sketch .I used pen & brush tool for the sketch. (Brush size : 2px)

Step 65: Stroke technique

with pen tool , add some strokes on the sideskirt (erase a little where the light can`t reach very good) :

Step 66: Pavement reflections

Add some pavement reflections :

Step 67: Clouds reflections

Now it`s time for clouds reflection , add on the image a cloud picture . You have the picture with clouds in the “Donors” archive.

Step 68

Erase the excess:

Step 69: Blur

Go to -> Filter -> Blur -> Motion Blur :

Step 70

Lower the opacity :

Step 71: Shadows

Add the shadows :

Step 72

Lower the opacity :

Step 73: Tailight effects

Select the tailight and go to Image-Adjustements-Channel Mixer:

Step 74

Then select the spoiler , and go to Image-Adjustements-Hue/Saturation :

Step 75: Interior

Ok. We have finished the exterior.It`s time for the interior. Let`s do it.

Step 76

In a new layer , fill the windows with a black color :

Step 77: Sport seat

Add a picture with a sport seat . You have the sport seat in the “Donors” archive.

Step 78

Using Magic Wand tool , erase the white part :

Step 79: Shadows

Erase the excess and use burn tool to add some shadows :

Step 80: Roll cage

Make next path using pen tool :

Step 81: Stroke technique

Right click – Stroke path – Brush ( Size : 14 px , 100% Hardness)

Step 82:

Erase the excess & and fit the roll cage to look more real

Step 83:

Make next selection with a 5px feather :

Step 84: Shadows

Add some shadows using Burn Tool :

Step 85: Highlights

And some highlights using Dodge Tool :

Step 86: Roll cage highlights

Add a stroke ( 2px size ) with a highlighted green :

Step 87: Blur

Go to -> Filter¬-> blur -> Gaussian Blur :

Step 88

Repeat those steps to add more rollcages :

Step 89

Into a new layer make next shape on the seat:

Step 90: Shadows/Highlights

Use Burn/Dodge tool in the indicated places :

Step 91

Duplicate the layer , and move it a little to the left :

Step 92: Effects

Right Click -> Blending Options -> Drop Shadow :

Step 93

Duplicate the seat created and move to the left.

Step 94: Front window reflections

Add some clouds on the front window:

Step 95

Lower the opacity :

Step 96: Wall reflections

Copy this part of the wall :

Step 97

Move it on the window :

Step 98

Now add the rest of the roll cage(Note : Put the roll cage layers under the reflection layers )

Step 99

Make some shapes on the windows :

Step 100

Lower the opacity :

Step 101: Make window looks more realistic

Using Pen Tool , make next path :

Step 102

Right Click -> Stroke path , make next settings :

Step 103: Clouds reflections on the side windows

Add some clouds on the side windows :

Step 104

Go to -> Image-> Adjustements-> Hue/Saturation :

Step 105

Go to -> Filter-> Blur -> Gaussian Blur :

Step 106

Make a new layer , select next parts :

Step 107

Fill the selection with the wall color

Step 108

Go to -> Filter-> Blur -> Gaussian Blur :

Final Step

Go to Image -> Adjustments -> Brightness/Contrast, and then move the contrast to the right (maximum) :

Related posts:

1. Virtual-Tuning Tutorial PART2 – Changing the BodyKit Color
2. RSS Christmas Stocking Tutorial in Photoshop
3. How to transform a car into a chop in Adobe Photoshop

In this tutorial we’ll learn how to make a DIY Light Box for capturing small stuff in a professional way. We’ll build our own studio for as low as $35! Then, we’re ready to shoot.

Author: Samet Cicek

Samet Cicek is a graphic designer, an illustrator and a photographer based in Istanbul. He is a world-wide freelancer currently working at Microsoft as online marketing specialist.

Tutorial Details

• Shopping List:1 Medium Size Box ($2)

  2 150W Garden Lights
  ($10 each)

  1 Utility Knife ($6)

  1 Duct Tape ($4)

  A few pieces of white paper ($3)

• Skills:Ability to cut and tape
  objects
• Difficulty:Easy

Step 1: Having Your Stuff Ready

OK, if you did the shopping now let’s see what we’re going to use for what.

Step 2: Enfold the Box

Enfold the box. Next, we’ll cut the edges. If you can figure out which side to cut, it’s easier to cut before enfolding.

Step 4: Draw Lines

Draw the lines a little bit smaller than the paper size. Leave some space to tape around the paper.

Step 4 – Cut the Edges

Cut out the part using the utility knife. Then do the same thing for the opposite side.

Step 5 – Main Structural Frame

Here’s how the main frame looks like. I use the blank white paper for background, you can use anything you want.

Step 6 – Cover the Sides with Paper

Using the duct tape, cover the sides with paper in order to soften the light coming accros to your object . Be sure to use quality duct tape, because light may go through the tape at a different intensity and cause line shadows on your product.

Step 7 – Hit the Lights!

Place the lights according to your box . You can use stronger lights for bigger boxes. I’ve used 150W garden lightning for a box at this size.

Final Step – And We’re Done!

Here’s the final. Wasn’t hard, was it?

Examples

You can play around with colors and add sharpness in Photoshop later on. But I’m adding raw images for you to see what can you do at minimum price. I hope you liked this tutorial.

Related posts:

1. Paper Icon Pack: 15 Social Media Icons
2. How to create a Music Theme Poster using Adobe Photoshop
3. How to Draw a Vector Character in Adobe Illustrator

Welcome to “Furniture Design Rendering”. In this tutorial we will cover the concepts of putting together a rendering that a furniture manufacturer and outlet would prefer. This tutorial is more of an overview of the entire process, rather than a complete modeling guide in 3d. Throughout the last year I have been working with a furniture company in Sweden, providing quick renderings at very cheap prices. This could be called you’re guide to breaking into that niche of the industry a little more easily.

Author: Ryan W. Knope

Ryan W. Knope is a freelance 3D / 2D Artist / Consultant with 13 years experience in the 3D and 2D industry. His main artistic love lies with interior and exterior rendering although he takes on just about every type of graphics work. Ryan is also the architectural / interior voice for 3D Artist Magazine’s Question and Answer Panel. He lives with his wife Krista, in sunny Denver, Colorado.

Tutorial Details

• Programs: Autodesk 3dsmax 2010, Adobe Photoshop CS4
• Difficulty: Beginner To Medium (Discussion Concepts May Be More Advanced.)

Step 1: Understanding The Concept

These types of renderings often need to be completed quickly and cheaply. Understanding the idea or feeling behind the concept will save a ton of time. The rendering above was created for a Swedish client of mine. He wanted a rendering that would appeal to his Scandinavian client base. In this case, a bright, elegant and simple scene setting that promotes luxury.

With this in mind, simple is often better. I tend to only create the essentials in 3D and complete everything else in Adobe Photoshop. You can see the mix of 2D and 3D elements in the image below. The Blue shows elements totally completed in Photoshop. The Red Shows the elements created in 3dsmax. Touch ups over the entire rendered image is also important.

Step 2: Deciding On A Color Scheme Early

When producing quick renderings, I like to get a scheme from the client at the start along with some samples of exteriors that fits his or her fancy. Then I pick a background image, in this case the mountain and ocean, then get approval to build off of the color scheme tied to that.

For example, the wood decking ties into the color of the mountains, the pool ties in the water / sky color in the background and the gray pavers along the bounds of the deck compliment the black sofa base, providing a nice accent.

Step 3: Testing The Camera Angle

First create your main base object. This is often the floor or patio. I created the wood decking by drawing a spline, applying an edit poly modifier and extruding it to the desired height.

Next I try to match my camera angle quickly, then take a screen shot and see if the background matches well enough. Most of the time I just match the angle by eye without importing the background into 3dsmax. Paste your screen shot into Photoshop and place your background behind. With the magic wand tool, select and delete the non occupied area.

You should only have to set the tolerance to 1, since your background in max should be one solid color.

Step 4 – Creating The Patio Walls

These elements were started as renderable splines with 4 sides and an angle of 45 degrees. This angle will turn it straight instead of diagonal / diamond.

Then I applied an edit poly modifier and edited the vertices. The outer wall was split horizontally with “slice plane”. Box UVW mapping was applied after along with a concrete stone material. This material is not nearly as important as the top paver stone material and the other more prevalent maps.

Step 5 – Creating The Wood Deck Material

The wood decking material is extremely important. This is the closest material to the camera and ties in most of the image. With this in mind, care has to be taken to make this material the most realistic and pleasing to the eye.

Keep in mind that the orientation of the decking can be used as a guide to the eyes if the grain and boards are running toward the furniture.

I start with the default Arch + Design material. I then edit the reflectivity and glossiness. You can view the different image maps and settings of the material below.

Place a planking image in your diffuse map and test the render for color and contrast. Then I place the same map in for the bump, test render and then adjust the contrast in photoshop and save it as a new image.

For displacement I open the diffuse image map in photoshop. Create a new layer and fill it with white. Adjust the white layer opacity so that the wood is just barely visible. Next draw a black line with the brush tool on a new layer, press ALT and drag a copy of the line between each of the planks. Repeat this until all of the centers are filled. Save this image map and apply it to the displacement slot.

I set my displacement to 1.5, but you will have to test this in accordance to the displacement render settings.

Step 6 – Modifying The Global Displacement Settings

The global displacement settings in the render dialogue control the overall amount of displacement along with detail adjustment settings. Look below for an explanation of each setting. Change the settings and test render the wood decking to see how it changes.

Step 7 – Adding The Furniture

For this blocky modern style of furniture you can often start with a “Chamfer Box” or “Box”.

For the sofa base I used a box with Edit Poly, and extruded faces as necessary. Once I had the general structure built and measured properly I went ahead and chamfered / beveled the edges in “Face” mode.

The pillows were created by using a multi-segmented chamfer box with a large bevel. I then used soft selection in the Edit Poly modifier to create a more smoothly curved surface. Renderable splines were used for the pin line ridges at the edge. The feet are simply renderable splines with 4 sides and the angle set to 45 degrees.

Step 8 – The Furniture Angle

With the focus of this rendering being the furniture, the angle of the subject definitely matters. Generally speaking, the furniture should be angled to show inside and outside edges. It is basically the same concept as car photography.

The importance of this is showing the depth of the furniture. It is difficult to tell what an item looks like if it is shot straight on. So, either angle the shot or angle the furniture, even if it wouldn’t be placed in such a fashion in real life.

Step 9 – Aligning The Feet With The Deck

Skip this step if you are not going to use displacement.

There is a slight issue with using material displacement for flooring… you cannot visually see how far it is displacing, which means it can be difficult to line up objects that lay flat on the floor.The only way that I am aware of solving this is with zooming into the floor in the perspective view. Angle it so that you see the space between the floor and the feet of the sofa and test render, each time moving it closer, until it is just touching.

This process has been quite time consuming in a few of my projects.

Once you have one object aligned, you simply need to move the rest to the same plane or height.

To bypass this you could apply displacement as a modifier, but you will then have to create a floor object that has a extremely high amount of segments, which will slow the viewport’s down quite a bit and make the entire process of working with the scene slower. I try to stick with material displacement when I can.

Step 10 – Setting Up The Sun – Softening Shadows

As with all of my tutorials, I used Mental Ray.

Go to Create > Systems > Daylight. Drag out your system, then go to the modify panel. Select “MR Sun” and “MR SKY” from the drop down menu’s. Next go to setup and adjust the time to match the angle of light you prefer.

If your are creating an outdoor scene then you should set the “Exposure Control” to ” MR Photographic Exposure Control” and change the preset to “Outdoor Daylight Clear Sky”.

Now, with the sun system selected, go to the modify panel and under “Sun Basic Parameters” you will see an option labeled “Softness”. To have softer sun shadows you can adjust this as needed. The higher you raise this value, the more you should raise the sample value. With more samples you will achieve a smoother gradient of shadow. Unfortunately this will also raise render times.

Step 11 – Render Settings

In a scene that has a lot of glossy reflections I tend to use a minimum sample rate of 4 Min to 16 Max. If your scene has more than a million polygons, I would also turn on BSP2. Make sure Finalgather is checked.

If you have a scene that is half indoors with interior lights and half outdoors, then you will want to turn on Global Illumination most likely. Most furniture manufacturers and distributors want to use the renderings for the web, printed catalogs and boards. With this wide range in mind, I always render my still images at 5000 pixels wide or more.

Now it is time to render your image. Save it as a .png.

Step 12 – Post Production 1

Backdrop: Place the backdrop image behind the rendered layer. Place it in a pleasing position that makes sense for the camera view.

Pool Water: Finding a quality image of pool water is the first step. Next drag the image into working Photoshop file. Make a selection (Magic Wand) of the flat blue area as seen above. Zoom in and make sure that you have it entirely selected. Go back to the new water image layer and press CTRL SHIFT I to invert the selection and press delete. Now you can cycle through the blending modes and find a mode that works. I used “Multiply”. You may need to overlay a few layers to get the effect you desire.

Adding the backdrop reflection into the pool is next. Duplicate the backdrop layer. Place it above the water layer. Using the “Move” tool, with “Show Transform Controls” active, grab the top handle and drag it down flipping the orientation vertically. Lower the opacity and cycle through the blending modes. You can use “Multiply” or “Normal” with a low opacity (There are other options as well). You can either erase the unneeded areas with the eraser tool or CTRL click the layer thumbnail in layer properties and press CTRL SHIFT I and delete as we just did before.

You should have a result similar to the image below.

Step 13 – Post Production 2

Softening Effect: Adding a softening effect is very easy and adds a lot of character / mood. Create a new layer at the top of the set. Go to Select > Color Range, a window will pop up, now change “Select” to “Highlights”. Press OK. Now go to Select > Modify > Feather, this will bring up a window. I usually use a feather radius of about 30 pixels when working on a large image size. Make sure you have the new layer selected and fill the selection with white. The layer opacity will need to be adjusted. A value of about 20% – 30% should work.

Painting: With a quick production render such as this, painting can be super valuable to your time schedule and the final product. Sometimes reflections show up that you really don’t want in the rendering. For example, the wood decking back behind the furniture takes on a bluish / gray hue. It would take longer in 3D to resolve this issue than just painting a brown overlay in Photoshop (Seen Below). Accentuated shadows are another item that I often paint in. This helps give the rendering a bit more depth and creates slight boundary’s between objects. The edges of a pool are a great place to use this technique.

Dodging And Burning: I use the dodge and burn tools a lot. Often furniture manufacturers want very brightly lit scenes. Sometimes it is just easier to dodge areas of the image rather than adjusting the lighting and re-rendering over and over. I attempt at getting the lighting close enough and then take care of the rest in Photoshop. Burning can be used to accentuate the shadows and add depth. Sometimes this works better than painting in heavier shadows.

Step 14 – Conclusion

In this tutorial we went over many tools and tricks to creating quicker furniture renderings. These tips and tools can be applied to most applications and genres of visualization. While the furniture rendering niche is not extremely lucrative like other genres of visualization, these tips will make the process move along faster, thus making them more monetarily pleasing.

The most important things to remember is to try to create a harmonious scene that portrays the furniture well to the end buyer.

If you have any questions or comments about this tutorial please feel free to email me.

Related posts:

1. Designing Text & Signage In 3D (Autodesk 3dsmax 2010 and Earlier)
2. Creating a Detailed Master Plan Rendering in 3dsmax and Photoshop
3. Creating A Detailed Master Plan Rendering – Part 4 – 3dsmax and Photoshop

This tutorial is a continuation of our tutorials: “The Basics – Photoshop Tools Part 1 of 3” and “The Basics – Photoshop Tools Part 2 of 3“

For recap, these are the tools that are discussed in part 1 and 2: Move Tool, Rectangular Marquee Tool, Elliptical Marquee Tool, Single Row Marquee Tool, Single Column Marquee Tool,Lasso Tool, Polygon Lasso Tool, Magnetic Lasso Tool, Quick Selection Tool, Magic Wand Tool, Crop Tool, Slice Tool, Slice Select Tool, Eyedropper Tool, Color Sampler Tool, Ruler Tool, Note Tool, Spot Healing Brush Tool, Healing Brush Tool, Patch Tool, Red Eye Tool, Brush Tool, Pencil Tool, Color Replacement Tool, Clone Stamp Tool, Pattern Stamp Tool, History Brush Tool, Art History Brush Tool, Eraser Tool, Background Eraser Tool, Magic Eraser Tool, Gradient Tool, Paint Bucket Tool, Blur Tool, Sharpen Tool, Smudge Tool, Dodge Tool, Burn Tool, Sponge Tool, and Pen Tool. Now, lets move forward with the list and I will discuss the Part 3, the last part of the Photoshop tutorial.

Author: Rufino Peligrino Jr.

Here is the last list of the Photoshop Tools.

Freeform Pen Tool (P)
- The Freeform Pen Tool is used to draw paths and vector shapes easily by adding anchor points automatically. Click the Freeform Pen Tool which is under the same group as the Pen Tool. Set the options to your liking in the Options bar. The options for the Freeform Pen Tool are just the same as the Pen Tool options in the Options bar except for the Magnetic option.

• The Magnetic option allows you to switch to a Magnetic Pen that clings to the edges of the contrast objects automatically.

- Click and hold your mouse button and draw like a pencil.


Add Anchor Point Tool
- The Add Anchor Point Tool is used mainly to add anchor points to anywhere in your image.


Delete Anchor Point Tool
- The Delete Anchor Point Tool is used for the main reason of deleting any anchor points in your image.


Convert Point Tool
- The Convert Point Tool is used to edit the existing paths and vector shapes by means of converting the smooth anchor points to make corner anchor points or vice versa. Click the Convert Point Tool under the same group as the Pen Tool. Then, click on any smooth anchor point in order to convert it to a corner anchor point. On the other hand, to convert a smooth anchor point back, just drag away starting from the corner anchor point.


Horizontal Type Tool (T)
- The Horizontal Type Tool is used to create and edit vector based texts inside a different layer. Click the Horizontal Type Tool below the Pen Tool. In the Options bar, you can see these following options:

• Set the options for the font: family, size, anti-aliasing, alignment, and color.
• Using this option, you can also create a warped text for your texts.
• More options will pop up when you click the Character and Paragraph panel. Set them to your desired settings.

- To create a text, make sure the tool is activated. Now, click on the part of the image that you want to put your text. Then, type in your text.


Vertical Type Tool (T)
- The Vertical Type Tool is just the same as the Horizontal Type Tool except that it types the text in a vertical manner.


Horizontal Type Mask Tool (T)
- The Horizontal Type Mask Tool is used to create a selection in a type-shaped form. The type selections can be moved, filled, stroked, and copied just like all other selections. Click the Horizontal Type Mask Tool which is under the same group as the Horizontal Type Tool. Make sure that the activated layer is the one that you want to put your text into. Set your desired options in the Options bar. The options for the Horizontal Type Mask Tool are exactly the same as the Horizontal Type Tool and Vertical Type Tool. Now, click the part of the image that you want your text. By doing this you will notice that there is some kind of a quick red mask that will cover the active layer. Type in your text and you’re done.


Vertical Type Mask Tool (T)
- The Vertical Type Mask Tool is just the same as the Horizontal Type Mask Tool except that it types the text in a vertical manner.


Path Selection Tool (A)
- The Path Selection Tool is used to move and select the components and anchors point of the existing path and vector shape masks. Click the Path Selection Tool located below the Horizontal Type Tool. Then, click at the path or shape component in the image window that you wish to select.
- To show the bounding box together with your selected path, click on the Show Bounding Box button in the Options bar.
- To move the selected path or shape component, just simply click and drag it.
- To delete a selected shape or path component, just hit the Delete key.
- In order to select two or more path and shape components, just click on the path and shape components that you want to select while holding down the Shift key.
- When two or more components are selected, you can combine or align them to make a single path using the corresponding buttons in the Options bar.

Rectangle Tool (U)
- The Rectangle Tool is used to create rectangular paths and shapes. Click the Rectangle Tool located below the Path Selection Tool to activate it. In the Options bar, you can see the following options:

• The Shape Layers option allows you to create shape layers.
• The Paths option allows you to draw paths or shape outlines.
• The Fill Pixels option allows you to make rasterized shapes in the current layer.
• To set the Geometry options, click on the button.
• Set the color for the shape that you create.
• When you want to create multiple shapes, use these options:
  • The create new shape layer option allows you to create a new shape within a separate layer.
  • The Add to shape area option allows you to create many shapes using the same layer.
  • The Subtract from shape area option allows you to subtract shapes in your current shape layer.
  • The Intersect shape areas option allows you to intersect in existing shapes using the same layer.
  • The Exclude overlapping shape areas option allows you to create a new shape using the current layer by subtracting overlapping areas.
• You can also add styles to your created shape layers by choosing one in the Style picker option.
• Meanwhile, when you want to create paths, you can choose from these options:
  • The Add to path option allows you to create multiple paths in the same layer.
  • The Intersect to path area option allows you to intersect in existing paths in the same layer.
  • The Exclude overlapping path areas option allows you to create a new path using the current layer by subtracting overlapping areas.
• On the other hand, when using the Fill Pixels option, you must set the Blending mode and the Opacity option to your liking.

- To create a shape or path, just simply click and drag into your image.


Rounded Rectangle Tool (U)
- The Rounded Rectangle Tool is used to create rectangular paths and shapes but with rounded corners. Click the Rounded Rectangle Tool which is under the same group as the Rectangle Tool. The options and instructions for the Rounded Rectangle Tool is exactly the same as the Rectangle Tool except for just one option, the Radius option.

• The Radius option allows you to set the amount of the corner rounding.

Ellipse Tool (U)
- The Ellipse Tool is used to create elliptical paths and shapes. Click the Ellipse Tool that is located under the same group as the Rectangle Tool. And also, the Ellipse Tool options are just the same as the options for the Rectangle Tool. The only difference is the fact that it creates an ellipse instead of a rectangle.


Polygon Tool (U)
- The Polygon Tool is used to create polygonal paths and shapes. Click the Polygon Tool which is under the same group as the Rectangle Tool. The options and instructions for the Polygon Tool is exactly the same as the Rectangle Tool except for just one option, the Sides option.

• The Sides option allows you to set the number of sides for your polygon.

Line Tool (U)
- The Line Tool is used to create line paths and shapes. Click the Line Tool which is under the same group as the Rectangle Tool. The options and instructions for the Polygon Tool is exactly the same as the Rectangle Tool except for just one option, the Weight option.

• The Weight option allows you to set the width of the line that you want to create.

Custom Shape Tool (U)
- The Custom Shape Tool is used to create custom shapes and paths. Click the Custom Shape Tool which is under the same group as the Rectangle Tool. The options and instructions for the Custom Shape Tool is exactly the same as the Rectangle Tool except for just one option, the Shape picker option.

• The Shape picker option allows you to choose various different kinds of shapes.

Hand Tool (H)
- The Hand Tool lets you navigate around an image. Click the Hand Tool which is located below the Shape Tool group. In the Options bar, you can see the following options:

• There are four standard viewing modes that you can select. The Actual Pixels, Fit Screen, Fill Screen, and Print Size.

- Click on the image and drag to move around the image area.


Rotate View Tool (R)
- The Rotate View Tool is used to rotate an image without transforming it. Note: It only works when OpenGL is enabled. Click the Rotate View Tool which is under the same group as Hand Tool. You can click and drag to rotate the image. A compass will then appear to indicate the north of the image no matter what is the angle of your image. Or, you can enter a value in the Rotation option to indicate the degrees of shifting. Or lastly, you can click and drag the Set Angle of Rotation option to control the view. If you want to view the original view of the image, click the Preset View button.


Zoom Tool (Z)
- The Zoom Tool is used zoom in and zoom out of your image. In using the Zoom Tool, every click allows you to magnify or reduce the image view to the next percentage and it centers the display to the point where you click. The maximum magnification level is 3200%, in which after that percentage, the magnifying glass will appear empty.
- Click the Zoom Tool located below the Hand Tool. As default, the pointer looks like a magnifying glass having a plus sign on its center. Then click on the center of the image area to magnify it. To reduce or zoom out the view, click the zoom out icon in the Options bar, and then click on the center of the area of your image that you want to reduce the view. Or you can just simply click on the center of the image area where you want to zoom out while holding down the Alt key for Windows or Option key for Mac.
- In the Options bar, you can see these following options:

• The Resize Windows To Fit option allows you to resize your image to a better fit when you are using the Zoom Tool.

- There are four standard viewing modes that you can select. The Actual Pixels, Fit Screen, Fill Screen, and Print Size.

If ever you missed the part 1 and 2 of this tutorial, just click on the links below to view them.

Part 1

Part 2

Part 3

Related posts:

1. The Basics – Photoshop Tools Part 2 of 3
2. The Basics – Photoshop Tools Part 1 of 3
3. Create a Print Ready Business Card in Photoshop

This tutorial is a continuation of one of our tutorials: “The Basics – Photoshop Tools Part 1 of 3“.

Part 1 talks about the importance of basics in graphic designing. I point out lists of Photoshop Tools and its features. For recap, these are: Move Tool, Rectangular Marquee Tool, Elliptical Marquee Tool, Single Row Marquee Tool, Single Column Marquee Tool,Lasso Tool, Polygon Lasso Tool, Magnetic Lasso Tool, Quick Selection Tool, Magic Wand Tool, Crop Tool, Slice Tool, Slice Select Tool, Eyedropper Tool, Color Sampler Tool, Ruler Tool, Note Tool, Spot Healing Brush Tool, Healing Brush Tool and Patch Tool. Once again, these tools are just basics but they aren’t enough, there are still a lot of things to learn aside from this. So guys, lets move forward and I will discuss the Part 2 of it.

Author: Rufino Peligrino Jr.

Below is the second list of the basic Photoshop Tools. Enjoy!

Red Eye Tool (J)
- The Red Eye Tool is used to remove red eye in your flash photos. Click the Red Eye Tool which is under the same group with the Spot Healing Brush Tool. And then click on the red eye to fix it.
- In the Options bar, you can see this options when the Red Eye Tool is activated:

• The Pupil Size option is the one responsible for the area that is affected by the Red Eye Tool.
• The Darken Amount option defines the darkness of the Red Eye Tool correction.

Brush Tool (B)
- The Brush Tool allows you to draw lines with different colors and thicknesses. It acts as a freehand painting tool. Select the Brush Tool located below the Spot Healing Brush Tool.
- In the Options bar, you can see these following options when the Brush Tool is activated:

• In the Options bar, set the brush size according to the size that you want. Then, select a color to your liking in the Swatches palette. Click on the image and start painting by holding your mouse button down.
• The Mode option is the blending mode. Mostly, the Normal option is used. But you can experiment on each mode to know what they can do.
• The Opacity option for the brush paints with strokes that are transparent allows viewing the underlying content or image to be seen.
• The Flow option defines the quickness of applying the paint. The lower the value of the Flow option, the lighter the strokes.
• The Airbrush option is used to gradually tone your images.

Pencil Tool (B)
- The Pencil Tool is similar to the Brush Tool except that it only has hard edges.


- The Options bar for the Pencil Tool is also similar with the Brush Tool but without the Airbrush option and it has an additional option which is the Auto Erase option.

• The Auto Erase option lets you use the Pencil Tool like Eraser Tool. It allows you to paint the background color above the areas having the foreground color.

Color Replacement Tool (J)
- The Color Replacement Tool is used in order to replace or swap particular colors that you paint on, covering a targeted color by a corrective color. Choose the Color Replacement Tool which is under the same group with the Brush Tool and Pencil Tool.
- In the Option bar, you can see these following options:

• You can set the brush size and brush style to your desired settings.
  
  
  
  and
  
  
  
• In the Sampling option, you can either choose:
  • Continuous – Continuously samples colors while dragging.
  • Once – Only replaces the color that you first click.
  • Background Swatch – Only replaces color from the areas which contains the active background color.
• In the Limits option, you can either choose:
  
• Discontiguous – Replaces or switches the sampled color when it occurs in the pointer.
• Contiguous – Replaces or switches colors which are contiguous along with the color instantly under the pointer.
• Find Edges – Replaces or switches the associated areas that contain the sampled color at the same time preserving the sharp edges’ sharpness.
• The Tolerance option defines the tool’s sensitivity.
  
• The Anti-alias option softens the edge of the selection.
  

- After setting the necessary option, select the foreground color that you want to replace the undesired color. Then, click on the color that you want to swap or replace in your image, and drag to paint.

Clone Stamp Tool (S)
- The Clone Stamp Tool lets you paint an area of an image over the sampled area or pixels. It is also used to duplicate image or a part of it. The actual operation requires you to set up a sampling point within your image that will be used to be the reference in order to make a cloned area.
- Click the Clone Stamp Tool located just right below the Brush Tool. And then, set your desired settings in the Options bar.

• As you can see, the options for the Clone Stamp Tool are just the same as the options in the Brush Tool with the additional Aligned and Use All Layers options.
  
• The Aligned option makes your starting spot to follow your cursor. Meaning, it will continuously draw your new cloned image even after you release your mouse button.
• The Sample Option allows you to sample data from active or current layer, current layer and below it, and from all layers.
  • To sample from all layers excluding the adjustment layers, select the All Layers option and click the icon for Ignore Adjustment Layers.

- After setting up the options, click on your image the point that you want to set your sampling point as a reference while holding down the Alt key for Windows and Option key for Mac. Now, click and draw to where you want your cloned image to be show up. Then all you have to do is to drag your cloned image to where you want it to be.


Pattern Stamp Tool (S)
- The Pattern Stamp Tool allows you to paint using a pattern. Click on the Pattern Stamp Tool which is under the same group as the Clone Stamp Tool.

- Next step is to select a brush in the tool’s Brush Presets picker and set its size and hardness. Set the options in the tool’s Options bar. The Pattern Stamp Tool options are just the same as the options for the Clone Stamp Tool except for the Pattern pop up panel and the Impressionist option. Then, pick a pattern that suits your design in the Pattern pop up panel. Lastly, drag the image to where you want to paint the pattern.


History Brush Tool (Y)
- The History Brush Tool is used to paint in your image its history or previous state. It acts just like the History panel or by pressing Ctrl+Z that undoes your action but the undo action only applies to the stroked area that you paint. Click the History Brush Tool located below the Clone Stamp Tool. Set the settings to the Options bar to your liking. The options for the History Brush Tool are also the same as with The Brush Tool’s options.


Art History Brush Tool (Y)
- The Art History Brush Tool is used to paint stylized strokes by means of a specific history state. It is just like the History Brush Tool but instead of re-creating the source data that you selected, the Art History Brush Tool makes use of that source together with the options that you’ll set in order to create various colors and creative styles. Click on the Art History Brush Tool which is under the same group as the History Brush Tool. Set the options on the Options bar to your desired settings.

• Set the brush options on the Brush Presets panel.
• Next is to select a mode to your desired blending mode.
• To control the paint stroke’s shape, select the necessary option from the Style options.
• The Area option defines the area that is covered with the paint strokes.
• The Tolerance option defines the tool’s sensitivity.

- Next is to set the source by selecting a state or snapshot at the History panel. Then, you can now paint in your image by clicking and dragging.


Eraser Tool (E)
- The Eraser Tool, just like the name implies, erases the current layer pixels by dragging it along the image. Specific pixels on the image can be erased to either transparency or background color. It automatically changed to background color if the transparency is locked. Also under this tool are the Background Eraser Tool and the Magic Eraser Tool.
- Click the Eraser Tool located below the History Brush Tool. Next is to set the color of the background if you want to erase with the background or the layer’s transparency is locked.

• In the Option bar, select your desired settings for the brush, mode, opacity, flow, and airbrush options. We already tackled all of those options on the previous Tools.
• The Erase to History option is used to erase a history state or snapshot of your image. Select the history state in the left column of the History panel.

- Lastly, click and drag on the area that needs to be erased.


Background Eraser Tool (E)
- The Background Eraser Tool is used to erase the background color of an image to transparent. Click the Background Eraser Tool which is under the same group as the Eraser Tool. Select a layer that you want to erase a background in the Layers palette.
- In the Options bar, you can see these following options:

• In the Brush Preset picker, set the Diameter, Hardness, Spacing, Angle, Roundness, Size, and Tolerance to your desired settings.
  • In the event that you are working with some sort of pressure-responsive digitizing tablet, select the Size and Tolerance options to adjust the size as well as the tolerance of the eraser over the path of the stroke. Select the Pen Pressure option in order to base your adjustment on the pen pressure. Meanwhile, select the Stylus Wheel in order to base your adjustment on the pen thumbwheel’s position.
• The Sampling, Limits and Tolerance option is just the same as the Color Replacement Tool’s Sampling, Limits and Tolerance option.
• The Protect Foreground Color is used to prevent erasing the pixels that matches the color of the foreground.

- Now, click and drag to the area that you want to make your erasure.


Magic Eraser Tool (E)
- The Magic Eraser Tool works just like the Magic Wand Tool except that it automatically deletes the selection part instead of just selecting it. Click the Magic Eraser Tool under the group of the Eraser Tool.

• Set the options in the options bar. It is very similar to the Magic Wand Tool’s options.

- Then, after everything is set up, click on the pixel to erase the area that has the same pixels to transparent or background color if ever you are with a locked transparency layer.


Gradient Tool (G)
- The Gradient Tool allows you to apply a gradient fill on to a layer or a selected or specific area of your image. It also creates a gradual mix of multiple colors. If you want to fill to a selected area of your image, select first the area before starting or else It will be applied to the entire layer. Now, click on the Gradient Tool located below the Eraser Tool. In the Options bar, you can set these following options:

• Select a gradient fill
  • The Gradient picker allows you to select a gradient fill preset. Just click on the small downward triangle to open the Gradient picker.
  • The Gradient Editor can be accessed by clicking the gradient sample (the rectangle) located before the small triangle. It allows you to create your own gradient fill rather that just selecting on the gradient fill presets.
• Here are some options on how to apply the gradient fill.
  • In the Linear Gradient option, the shades from the initial point towards the ending point are within a straight line.
  • Meanwhile, the Radial Gradient option, the shades are in a circular outline.
  • In the Angle Gradient option, the shades from the initial point are in a manner of counterclockwise sweep.
  • In the Reflected Gradient option, the shades from the either side part of the initial point are in a symmetric linear gradient.
  • Lastly, the Diamond Gradient option. Its shades are in a diamond shape pattern which outwards from the initial point.
• Next step is to set your desired options for the Blending Mode and Opacity.
• The Reverse option allows you to reverse the gradient fill’s color order.
• The Dither option allows you to create smoother gradients.
• The Transparency option enables the transparency mask in your selected gradient fill.

- Click on the part of your image that you want to define your initial point. Then drag and release to define the gradient’s ending point.
- You can constrain the angle of the line to 45° multiples by holding down the Shift key while dragging.

Paint Bucket Tool (G)
- The Paint Bucket Tool is used to fill, using the foreground color or a pattern, the adjacent pixels that has the same color. Click the Paint Bucket Tool which is located under the same group as the Gradient Tool. In the Options bar, set the necessary options for you design.

• Choose whether to use the foreground color or a pattern in filling the selection.
• Next, set to your desired liking the Blending Mode, Opacity, Tolerance, Anti-alias, Contiguous and All Layers.

- Then, click the pixel or an area of your image to fill that part of the area.
Blur Tool
- The Blur Tool is used blur the hard edges of your image. The more you use the blur tool over a specific area, the more blurry it becomes. Click on the Blur Tool below the Gradient Tool. In the Options bar, set your desired options:

• I already talked about all of those options in the previous posts except for the Strength option.
• The Strength option is defined by the tool’s sensitivity.

- Lastly, click and drag to the part of the image that you want to blur.


Sharpen Tool
- The Sharpen Tool is used to sharpen the images by increasing the contrast along the edges. The more you use the tool in a specific area, the more sharpen it becomes. Click on the Sharpen Tool which is under the same group as the Blur Tool. Set your desired settings in the Options bar. The options for the Sharpen Tool are just the same as the options for the Blur Tool. Then, after setting the options, click and drag to the part of the image that you want to sharpen.


Smudge Tool
- The Smudge Tool is used to spread and mix the content of the areas of your image. It picks up color in the initial spot to where the stroke starts and pushes it to the direction that you drag. Click the Smudge Tool which is also under the same group as the Blur Tool. Set the options in the Options bar to your liking. The options for the Smudge Tool are also the same as the Blur Tool except for one which is the Finger Painting option.

• The Finger Painting option allows you to smudge at the starting of your stroke using the active foreground color instead of using the color of the starting spot of your stroke. You can also activate the Finger Painting option by holding down the Alt key for Windows or Option key for Mac while dragging.

Dodge Tool (O)
- The Dodge Tool is used to lighten image areas. The more you use the Dodge Tool over a specific area, the lighter it becomes. Click the Dodge Tool located below the Blur Tool. In the options bar, you can see these following options:

• Select a brush in the brush panel and set the size and hardness of the brush.
• In the Range option, you can choose:
  • The Midtones option allows you to change the grays’ middle range.
  • Shadows option allows you to change the dark areas.
  • The Highlights option allows you to change the light areas.
• The Exposure option defines the strength of the stroke.
• If you want to use airbrush, click on the airbrush icon.
• The Protect Tones option allows you to minimize the clipping in the highlights and shadows.

- Click and drag to the part of the image that you would like to lighten.


Burn Tool (O)
- The Burn Tool is used to darken image areas. It is the exact opposite of the Dodge Tool. The instructions on how to use this tool is just the same as the Dodge Tool. It is under the same group as the Dodge Tool.


Sponge Tool (O)
- The Sponge Tool is used to change the level or degree of saturation regarding the color of an image’s area. Click the Sponge Tool which is located under the same group as the Dodge Tool and Burn Tool. In the Options bar, you can see these following options:

• Select a brush in the brush panel and set the size and hardness of the brush.
• The Mode option lets you choose to whether saturate or desaturate.
• Set the Flow to your liking. The lower the value of the Flow option, the lighter the strokes.
• If you want to use airbrush, click on the airbrush icon.

The Vibrance option enhances the Sponge Tool’s effectiveness. It minimizes clipping.

- Click and drag to the part of the image that you would like to saturate or desaturate.


Pen Tool (P)
- The Pen Tool is used to create a straight lined or smooth curved paths and vector shapes. Click the Pen Tool located below the Dodge Tool.


– In the Options bar, you can select to either draw Shape Layers or Paths.
- Click on the part of your image that you want to be the starting anchor point. Then, set a second anchor point in order to your segment.
- Then, click and drag to be able to add a new segment and change the shape of the line.
- The Auto Add/Delete option in the Options bar lets you add or delete anchor points.
- To add a new anchor point, just click on to where to put it.
- And to delete an existing anchor point, just simply click on it. Or to delete the previous anchor points that you added, just hit the Delete key.
- Then, to complete the path or a shape, click on the starting/first anchor point.

This is not yet done, there’s still part 3 after this. So, watch out guys.

Part 1

Part 2

Part 3

Related posts:

1. The Basics – Photoshop Tools Part 3 of 3
2. The Basics – Photoshop Tools Part 1 of 3
3. Virtual-Tuning Tutorial PART2 – Changing the BodyKit Color

One of the most powerful and the leading, industry standard software on image and graphics editing or creation is the Adobe Photoshop, or merely Photoshop. If you’re just starting to learn about Photoshop, you might know some of its tools and basic editing tasks like resizing and cropping but to be able to fully understand and master all of its tools takes a lot of time. That’s the reason why the main purpose of this Photoshop Tutorial is to help you learn the basics of Photoshop (starting with Photoshop tools) for you to get started with it. People tend to skip the basics or the fundamentals and start on learning the advanced Photoshop tutorials which they thought is easier. But they’re wrong. Jacob Gube once said, “If you take the time to learn the basics, you’ll run into less trouble because you understand how things work.”

Author: Rufino Peligrino Jr.

The first part of this Photoshop tutorial is to know the basic Photoshop tools. Here’s the full list of Photoshop tools with its corresponding shortcuts, descriptions and features. The shortcut keys are inside the parenthesis ( ).

Move Tool (V)
- The Move Tool is used, apparently, to move a selected area/image or layer. Click to select the Move Tool located at the top portion of your Photoshop Toolbox. You can also select the Move Tool by holding on your keyboard the Ctrl key for Windows and Command key for Mac.
- In order to move a selected image/area, click on the selection (while the Move Tool is activated), hold it down, then drag it to the desired location and drop.
- Now, to move a layer, same thing for the selection, just click the layer, hold, drag, and drop.
- You can also use the arrow keys in your keyboard to precisely move the layer or selected image/area.
- While moving a layer or selection, hold down the Shift key to limit the movement to horizontal or vertical.


Rectangular Marquee Tool (M)
- The Rectangular Marque Tool, one of the 4 marquee tools, is used to make rectangle selections. Select the Rectangular Marquee Tool at the top of the Photoshop Toolbox just below the Move Tool. Right click on the marquee tool icon to view the four marquee tools.
- To make a rectangle selection, activate the Rectangle Marquee Tool and click on the area/image and drag.
- To constrain the selection to a perfect square, just simply hold down the Shift key while selecting.
- When you select a specific tool, there are options that will appear on Options bar located just below the menu bar.

• The new selection option will make a new selection and delete the current selection.
• The Add to selection option lets you add another area to an existing selection. You can also activate the Add to selection option by holding the Shift key while you are selecting.
• The Subtract from selection option helps you to subtract a specific area on the existing selection. You can also activate it by holding Alt key for Windows or Option for Mac, while you are selecting.
• The Intersect with selection option is used to intersect a specific area within the existing selection. Hold down Shift+Alt for Windows and Shift+Option for Mac to activate it through keyboard.

Elliptical Marquee Tool (M)
- The Elliptical Marquee Tool is another type of marquee tool that makes elliptical selections. The features of this tool are pretty much the same as Rectangle Marquee Tool except for the fact that it creates elliptical selections rather than rectangles.
- Press the Shift key down while selecting to constrain your selection to a perfect circle.
- The options on the Option bar for the Elliptical Marquee Tool are just the same with Rectangle Marquee Tool.


Single Row Marquee Tool
- The Single Row Marquee Tool is used to create a horizontal selection of one pixel high. Also, all wide row selections for image can be created using this tool. It is one of the Marquee tools so its features and options are the same.


Single Column Marquee Tool
- Single Column Marquee Tool is the same as Single Row Marquee Tool, only it is now used to create one pixel high vertical selections.


Lasso Tool (L)
- The Lasso Tool allows you to create freehand selections. To make a selection, just click on the Lasso tool (just below the Marquee tools), then click on where you want to start your selection and draw your desired selection while holding your mouse’s left button. To complete your selection, just release the button. There are 3 Lasso Tools that are available. Just right click or hold down the left click to view them all.


Polygon Lasso Tool (L)
- The Polygon Lasso Tool is like the Lasso tool, but instead of holding down your mouse button while you draw your selection, you just have to click on various points to make a selection. It’s just like creating polygon selections. To complete the selection, click on the starting/first point of your selection or just double left-click at any point.


Magnetic Lasso Tool (L)
- The Magnetic Lasso Tool is used to create a selection, automatically clinging to the edges of the defined area of the contrast objects. Click on the Magnetic Lasso Tool, click at the image to create your starting point. Move the mouse on the edges of the object. The tool will create fastening points that clings at the edges. You can manually put a fastening point by clicking the desired key point. To complete the selection, click on the starting/first point of your selection or just double left-click at any point.
- When you select the Magnetic Lasso Tool, you can see these following options at the options bar:

• The Width is responsible for the tool’s range of detecting edges.
• The Contrast is responsible for the tool’s sensitivity.
• And the Frequency is responsible for the amount or how often the fastening points the tool will set.

Quick Selection Tool (W)
- The Quick Selection Tool, one of the two Color Selection Tools, is used to quickly create/select a defined area. Select the Quick Selection Tool just below the Lasso Tools and simply click on the area that you want to select or to be included in your selection. Right click on the icon to view the two Color Selection Tools.
- While activating the Quick Selection Tool, you can see these following options at the Option bar:

• The Brush Picker Option lets you adjust the Diameter, Hardness, Spacing, Angle, and Roundness of the brush depending on the specifications of the object that you want to select. In addition, you can increase the brush size by pressing the ] key and [ key to decrease it.
• The Sample All Layers Option lets you select from all the layers rather than the selected layer.
• The Auto-Enhance Option allows you to automatically smoothes the edges of the boundary of you selection.
• The Refine Edge Option refines your selection and views it against a neutral background in order for you to clearly see how the selection will look. When you click the Refine Edge icon, you will these following options:
  
  • The Radius Option defines the size of the selection’s area where the refinement of the edge occurs.
  • The Contrast Option is the one that sharpens the selection’s edges.
  • The Smooth Option defines the irregularities in the boundary of the selection.
  • The Feather Option creates faded transition from your selection to the background or area outside of the selection.
  • The Contract/Expand Option contracts or expands the selection’s boundary.
  • The five options below the sliders allow you to select on how to preview your selection. The descriptions of each option are located just right below it in Photoshop.

Magic Wand Tool (W)
- The Magic Wand Tool selects an area or all objects in an image with the same/similar color, stroke color, stroke weight, blending mode, or opacity. While the tool is activated, make a selection by simply clicking the image. The Magic Wand Tool is the second Color Selection Tool.
- While activating the Magic Wand Tool, you can see these following options at the Option bar:

• The Tolerance is responsible for the sensitivity of the tool. The higher the tolerance, the wider the selection.
• Contiguous option selects the areas that are only joined together.
• Sample All Layers option is the same as with the Quick Selection Tool.

Crop Tool (C)
- The Crop Tool enables you to cut out a specific area by discarding or deleting everything outside the selection. It is located below the Color Selection Tools. Click on the Crop Tool and click on the image, then draw a rectangle selection by holding down your mouse’s button. When you release your mouse button, your selected area will have a bounding box. You can move, rotate or resize the selected area. To move it, click on the selected area, hold the mouse button and drag it. To rotate it, click outside the selection area, hold the mouse button and drag. And finally to resize the selection, just click on the selection handles, hold and drag.
- To perform or apply the crop, just press the Enter key. And to discard the process, just hit the Esc key.
- In the Option bar, you can pre-define the target image’s size. Just fill in the Width, Height and its Resolution fields.

Slice Tool (C)
- The Slice Tool lets you to cut images into smaller pieces which fit together. It is usually used for website designing. This tool is under the same group with the Crop Tool. Just right click on the Crop Tool to view it. Click on the Slice Tool to activate it. Click and drag the area that you want to slice and release your mouse button.
- While selecting the Slice Tool, you can see the following options on the Option bar:

• The Fixed Aspect Ratio option is used to create pre-defined proportion slices. You just have to set your preferred values of Width and Height.
• The Fixed Size option allows you to create pre-defined size slices. Again, you just have to fill in the Width and Height values.

- After making the slice, right click on it to show the context menu of the tool. By this, you can gain access to the available commands in Photoshop.


Slice Select Tool (C)
- The Slice Select Tool allows you to select, move, and resize the slices that you made. This tool is also under the same group as the Crop Tool. Click the Slice Select Tool and select the slice that you want to move or resize. To move it, click on the slice and drag it. To resize it, click on the slice handles and drag it.


Eyedropper Tool (I)
- The Eyedropper Tool is useful when you want to change your foreground or background color. Click on the Eyedropper Tool just below the Crop Tool. On the Eyedropper Tool, there are 3 other tools under this group, the Color Sampler Tool, Ruler Tool and Note Tool.
- While the Eyedropper Tool is activated, click on the color of the image that you want the foreground color to be.
- If you want to change the background color, just click on the color of the image that you want while holding the Alt key.
- You can see these following option in the Options bar:

• The Point Sample option allows you to pick up the color on the pixel that you clicked on.
• All of the other samples from the options read the average values from the larger areas.

Color Sampler Tool (I)
- The Color Sampler Tool is used to sample color values from a single pixel of your image. Click on the Color Sampler Tool and click on the page or image where your first sampler will be set. It will then show the color channel values in your Info palette. You only have up to 4 samples to be set on your image.
- In order to delete one of your samples, just hold Alt key and click on the sample.


Ruler Tool (I)
- The Ruler Tool or previously Measure Tool is used for calculating the distances and angles between two points in your work area. Select the Ruler Tool and click on one point of your work area and drag it to the other point.
- In your Options bar, you can see the tool’s measuring data:

• The, and Y are the starting point’s coordinates.
• The W is the width or horizontal length.
• The H is the height or vertical length.
• A is the angle that is relative to axis.
• L1 is the total length of the first line.
• L2 is the total length of the second line.

- To constrain the Ruler Tool to increments of 45 degrees, just hold down the Shift key while making your measurements.

Note Tool (I)
- The Note Tool is used for posting or attaching notes to your image. Click the Note Tool and click on the image on where you want to put the note. Type in your text and then close the note.
- You can see the following options in the Option bar:

• In here, you can change the Author’s name and set your notes color.

- To edit your notes, double click on the note and edit it.
- To delete it, click on the note that you wish to delete and press the Delete key.
And to delete all your notes, just click the Clear All button on the Options bar.
- Remember, to include notes in your image, don’t forget to save your images in PSD format.


Spot Healing Brush Tool (J)
- The Spot Healing Brush Tool will automatically sample the pixels around the spot and matches its texture, transparency, shading and lighting to the pixels to be healed.
Select the Spot Healing Brush Tool located below the Eyedropper Tool. Click on the area that you want to be healed, or you can click and drag the area to smoothen the imperfections of a larger area.
- In the Options bar, you can see these following options:

• The Brush Picker Option lets you adjust the Diameter, Hardness, Spacing, Angle, and Roundness of the brush depending on the specifications of the area that you want to fix. In addition, you can increase the brush size by pressing the ] key and [key to decrease it.
• For the Mode, select the Replace option to maintain the noise, grain, and texture of the brush stroke’s edges.
• The Proximity option uses the pixels around edges of the brush to do the fixing.
• The Create Texture option uses the pixels inside the brush to fix the image or area by creating a texture.

Healing Brush Tool (J)
- The Healing Brush Tool is used to fix or retouch images such as blemishes, scratches, and other image imperfections by using sampled pixels. This tool works similarly with the Spot Healing Brush Tool. The only difference is, instead of automatically sampling the pixels around the spot, it requires you to define a sample spot to be the source. The Healing Brush Tool is under the same group with the Spot Healing Brush Tool.
- To define a sample spot, just hold down the Alt button and click on the image you want to be the source.
- The options in the Option bar for Healing Brush Tool are also similar with Spot Healing Brush Tool. With just only slight differences.

• Choose the Sampled option to retouch or fix your image using sampled pixels.
• Choose the Pattern option to retouch or fix your image using a pattern.
• The Aligned option makes your starting spot to follow your cursor.

Patch Tool (J)
- The Patch Tool is the same as the Healing Brush Tool that uses a patch instead of a brush. (Under the same group with the Spot Healing Brush Tool)


- Click the Patch Tool in the Toolbox. Just like with the Lasso Tool, select the area that you want to fix if you are using the Source mode in the Options bar and drag the selection to your source area. But if you select the Destination mode, select your source area, click it and drag it to the area that you want to fix. You can also use a pattern to fix your image by selecting the Pattern option in the Options bar.

This is still incomplete, if you want to know more, then click the links below.

Part 1

Part 2

Part 3

Related posts:

1. The Basics – Photoshop Tools Part 3 of 3
2. The Basics – Photoshop Tools Part 2 of 3
3. Virtual Tuning Bodykit Using Brush Techniques in Photoshop

Making a swirl line in adobe Illustrator is very simple and easy. It won’t take too much time to finish it.

I will be happy if you would show me your result from this tutorial. You know you want to see me happy

Author: VINCA

Vinca is a freelance Illustrator / Designer which resides in Malaysia. Currently, Vinca is an Editorial Artist for The Star News Press. She is also doing freelance for Flash interactive animation and games.

Tutorial Details

• Program: Adobe Illustrator
• Version: CS2
• Difficulty: Beginner onwards

Step 1: Setting up

Open a new document or Ctrl + N.

Adjust the setting like the picture below.

Color Mode: RGB color

Dimensions: 640px, 480px

Step 2: Pen tool

Select the pen tools on the tools bar or click P (shortcut) on the keyboard.

Step 3: Adjust stroke line

Click Windows – stroke or ctrl + f10 to open the stroke tab.

Adjust the stroke like mine.

weight : 0.25pt

Step 4 – Outline

Turn off the fill color.

Select your color for the stroke line.

I choose blue, bcoz blue makes me happy.

Step 5 – Let’s draw!

Draw a curvy line on the work stage.

Step 6 – Simplify

After that, on the menu, choose Object – Path – Simplify.

Step 7 – Adjusting

Adjust the line according to ur need.

It will fix the curve of ur line.

Step 8 – Select

Select the selection tool on the tools bar or click V on the keyboard.

Click on anywhere on the screen.

It will end the line that u just draw.

Step 9 – Add line

Select another color on the pallete.

I choose green, coz green is my kitty’s eyes color.

Step 10 – Add Color

Repeat step 5 to 7.

Make sure that it is overlapped with the blue line.

Step 11 – Select

Select both of the lines.

Step 12 – Blend tool

Double click on the Blend Tool on the tools bar.

Step 13 – Adjust blend

Change the setting like mine.

Specified steps, 20

Step 14 – Blending

On the menu, choose Object – Blend – Make or simply click ALT + CTRL + B.

Final Step

There u go!

Additional step

If u want more complicated swirl, just simply add more before you blend in.

Complicated swirl

They says the more, the merrier isn’t it?

Related posts:

1. How to Draw a Vector Character in Adobe Illustrator
2. Learn How To Draw a Dose (Can) in Adobe Photoshop
3. Cool 3D Leaf Tutorial in Adobe Photoshop