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Drawing a Cute Fox in a Forest
- Photoshop is recommended for this tutorial -
We are talking about Smaug, the arrogant, greedy, malicious, cruel, dangerously sharp minded, massive and powerful dragon from the Hobbit.This digital art was designed by Brazilian digital artist and graphic designer André Luiz de Castro, who used ZBrush and Photoshop and took around 35 hours to finish.
Smaug is a fictional dragon and the last great Fire-drakes of Middle-earth in J. R. R. Tolkien’s 1937 novel The Hobbit. Smaug rose to prominence by laying waste to the town of Dale and capturing the Dwarf-kingdom of the Lonely Mountain (Erebor) with all of its treasure. These events occurred some 150 years before the events of The Hobbit, and Smaug was already centuries old at the time. In the book, the dragon is sometimes called Smaug the Golden or Smaug the Magnificent.
Final Image Preview
On this tutorial we will make a Poe and Pluton cartoon portrait, using custom brushes created by ourselves
Open a new document of 1800px high and 1200px wide. First, we will set up what will be the brush that we are going to use to draw the general lines, from the Brush Selector pick the brush no.30, Hard Round, and set its opacity to 75% and Flow to 35%.
Now, on the Brush Presets menu (F5), make the following settings, check the Shape Dynamics and Transfer boxes, and adjust Spacing to 1%. You can see the final shape of the Brush.
Create a new layer “Poe”, and leave its default setting. With the Brush we created, start drawing the face, neck and shoulders, adjust the size to get thicker strokes on the garb, and thinner strokes for the face, hair, and neck. Draw flowing strokes, without taking much care on the detail, afterwards use the Erase Tool to remove the unwanted parts of the strokes. Also use the Erase Tool to create the eye’s brights.
Next, on a new layer “Body & Pluton”, start drawing the Poe’s lower body and Pluton. On the picture you can see that the strokes just establish the main forms, using stains instead of precise lines. Again, use the Erase Tool to remove certain areas as Pluton’s eyes and Poe’s fingers.
We will add an extra layer “Lower Body”, where we will paint the area between Poe and Pluton. After, this will be useful for split the two elements and avoid to mix them together. Notice the erased area beside the Pluton’s head.
Now, let’s start to create our custom watercolor brush. Use a new layer to paint two brush strokes as shown, using the Soft Round Brush. Notice that they aren’t symmetrical, this will be better for the final result. Next, go to Edit > Define Brush, we can name it “watercolor”, now it is ready on the Brush List for being used.
Next, on the Brush Presets (F5), start setting the following adjustments, check the Shape Dynamics box, and adjust Spacing to 1%.
Check the Scattering box and adjust its settings as shown. The same with the Transfer option. You can see how the brush shape changes on the display.
Finally check the Dual Brush box and select the brush number 45 with the following settings. Now we have our watercolor brush ready for be used.
Pick the Smudge Tool, and with the watercolor brush, smudge the painted layers we created before. Adjust the Strength to get different results.
Create a new layer “Details” and with a Hard Round Brush paint the fine details as cat’s whiskers and some loose hairs. Next, with the Smudge Tool, and a Soft Round Brush selected, drag some portions of black to create more cat fur, with a small brush size selected.
Now, we will create another textured brush. Using the brush number 30 as a base, apply the following settings on the Space Dynamics and Scattering sliders.
Following with the Transfer and Dual Box adjustments.
Picking the Eraser Tool, and the brush we just create selected, erase some edges of Poe’s suit to imitate a dry brush watercolor effect.
Next, create a new layer “Pluton’s Eyes”, and on it draw the necessary brush strokes to draw the eye’s pupil, yes, remember that it only has one…and the eye’s shadows. With white color, paint the tusk and the eye’s brights.
For the Poe’s face shadows, select the brush number 30 and adjust it as shown.
For the Poe’s face shadows, create a new layer “Poe Face Shadows”, set its Blending Mode to Normal and 60% opacity. Start painting the shadows as cheeks, chin, eye sockets, etc. Overlap more than one brush stroke to achieve darker tones.
Let’s start with the background, create a new layer “Background Color”, just bellow of the layer we created before. On it, with the Gradient Tool, select a brownish tone and make a gradient from bottom to upper zone as shown.
Next, to start making the lights, create a new layer “Highlights”, with the brush we created on step 16, select white color, and start painting the lights, I chose a cenital light, so it impacts on the upper areas of volumes as shown.
To add some vignetting on the background, go to Filters > Lens Correction, and on the Custom tab you will find out the Vignette Amount slider, a quantity of -40 will be ok.
To create the paper texture, we will add a real paper image. Create a new layer “Paper Texture”, set its Blending Mode to Multiply and 30% Opacity. Next, Copy and Paste the paper image on that layer.
Next, we will add an spotlight just behind Poe. Create a new layer “Spotlight”, set its Blending Mode to Lighten and 50% Opacity. With the Elliptical Marquee Tool, create a circle, place it behind the Poe’s shoulders and fill it with withe color, next go to Filter > Blur > Gaussian Bluer, and blur its edges. To avoid that the white overlap to Poe, create a Layer Mask and hide the unwanted areas.
Continuing adding textures, create a new layer “Ink Stain”, set its Blending Mode to Lighten and 80% Opacity. On it, place one of the ink textures you will find on the assets as shown.
More textures…Create a new layer “Aged Texture”, set its Blending Mode to Soft Light, and 80% Opacity. On it place again one of the ink textures from the assets to give an aged finish to the image. Notice that all textures are placed bellow Poe & Pluton’s layers, to keep them clean on other plane.
Now the image is almost finished, create a new Group and put in it all the layers. Next save the document as .JPG, open it, and place this file on top.
With the Dodge Tool, light up a bit some areas to create more contrast. The watercolor brush will be a good choice to do that.
Again, let’s add some more vignetting, go to Filters > Lens Correction, and adjust the Amount slider to -30.
Finally, to add some noise to the image, create a new layer “Noise”, set its Blending Mode to Multiply, and fill it (Shift + F5) with white color. Next, go to Filters > Noise > Add Noise, a quantity between 8 and 10 will work.
And this is the final result
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Posters are great avenues to showcase one’s creativity. They allow artists to express themselves in countless ways. Posters are designed to be both eye-catching and convey information. The followings will show you some sophisticated artworks printed on quality posters which can admire yourself.
Hello Everyone here we have a design/illustration tutorial. We are working on a label for a Micro brew beer.
First of all, I will go through all the process and how I came up with a rough sketch of what my character would look like.
Here is a sketch on paper with a permanent marker line art. Scan your work and keep the file on a 300dpi resolution. The bigger the better, that way scaling down works best! The sketch was done on red so we could easily separate the line art from the sketch. How? Super easy! At first label your layer by double clicking on it.
You can either do it by ctrl+click on PC or command+click on MAC and select your sketch layer, once you have the marching ants you go to the channels tab and click on your red channel.
You copy that channel layer ctrl+c on PC command+c on MAC. And you click again on you composite channel (RGB) to select them all. You go back to your layers panel and paste your red channel as a layer ctrl+v on PC or command+v on MAC. Name your new layer LINE ART.
Let’s go to the levels adjustment ctrl+L on PC or command+l o MAC and tweak your sliders so you get a clean black and white image. Try and get all the grays out. Easy! Now to get rid of the white and keep a clean lien art! OK so we can get rid of that first sketch of ours or keep it if you like to have the history. I personally like to have all my layers at the end and see how much the image changed from beginning to end. (I know many of your might be dying about the left eye of the ninja but I’m getting there!) Ok, now we get rid of the white background. Hide all your layers but your line art by doing alt+click on PC or optn+click on MAC over the little eye icon on your layer. We open the blending options of our LINE ART layer by double clicking on the space next to the name or by simply going to your “FX” button.
After that, selecting blending options. There you’ll have 3 blocks and the third one is the one we want: “Blend If: Gray” Here you want to slide the white triangle to the left until the white is totally gone! Click OK when done.
Great! Now we need to lock those changes so we need to press ctrl+click on PC or command+click on MAC on the create new layer icon so that the new layer appears under our line art layer. Then select both and press ctrl+e on PC or command+e on MAC to merge both layers onto one and keep it in transparency. Awesome! Now we can finally duplicate that eye and get ready to color it.
Once OK, we can go to the painting process. Create a new layer under the line art and layout all your flat colors.
it is time to work on your lights and shadows. Use brighter tones of the same layout colors for the highlights and darker for your shadows. Once you finish, you should have something like this:
Now we can take this great drawing to the next level. We are going to color the line art. What? my precious clean clack lines? yes! to do this you want to lock the transparency on the line art by clicking on this icon:
Now it is coloring time. Choose the darkest color of the shadow per section of your character. Let’s say you are working on the hoodie of the ninja. Select your darkest value with the eyedropper tool and go a little darker than that. Why? just so that the line art doesn’t blend with the shadows. Once you have that color start brushing in! Your final illustration would look a little like this:
Since you have done with the character. It is time to work on the label. Setup your size and resolution on a new document. Remember 300+dpi is best if you want to print. Firstly, we set the background color in green. Press alt+backspace on PC or option+backspace on MAC to fill the layer with your choice of color.
With a soft brush ,the dodge and the burn tool you need to work out some shadows and lights. Then choose greens with the same dodge and burn but with a textured brush as below.
Now we go to work on the starburst effect. Create a new layer; and then,draw line and dark gray rectangles like this:
Go to the main menu and select “Filters” then “Distort” and lastly “Polar Coordinates” and use RECTANGULAR TO POLAR. BAM! Starburst. Now lower the opacity to about 50% and change the blend mode to “Overlay”.
It’s time for the Ovals. Firstly, we create our oval in a dark green. And then apply the following layer styles and apply the following settings as below:
We duplicate the layer by pressing ctrl+j on PC or command+j on MAC. Then change the color to a darker green and adjust the stroke settings to:
And then, add your illustration layer
Apply the following outer glow layer style to make it POP:
And then, we can add logo, flavor and text into the recipe!
Use the same idea to create the template as this:
Download PSD Source File
Thanks to climate change and a general shift towards eco-living, natural fonts are in high demand right now. We’ve scoured the web to find the best fonts with a natural theme available anywhere, for you to use in your own work. Some are conventional, others are wildly imaginative, but all should serve as a great source of inspiration when creating designs of a natural persuasion. Leaves, logs, trees, beaches, flowers, stones, stars, bugs and even human hair- you’ll find it all, and much more, below.
This ‘submarine’ font is perfect for use in any aquatic design. Complete with little fishies, it’s reminiscent of fish tanks and sea-life centres.
2. Tree Like
Bowed and warped, Tree Like has a really unique look and ties in perfectly with epic high fantasy. Think: Lord of the Rings.
I love this font! Quirky, peculiar and idiosyncratic, it would be perfect for promotion of a really cool, indie band.
4. Apple Tree
Apple Tree manages to look organic, despite its modern, some-might-say futuristic design. It would look great in work based around futuristic methods of sustainability and carbon conservation.
5. Beach Type
Beach Type is a chilled-out, laid-back kind of font. It’s the font you’d expect to appear on a beach bar on some exotic island.
6. Wood 2
Wood 2 has a classic, handmade feel. Characters seem to have been nailed together from bits of old timber. It’s perfect for work with an organic theme.
7. Flowers Cube
Flowers Cube is an embellished version of a classic, angular font. It has a real vintage feel to it.
8. Natural Log
Natural Log’s spindly, hand-drawn aesthetic makes it perfect for designs aimed at children.
9. Flower 3
Simplicity at its best, Flower 3 looks as though it was written with a blade of grass dipped in ink. It’s utterly charming. Perfect in work centred around agriculture and the countryside.
10. Seaweed Fire
Seaweed Fire is spiky, compact and rather dismal, but fantastic all the same. It should be used in anything to do with horror.
11. Charcoal First
Unruly and irregular, with some letters bigger than others, Charcoal First has a definite graffiti-like, urban quality. It looks like it’s been written quickly, possibly on a wall somewhere!
12. Wild Wood
Rooted to the ground and covered in thin shoots, Wild Wood looks like something from a modern fairytale. It has a certain Tim Burtonesque, gothic quality to it.
13. Stone Cold
Grungy and weathered, Stone Cold is abstract, but still easy to read. This font certainly looks better when it’s bigger.
14. Beyond Sky
Beyond Sky is a very feminine, dreamy font. It’s gorgeous and would ideally suit being used in the beauty industry.
15. Wood Sticks
The cartoon-like Wood Sticks font has a cheerful, light-hearted appearance. It would look great on the menu of a vegan cafe.
16. Night Sky
Night Sky is such a fun font, surrounded by stars and crescent moons. Why not use it in a children’s book or on a website aimed at kids?
17. Bingo Star
Stars are tightly clustered together to form the letters of this highly original, delightful font. If you’re looking for a font that’s unique, this is the one for you.
Sleek, slick, cool and highly professional, Earth is a font fit for the ‘space age’. It’s perfect for use on promotional flyers for club nights or modern, dance music events.
19. Galaxy 1
Similar to the Earth font, Galaxy has a real vintage quality. Like the font used in Star Wars, it looks like it has come straight from the 70s, which is great for use in vintage designs.
20. Alpha Woman Hair
You can’t help but laugh when you look at this font. Cheesy and pretty ridiculous, its letters are formed from various hairstyles. Not to be taken seriously, however, it could be used to great effect in a tongue-in-cheek design.
21. Moon Star
Moon Star looks like something from a 60s TV show like Bewitched or The Jetsons. It’s really magical and would fit well with 60s/70s-like vintage designs.
22. Little Insect
So cute, Little Insect is another hand-drawn font ideal for children or companies with a soft, caring image.
23. Animal Caps
Each Animal Caps letter looks like an antique object. While it won’t fit with much modern graphic design, it’s so imaginative; I just had to include it in this list.
24. Sea Dreams
Sea Dreams looks like it’s suffered from a degree of coastal erosion itself. Soft and calming, why not use it on the front cover of a suitable novel.
25. JF Jungle Rock
Chunky characters, shrouded in plants and bugs, JF Jungle Rock looks like something out of a classic, tropical arcade game. It’s certainly got a hint of caveman about it.
Tom Walker is a blogger and designer working with an online supplier of MFC cartridges, inks and various other print materials to the creative industry. He often writes about innovative advertising and design on the CreativeCloud.