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Final Cut X Controlled with an iPad Final Cut X Controlled with an iPad(2)

Need to make a quick edit while on the road or export a project from a remote location? Using an iPad, Skype, SoundFlower,, and your primary Final Cut station you can edit from anywhere you have network connection. While not the only way to complete this task, the described method provides stability, flexibility, and quality.



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Fast Rendering of Visualizations with Lumion (TM) Fast Rendering of Visualizations with Lumion (TM)(1)

Stunning visualizations in seconds! Lumion uses real-time 3D technology for rendering.This amazing technology of Lumion renders images in a fraction of a second. The aim of of the software is to create a lightning fast workflow between packages like Autocad or Sketchup and stunning visualizations.

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Quick Tip: How to Draw an Infinite Clock with Art Brushes Quick Tip: How to Draw an Infinite Clock with Art Brushes(0)

Follow this tutorial and you will find out how to draw a clock that goes round and round to the infinite with the help of Adobe Illustrator’s Art Brushes. You will also learn some tricks on how to make all the hours and the divisions to fit perfectly.

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Drag the 6 to12 and 12 to 6 hours into the Brushes Panel and choose New Art Brush. From now on I will refer to them as 6-12 Art Brush and 12-6 Art Brush. Stroke the first segment of the third spiral, the black one, using the 6-12 Art Brush and as you can see the straight path drawn at the step 3 doesn’t go through the middle of 6 and 12 as it should. Here is the trick to fix that. Drag the art brush back into your working area from the Brushes Panel and there will be a rectangle in the group. Select it and drag the left side in the middle of 6 and the right side in the middle of 12 like you see in the image. Do the same for the 12-6 Art Brush then drag them both back into the Brushes Panel. Now stroke the segment using the new brush and this time it fits perfectly.

Step 6
Double click on Stroke in the Appearance Panel to open the Stroke Options window. Here you can change the Size value if you think the hours are too big and if they are flipped or upside down check the Flip Along and Flip Across options. Also check Proportional. Continue to stroke the other segments all the way and use the 12 or 6 hours from the previous segment as reference to adjust the Size value as you go. After expanding you can delete the duplicated hours.

Step 7
To create the Divisions Art Brush first draw a triangle shape and the four lines having a 1.5 pt black Stroke. Copy and Paste them five times and arrange them in a row then place one more triangle at the end. Scale each one of them from 100% up to 70% for the last triangle. Also use again the same method from the step 4 to make sure all the divisions are perfectly aligned and at equal distance. Keep the same Y value for each division and to the X value this time add only 10 px starting from the first triangle. This step will take some time but otherwise the divisions won’t fit with the hours.

Step 8
Stroke the first segment of the blue spiral using this Divisions Art Brush defined earlier. I changed the Width value to 70% because I thought the divisions were too big but in your case it’s up to you. Continue to stroke the rest of the segments and use the last half triangle from the previous segment as reference to scale the next segment as much as needed so they fit perfectly like shown in the close up. For example, in my case a 75% Width value was just right for the second segment then 80% for the third one, 85% for the fourth one and so on. As long as you zoom enough to see each pair of halves and you set the right Size value all the Divisions stroked segments will fit properly. You can also make further adjustments using the Direct Selection Tool (A) after expanding.

Next select the pink spiral, go to the Object menu and Expand Appearance. The colors used for the gradient are: blue (R=84,G=159,B=215), dark blue (R=0,G=86,B=120), orange (R=208,G=155,B=39), yellow (R=243,G=232,B=92), brown (R=122,G=117,B=99), green (R=98,G=138,B=102), again dark blue (R=0,G=86,B=120), again blue (R=84,G=159,B=215) and light blue (R=188,G=217,B=242). Set the angle value to 10 degrees. Copy and Paste in front this spiral shape, keep the same gradient just change the angle value to 90 degrees and set the Blending mode to Color Burn.

Step 10
Let’s add some shadows. Select the first group of hours (the 12 is missing because I said you need to delete the 12 and 6 hours that are duplicates) then go to Effect > Stylize > Drop Shadow and set the values like in the image. Do the same for the next four hour groups not for all of them because the rest of the hours are too small and there is no need.

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All that is left to do is to select the spiral shape in back (there are two) and go to Effect > Stylize > Outer Glow. Set the values like in the image and the color used is black (R=0,G=0,B=0).

Final Image
Here is the final image of the infinite clock, play around with the settings to see what you can come up with. I hope you enjoyed this tutorial.

Tutorial by, Diana Toma

Fireworks 101 Fireworks 101(0)

Making a Simple Logo!

Lets begin!
First let’s see what combine path objects are and what can you do with them. In Fireworks there are four main combine paths: Union, Intersect, Punch and Crop.





Creating a Logo!

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Final Result
Voila, we got a leaf logo. You can write a ‘web 2.0’ name and you got your company

Playing with Vectors in Illustrator, Work of Art Playing with Vectors in Illustrator, Work of Art(0)

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Adobe Illustrator Eye Tutorial Adobe Illustrator Eye Tutorial(0)

A detailed tutorial on making a beautiful eye

You want to create a Web Site Mascot? You want to create a Web Site Mascot?(0)

1. Introduction
Character and mascot design are nothing new and have been around for a long time, but with the advent of the internet it has seen somewhat of a renaissance. On the net we are faced with a daily barrage of information, data and imagery. The use of a site mascot can be an effective way to cut through this information overload and connect with the viewer on an emotional level. Mascots and characters can be used as part of a logo, or independently, but the advantage they have over a logo alone is that they have character and a personality all of their own.

2.Character Freebie
For added inspiration and as a bonus you are getting  the opportunity todownload the original files for your own use, which is a super freebie. See the download file for further usage information. The character is available in both AI and EPS formats.

3.The Brief

By their nature site mascots are for use on the web. Remember to set your file to RGB.


Make the characters height as close to it’s width as possible.

6.Cropping the Image

7.The Dynamics of the Image or Depth of Field

8.Line Weights and Outlines

9.It’s All in the Eyes

10.Getting Started, and Putting Ideas Onto Paper
At this stage,try get anything and everything down on paper before sifting through it to see what works for you.Then refine the roughs before using a layout pad for the final roughs.Preferably layout pads to tracing paper, as they are much cheaper and the pencil work is less prone to smudging.

11.Time to Go Digital

We’re going to go for the No.4 character, but it would work better with a goatee beard removed.

These are all going to have a very similar placement to the main character so there is the opportunity to re-use elements of the original character. This not only cut down your workload dramatically, it also adds a sense of continuity to the site. Having the separate parts of the character on individual layers is a great help here, as moving the arms and tilting the head can transform the pose.
There is to be no background to the the mascots to suggest their purpose, but adjusting the posture and the addition of some simple props can communicate this with the viewer.
Using the original drawing for the main character in conjunction with a layout pad gives me a bit of a head start when it comes to the other poses. As for the rest of the poses, it is a case of submitting these to the client and making amendments as necessary until they are happy with them.

Below are the finished characters. All that’s left to do is to supply them to the client in the format of their choice. In this case, you can download the original files for your own use here.

This tutorial by Scott Jackson was first published on May 8th 2009.

Give a 3D, Vector Robot a Realistic Feel in Photoshop Give a 3D, Vector Robot a Realistic Feel in Photoshop(1)

How to Give a Realistic Feel in Photoshop to a 3D Vector Robot


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Tutorial to Create a Clock in 3ds Max Tutorial to Create a Clock in 3ds Max(0)








During or after the render process we may adjust the emitters detached into layers with the fryrender object modifier, using Layer Blending.We can change the intensity of every emitter and/or change its RGB hue according to our criterion. Finally add and adjust vignetting and glare effects

Photoshop Tutorial To Enhance Photos and Still Keeping Skin Pores Photoshop Tutorial To Enhance Photos and Still Keeping Skin Pores(0)

Photoshop Tutorial To Enhance Photos and Still Keeping Skin Pores


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