How To Draw A Steampunk Pattern For Metal Saw

This really is a simple graphic to make though y'all might not at first agree — especially if you lot've already peeked at the lengthy list of steps beneath. Let me reassure you that it'southward easy and if yous're new to Photoshop you lot'll learn… shoot, you'll learn all this:

1. Patterns! Useful in the basic mode of making shapes, these prove powerful and flexible in realizing photograph-realistic furnishings
2. Bevel and Emboss' subconscious treasures: Contour and Texture.
3. Painting with light. Seems obvious, just this composition "works" past combining 3D lighting to 2D elements.
4. Shadows. Yup, Drop Shadows are cardinal to this, more than and so than you might remember.
5. The utility of making your own Styles and collecting a Texture Library.

Final Image Preview

The steampunk tileable wallpaper I made a year or 2 ago generated quite a few "how'd y'all do that" emails so hither'south a scaled-down project you lot can knock out quite easily.

Download Projection Files ii.3MB (Patterns and Gear as Photoshop Vector and PNG).

(The image below is l% size of my actual Photoshop file. For some projects I prefer working at twice my final output resolution, this allows me to work faster, be a bit sloppy, but withal take a clean final design. View large final version here.)

Part 1: Getting Document Started

Step 1

Before launching Photoshop allow's assemble the required assets beginning with some tessellating (seamlessly repeating) texture patterns. Nosotros'll as well use a few Patterns that send with Photoshop.

At that place'southward enough of swell tutorials on making step-and-repeat (tileable) patterns (try this tutorial over at PSDTUTS) so I'll not go into how they were made here.

For this projection nosotros'll be making heavily pitted, metallic surfaces and so I started with this photograph of dirt (below) taken at a nearby baseball diamond.

After applying a few filters and fixing the edges so they disappear when tiled that baseball dirt is now the Photoshop Blueprint named "Sand" (below). We'll exist using this one the nigh.

A softer version of "Sand" named "Crude Brass" (below).

Lastly, "Rotting Leaves" — a messy pattern, handy for dirtying stuff.

These patterns are included in the zipped project file. I'm going to assume that you've saved them someplace convenient where yous can easily access and use them from within Photoshop. If you haven't done this even so take a infinitesimal to do it, nosotros'll wait until y'all become back. (if you demand help read this) OK, prepare? Cool.

Pace ii

Let's begin by creating our Photoshop file, 1000 past 1000 pixels at 300dpi.

Pace 3

Add together our background surface. Create a solid by choosing . I'll name it "Background". As for colors I'm going with a squeamish orangey-rust, say #270e03.

Step 4

Time to texturize. Let'southward add a Pattern Overlay upshot (click the effects button () on the Layers window). Cull our Sand pattern. Change the Blend Mode to Screen, knock the Opacity back to about l%.

Office 2: Styling the Gear

Step 5

Definitely fourth dimension for a gear. I built several gears, needles, and cogs in Illustrator (nonetheless some other tutorial, gang) and posted them on Flickr, hither's the i nosotros'll exist using (PNG with transparency). Open up this in Photoshop.

Footstep 6

Control+click the gear's icon in the Layer window to load its transparency as our current selection.

Step 7

From the menu choose . Give it a name, click OK. Again choose our Sand Pattern.

Step 8

Drag this new layer into our original composition where we just created the background. You should run into the gear faintly on your somewhat darker groundwork (beneath). Nosotros're done importing the gear into our composition and then become ahead and close it if you'd like.

Footstep 9

We're at present going to do all the real piece of work by apply numerous furnishings to this Gear layer starting with a nighttime, large Drop Shadow.

Next, an Outer Glow with Multiply as the Blend Way volition sell the 3D effect a bit. I similar to employ a color other than black for secondary shadows such as this ane, then effort sampling a color from the composition and knock back information technology's saturation only a flake.

I'm adding a Gradient Overlay hither to again create a lighting outcome. Lite paints with colour not merely brightness (and darkness). So I'm making a blackness to pale yellowish-greenish (#f9fd80) gradient and setting the Blend Mode to "Soft Light".

Age the slice more by applying our Leafy Pattern Overlay in "Multiply" Alloy Mode.

Fourth dimension for Bevel and Emboss!! Kickoff the nuts: Chisel Hard with some a strong orange Highlight (#b54000) and deep red-brown Shadow (#380000).

At present permit'south ready a Bevel and Emboss Profile. This adds a slight lip to our gear. You can get in large — as in a decorative flourish — or quite small as flashing (mistakes made during casting or perhaps a misaligned die).

As you tin can see we at present have a respectable 3D gear laying on Mars. Yay. Let's keep going.

Step ten

With the Ellipse Tool we'll add together a plate over the center of our gear to attach it to our background. Set the options to "Paths" rather than its default of "Shape Layer". Draw a circle over the middle of the gear — constrain the ellipse tool to a circumvolve by holding the shift central downward as you drag.

We have a path, now choose. Name it "Hub" and choose our Smooth Aureate Design.

Annotation: if the Hub isn't on the exact centre that's OK, nosotros'll align the layers a bit later.

Step eleven

We'll employ furnishings to our Hub very like to the gear we just did. Offset, a Driblet Shadow.

An Outer Glow, Multiply Alloy Way using a blood-red chocolate-brown (#3b200c).

A elementary Slope Overlay (only black to white) adds depth to the Hub's surface.

Roughen the Hub's surface with a Blueprint Overlay using Luminosity Blend Mode and our trusty Sand Pattern

Bevel and Emboss the Hub. This time let's fix the size to 10px or large. You'll see why, be patient.

Enable Contour and click the "Anti-aliased" pick. Then click on the Contour pattern itself nosotros're going to make a Custom Profile. Let'southward make a more decorative rim for the Hub past flattening the saw-tooth wave with some "corner" points.

The flat parts of the contour make the top bits of the rim, the anchor points forth the Mapping's baseline represent the troughs. The rim's width is determined past what you lot enter in the Bevel and Emboss Size (that's why nosotros set information technology to 10px).

You might want to play with this a bit equally some quite pleasing furnishings can be accomplished this manner. Play, by all means, play. That's what Preview is for.

1 final impact to add a 3D texture to your Hub. In 3D graphics programs allow you lot to add "Bump Map" to a surface and then it reflects light like a wood or sandpapery surface. A crash-land map is merely a black and white prototype, the program uses the image'due south luminosity to determine the surface texture, lighter values are peaks, darker ones pits (or valleys). Photoshop will practise the same.

Allow's add the trusty Sand Design equally our Texture with a Depth of 46%. Sweetness!

Step 12

We're ready to add a nut to our gear and hub. For this let's choose the Polygon Tool (it's in the Ellipse/Rectangle fly-out menu) and nosotros'll utilise it in much the same fashion nosotros added the hub with the Ellipse Tool. Prepare the Tool's options to Paths, gear up the number of sides to 6, shift-drag over the Hub's heart.

Choose. Name the layer ("Nut" might be a good name) . Click OK, and, you lot're correct, pop open up the nut layer'due south effects, we'll add together a few simple effects that'll take us to this:

Step 13

This nut just needs the basics: a Drop Shadow…

… an Outer Glow for fuzzier shadows and to testify the nut "biting" into the Hub's surface…

…Slope Overlay highlighting…

…Bevel and Emboss, the most obvious 3D trickery…

…and finally, Contour (Bevel and Emboss) again, playing around I decided this contour contour looked neat.

Pace 14

We'll demand a bolt to thread that nut onto and so back to the Ellipse Tool with you! Depict your small circumvolve over the nut. Make a new Solid Fill up Layer. You know the drill: Name the layer ("Bolt Thread-cease" might be a skilful name) and I'd go with "secondhand bolt brown" (say #38302a).

Step fifteen

Effects for the bolt. Driblet Shadow pays the bills!

A heavier Outer Glow.

Bevel and Emboss using a beige highlight (#beb099) and deep blueish shadow (#001d38).

Another handy Photoshop Profile Preset

Applying the Sand Pattern equally our Bevel and Emboss Pattern for wear-and-tear.

The Foliage Blueprint for our Pattern Overlay introduces some other texture into our steampunk motorcar

Part three: A Rubber Drive Belt

Step 16

Let's at present suggest other machinery just out of the image's view port. How nigh a rubber belt? Let'south kickoff by setting the foreground color swatch to a nigh black condom color, say #02070c (shown in bluish in the image below so the shapes stand up out better). Then on to the Rectangle Tool. Draw two long bands beyond your image.

Step 17

Driblet Shadow. Sure, at this point y'all're ill of information technology, just this is the easiest 3D depth tool in the Photoshop toolbox — and thus the most overused. However, if you'll play with the Distance setting here you'll see how this event "moves" the belt closer and further from the gear surface. I set it high enough that there's really a gap between the belt and the background.

For a Pattern Overlay endeavour Photoshop's "Metallic Landscape" Pattern at 50% Calibration and "Luminosity" Blend Style (14%) to suggest that powdery-white patina aging safety ofttimes gets.

A more complicated Gradient Overlay with Blend Mode of "Linear Light" (very minimal at 14% Opacity) demonstrates the value of spending but one actress minute to tweak an sometime, familiar Photoshop tool for fast big bang-for-the-cadet.

Bevel and Emboss on a matte surface means nosotros'll use very petty on the highlight, try as your color this bluish-gray #4b5152

Our saw-tooth Bevel and Emboss Contour fits well hither.

Bevel and Emboss Texture — Reuse Photoshops' "Metal Landscape" Pattern at 50% Scale to add some pitting and fragility to our belt.

OK, hither'due south the chugalug. Looks good.

Part 4: Cross Members

Pace eighteen

The back panel could utilize a little quick love, let's inset some other materials there simply backside the gear. Starting time past selecting our "background" layer. Get the Rounded Rectangle Tool, set the radius to about 12px. The color I'm using is a yucky-green #847842 with a Fill opacity of forty% (we'll actually want a fleck of the underlying color/texture to seep through).

Describe a bars, one horizontal, another vertical, across the comp. I'm ending these wide bars merely at the comp edge. (in picture below I've exaggerated the colour, but then, yous know, y'all can come across information technology).

Footstep xix

We'll but add a few effects to "weld" these cross members onto our background plate. (no Drop Shadow this fourth dimension)

Gradient Overlay with Blend Fashion "Overlay", calculation a bit of color at the ends by adjusting the slope, moving the stops a bit. This might be a good spot to try your hand at Radial versus Linear gradients.

Bevel and Emboss — information technology'south "Pillow Emboss" fourth dimension. Pillow Emboss outcome "spills" over the layer and affects the background.

Time to really apply your Contour experience. Add several Corner points.

More Sand Pattern Texture.

Step 20

Alignment. Select the Gear, background cross-bars you but fabricated, the Nut, the Hub, and the Bolt

Cull the Motility Tool and then click Align Horizontal Centers and Align Vertical Centers

Office 5: Lighting & Shadows

Stride 21

Permit's talk lighting. And since you love Driblet Shadow, let's utilise a shadow to define a light'southward location.

Duplicate the Gear. We desire a clean copy, and so throw away all of the styles on this new copy by right-clicking the layer and cull "" from the pop-up menu. Now zoom out (control+minus several times). Way out. Drag this new Gear layer until it's nearly off the sheet, but just in sight at the composition's top edge.

Ready the layer's "Make full" to 0%. Yup, we don't need the layer per say, just its shape (Make full works independent of Furnishings, and then you may create layers only for their effects equally we're doing here. The "Opacity" setting works on both Make full and the Effects.)

Add a Driblet Shadow, merely with an enormous Distance. I'm using a dark blood ruddy-black, #2c0101, y'all might want to compare "smoothen" versus "linear" Profile. Ready the size for a fuzzier (and thus further away) shadow.

It's quite important to uncheck "Layer Knows Out Driblet Shadow". This enables united states to see the entire shadow, fifty-fifty where it passes behind the object. And since nosotros have an invisible object (Fill of zip), we'd accept unexplained gaps if nosotros failed to check this option.

Step 22

Lighting is what'south going to sell this paradigm and sometimes, equally we've simply seen, the best lighting is negative-lighting, aka shadows. Create a new Aligning Layer: . Become alee with this drastic one, pull the midtones down quite low. Click OK. Now printing Control+I to Invert the Curve's Mask (finer hiding the result — you can also fill the layer mask with Black). Now, grab the Brush, brand it an enormous soft i, and scribble shadows into the canvas edges.

Here'southward what my mask looks like:

Step 23

I'one thousand going to add a vignette effect, substantially repeating pace 22 with a less dramatic curve and applying information technology more judiciously and then an oval of light seems to hit the gear.

Here's the mask I'm applying:

Decision

Creating hyper-photograph-realistic images is a peachy and quite forgiving way to larn Photoshop's many effects. And if it's non quite believable enough, well, it wasn't suppose to be in the first place, correct?

Source: http://pizzabytheslice.com/make-a-steampunk-gear-using-photoshop-patterns-and-effects.htm

Posted by: mendelfroule.blogspot.com

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