In this tutorial, we’re going to teach you how to replicate Apple’s iPod Nano. Not only will we recreate it’s signature body form, but also the headphones and put them in a unique setting that makes it pop. This an easy to follow step-by-step tutorial, and altering the final appearance should be a piece of cake, especially if you’re a Plus member! Changing the appearance is only a metter of picking a few different colors or adding your own textures as skins!

Final Image Preview

Let’s take a look at the image we’ll be creating. Want access to the full PSD files and downloadable copies of every tutorial, including this one? Join PSDTUTS PLUS for just $9/month.

Step 1

Create a new document with these settings like 1a. The first layer, call it “background” and fill any color. Then Open the Blending Options and settings (1b).

Step 2

Create a new folder, call it “ipod”. In this folder, create a new layer, call it “ipod” as well. Select the Rectangle Tool (U) to draw a rectangle shape like the one below (2a). Select the Pen Tool and click on the shape. After that, create four nodes of the shape as shown. At the top line, click to make a node between two top nodes. Then correct the top line of the curve by holding “Command” down, and clicking and dragging the node upward by a little (2b). Do the same with bottom line, but downward this time(2c). Then press Command + Enter to make the selection and fill that with color (2d).

Step 3

Open the Blending Options menu for “ipod” and adjust the settings like in image 3a. Create a new layer on top, call it “light ipod”. Use the Rectangular Marquee Tool (M) to make a rectangle selection and fill it with white (3b). Then reduce the Opacity to 30% (3c).

Step 4

Create a new layer on top, call it “screen bg”. Use Round Rectangle (set Radius: 5px) to draw a shape like one below and fill it black color (4a). Then open Blending Option and setting (4b).

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In this tutorial, we'll explain how to create a cut avocado with simple shapes, blends, and textures. We’ll design both the outer skin, yummy light green avocado filling, and the inner core. Let’s get started!

Final Image Preview

Below is the final image we will be working towards. Want access to the full Vector Source files and downloadable copies of every tutorial, including this one? Join Vector Plus for just 9$ a month.

Tutorial Details

• Program: Adobe Illustrator CS4
• Difficulty: Intermediate
• Estimated Completion Time: 1 hour

Step 1

Open up a new document and select the Ellipse Tool (L), then use it to create an ellipse.

Step 2

Select the Pen Tool (P) and add a path point on each side. Grab the Direct Selection Tool (A), then use it to move the added points inward to make it look more like an avocado shape. Make a copy and put it aside.

Step 3

Select the shape and add a 4pt Stroke. Then go to Object > Path > Outline Path.

Step 4

Select the outlines shape and go to Effect > Stylize > Zig Zag and apply the settings you see below.

Step 5

Create a rectangle filled with green and place it behind the shape.

Step 6

Select both and in the Path Finder Palette, chose Divide. Then select the outer part with the Direct Selection Tool (A) and delete it.

Step 7

This is our simple avocado shape for now. You could save the last two steps if you fill the shape right in the beginning with a color before outlining the stroke.

Step 8

Take the copied shape from Step 2 and scale it down. Place it towards the bottom and fill it with a lighter green.

Step 9

Select the outline and fill it with a brown.

Step 10

Make another copy of the shape with the lighter green, scale it down and fill it with an even lighter green.

Step 11

Select the green shapes and apply a blend with the specified steps shown below.

Step 12

Create another oval like shape or take another copy of the shapes we created and fill it with a beige radial gradient.

Step 13

Make a copy of the pit shape on top and alter the outline with the Direct Selection Tool (A). Move the gradient slider around if you think it gives it a better contrast.

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Learn how to create a couple of cute and simple kids illustrations of a car and airplane using Adobe Illustrator’s basic shapes. Take inspiration from hand crafted artwork to give each graphic a plaid effect fabric texture and stitching effect.

Start work by opening up Adobe Illustrator. Grab the ellipse tool and draw a large oval on the artboard.

With the direct selection tool, select and move the lower most point vertically. Hold Shift to constrain the axis.

Next, select each of the two Bezier curves from the bottom point, and extend them outwards to create a tighter curve on the two lower corners.

Draw another oval, this time smaller and size. Position it to the front of the car body.

Use the direct selection tool to manipulate the shape to blend into the main body.

With both shapes selected, merge them together with the Add to Shape Area option from the Pathfinder tool.

Elsewhere on the artboard, draw a small square and fill with a light green.

Copy (CMD+C) and paste in front (CMD+F) the square and fill the duplicate with a darker green. Go to Object > Transform > Scale, and enter 50% in the horizontal option under the Non-Uniform section.

Copy and paste a copy of this new graphic, then rotate it by 90 degrees. Lower the transparency of both pieces to 20%. This gives us the basic repeating swatch to create the plaid pattern effect.
Select the complete graphic, then drag it into the Swatches palette. Add this swatch as a fill to the main body shape.

If the pattern is too large or small in size, go to Object > Transform > Scale, and deselect the Objects checkbox. Adjust the scale percentage to alter the size of the pattern.

Add a 2pt stroke to the shape and give it a green colouring picked from the green tones of the pattern.

Draw another oval onto the artboard, and begin manipulating the shape to form the window.

Move the Bezier curves of each of the two side points upwards to reduce the size of the corners. Aim to leave a straight edge along the bottom.

Fill the window with a light blue, and give it a stroke of white.

Grab the ellipse tool once more and draw a range of concentric circles. The accuracy doesn’t matter too much, as the odd misalignment adds to the ‘craft’ theme of the design. Give each circle a fill, and add a dashed stroke to the centre circle by selecting the ‘Dashed Line’ option in the Stroke palette. Adjust the dash and gap options to suit.

Make two copies of these groups of circles, then position them as wheels on the car body.

Draw another oval onto the artboard and position at the front of the car. Make a copy of the overall body shape and use it as a tool along with the Intersect Shape Area option from the Pathfinder palette to crop out the excess, leaving a simple headlamp graphic.

At the rear, use the Pen tool to draw some wavy shapes. Make sure the Bezier curves are smooth enough to avoid any sharp angles. Add the dark grey dashed stroke used on the wheels.

Select the window graphic, then go to Object > Path > Offset Path. Enter -2mm in the options to create a duplicate path running parallel to the original.

Give this new path a dark blue dashed stroke. Use the line tool to draw a centre line, also with the same dashed stroke.

Repeat the process with the overall body graphic, creating another -2mm offset path. Add another dashed stroke, this time with the dark grey colouring.

There we have a cute little car, inspired by the simple styles as dreamed up by kids. The mix of textures gives the craft like feel, as if it has been cut and stitched together with fabrics and thread. Next up, we’ll use similar steps to create a super duper airplane!

The airplane also starts off with a plain old oval. Use one large oval to form the main plane body, and a smaller oval as the tail fin.

Draw another repeating pattern to form the plaid style texture. This time start with a small blue square, then copy and paste in a duplicate. Fill the duplicate with a darker shade of blue, then scale horizontally by 50%. Duplicate this new graphic, set to 20% transparency and rotate by 90 degrees. Drag the whole graphic into the Swatches palette.

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In this tutorial, you’ll learn how a magician’s hat can be designed in Photoshop. The tutorial involves a simple use of the Pen Tool and other Shape Tools. It shows a distinct use of different blending modes and focuses on other lighting techniques. Shadows are also explained in the tutorial and we’ll reveal some great beginner techniques. Let’s get started!

Final Image Preview

Take a look at the image we’ll be creating. Want access to the full PSD files and downloadable copies of every tutorial, including this one? Join Psd Plus for just $9/month. You can view the final image preview below.

Tutorial Details

• Program: Photoshop CS or Newer
• Difficulty: Beginner
• Estimated Completion Time: 30 to 50 mins

Step 1

Create a 450 px by 450 px document with a white or transparent background. Drag out two guides at the center of the document (for your own convenience). Now use the Pen Tool to make a shape like the one shown below.

Name this layer as “body.” Make sure you place this layer and all layers constituting the hat in a single layer-set (call it “Hat”).

While creating an irregular shape like the one above, it’s hard to keep symmetry on both sides. The easier way is to create half of the shape first.

Now grab the Path Selection Tool (A) and click on the shape. Press Command + C to copy the path and then press Command + V to paste it on the same shape layer. The copied path will be selected spontaneously.

With the Path Selection Tool (A) still selected, go to Edit > Transform > Flip Horizontal and move the path rightward until you get the required shape. Click and drag a selection to select the two paths simultaneously then click the Combine button located in the Options bar.

Step 2

You can now add some reflections to the “body” layer. To do so, duplicate the “body” layer (Command + J) and reduce it’s fill to 0%. Go to it’s Layer Style and give it a Gradient Overlay.

When you’re done with the settings, don’t click OK. Before doing so, move the gradient leftward so that you have something like that shown below.

Step 3

With the duplicate “body” layer selected, go to Layer > Add Layer Mask > Reveal All. Grab the Gradient Tool (G) and drag a black to white gradient as directed.

Step 4

Duplicate the “reflection” layer and go to its Layer Style. Move the Gradient leftwards while applying the following changes.

Step 5

It’s time to add a shiny band on the hat. Create a shape of any color using the Pen Tool.

The band should not be flowing outside the hat’s body. Command-click on the “body” layer and go to Select > Modify > Expand, type 1px and click OK. With the “band” layer selected, click the Add Layer Mask button.

Step 6

Give the “band” layer the layer styles shown below. Move the gradient rightward before closing the Layer Style window.

Step 7

Duplicate the “band” layer and remove all its layer styles except the Gradient Overlay. Reduce its fill to 0% and make the following changes to the Layer Style. Note that this gradient is placed leftward.

Step 8

It’s time to make the top part of the hat. Use the Ellipse Tool (U) to make an ellipse like the one shown below and name it “top.”

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In this tutorial, we'll explain how to create a headphone plugs with cables using gradients. The techniques covered in this tutorial can be used to create other types of wires and electrical equipment as well. Let’s get started!

Final Image Preview

Below is the final image we will be working towards. Want access to the full Vector Source files and downloadable copies of every tutorial, including this one? Join Vector Plus for just 9$ a month.

Tutorial Details

• Program: Adobe Illustrator CS4
• Difficulty: Beginner
• Estimated Completion Time: 1.5 hours

Step 1

Open up a new document and select the Rectangle Tool (M). Create a rectangle. This will be used for the cable. We will keep it simple, for now set it to the default white fill and black stroke.

Step 2

Duplicate the rectangle below the first (Alt-drag).

Step 3

Create another rectangle and set the height to the same as the two long rectangles together, as shown below.

Step 4

Duplicate the small rectangle five times. Either use Alt + drag and the Command + D or use the Blend Tool. Select all of them and align them along the vertical.

Step 5

With the shapes still selected, distribute them now horizontally .

Step 6

Create another rectangle and repeat the Steps three to five times.

Step 7

We now have six smaller rectangles and seven slightly taller ones in between.

Step 8

Again, create another more square rectangle next to the smaller ones.

Step 9

Create yet another rectangle, but make it slightly bigger. Use the Direct Selection Tool (A) to select both right side points, then use the Scale Tool (E) to scale them up, while pressing Shift + Option.

Step 10

Create one more square looking rectangle.

Step 11

Add another one and make sure you keep the sizes oriented with the previous ones.

Step 12

We are now moving on to the thin part of the plug. Create another rectangle, which is the same height as the last one, but much thinner. Quick Tip: You could just duplicate the rectangles and scale them to the correct sizes.

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This tutorial shows how to create a stained glass effect in Adobe Illustrator. The method is rather quick and simple, but the outcome looks very nice – especially when you use a beautiful image for reference. Let’s get started!

Final Image Preview

Below is the final image we will be working towards. Want access to the full Vector Source files and downloadable copies of every tutorial, including this one? Join Vector Plus for just 9$ a month.

Tutorial Details

• Program: Adobe Illustrator CS3
• Difficulty: Beginner to Intermediate
• Estimated Completion Time: 30 minutes

Introduction

I decided to create a stained glass effect when I saw one very beautiful Tiffany lamp. And, although it might be easy to create a mosaic with Illustrator raster effects, I thought it would be better to make it a different way. The simple method I describe in this tutorial involves only a few tools. Also, you’ll get better results with a reference image – whether it’s your own sketch, a photo, or any other image you like.

Step 1

Let’s open Adobe Illustrator and create a new document. Make it default A4 paper size (210×297 mm horizontal), but your image may be created in any size. I set it to RGB color mode, but you can choose CMYK if you prefer.

Now we’ll need a reference image, and you need to know something about it. Resolution and quality doesn’t matter, it can be a small photo. For a stained glass effect it’s better not to choose high-frequency images, which means images with many small details, or with very distant objects.

It’ll be rather hard to reproduce tiny areas with so many glass pieces (you’ll have to create each of them). Thus, city landscapes or detailed portraits are not the best choice. Choose a low-frequency image like a still life, flowers, or a landscape. See the examples below.

Step 2

Okay, when the reference image is chosen, place it in your document (File > Place). I used a great photo “Spring bouquet” that the Russian photographer Nattalia Shloma kindly allowed me to use in this tutorial. She has some amazing flower compositions that are perfect for stained glass effects.

Position and scale the placed image to your liking, so that the main object is in the center. Then click twice on the layer in the Layers panel (F7) and rename it to “photo.” Check the “template” option, also enter 100% in the Dim To field. This way the image will be visible even in outline mode.

I left some blank space to fill it with glasswork later, and I also decided to crop it with a clipping mask. Simply create a rectangle the same size as your document, select both the rectangle shape and the image, and then press Command + 7.

Step 3

Now create a new layer and name it “Glasswork.” Choose the Line Tool () and make sure your bottom layer with a reference image is locked, so you don’t accidentally select it. Colors do not matter now, you’ll change them later, so you can choose a vivid stroke color to work with.

Now it’s time to create the basic shape of the glasswork. This is the most time-consuming part of tutorial and requires some patience. Draw the rough draft of the glasswork, so that the lines are the borders between glass pieces.

Start creating lines that follow the main objects in your image. Make sure that every line touches either another line or the image border with its endpoints. You are making future glass pieces, keep it in mind – so the idea is to break the surface down into separate objects. Avoid open line ends, it’s very important, so overlapping is the key!

Turn on smart guides (Command + U) for help. This way you’ll see where the lines intersect. You don’t have to copy the reference image exactly. I decided to make the table flat and clean, dropped the fallen tulip, and change the vase shape.

Step 4

The flat areas like the wall or table will consist of larger glass pieces, while smaller objects (flowers and leaves) need more detailed work. Try to draw lines that roughly follow the borders of every object. Remember: It’s better to create smaller glass pieces where we do not actually need them, than to create one huge piece where we need more detail.

Here I replaced the mimosa with more simple leaves to avoid too much small detail. You can switch to outline mode (Command + Y) if the line color disturbs you. That’s what I have for now.

It’s easy to know you’re ready for the next step: just turn off visibility of the bottom layer, and you’ll see if the lines look recognizable. Make sure every important object of your reference photo has the appropriate glass piece bounded by lines on the top layer.

Check twice that the lines touch each other or the image border. Correct gaps and any points that are bit over the border – just move them into place with the Direct Selection Tool (A). You’ll be able to correct it later though.

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In this tutorial, we'll explain how to create an eagle head from a photograph and make a sticker out of it. This is a fairly straight-forward process and is relatively simple to get good results with. Let’s get started!

Final Image Preview

Below is the final image we will be working towards. Want access to the full Vector Source files and downloadable copies of every tutorial, including this one? Join Vector Plus for just 9$ a month.

Tutorial Details

• Program: Adobe Illustrator CS4
• Difficulty: Intermediate
• Estimated Completion Time: 1.5 hours

Step 1

I went over to stock.xchng and picked a nice photograph of an eagle. We’ll use this image and trace our eagle head out of it. Open a new document in Illustrator and place the image on its own layer and lock it.

Step 2

There is no real shortcut for this kind of thing, just plain and simple tracing. Select the Pen Tool (P) and start tracing the outline of the eagle head. Fill the shape with white and set the Stroke to none.

Step 3

Start adding another shape by loosely tracing it following the out line of the first shape. Fill it with 10% black.

Step 4

Add another shape. Just keep looking at the reference image, trace it, and fill it with 20% black. You can let your imagination run. It doesn’t have to have the exact shape of the eagle head.

Step 5

We pretty much keep adding shapes and filling them with gradients and colors similar to the photo.

Step 6

All these shapes will make up the head and feathers. The most important thing is to distinguish the shapes from each other by placing them underneath or above each other and give them slightly different colors or gradients. Try to orient yourself on the colors of the photo.

Step 7

Let’s move on to the eye. Create a small circle with the Ellipse Tool (L) and fill it with a white/orange radial gradient.

Step 8

Then create two circles filled with orange. Make one circle smaller that the other. Fill the bigger one with a slightly darker orange and then select both and apply a blend (Command + Alt + B). Set the Blend option to Specified Steps of 10.

Step 9

Create another circle on top and fill it with black.

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In this tutorial, we will learn how to manipulate a simple photo into a flooding torrent of a scene. We’ll use some relatively simple techniques to give this image a semi-realistic, stylized feel. Let’s get started!

Final Image Preview

Take a look at the image we’ll be creating. Want access to the full PSD files and downloadable copies of every tutorial, including this one? Join Psd Plus for just $9/month. You can view the final image preview below.

Video Tutorial

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

Step 1

With the main image opened, use the Clone Stamp tool to remove any unwanted entities, like the elderly couple walking. Try and clone areas around the couple so it doesn’t look odd and mix your usage of soft, and heavy round brushes to define those edges.

Step 2

Next you will want to cut around the edges of the roof tops so we can add in our stormy sky. Use the Polygon Lasso Tool for this. Don’t worry about accuracy, as we’ll be blending everything later, just make sure that the sky is cut out. Once selected, unlock the “background.” Now double-click the layer, then rename it to “backdrop” and hit Enter. Delete the sky.

Step 3

Open the Stormy Sky image and place it underneath your “backdrop” layer. Then press Command + T to Free Transform), hold Command while you drag the bottom corners inwards to add some perspective to the sky, don’t forget to resize if necessary. Apply the transformation when you are happy.

Step 4

It doesn’t look very nice does it? That’s because we’re not done yet. Open and place the wave image in the center of the image. Now use the eraser, and a soft brush on it. Get in close and erase the bits you don’t want. Don’t worry if your messy, as the tidying comes later.

Then go to Image > Adjustments > Brightness/Contrast and use the settings shown below.

Then go to Image > Adjustments > Hue/Saturation and use these settings.

Rename the layer to “Wave,” and your image should now look like the one shown below.

Step 5

Now comes the complicated bit. What you’ll need to do is add all the water files to you’re image and one by one, free transform them to flow with the perspective of the water then erase the hard edges.

You might also need to duplicate some files in order to fill up areas. Always remember to play about with the textures using the distortion method in free transform and a soft eraser. The more you do, the better it will look. You can see the phases of building up the flooding water in this image.

Step 6

Now we have our water sorted, merge all the “water” layers into one single layer and go to Image > Adjustments > Color Balance and use the following settings.

Your water should now be nice and blue and match the “wave” layer from earlier. Now merge the “wave” layer with the “water” one.

Step 7

Remember the tidy up I mentioned a while back? Well its time now. Turn off the “water” layer so you are left with just the backdrop and the sky.

With the Burn Tool selected at highlights and at 50% exposure, and a soft brush set, start burning the rooftops and the sky around the rooftops so they appear darker.

Open the derelict1 image and place it at the right side of the street in the distance. Use a soft eraser to remove those sharp edges. Merge it with the “backdrop” layer.

Step 8

Let’s tidy up some more. Turn on the “water” layer sand and start tidying around the edges using a soft eraser. Then select the Smudge Tool and a 20px charcoal brush using the settings below.

Start smudging the edges of the “water” layer creating very small splashes and more defined edges to realistically create the effect of water hitting a surface. This might require patience and a steady hand, but time will pay off. It might also be wise to duplicate the layer before smudging as you don’t want to use all your undo’s.

Step 9

Next, select the backdrop layer and go to Image > Adjustments > Color Balance and use these settings.

And your piece should now be coming together. Its still a little off, but there is a lot more to do, so lets move on!

Step 10

Time for the splashes. Now this is the hardest step of the tutorial, and requires a lot of patience, but persevere and you will find that patience is in fact a virtue (I know, silly right?).

Open up the splash1 and splash2 images and carefully cut out the splashes themselves one by one. Place them onto the canvas. Now use the Warp Transformation (Edit > Transform > Warp) to get the arches you need to create effective splashes, and erase any unwanted areas.

You’ll need to do this for the two cars and for where the water hits the wall down the buildings of the street.

You might also benefit from smudging the edges of the splashes to give them more movement, as well as adding some white brushing to a new layer and smudging it. Now merge all your “splash” layers.

Step 11

Getting there right? Now you need to do some tweaking to the colors of the image. This can mean anything from water, to the sky or the buildings. In my example, I think the water is a little too blue, so I’m going to desaturate it a little.

Basically use this step for any odd bits and bobs to tweak your image to make it look more streamlined. Be creative, and more importantly, make it look tidy. I lowered the saturation of the water a little, and added some red to the buildings.

Step 12

Now we’ll work on the fog. Its sounds daunting but its actually fairly simple to do. Select a blue color from your water using the Eyedropper Tool. Now select the Gradient Tool and use the following settings.

You will need to create a new layer underneath you’re “water” layer and create the gradient so it blocks out any backdrop behind the water.

Duplicate the layer (Command + J) and place it on top of your water layer, at about 30% opacity. Set this layer to Multiply.

View Full tutorial here…