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Vince*

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Vince* last won the day on August 21

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About Vince*

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  • Birthday 11/04/1991

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    rafael-19@hotmail.gr
  • Website URL
    https://www.mmotop.eu/aion
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    Rafael.Gewrgalis

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    Busy
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    Male
  • Country
    Greece
  • Location
    Into my imagination!
  • Interests
    GFX Is my Life!||Few steps until The Future...

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  1. Ορίστε ο λόγος που το φόρουμ έγινε μπουρδέλο μέχρι σήμερα... Σας κατά πότισε ο παπάρας με ναρκωτικά και τα μυαλά σας από το κεφάλι πήγαν στον κώλο... χα!
  2. Για να μην τα ξανά λέω και καταντάει βαρετό αυτό το θέμα περί σεβασμού, Αν δεν σέβεστε εσείς κανέναν εδώ μέσα, Από την ανώτερη βαθμίδα μέχρι και τον απλό χρήστη, μην περιμένετε να σας σεβαστούν και εκείνοι... Πόσο ποιο απλά να το διατυπώσει κανείς για να το χωρέσετε στο μισό μυαλό που σας έχει απομείνει!?
  3. Χα! Απορώ πόση ώρα σου πήρε να το σκεφτείς αυτό που έγραψες... Όταν με το πρώτο σου account αντιδράς στον καθένα το ίδιο, εσύ τι περίμενες? να σε σεβαστούν και να σε προσκυνούν? βαθιά νυχτωμένος είσαι.... Και επίσης! Αν οι μισοί από δω μέσα δεν το παίζατε τόσο μάγκες με τις βρισιές, τις ειρωνείες και τα δήθεν αστεία troll σας πίστεψε με θα ήταν όλα φυσιολογικά... Αλλά τα μυαλά δεν αλλάζουν οπότε δεν περίμενα κάτι άλλο.. Αν έχω κάπου άδικο γράψε το... Για να μην συνεχίσω να αναφέρομαι ονομαστικά και αρχίζετε πάλι τις πίπες σας όπως κάποτε....
  4. Depends the server and what kind of customs they've got, if someone will join in any server like those you said and then you'll see fully dressed up players with +20-30 weapons, what's the point to waste your time?
  5. Double exposure has been around, everywhere, for quite some time now. It's an interesting photographic technique that combines two or more exposures into a single image. This tutorial will show you how to use some images, blend modes, and adjustment layers, to create an easy double exposure inspired text effect. Let's get started! Step 1 Create a new 1500 x 1000 px document and fill the Background with White. Create the text in All Caps using the font Peace Sans Regular, and use a fairly big size to show the details better. The Size here is set to 500 pt, and the Tracking is set to 100. But you can use any other values you like with your text. Step 2 Place the Branches 3 image on top of the text layer, and resize it as needed. 2. Mask the Branches Step 1 Command-click the text layer's thumbnail to create a selection. Step 2 Pick the Rectangular Marquee Tool, and click the Intersect with selection icon in the Options bar. Then, click and drag to select the first letter you have, and release. Step 3 This will deselect all the letters except for the first one. Step 4 With the branches layer selected, click the Add layer mask icon at the bottom of the Layers panel. Step 5 Place a new copy of the branches image, and then repeat the same steps for each of the remaining letters you have. Each letter should have its own branches layer masked to it. 3. Position the Branches Inside the Letters Step 1 Make the original text layer invisible by clicking the eye icon next to it. Step 2 Click the chain icon between the layer and mask thumbnails to unlink them. This will allow you to move the image inside the mask instead of with it. Press Command-T to enter Free Transform Mode. Move, rotate, and resize the branch inside its letter until you like how things look. Hit Return to accept the changes. Step 3 Repeat that for the rest of the letters you have, and don't forget to relink the thumbnails when you're done. Place all the branches' layers in a group and call it Text. 4. Create the Text's Gradient Map and Add the Overlay Texture Step 1 Click the Create new fill or adjustment layer icon at the bottom of the Layers panel, and choose Gradient Map. Step 2 Click the Clip to layer icon, and click the gradient fill box to create the gradient used. To create the Gradient, you’ll need to click below the gradient bar to add Color Stops, and when you click each Color Stop, you can change its Color and Location values. Here are the Color Stop values used from left to right: Color - Location #282828 - 0% #5c5353 - 25% #877a7a - 50% #ada3a3 - 75% #f1eded - 100% Step 3 Place the New York Buildings image on top of all layers, resize it as needed, and change its layer's Blend Mode to Lighten. Command-click the text layer's thumbnail to create a selection, and click the Add layer mask icon to mask the buildings image. This will finish off the double exposure effect, but we'll add some more color adjustment layers to enhance the final outcome. 5. Adjusting the Coloring Step 1 Add another Gradient Map adjustment layer on top of all layers, and create the gradient using the colors #48406e to the left, #76747e in the center, and #fbc690 to the right. Then, lower the layer's Opacity to a value around 35%. Step 2 Add a Levels adjustment layer on top of all layers, and adjust the settings of each channel as shown below: Congratulations, You're Done! In this tutorial, we created some text, and masked an image of branches to each of its letters separately. Then, we positioned the branches inside each letter, and adjusted the coloring with a gradient map. After that, we added an overlay texture to create the double exposure effect. Finally, we used some more adjustment layers to adjust the coloring of the final result. Please feel free to leave your comments, suggestions, and outcomes below. Credits: Designtutsplus
  6. Everyone choosing Hyperfilter, i heard that they got the best protection arround...
  7. Not bad! At least something usefull for Lineage 2 servers! Is it available for All the clients or only few of them?
  8. You can try but i don't know if it worth to do that thing...
  9. Hello, This time i found a video about how to make our unique logo.!!!! Check the video bellow and good luck!!!! Have Nice creation(s)!!!!! Credits: Photoshop Tutorials
  10. It's all about your choice.... The only servers that worth are low to mid rate servers... PvP servers may have fully unbalance due to their custom items... But If i was you, i wouldn't return into L2... I would search for something else to do...
  11. Hello! I decide to share with all Photoshop users, New and old, the way to make our own custom brushes in photoshop! In this tutorial, we'll learn how easy it is to make our own custom Photoshop brushes! Photoshop ships with lots of great brushes for us to use, but it's way more fun and interesting to create our own, especially after Adobe completely revamped the brush engine in Photoshop 7, adding unprecedented painting ability to what was already the world's most powerful image editor. Since the types of brushes we can create in Photoshop are limited only by our imagination, we'll design a very simple brush here just to see how quick and easy the whole process is. We'll also take a look at a couple of Photoshop's dynamic brush options in the Brushes panel to see how we can change the behavior of the brush after we create it. Let's get started! Step 1: Create A New Photoshop Document Let's begin by creating a brand new Photoshop document which we'll use to design our brush. Again, the purpose of this tutorial is not to learn how to create this exact brush, but rather to see how the process works from beginning to end. I'm going to create a new 200 x 200 pixel document by going up to the File menu in the Menu Bar at the top of the screen and choosing New. Or, for a faster way to create a new document, press Ctrl+N (Win) / Command+N (Mac) on your keyboard: Go to File > New. This opens the New Document dialog box. Enter 200 for both the Width and Height options and make sure the measurement type is set to pixels. Also, make sure the Background Contents option is set to White since we need white to be the background color for the brush: Create a new 200 x 200 pixel document with a white background. Click OK when you're done to accept the settings and exit out of the dialog box. A new 200 x 200 pixel document, filled with white, will appear on your screen. Choosing An Initial Size For Your Brush Photoshop allows us to create brushes as large as 2500 x 2500 pixels, but as they say, just because you can doesn't mean you should. At that size, you'd be painting with the virtual equivalent of a floor mop. Also, painting with very large brushes requires a lot more memory and horse power from your computer which can slow your system down considerably. For typical work, you'll want to create brushes much smaller. The size at which you initially create the brush will become its default size, and it's important to note that brushes we create ourselves are pixel-based brushes, which means they're essentially images and behave exactly the same way as regular images when it comes to resizing them. Brushes will usually remain crisp and sharp when we make them smaller, but if you increase their size much beyond the default, they'll become soft and dull looking. The general idea, then, is to create your new brush just large enough to suit your needs, which may involve a little trial and error. The 200 x 200 pixel size I'm using here usually works well. Step 2: Select The Brush Tool Let's create our new brush using one of Photoshop's built-in brushes. First, select the Brush Tool from the Tools palette, or press the letter B on your keyboard to quickly select it with the shortcut: Select the Brush Tool. Step 3: Select A Small Round Brush With the Brush Tool selected, right-click (Win) / Control-click (Mac) anywhere inside the document window to display the Brush Preset picker, which is a miniature version of the full-blown Brushes panel that we'll look at a bit later (and we'll examine in much more detail in another tutorial). The Brush Preset picker allows us to choose from a list of preset brushes (which explains its name). To select a brush, simply click on its thumbnail. I'm going to click on the Hard Round 5 Pixels brush to select it. If you have Tool Tips enabled in Photoshop's Preferences, the name of each brush will appear as you hover over the thumbnails. Press Enter (Win) / Return (Mac) once you've chosen your brush to close out of the palette: Select a small round brush from the Preset picker, then press Enter (Win) / Return (Mac) to close out of it. Step 4: Make Sure The Foreground Color Is Set To Black Back when we created our new document in Step 1, we made sure to set the background color of our document to white. The reason is that all brushes in Photoshop are Grayscale, meaning that a brush can contain only black, white, or shades of gray in between. Areas filled with white become transparent, so you won't see them when you're painting with the brush. Areas filled with black will be 100% visible, and if your brush includes various shades of gray, those areas will be partially visible depending on how close they are to black or white, with darker shades of gray being more visible than lighter shades. If we were to turn our new document into a brush as it is right now, the entire brush would be transparent since it contains nothing but white. Painting with an invisible brush may make an interesting statement artistically, but for more practical purposes (like this tutorial), you'll most likely want a brush you can actually see, which means we'll need to add some areas of black to the document. The black areas will become the visible shape of the brush (known as the brush tip). Photoshop paints using the current Foreground color, and as luck would have it, the default for the Foreground color is black, which means there's a very good chance yours is already set to black. You can see the current Foreground and Background colors by looking at their color swatches near the bottom of the Tools palette (the Foreground color is the swatch in the top left). If your Foreground color is set to something other than black, press the letter D on your keyboard to quickly reset both the Foreground and Background colors to their defaults: The Foreground color is the color the brush will paint with. Step 5: Paint A Series Of Horizontal Brush Strokes Inside The Document Window With the small round brush selected and black as your Foreground color, click inside the document window and paint a series of short horizontal brush strokes. For added variety, alter the thickness of the strokes by changing the size of the brush using the handy keyboard shortcuts. Press the left bracket key ( [ ) to make the brush smaller or the right bracket key ( ] ) to make it larger. You'll find the bracket keys to the right of the letter P on most keyboards. When you're done, you should have a column of brush strokes that looks something like this: A column of messy, random brush strokes. Step 6: Create A New Brush From The Document To create a new Photoshop brush from the document, simply go up to the Edit menu at the top of the screen and choose Define Brush Preset from the list of options (depending on which version of Photoshop you're using, the option may be called simply Define Brush): Go to Edit > Define Brush Preset. Photoshop will pop open a dialog box asking you to give your new brush a name. I'm going to call mine "My New Brush". You'll probably want to choose a name that's a little more descriptive: Name the new brush. Click OK when you're done to close out of the dialog box, and that's all there is to it! We've successfully created a brand new custom brush in Photoshop that's ready and waiting to help us bring our creative vision to life. You can safely close out of the brush's document at this point. To select the new brush any time you need it, first make sure you have the Brush Tool selected, then right-click (Win) / Control-click (Mac) anywhere inside your document to open the Brush Preset picker. Scroll down the list of available brushes until you see your brush thumbnail (newly created brushes will appear at the bottom of the list), then click on the thumbnail to select the brush. Press Enter (Win) / Return (Mac) once you've selected it to close out of the Brush Preset picker: Select your new brush from the Brush Preset picker. With the new brush selected, simply click and drag inside your document to paint a brush stroke: The newly created brush in action. It's a good start, but I think it's safe to say that at this stage, my new brush will be of limited use. Fortunately, now that we've created a brush tip, we can change and control how the brush behaves as we paint with it using Photoshop's Brush Dynamics, found in the main Brushes panel, which we'll take a quick look at next! Step 7: Open The Brushes Panel We've seen how to select a basic, ready-made brush using the Brush Preset picker, but if want more control over how our brush behaves, we need Photoshop's main Brushes panel, which gives us full access to some truly amazing options. We'll save our detailed look at the Brushes panel and all of its controls for another tutorial, but let's take a quick look at a few ways we can use it to alter the appearance of our brush strokes. To open the Brushes panel, either go up to the Window menu at the top of the screen and choose Brushes from the list, or press the F5 key on your keyboard (press it again to close the panel), or click on the Brushes panel toggle icon in the Options Bar (click it again to close the panel): The toggle icon in the Options Bar opens and closes the Brushes panel. This opens the main Brushes panel, the big brother of the Brush Preset picker we saw earlier. By default when you first open the Brushes panel, the Brush Presets option is selected in the top left corner of the panel, which displays the same small brush icons along the right that we saw in the Brush Preset picker. To select a brush, simply click on its icon. Scroll down the list to your newly created brush and click on its icon to select it if it's not selected already. The very bottom of the Brushes panel displays a preview of what the brush stroke currently looks like. Since I haven't made any changes yet, the preview looks exactly the same as the brush stroke I painted a moment ago: The main Brushes panel in Photoshop set to the Brush Presets option. Step 8: Adjust The Brush Tip Spacing Click on the words Brush Tip Shape directly below the Brush Presets option in the top left corner of the Brushes panel: Click on the Brush Tip Shape option. In the real world, if you were to paint with an actual brush, the brush would lay down a continuous coat of paint on the paper, but that's not how Photoshop works. Instead, Photoshop "stamps" the document with your brush tip as you drag your mouse. If the stamps appear close enough together, it creates the illusion of a seamless brush stroke, but if the stamps are spaced too far apart from each other, the individual stamps become obvious and the brush stroke appears ridged. Depending on the effect you're going for (like creating a dotted line, for example), you may want a lot of spacing between the stamps, but in most cases, a seamless brush stroke is more desirable. With the Brush Tip Shape option selected in the Brushes panel, we can control the spacing between the stamps with the appropriately-named Spacing option at the very bottom of the panel. Spacing is controlled as a percentage of the width of your brush tip, and by default, it's set to 25%, which means that if the width of your brush tip is 100 pixels, Photoshop will lay down a new stamp every 25 pixels as you drag your mouse: The Spacing option controls how frequently Photoshop "stamps" the brush tip as you paint. For a smooth brush stroke, this default setting is usually too high. I'm going to lower mine down to around 13%. To lower the Spacing amount, either drag the slider towards the left or enter a specific value directly into the input box. You'll see the preview of the brush stroke updating to reflect the changes to the spacing: Lower the Spacing amount for a smoother looking brush stroke. Now, if I paint a stroke with my brush, it appears smoother because the individual stamps are closer together: With the brush tip "stamps" being closer together, the stroke appears smoother. Step 9: Select The Shape Dynamics Option Click directly on the words Shape Dynamics below the Brush Tip Shape option we selected a moment ago, which gives us options for dynamically controlling the size, angle and roundness of the brush tip as we paint. Make sure you click on the words themselves. Clicking inside the checkbox to the left of words will turn the options on but won't give us access to their controls: Click directly on the words "Shape Dynamics". Step 10: Set The Angle Control To "Direction" The main problem with the look of my brush stroke is that no matter which direction I paint in, those horizontal lines that make up my brush tip remain, well, horizontal. Let's fix that so the brush tip will follow the direction of my mouse cursor. With the Shape Dynamics option selected, change the Control option for the brush tip Angle to Direction. Again, you'll see the brush stroke preview at the bottom of the panel update to reflect the change: Change the Control option for the Angle to "Direction". I'll paint another stroke with my brush, and this time, things look much more natural. The brush tip is following the direction I'm painting in: A more natural looking brush stroke. Step 11: Set The Size Control To "Pen Pressure" (Requires Pen Tablet) If you're using a pressure-sensitive pen tablet like I am, you can tell Photoshop that you want to control the size of the brush with your pen. With the Shape Dynamics options still selected, change the Control option for the brush tip Size to Pen Pressure: Change the Control option for the Size of the brush to "Pen Pressure" (if you have a pen tablet, that is). With the Pen Pressure option selected, I can easily control the size of the brush stroke on the fly, giving my custom brush an even more natural look: The size of the brush can now be controlled dynamically with pen pressure. Credits to: Steve Patterson from PhotoshopEssentials
  12. Hello, i decided to make few logos for your lineage 2 Java and OFF topics. So let's start: 1. Lineage 2 Java Logotypes: Discussion(s): Download Link: Click Me Share(s): Download Link: Click Me Guide(s): Download Link: Click Me 2. Lineage 2 OFF Logotypes Discussion(s): Download Link: Click Me Share(s) Download Link: Click Me Guide(s): Download Link: Click Me Rates and comments are up to you! I hope you will use them anytime and have fun! -Vince*
  13. Hello, i decide to make this topic with My own top 10 Photoshop font sites selection for your creations and also to help you out instead of spending your creation time by searching... So let's start: 1001FreeFonts DaFont UrbanFonts Fix The Photo Brushez TypeWolf FontSquirrel FontSpace RycoDesign PinSpiry Those were the top 10 Font Sites by my own selection.!!!!! NOTE:IF you want to post more links you can do it.!!!! I will add them to this topic.!!!!!
  14. I received an email from a Spoon Graphics reader last week who wanted some advice for creating a striped type effect in Illustrator, citing a retro 70s style logo as an example. I was sure I’d created a similar effect in a recent tutorial, but it turned out to be the title art I produced for my Washed & Worn textures that I was thinking of. In today’s Adode Illustrator tutorial I’ll take you through my process of creating such artwork to produce a similar 70s inspired type style, then follow it up with an alternative process that has the advantage of preserving the live text. The artwork we’ll be creating in this tutorial is a retro type design in the style of 70s brand logos that feature the striped trend from the era. My example uses the word Renegade, set in a lovely bulbous script font, with a series of alternating rainbow stripes with a nostalgic palette of muted hues. To finish off the artwork, we’ll use those Washed & Worn textures to make the type look like a classic t-shirt. The secret ingredient for creating beautiful script type, aside than becoming a hand-lettering master, is to use a quality premium typeface which contains professional OpenType features. One of my go-to typefaces is named No. Seven. Set your chosen wording with the Type tool in a new Illustrator document to see the font in its default form. The wonderful OpenType features of alternate characters allows you to completely customise your type so each letter is composed perfectly with the next. Highlight each character in turn and cycle through the various glyphs available to produce a totally unique type design. One of the telltale details that distinguishes custom hand-lettering from a basic font is the repetition of characters, but the alternate glyphs available in OpenType enabled fonts allow you to reduce any uniformity with different letter styles. Make any necessary kerning adjustments by placing the cursor between the relevant letters, then use the ALT and left/right cursor keys to alter the gap. Give the text a bit of extra flair with a Shear transformation (Object > Transform > Shear). Enter -7° with the Vertical option checked. Out of habit, I tend to outline my type in order to then apply a series of modifications. I’ll cover an alternative approach later which preserves the live text, but right click and choose Create Outlines on this text element. Change the fill colour to a light beige hue (#f3e1c8). I mix and matched the colours from a couple of palettes from ColourLovers, named Old T-Shirt and I Need Your Love. Go to Object > Path > Offset Path and enter 10px to produce a wider outline around the type. Give this new outline a dark blue fill colour of #374160. Use the Pathfinder panel to merge all the individual letter outlines into one continuous shape using the Unite button. Place this blue outline below the beige text by selecting the Arrange > Send To Back menu. By default the offset path is grouped with the main text. If you deselect and select the element again, both items will be selected. Right click and choose Ungroup to separate the elements. Select just the blue outline then hit Copy (CMD+C) and Paste in Back (CMD+B). Hold the Shift key while nudging the duplicate down and right. Make a selection of both blue shapes, then create a blend under the Object > Blend > Make menu. Head back to Object > Blend > Blend Options and alter the settings to Specified Steps and enter a high value to effectively create a smooth transition between the shapes. Make a copy the whole blend element and paste in back a duplicate. Alter the fill colour to a red from the palette (#d55239), then hold Shift and nudge the outline twice the distance so it extends the layout. Repeat the process of pasting a duplicate with the CMD+B shortcut, then alter the colour (#e4ba7d browny-yellow this time) and nudge it into place to continue the striped effect. Make sure each new stripe is offset by an equal number of nudges downwards and to the right to keep the striped effect aligned. The last colour for this artwork is a pale green of #92aba3. All the main letters have been separated with the Ungroup command earlier. Select them all and use the Pathfinder panel to Unite them. Copy and Paste in Back a duplicate of this element, then give it the same pale green fill colour (#92aba3). Nudge it down and right twice without holding the Shift key this time. This method of building a design out of shapes is my natural process, but it permanently produces the artwork. Any edits to the wording would mean recreating it from scratch. Here’s an alternative approach that makes use of just the Appearance panel by layering a variety of fills and strokes. Live Type Method Rewind right back to the start where we had a neat piece of type in an editable text element. Make sure you have the Appearance panel visible, as that’s where we’ll be doing all the work for this method. Alter the fill to the light beige hue (#f3e1c8), then apply the dark blue outline colour (#374160) as a stroke. By default the stroke appears on top of the fill, which means you can see the outline of each letter. Drag this stroke underneath the fill in the Appearance panel. Increase the stroke weight to 20pt to produce the same effect as the offset path earlier. To mimic the Blend, we can instead use the Transform effect from the FX menu at the bottom of the Appearance panel. Enter 1px in both the Horizontal and Vertical Move options, then apply 20 Copies near the bottom of the settings. To add each different coloured stripe, a new stroke can be applied from the menu in the top corner (or the icon at the bottom of the panel). With the Appearance panel you can layer up numerous strokes onto one element. Change the colour of this second stroke to red (#d55239). The stroke is stacked on top of the blue stroke, so drag it underneath. Apply a Transform effect and enter the same 1px Move figures, but this time add 40 copies to extend the effect twice as far so it protrudes from behind the blue stroke. Repeat the process with a new stroke for yellow (#e4ba7d). Drag it underneath the others then add 60 copies in the Transform settings. The fourth stroke is green (#92aba3), which is placed at the bottom with 80 copies in the Transform effect options. Add a new fill to create the thin green offset text in the original artwork. Drag this new green fill underneath the beige fill, but keep it above the blue stroke. Apply a Transform effect, using the 1px Move values, but this time with just 2 copies. This alternative method produced the exact same artwork, but using just the Appearance panel rather than a collection of Illustrator’s shape-building tools. The main difference is you can still edit the text to change the wording, all the effects will remain applied to the type. You can even save these effects as a Style to apply them to any other element with a single click. Applying a texture in Illustrator Since we modelled this text effect on my Washed & Worn textures artwork, we might as well make use of one of those textures. To apply a texture in Illustrator, click Make Mask in the Transparency panel (group all the objects if using the first method). Click on the square thumbnail on the right in the Transparency panel to activate the mask, then Drag one of the textures into Illustrator, or use the File > Place command. Scale and move the texture into position. Click on the square thumbnail on the left to exit back out of mask mode. The texture in the mask will non-destructively punch out details from the artwork to allow whatever background it’s placed against to show through, giving it an aged and distressed appearance like an old t-shirt print. Credits: blog.spoongraphics.co.uk
  15. One of my Spoon Graphics readers recently sent me an email with a great tutorial suggestion based on one of the promo graphics of the free font named Manrope. The cited artwork featured a collection of letters as long three dimensional shapes of varying heights, densely packed together in the scene. Clearly some kind of 3D modelling software was used to produce the original concept, but I experimented with Photoshop’s built-in 3D tools to see if a similar effect could be made. Follow along with today’s tutorial to learn how to use Photoshop’s 3D capabilities to create the effect yourself. The artwork we’ll be creating in this tutorial features a bunch of long, extruded character shapes, arranged at various heights. By just configuring a few options, Photoshop’s 3D features then bring the effect to life with realistic perspective, shading and lighting. Create a new document of around 2000x2000px in size. Set out the first of many letters as an individual text element using the font of your choice. Checking the Uppercase option will make it easier to edit each subsequent character without the need to hold the Shift key to capitalise the letter. With the Move tool activated, hold the ALT key and drag a duplicate of the text element into some empty space. Double click to edits its contents and change the character. Continue duplicating the element to lay out the entire alphabet. Neatly lay out all the characters in close proximity. Numerals can also be used to fill out any gaps within the composition. Combine all the letters into one layer by activating the uppermost layer, then hold Shift and select the lowermost layer. Use the CMD+E shortcut for Merge Layers, then rename this layer to ‘Letters’. To convert this flat artwork into 3D, go to 3D > New 3D Extrusion from Selected Layer. The Photoshop workspace will then switch to 3D mode. In the 3D panel, activate the Letters object, then in the Properties panel, alter the X rotation value to 90° under the Coordinates section. Activate ‘Current View’ in the 3D panel, then in the Properties panel change the view menu to Top. Use the navigation tools in the top toolbar to orbit, pan and scale the view to effectively position the text at an angle. By default, the 3D artwork is created as an Orthographic view, but checking the Perspective option in the Properties panel generates an alternative effect. Select the Letters object again in the 3D panel, then go to the 3D menu and choose Split Extrusion to break it apart into individual letter shapes. Click each letter shape in turn and use the blue arrowhead of the 3D tool to move the letter upwards or downwards along the Z axis. Move each letter by a random amount to set the shapes at irregular heights. To ensure no letters are floating in space, Shift-click to select all the letter elements in the 3D panel, then click the Move To Ground button in the Coordinates section of the Properties panel. Activate ‘Current View’ again and reset the scene if necessary to centre up the 3D view within the canvas. Select the Infinite Light element within the 3D panel and move the smaller handle of the on-screen icon to reposition the direction of the light. In the Properties panel, increase the Softness of the shadow to around 70%. Back in the 3D panel, select the first Front Inflation Material, then hold Shift and click the very last Back Inflation Material to make a selection of every single one in between. In the Properties panel, change the Specular colour to white and reduce the Shine value to 0%. The 3D effect currently doesn’t look great. It now needs rendering to process the finer lighting effects. Go to 3D > Render 3D Layer, then sit back and wait it to complete. After a few passes once the bulk of the shading has been established, you can press the Escape key to stop the rendering. Stopping the render early does leave some subtle grain behind, rather than a perfectly smooth surface, but it can actually enhance the artwork. To avoid making any changes to the 3D layer and have to render all over again, use the CMD+Shift+E shortcut to make a merged copy of the artwork on a new layer. The final result is a cool 3D composition of extruded letter shapes with realistic shading and lighting effects. This artwork was left with a basic grey appearance, but Photoshop colour adjustments, or alternative surface effects could be used to enhance the effect further. Credits:blog.spoongraphics.co.uk
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