Step 1

Start with a new document, I’ve used Width – 600px, Height – 600px. Take the Rounded Rectangle Tool (U), Radius- 20px, and draw a shape like this, modify the shape using the Add Anchor Point Tool, then move the new anchor points as shown.

Step 2

Hit Ctrl + Enter to make selection, fill it with color – #05b4ba and then apply a Gradient Overlay using a Layer Style.

Step 3

Name this Layer “Base”, Ctrl + Click on the Layer thumbnail to create selection. Now create a new later and name it “Outside Stroke”. Go to Edit > Stroke. Apply a Stroke of 8px, Location – Center. (You can use any color).

Step 4

Now we need to create a shadow of the layer “Outside Stroke”. To do this, you will need to duplicate that layer and drag it under the main “Outside Stroke” layer. Go to Layer > Layer Style > Color Overlay. Fill it with Black color. Now go to Filter > Blur > Gaussian Blur. Radius – 0.9 px. Change its Opacity to 7%. You should get something like this.

Step 5

Now again Ctrl + Click on the “Base” layer thumbnail. Create a new layer and name it “Glow Overlay 1″. Fill it with white color and move the selection down using your arrow key. Hit delete. Change its Opacity to 7%.

Step 6

It’s time for another glow light. Use the Pen Tool (P) and draw a shape like this. Name this layer “Glow Overlay 2″. Change its Opacity to 11%.

Step 7

Again Ctrl + Click on the “Base” layer. Create a new layer and name it “Box Glow”. Fill it with white. Go to Select > Modify > Contract, contract by 30px. Delete this area. Take the Eraser Tool (E), follow the next image.

Step 8

Optionally, you can add your own effects as shown.

Step 9

Our next step is to give it a glassy look. Create a new layer and name it “Glass”. Take the Rounded Rectangle Tool, Radius – 10px, change the layer blending mode to Lighten. See instructions in next image.

Step 10

Now we need to create the edge of the glass themed area. Draw the same shape using the Rounded Rectangle Tool, press Ctrl + Enter to make selection, go to Edit > Stroke, width – 1px, Location – Center, color – white. Change the Layer Blending mode to Overlay. Take Eraser Tool (E). See the next image.

Step 11

Now that the text has been typed out, it’s time to adjust some of the layers. Create a new Layer Group, name it “Object Front”, and then put all the layers inside it.

Step 11

Time for adjusting the layers. Create a new Layer Group, name it “Object Front” and put all the layers inside it.

Step 12

To create the back side of the object, we will next create a new layer under the “Object Front” group and name it “Object Back”, create a shape using Rounded Rectangle tool, then apply the following Layer Blending Styles.

Step 13

Now it is time to add another glow on “Object Back” layer. Something like this. Use the steps we laid out in earlier parts of this tutorial for this.

Step 14

Our next step is to apply a shadow to our back object. See the following image.

Step 15

Create a New layer Group, name it “Object Back” and put the layers inside it. After that, create the upper area of the folder icon by creating a new layer above the “Object Back” Group. Name it “Head”. Start using the Pen Tool, follow the next image.

Step 16

Ctrl + Click on the thumbnail of the Head layer, create a new layer and name it “Head Stroke”, Go to Edit > Stroke, width – 1 px, color – white. Now add some glow on the Head layer, try creating this one yourself.

Step 17

Now we will be creating our tag. To do this, follow the instructions on the image below.

Step 18

To create the rope, draw it using your pen tool and apply the hole’s Blending Style. (Used in Step 17.)

Step 19

To create the shadow of the tag, follow the steps laid out in Step 4 and erase the outer areas. Set its Opacity to 61%.

Step 20

Create a shadow for the folder icon just like this and place the layer at the bottom.

Final Image

You can create a family of icons using very similar techniques. Thank you! I hope you have enjoyed this tutorial.

The screen will be drawn in a few easy steps using familiar Photoshop tools. We will then employ techniques and workflows utilized by professional matte painters to create a finished cityscape. Far from being an exercise on matte painting, this tutorial nonetheless gives us a peek into this fascinating branch of digital arts.

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Tutorial and Series Details

Below are the five icons we are creating in this series.

Take a look at the icon we’ll be creating in this tutorial, which is a large LED display with a finished cityscape matte painting on screen.

• Program: Adobe Photoshop CS2 and later
• Difficulty: Intermediate
• Estimated Completion Time: 1.5 hours

Step 1

Today’s operating systems give us the chance to work on big icons. Open a new document and set the canvas to 512px by 512px. Set the foreground color to light gray. Select the Rounded Rectangle Tool (U) from the toolbar, make sure the Radius is set to 10px, and draw a 480px by 300px rectangle at the center of the canvas. This will be the outer frame of the display.

Step 2

Select the frame’s pixels by Command-clicking the thumbnail in the Layers palette. From the Select menu choose Modify > Contract and enter 2 pixels (2a). Fill the selection with black on a new layer. This is the glass that covers the LCD panel (2b).

Step 3

Command-click the glass and contract the selection by 1 pixel (3a). Fill the selection with a white-to-black vertical gradient on a new layer, which we’ll call “reflection” (3b). Select the Polygonal Lasso Tool (L) and make a trapezoidal selection around the right half of the display (3c). Apply it as a mask to the “reflection” layer, which should be set to the Screen blending mode and 20% Opacity (3d).

Step 4

Using the Rectangular Marquee Tool (M) create a new layer above the “glass” and below the “reflection” and fill it with a placeholder color, for example light blue (4a). Name it “screen.” Add a pinhole webcam at the top of the screen and a logo of your choice at the bottom. Let’s make the logo glow, too (4b and 4c).

Step 5

Now we need to draw the support. Draw a light gray rounded rectangle just like we created the frame at the beginning (5a). Pick the Direct Selection Tool (A) from the toolbar. Select the top points and nudge them toward the center, tapering the support (5b). Add a vertical Gradient Overlay style to simulate the shadow cast by the display and the curvature of the support. Refer to images 5c and 5d for the settings. The result (5e) looks good but of course we need to add some thickness to the support.

Step 6

Duplicate the “support” layer. Move the copy below it and name it “support thickness” (6a). Add a Gradient Overlay style to shade the rounded corners (6b, 6c). The support is complete (6d).

Step 7

To finish the display we need to draw the shadow it casts on the ideal floor beneath it. Create a horizontal black ellipse (7a) and set it to Multiply, 50% Opacity (7b). Go to Filter > Blur > Gaussian Blur and enter 10 pixels (7c). An Opacity of 50% is a good value to start with, but in this case the shadow is too strong so let’s reduce it to 20% (7d). Now choose the Blur Tool from the toolbar and soften the edges of the shadow with multiple strokes until it resembles image 7e. The display is now finished.

Step 8

Create a layer group called “PAINTING” (8a). I use lowercase for layer names and uppercase for group names. It makes them easy to distinguish when the layer stack becomes long. Command-click the “screen” (8b) and add this selection as a mask to the layer group (8c). This way we ensure our matte painting won’t bleed over the glass.

Step 9

We will now create a very basic matte painting that features a cityscape on a shoreline set at dusk. Let’s start. Place the “screen” layer inside the “PAINTING” group and rename it “background” (9a). Using a Gradient Overlay (9b, 9c) we transform the placeholder blue into a complex gradient that represents the sky at dusk. For the sake of an icon we don’t need to be extremely accurate. We have quite a few colors, though, top to bottom: dark blue, blue, light hazy blue for the horizon, purple for the setting sun and a deep blue for the sea (9d).

Step 10

In order to draw the buildings that make up the cityscape we need perspective guides. Using the Line Tool (U) and a bright green color, draw a series of perspective lines, all converging to a focus point on the left. Make sure the point lies on the horizon (10a). Group the lines.

Next draw a series of parallel horizontal lines, using a contrasting color like red (10b). Group the red lines too. Now hit Command + T to invoke Free Transform, right-click on the canvas and choose Perspective. Modify the lines’ perspective so they converge to a focus point on the horizon, far to the right outside the screen (10c). Our perspective grid is now ready. Group the green and red lines together and reduce their Opacity to 30% to make them barely visible (10d).

Step 11

Pick a dark blue color. On a new layer, paint the shoreline using the Brush Tool (B) set to 100% hardness. Fill the layer up to the horizon and make sure the top is flat and horizontal. Hold down Shift to paint perfectly horizontal or vertical strokes (11a).

Now comes the fun part! Create a new layer. Using the Rectangular Marquee Tool (M) make multiple selections and fill them with the same dark blue from the shoreline. Try to create organic groups of taller and shorter skyscrapers (11b). Throw in some lowrises for variety. Continue the process until you’re satisfied with your cityscape.

Step 12

The buildings need to be adapted to the perspective grid. Specifically, their tops have to be cut off along the perspective lines. Do that by using the Polygonal Lasso Tool (L) to select and erase the extra pixels (12a). When you’re finished you will see how the city slowly takes shape (12b). My composition admittedly is not so good, I hope you did better!

The key here is to have a couple of tall buildings up front and enough variation in order to avoid regular patterns as the buildings recede toward the horizon. The beauty of this method is that it’s so easy and quick to build the cityscape that it’s no trouble to start from scratch until you like what you see. Let’s push forward.

Step 13

The buildings are lit from the front. This means that we have to paint the front facades with the purply-orange light of dusk (13a). Do this on a separate layer masked with the “buildings” layer. Alt-click between them (13b). Make sure you blur the base of the frontlit facades so they fade out into the lower levels of the city (13c).

Step 14

If you thought creating the buildings was fun, you haven’t seen nothing yet! We will now use Photoshop’s amazing brush engine to quickly paint hundreds of variously lit windows on our buildings.

Create a new document and set the canvas to 3px by 6px. Fill the canvas with black (14a). Type Command + A to select all then go to Edit > Define Brush Preset. In the pop-up dialog name the brush “windows” (14b). The brush has been added to the default presets. Let’s go back to our main document.

Step 15

Hit D to load the default colors and X to swap them: the foreground will be white and the background black. Now type B to select the Brush Tool and hit F5 to open the Brushes window. From the Brush Presets choose the “windows” brush we just created (15a). Set up a very small size (3 pixels) and a very large spacing (250%) from the Brush Tip Shape option pane (15b). As you can see in the preview window at the bottom, the brush strokes will leave a trail of spaced rectangles instead of a continuous mark.

We want the windows to have different degrees of light intensity so let’s turn on Opacity Jitter. Choose a high enough value like 75%. Check out how the opacity varies randomly in the preview window (15c). The brush is all set!

Step 16

Create a new layer. Paint vertical strokes by holding down Shift. See how our brush creates evenly spaced, variously lit windows? To those of you who think icons belong only in the vector world, try doing that with Illustrator! Different software, different workflows, different results (16a).

Fill an entire facade using parallel strokes. Hit Command + T then right-click on the canvas and choose Distort. Move the points up and down to match the shape of the facade (16b). If you zoom out to 100% you can see that the windows follow the perspective grid also (16c).

Step 17

Copy the layer you just painted, move it to the left and use Distort to adapt it to the facade below it (17a). Do you get the drift now? Paint new window layers with the brush set to progressively smaller sizes, conform them to the perspective grid then duplicate and adapt them to the remaining facades until you’ve covered all the buildings (17b). If this were a real matte painting we would need to add more color variation, refine the shape of the buildings and create different window patterns, but we are creating an icon so we can be satisfied with what we have so far.

Step 18

Set up a small greenish yellow brush (18a). Turn on Opacity Jitter and choose the Fade option. Using the preview at the bottom pick a value that looks good, like 15 (18b). Our paint strokes will now fade out. On a separate layer paint some lights at the top of the higher buildings using upward strokes (18c). Add some lights at the base of the buildings on another layer (18d).

Step 19

Set the “top lights” layer to Linear Dodge (19a) and the “base lights” layer to Overlay (19b). Now the light setup is more balanced (19c).

Step 20

Of course the water reflects the buildings so here we go. Group all the pertinent layers as “BUILDINGS” (20a). Duplicate the group. Name the copy “BUILDINGS REFLECTION” and hit Command + E to merge the group. Move it below the “shoreline” and flip it vertically (20b).

Step 21

Go to Filter > Blur > Motion Blur. Set the Angle to 0 (horizontal blur) and Distance to 6 pixels (21a). The reflection is now appropriately blurred (21b). The water surface is way too calm. Let’s remedy that. Go to Filter > Distort > Ripple and experiment with the values using the preview for reference (21c). Now the reflections look more realistic (21d).

Step 22

The matte painting is all but finished. Some clouds need to be added to the sky. Pick a yellowish-white color. Select the Brush Tool (B) and enter the Brush window (F5). Pick a soft, round brush and increase the spacing (22a). Set Opacity Jitter to Pen Pressure (22b). Activate Scatter and again set it to Pen Pressure (22c). If you don’t have a tablet you won’t see that option. Instead set both controls to Off and use different opacities for the brush strokes to achieve variation. Paint the clouds on their own layer. Take your time to obtain a good result (22d).

Step 23

We can now unhide the reflection on the display and we can declare the icon finished.

Conclusion

This was the last installment in the “Creating a Set of Digital Painting Icons Set” series. We created a simple LCD display with basic shapes and layer styles. We filled our gorgeous screen with a nice cityscape matte painting, created with an eye for perspective, light direction, and some clever brush tricks!

I hope you enjoyed this icon series as much as I enjoyed making it. We created five icons whose styles range from the sketchy to the photorealistic. This gave us the opportunity to explore many tools, techniques and workflows that confirmed what a friend Photoshop is to us creative professionals!

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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 CS3
• Difficulty: Intermediate
• Estimated Completion Time: 1-2 hours

Introduction

To create this icon we will mostly use the Brush Tool (B), and for adding shadows and lights the same Brush Tool (B) and sometimes the Burn and Dodge Tools (O). For defining the curved shapes you will use the Pen Tool (P) that will give you the most precise shapes.

After you are done with the creation of this mouse, you will be taken through the steps of creating the ICNS file or ICO file.

Step 1

First of all start by creating a new document by pressing Command + N and chose a width and height of 1000 px. Because the mouse will be created using white and black colors you will need to give the background of the document a color that will help you work better – in this case red was chosen.

Step 2

Next we’ll start to create the two principal shapes. We’ll add details over them later on.

First, create the upper shape using the Pen Tool (P), then make sure you have created a new layer. Now transform the Pen Path into a selection by pressing Command + Return and fill the selection with white as shown.

Step 3

And now that the upper part of the mouse has been created, you need to create the lower part. First create a new layer and place it below the white shape you just created, as this shape will be the support of the white shape. Use the Pen Tool (P) again to create the shape and fill the selection with #141414.

The Opacity of the white shape has been decreased so you can see what is going on behind it.

Step 4

Now that the actual shape of the mouse had been defined you will have to start adding details (shadows and lights).

Start working on the lower part of the mouse. Use the Dodge Tool (O) first and add some light like as shown.

Step 5

Double-click the black shape layer to enter the Blending Options menu and add a soft black stroke as shown.

Step 6

Duplicate the layer, but without the stroke you just created in Step 5. Use the Burn Tool (O) this time and start making the shape darker in some areas.

Step 7

Use the Pen Tool (P) next and create a 1px black stroke like below. Erase the right edge of the stroke to make it fade out.

Step 8

You have now finished working on the lower part of the mouse. Now it is time to start working on the upper part.

First of all, create some shapes to help you know how to section the shape. Use the Pen Tool (P) and create a shape like below. Now create a new layer and fill the layer with #929292.

Step 9

Create another shape again using the Pen Tool (P). After you create the path, make sure you create a new layer and fill the selection with #6d6d6d.

Step 10

Next add a simple shadow below the mouse using the black brush set to soft.

Step 11

Start adding the details on the upper part of the mouse, starting from the bottom section. Use the Burn and Dodge Tools (O) to create the shadows and lights.

Step 12

The next step is to add some texture to the bottom part because this section is created using a different plastic material than the upper sections. First create a new layer and fill it with white. Now go to Filter > Noise > Add Noise and use the settings below.

Set the layer to Screen and 30% Opacity.

Make a selection around the shape you are applying the texture by holding the Command key and clicking on the layers thumbnail. Now invert the selection and erase the excess noise.

Create a mask, and using the black brush set to a low Opacity, erase parts of the noise to make it blend in.

Step 13

Use the Pen Tool (P) and create a new shape like below. Fill the shape with #373737.

Step 14

Next create a new layer above the layer in Step 13. Use the Pen Tool (P) to create a 1px white stroke as shown. Erase the edges and some areas using the Eraser Tool (E). Set the layer to 80% Opacity.

Step 15

Now it is time to create the middle section of the mouse. I call it the Glossy Strip.

This section is made out of a different material and you will use different techniques to create it. First of all the layer is too dark and you need to make it lighter gray. Do this using the Dodge Tool (O. For creating those two shadows on the sides use the Burn Tool (O).

Step 16

Create another white stroke just as you did in Step 14.

Step 17

Create two nice looking reflections on the shape by creating two strokes into a new layer using the Brush Tool (B). Then go to Filter > Distort > Wave, and play with the settings there until you obtain the same result as shown below. Do not use the same settings you see in the image below, as the result might not look the same. Instead, try to play with the settings and experiment.

Step 18

Now that you have created your reflection add a mask. Use the black brush inside the mask to hide the edges of the shape. Set the layer to 46% Opacity.

Duplicate the layer and set it to 20% Opacity and Multiply. The difference is not very obvious, but what this does is make the reflection a little more visible.

Step 19

Create another reflection. Follow the same steps or maybe just duplicate the layer and place it in the right position.

Step 20

Next create a glossy effect in front of the shape. Do this by creating a white shape like below using the Pen Tool (P).

Use the Eraser Tool (E) on the edges to make it blend in.

Step 21

Now that you are done with the sections below it is time to work on the last part of this tutorial. First use the Burn Tool (O) over the white part to add some shadow.

Step 22

Use the Pen Tool (P) and create a shape like below, then fill the layer with black.

Set the layer to Multiply and Opacity to 8%.

Step 23

Use the Pen Tool (P) again to create a 1px white stroke over the lower edges of the shape. Erase the edges of the stroke using the Eraser Tool (E).

Step 24

Create a dark gray stroke on the top of the shape, then use the Eraser Tool (E) again on the edges.

In the end add the Apple logo over mouse and you are finished.

Creating the Icon

If you have a Mac the best way to create your icons is using the Icon Composer that Apple is giving away for free over at the Developer Page on their website. You will also find this app in your developer folder in the OSX installation DVD.

First save your mouse as a transparent PNG file, then import it into Icon Composer. Then simply save it as an ICNS or ICO file. The great thing about Icon Composer is that you can also preview how the icon looks on your dock.

Conclusion

You can view the final image below or view a larger version here.

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Tutorial and Series Details

Below are the five icons we are creating in this series.

Take a look at the finished icon for this tutorial. We’ll draw the tablet and the stylus complete with shiny screen, side buttons and blue LED status lights.

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

Step 1

Fire up Photoshop and create a new RGB blank document, choosing a 512px x 512px square canvas. Choose a dark gray foreground color then select the Rounded Rectangle Tool (U) from the toolbar. In the option bar at the top of the screen enter 30px for the corner radius (1a) then Alt-click and drag from the center of the canvas to create the main body of the tablet (1b). Alt-clicking centers shapes, selections and transformations around the mouse. It’s a pretty useful keyboard shortcut so note it down. When you’re satisfied with the shape right-click on the layer and choose Rasterize Layer. Name it “base.”

Step 2

Let’s establish now that the light comes from the top. This requires that we make all upward-facing surfaces lighter and all downward-facing surfaces darker. We will stick to this rule throughout the tutorial.

The tablet’s main body looks flat. Let’s add some lighting by choosing a light gray as foreground color and keeping the previous dark gray as background color (2a). Hit G to select the Gradient Tool. Before we paint the gradient, though, let’s lock the “base” layer’s transparency by clicking the transparent square at the top of the Layers palette (2b). Now we can safely paint all over the tablet because we will be limited to the existing pixels. Paint the gradient with a vertical stroke, light to dark (2c).

Step 3

The surface of the tablet is not so smooth. There’s a very fine grain. To create that go to Filter > Noise > Add Noise and choose 1%, Uniform and Monochromatic (3a). See the result (3b). We also need to give the tablet some thickness so double-click on the “base” layer to open the Layer Style window and click on Bevel and Emboss. Refer to image 3c for the settings. Now the tablet has thickness and a gentle curve around the edges (3d).

Step 4

Let’s draw the glass surface. Select the Rounded Rectangle Tool (U) again but this time set Radius to 10px (4a). Draw a smaller rectangle at the top center and name it “glass” (4b). Rasterize it, lock its transparency and fill it with a vertical gradient from a medium to a very dark gray (4c).

Step 5

The actual active area is a bit smaller than the glass and has sharp edges. Draw it with the Rectangle Tool and give it a Gradient Overlay style, light to medium gray (5a). Now is also the time to add a logo at the bottom of the glass. Use the Text Tool (T) and a very light gray (but not white) to add your custom logo (5b).

Step 6

The glass is inset from the tablet’s base plastic surface. Duplicate the “glass” layer and name the copy “glass rim.” Set the Fill to 0% (6a). The layer’s actual pixels are invisible but any Layer Style we add will not. That’s a neat trick when you just want to use a layer’s contour without showing its content. What we want is Bevel and Emboss again. Make sure you choose the “Down” option, which will create an inset bevel (6b). Now the glass has a hard, shallow edge inset from the base (6c).

Step 7

To finish the screen we’ll add a big reflective highlight. Cmd-click the “glass” (7a) then fill a new layer with white (7b). Name it “reflection” (7c). Using the Polygonal Lasso Tool (L) make a slanted selection over the right side of the layer (7d). Add the selection as a mask (7e) then set the layer’s blending mode to Screen, 20% opacity (7f). The screen is finished (7g) so we can group all related layers now (7h).

Step 8

For the LED light, pick the Ellipse Tool (U) and draw a 7×3 pixel, light blue ellipse at the top left corner of the tablet (8a). Name it “LED 1″ then add an Outer Glow (8b) and Inner Glow (8c) layer style. We now have a nice glowing status light (8d).

Step 9

Duplicate the LED light and add some symbols below them. Make up your own or refer to pictures of the actual Cintiq.

Step 10

On to the side buttons. First let’s make the touch strip. Choose the same gray as the “base” layer. Using the Rounded Rectangle Tool (U) with a 2px radius draw a thin vertical strip on the left side of the glass (10a). The strip is inset from the main body so let’s add a Bevel and Emboss style (10b). Activate the Contour option too (10c). See the result (10d).

Step 11

Next to the touch strip there is another scalloped section that contains the four function keys. Duplicate the strip, move it to the right and widen it so the four keys will fit. Name it “key strip.”

Step 12

For the function keys choose a lighter gray color. Draw the top key with the Rectangle Tool (12a) and name it “top key.” They key casts a shadow all around itself. Create that shadow with an Outer Glow style (12b). The remaining keys can be easily created by duplicating the “top key”, adapting their proportions and positioning them on the strip (12c).

Step 13

Group both strips and the five keys in a group called “BUTTONS L.” Duplicate the group, name the new one “BUTTONS R”, move it to the right of the glass and flip it horizontally (13a). To finish the tablet let’s add a drop shadow. On a new layer beneath the “base” draw a thin long black ellipse. Set it to Multiply, 70% opacity. Go to Filter > Blur > Gaussian Blur and choose 3px. The result is a soft, natural-looking shadow (13b).

Step 14

Time to create the stylus now. Draw the right half of the stylus using the Pen Tool in Shape Layer mode (14a). Create the other half (14b) then merge the two shapes together. Use a medium gray as base color (14c). Name the layer “pen body.”

Step 15

Let’s add the main highlight. Duplicate the pen layer and scale it down horizontally. Brighten it using either Hue/Saturation (Cmd + U) or Brightness/Contrast (15a). Finally add a 1px Gaussian Blur to blend it with the bottom layer (15b). You might need to set the highlight’s blending mode to Screen depending on the colors you picked and the outcome you desire. Name the layer “pen body reflection.”

Step 16

Using the Rectangular Marquee Tool (M) select a thin horizontal strip on the “pen body reflection” layer halfway up the tapered end. Darken the selection (16a). Now select the tip on both layers and erase, leaving a flat end (16b).

Step 17

Add the nib as a simple dark gray rectangle (17a) on a layer below the “pen body.” The eraser can be created with a dark gray ellipse, it too on a layer below the pen (17b). Since the eraser is rounded we need to add some color variation on the surface. We do this with a Gradient Overlay style (17c).

Step 18

Draw the rubber grip with a rounded rectangle slightly tapered so it flares at the top (18a). The radius should be really small, about 3px. Add a Gradient Overlay style (18b). The rubber grip now appears round (18c).

Step 19

Let’s draw the side button on the stylus. Draw a dark gray rectangle on a new layer, right where you thumb would be if you gripped the stylus (19a). Marquee-select the bottom two-thirds (19b) then hit Cmd + J to copy the selection to a new layer. This side of the button faces upwards, therefore we have to brighten it (19c). Hit Cmd + E to merge this face down. Now we only have to add an Outer Glow to simulate the hole in which the button is set (19d). The side button is complete (19e).

Step 20

Group all the layers that make up the pen and name the group “PEN” (20a). Keep the layer structure for later modifications. Duplicate the group and hit Cmd + E to merge all layers into one. At this point we can add a Drop Shadow (20b) and position the stylus where we want. We are done (20c).

Conclusion

I hope you learned a few tricks from this tutorial. Maybe it even made you want to buy a tablet! As always with icon design, we relied on vector shapes and layer styles to obtain maximum effect and flexibility. Should you want to change colors, thicknesses or light direction you can always go back to the layer structure and make the necessary adjustments. See you next time for our final design in this series when we’ll create a cityscape display icon!

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Final Image Preview

Take a look at the icon 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 and newer
• Difficulty: Basic
• Estimated Completion Time: 25-45 minutes

Step 1

Create a new 512 pixel by 512 pixel document with either a white or transparent background. Since the envelope is going to be white, it’d be helpful to fill the background (Alt + BackSpace) with a shade of gray (9D9D9D). Drag a horizontal and a vertical guide at the center of the canvas for convenience.

You need to press Command + R to reveal rulers bar (if it’s hidden) from where you can grab guides.

Step 2

Create a new layer set named “envelope.” Select the Rectangular Marquee Tool (M) and on a new layer, fill a selection with white as shown. Name this layer as “body.”

Step 3

Double-click the new layer thumbnail in the layers palette and give it a Gradient Overlay.

Step 4

Create a new layer and name it “pattern.” Using the Rectangular Marquee Tool, fill selections alternately with the colors: #6092BD and #E8414. Make sure that the distance between all the sections is the same.

Step 5

Move the pattern towards the left so that it touches the end of the envelope’s body. Go to Edit > Transform > Skew and skew the pattern downward from its right end. Move it a few pixels up and remove the part that flows outside the envelope’s body using the Eraser Tool (E).

Step 6

Create a new layer and name it “shade.” Command-click on the “body” layer and stretch a black to white gradient as shown. Set the layer mode of the layer to Multiply and reduce its Opacity to 30%.

Step 7

You now need to put a similar pattern and shade on the opposite side of the body. To do so, first duplicate the “pattern” layer (Command + J). With the duplicate layer selected, go to Edit > Transform > Flip Horizontal and move it exactly to the right edge of the body. Do the same for the “shade” layer.

Step 8

Select Pen Tool and make a shape like one below. Name the shape layer as “lower.”

You can use further guides for exact alignment.

Step 9

Give the “lower” layer the following layer styles.

Step 10

Make a copy of the “pattern” layer (the one on left) and place the duplicate layer above the “lower” layer in the layers palette. Go to Edit > Transform > Rotate 90deg CCW. Move the pattern layer to the position shown.

Clear the extreme two incomplete sections of the pattern using the Eraser Tool (E). There’s room for one complete section in the pattern below. Select the Polygonal Lasso Tool (L) and make a selection covering one of the blue parts of the pattern. Right-click on it and select “Layer via copy” from the menu. Move it rightward so that you get a desirable result.

Step 11

Command-click on the “lower” layer, and on a new layer stretch a black to white gradient as you did in Step 6. The only difference is that this time, you stretch the gradient vertically up. After that, change the Blending Mode of the layer to Multiply and reduce its Opacity to 50%.

Step 12

Create a new layer and place it under the “lower” layer in the layers palette. Command-click on the “lower” layer and fill the selection with black on the new layer. Press Command + T and increase its height to 102%. Now go to Filter > Blur > Gaussian Blur, type 0.7px and click OK. Reduce its Opacity to 40% and clear out its portion that flows outside the envelope’s body.

Step 13

Using the Pen Tool, make another shape like the one below and name it “upper.”

Step 14

Give these layer styles to the “upper” layer.

Step 15

Just like you added shade and shadow to the “lower” layer in Step 11 and Step 12, do the same for the “upper” layer. However, you should make these changes.

While repeating Step 11, reduce the Opacity to 10%. While repeating Step 12, increase the height to 103%, apply a Gaussian Blur of 1.2px and reduce the Opacity to 70%.

You’ll have something like this by now.

Step 16

It’s time to add a shadow at the bottom of the envelope. To do so, create a new layer and place it below all the layers constituting the envelope. Fill a rectangular selection with black on it. Apply Filter > Blur > Gaussian Blur and then Filter > Blur > Motion Blur. Finally, reduce the Opacity of the shadow to 75%.

The envelope is done. Now you can add a stamp to it. You can find a lot of them on the web, but if you want to make a custom stamp, then follow these steps.

Step 17

Create a new 180 pixel by 180 pixel document with a white background. Select the Ellipse Tool (U) and make a circle of any color. Reduce the fill of the shape layer to 0% and give it a red stroke.

Step 18

Duplicate the shape layer and reduce its size to half.

Step 19

Click on “Vector mask thumbnail” of the smaller circle in the layers palette to reveal its path. Select the Type Tool (T) and move the cursor over the path. As the cursor changes, click and write whatever you want. If you want to increase the space between the text and the inner circle’s stroke, simply increase the size of the text using Command + T. You need to make suitable adjustments in the Character window for a desirable outcome, mine are shown below. Finalize the stamp by adding your logo at the center.

Step 20

When you’re done with the stamp, hide the background layer (click the eye aside its name in the layers palette) and press Shift + Command + E to merge all visible layers. For a more realistic result, the stamp needs a bit more work.

Select the merged “stamp” layer, then go to Layer > Add Layer Mask > Reveal All. Now open this image and place it over the stamp (name the layer as “fade”) so that it covers the stamp completely. Command-click on the “fade” layer and go to Select > Color Range, click OK after making the settings as shown below. By doing this, only the white part of the image will be selected.

With the selection loaded, make the “fade” layer invisible and click on the “stamp” layer’s Layer Mask Thumbnail in the layers palette. Fill the selection with black. Finally, right-click on the Layer mask thumbnail and select Apply Layer Mask from the menu.

Step 21

Grab the finalized stamp and place it into the “envelope.psd” main document. Reduce its Opacity to 35%.

Step 22

This step is optional, follow it for blending the stamp further with the envelope. With the “stamp” layer selected, Command-click the “upper” layer, then right-click anywhere on the canvas and select Layer Via Cut. This will cut the part of the stamp that’s inside the selection and will split the single layer into two layers.

Move the remaining part of the “stamp” layer below the “upper” layer’s shadow in the layers palette and reduce it’s Opacity to 30%. Delete the background layer and save the file as PNG.

Conclusion

You can reduce the size of the final image, if you want smaller sizes. The icon keeps its meaning even if you resize it to 32px by 32px, that’s 6.25% of the original size. However, for smaller versions like 24px by 24px or 16px by 16px, you will have to remake the icon specifically for those sizes.

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Tutorial and Series Details

Below are the five icons we are creating in this series. In this tutorial we’ll be making the paint brush icon.

Take at the look at the finished icon in this tutorial, which combines a touch of realism and a touch of fun. They both never hurt!

• Program: Adobe Photoshop CS2 and Later
• Difficulty: Intermediate
• Estimated Completion Time: 1.5 hours

Step 1

We will need two wood textures for this icon so let’s download them from StockXchng: first texture and second texture.. Start Photoshop and create a new blank document that is 512 pixels by 512 pixels. Set the foreground color to a pale yellow then type P to select the Pen Tool. Make sure the Shape layers mode is active (1a) and draw the outline of the palette (1b). Name the layer “palette.”

Step 2

In the Pen Tool options choose Subtract from path area (2a) and draw an ellipse. It will be subtracted from the main shape, thus creating a hole (2b).

Step 3

The palette’s shape is complete. Duplicate the layer then hide it. We will keep working on the copy. We are satisfied with the shape so we can right-click on it and choose Rasterize.

Import the first texture into the document, place it above the palette. Scale it and rotate it so it’s slightly bigger than the palette and its grain runs at an angle. Command-click the palette to load its contour as a selection, then mask the texture by clicking on the mask button at the bottom of the Layers palette (3a). The palette is starting to look good (3b).

Step 4

We want the texture to be much lighter than it is so hit Command + M to bring up the Curves window. Click the curve directly in the middle and drag up (4a) to lighten the texture (4b). At this point you might want to adjust the rotation like I did here (4c).

Step 5

We can now merge the two layers, “palette” and “texture,” together. Select the “texture” layer, right-click on the mask and choose Apply Mask. Then hit Command + E to merge the layer down. A dialog will appear asking what you want to do with the palette’s mask. Choose Apply. Now we have a single layer (5a).

Let’s give the palette some thickness by adding a Bevel and Emboss layer style. Make sure you pick a dark brown color for the shadow instead of the default black (5b). The palette now looks much better (5c) but it’s not finished yet.

Step 6

Add a Gradient Overlay style (6a) so the top is lighter (6b). Now duplicate the layer, naming the copy “palette shadow.” Clear all styles. Move the shadow below the palette and make it a bit smaller (6c). Fill it with dark brown, set it to Multiply mode and reduce the Opacity to 65% (6d). Go to Filter > Blur > Gaussian Blur and experiment with the values until the shadow looks similar to image 6e.

Step 7

Let’s add the paint dollops now. Using the Pen Tool in Shape layer mode draw a few colored blobs around the palette (7a). Select the blue one and add a Bevel and Emboss style (7b). The paint now looks thick and shiny (7c).

Let’s add some ambient reflections by adding an Inner Glow style too (7d). Now it looks more realistic (7e). Right-click on the blue paint layer in the Layers palette and choose Copy Layer Style. Now right-click on the other paint layers and choose Paste Layer Style. Change the settings to achieve some variation (7f).

Step 8

The paint dollops need a shadow. Let’s create one for the blue dollop then apply the same workflow to the others. Make a copy of the paint layer and rasterize it. Fill it with black (8a). Apply a 2px Gaussian Blur filter (8b). Set the layer to Multiply at 60% Opacity (8c) and move it behind and below the paint dollop. Image 8d shows the result for all paint colors. Note how the shadows are short, blurry and variously transparent. At this resolution some variation is always advisable.

Step 9

Let’s go back to the palette now because I am not satisfied with it. It’s too polished! Go to Filter > Noise > Add Noise and use the settings shown in image 9a to add a fine grain to the texture. Now it’s finished (9b). Group all layers together as “PALETTE” and hide them.

Step 10

Let’s create the brush now. Draw a long, thin ellipse down the middle of the canvas. Use either the Pen Tool (and rasterize the shape once you’re satisfied with it) or the Elliptical Marquee Tool (M). Fill the ellipse with a subtle reddish-brown gradient. Make the left side darker (10a). This is of course the handle of the brush. Since it’s rounded we need to add a highlight across its length. Make a copy of the layer and scale it down horizontally (10b). Set it to Screen blending mode (10c).

Step 11

The handle is tapered at each end so we need to make the highlight conform to that shape. Hit Command + T to select Free Transform, then right-click on the highlight directly on the canvas, and choose Warp. In the Option bar at the top of the window choose these settings: Arc, toggle on the axis chooser and set Bend to -5 (11a). The highlight now bends to the right (11b). Duplicate the layer a few times then merge all copies together. This will make the highlight stronger (11c). Apply a 2px Gaussian Blur (11d).

Step 12

It’s time to add a wood texture to the brush. Drag the second downloaded texture into the document and scale it to fit the handle (12a). Mask the texture to the handle (12b). Apply the mask and merge the texture down. The result is nice but too dark (12c). With Command + L bring up Levels and drag the right slider to the left until the wood is light enough (12d). Adjust the highlight by making it brighter and less opaque (12e and 12f).

Step 13

Now we need to add the metal grip where the bristles are attached. Draw a black rectangle about 3/4ths down the handle (13a). With the Elliptical Marquee Tool select the top edge and delete a half ellipse (13b). Now make another selection at the bottom edge and fill it with black (13c). The result is shown in image 13d.

Step 14

Adjust the length of the metal grip if you need to. Use a horizontal Gradient Overlay to simulate reflections on metal, use the colors shown in image 14a. Now make a copy of the grip, move it behind the original and nudge it up a few pixels. Command-click the grip and erase the selection from the copy (14b). Now add a Drop Shadow pointing downwards (14c). The result is a small indented ring (14d). Make a few copies and distribute them across the metal grip. When you’re done merge all layers together (14e).

Step 15

Let’s create the bristles now. Erase the bottom part of the handle, or just mask it out (15a). Draw the outline of the bristles with the Pen Tool in Shape layer mode (15b). Rasterize the shape when you’re satisfied with it and name it “bristles.”

Step 16

On a new layer select a thin horizontal stripe (16a), hit D to load the default black and white colors then Alt + Backspace to fill the selection with black. Go to Filter > Noise > Add Noise and choose the settings shown in image 16b. Activate Preserve Transparency for the layer (16c) and go to Filter > Pixelate > Mosaic and choose a Cell size of 5 (16d). Now the strip is filled with random grayscale pixels (16e).

Step 17

Type Command + U to bring up the Hue/Saturation window. Activate Colorize and move the sliders (17a) until the strip turns brown (17b). Stretch the layer vertically (17c) and squash it horizontally (17d). Copy it horizontally a couple of times until it covers the bristles (17e).

Step 18

Reduce the Opacity temporarily so you can see the outline of the bristles. Activate Free Transform (Command + T) and select Warp from the right-click menu (18a). Manipulate the points until the vertical lines match the shape of the bristles below (18b). When you’re done bring the Opacity back to 100%. Alt-click between the two layers to mask the lines with the bristle outline and merge the two layers together (18c). Group the bristles, handle and metal grip together as “BRUSH” (18d).

Step 19

Now let’s compose the palette and brush into the final view. Squash the palette vertically and move it to the bottom of the canvas. Rotate the brush 45 degrees counterclockwise (19). Let’s examine the shot. The light comes from the top of the palette, the paint dollops and the brush’s handle and metal grip are lit accordingly. The bristles are not though. Let’s correct that immediately.

Step 20

Select the Burn Tool (O) and set it up as in image 20a. Paint the base and the bottom of the bristles to darken them (20b). Now select the Dodge Tool (O), set it up as in image 20c and paint a highlight across the middle of the bristles, where the light falls (20d).

Step 21

On a new layer draw some blue paint on the brush with the Pen Tool (P) and position the blue paint dollop directly below the bristles of the brush. Now it looks like we just dipped the brush in the blue paint (21a). Apply Bevel and Emboss to the paint on the brush (21b) to match the lighting (21c). The brush is finished so we can merge all its layers together.

Step 22

The last thing to add is the brush’s shadow on the palette. Duplicate the brush and make the copy black (22a). Move it below the brush and modify its shape so it lies flat across the palette. To do that enter Free Transform (Command + T) and use a combination of Skew and Distort, both accessible from the right-click menu (22b). Mask the shadow to the palette (22c). Shadows are generally set to the Multiply blending mode and their Opacity varies from 40% to 70%. Pick 40% this time to keep the shadow subtle (22d).

Step 23

Now let’s apply a 3px Gaussian Blur to the shadow (23a). Type Q to enter Quick Mask mode. Paint a black-to-white gradient from the top-left to the bottom-right corner. You will see a red gradient fading out: that represents the part that will be masked out (23b). Hit Q again to exit Quick Mask mode and the gradient will now be a selection. Apply it as a mask to the shadow. As you can see the shadow now fades away from the tip of the brush (23c). The icon is finished.

Conclusion

This was the third installment in the “Creating a Set of Digital Painting Icons” series. We employed textures, vector shapes, layer styles, filters and brushes: a well-rounded workflow that exploits Photoshop’s many tools. Until next time, when we will create a digital tablet icon, have fun painting!

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Tutorial and Series Details

Below are the five icons we are creating in this series.

In this tutorial we are aiming for a digital SLR camera complete with pun-riddled brand and model name.

• Program: Adobe Photoshop CS2 and later
• Difficulty: Intermediate
• Estimated Completion Time: 2 hours

Step 1

Create a new blank document and as usual set both width and height to 512 pixels.
Select a very dark gray foreground color and create the shape of the camera’s body using the Pen Tool (P) in Shape layers mode. Pay attention to the fact that the shape is not symmetrical and the corners have different radiuses.

Step 2

Using brush strokes in selected spots we’ll add three-dimensionality to this flat shape. Make the foregound color white. Select the Dodge Tool (O) from the toolbar and set it up as in image 2a. If you have a pressure-sensitive tablet, then paint very lightly to add roundness to the right edge (2b). If you don’t have a tablet, you need to reduce the Dodge Tool’s exposure to a very low number and use successive strokes to achieve a similar effect. You’ll get the hang of it soon enough. On the left there’s a bulging grip barrel. Paint vertical strokes with the Dodge Tool near to but not on the edge (2c).

Step 3

Now let’s switch to the Burn Tool (O) to add shadows. Set it up as in image 3a and darken the spots marked in image 3b. Now the convex grip barrel is more visible and the bottom is darker. The brush strokes are visible, too, and it’s not a pretty sight. We want the camera to be smooth.

We can use a blur pass on the whole surface. In order to keep the edges sharp we must toggle on Preserve Transparency in the Layers palette (3c). Now we can go to Filter > Blur > Gaussian Blur and choose a moderate value (3d) to smooth the surface (3e).

Step 4

Let’s create the lens now. First set up a few guides to mark its center (4a). Now create a medium, dark gray circle. It will be the outer rim of the lens (4b). Create a smaller, darker circle by duplicating and scaling the first one (4c).

Step 5

Add a radial Gradient Overlay style to the first circle (5a) with tightly placed color spots (5b) to create a couple of rings (5c). Once satisfied with the result rasterize the layer style. Command-click the New Layer icon at the bottom of the Layers window to create a layer below the one selected (5d). Now Hit Command + E to merge the outer rim down with the empty layer (5e).

Step 6

Using the Dodge and the Burn tools add some reflections to the outer rim. Refer to image 6 for the detailed instructions.

Step 7

We will now add several smaller rims and circles to the the lens and we will simulate reflections with the Dodge and Burn technique explained before. Add a smaller rim (7a), add reflections (7b) and use the Gaussian Blur filter set to 1px (7c).

Step 8

Create a smaller rim (8a), erase the top-left part with the Eraser Tool (E) set to a big, soft brush. Enhance the lighting with a dab of the Dodge Tool (8b).

Step 9

Add a smaller, dark circle (9a) and two smaller, half-erased rims (9b, 9c).

Step 10

Add a dark gray circle (10a) and the shutter hole. The shutter hole is a black circle with a medium gray thin stroke (10b). Finally use Dodge and Burn on the circle created in image 10a to make it look convex (10c).

Step 11

Let’s add some cool highlights on the lens. Using the brush tool set to a soft, round preset and low opacity paint a few colored highlights near the shutter hole: a purple one (11a), a green one (11b) a white one and a yellow one (11c).

Step 12

The lens has a glass cover. Create a white circle above all highlights (12a) and set it to Screen blending mode, 15% opacity (12b). Now a little adjustment: increase the contrast on the body by using Levels, Brightness/Contrast or Curves (12c). I used Levels (Command+L) and moved the left slider (black point) to the right and the right slider (white point) to the left (12d).

Step 13

The lens is finished so we can group all its layers together. Make a duplicate of the group and hit Command+E to merge it down to one layer (13a). Hide the original group and keep it for later tweaking. Add a Drop Shadow style to the lens layer (13b) so it casts a shadow onto the body (13c). The shadow must not be visible outside the contour of the body so Alt-click between the lens layer and the body layer to mask the first with the latter (13d). Now the shadow doesn’t stick out from the bottom of the camera anymore (13e).

Step 14

We’ll create the shutter button now.
Draw an ellipse above the convex grip barrel on the left side (14a). Fill in the gap between the body and the ellipse (14b)

Step 15

Duplicate the ellipse and align the copy to the top of the camera’s body (15a). Fill the bottom ellipse with a horizontal gradient. Use the values indicated in image 15b. Now grab the Blur Tool from the toolbar and blur the bottom of the ellipse to remove its hard edge and blend it with the main body (15c).

Step 16

Add a Stroke style to the top ellipse (16a, 16b). Right-click on the “fx” icon on the layer and choose Create Layers (16c). The Stroke style has been converted to a separate layer masked to its “parent.” We can now erase most of it and just leave the bottom part to create a front highlight (16d). Merge the stroke down (Command+E) when you’re finished. The highlight is too sharp so blur it a bit (16e).

Step 17

Draw a very dark ellipse on top of the ones you have: it will be the hole where the shutter button sits (17a). A smaller, lighter ellipse will be the base of the shutter (17b). Select the Direct Selection Tool (A) and move the top point up a bit (17c). Duplicate it and scale down the copy to create another shape (17d).

Step 18

Create the shutter button itself by scaling down yet another copy and making it white (18a). We want our button to be made of polished metal so let’s add a couple of layer styles. First let’s simulate a shadow cast onto the button from the bottom with an Inner Shadow style (18b). Then add a Satin style (18c) to give it a metallic look (18d).

Step 19

Copy the shutter’s styles to the base and modify the Satin as in image 19a. The reflection has a different angle now (19b). Blur the flat ellipse at the base of the button by 1px to eliminate the sharp edge and simulate a soft shadow (19c). The left side of the camera is complete (19d).

Step 20

Let’s create the flash sensor now.
Create a small circle next to the grip barrel (20a) and add a Drop Shadow (20b) and a black-to-white Gradient Overlay style (20c). Now it looks like it’s protruding from the main body (20d).

Step 21

Let’s draw the actual sensor. Create a white circle on top of the previous one (21a). Add a Pattern Overlay (21b) and a Satin style (21c). Now it looks ok (21d).

Step 22

Let’s create the function dial on top of the camera. Select the Rounded Rectangle Tool (U) and set the Radius to 3 pixels (22a). Draw a small rectangle above the flash sensor, at a slight distance from the camera’s body (22b). To create the ribbed surface add a Gradient Overlay (22c) with alternating light and dark color spots (22d).

Step 23

Add an Inner Glow style (23a) to fillet the edges (23b). Finally connect the dial to the body by creating a smaller black rectangle behind it (23c).

Step 24

The pentaprism is where the magic happens. Let’s add it. Using the guides as reference draw the right half of the pentaprism with the Pen Tool (P) (24a). Mirror the shape to the left, join both halves and brighten them a bit (24b).

Step 25

Let’s use layer styles again to create some geometry instead of using multiple shapes. Add an Inner Glow style. Pay attention to all the settings shown in image 25a: there’s a 6% noise that will add grain to the surface and the 2-ridge contour has been activated. Also add a Gradient Overlay (25b, 25c) to darken the middle part. The result (25d) shows a thin internal border and a fine grain on the surface.

Step 26

With the Elliptical Marquee Tool (M) make a wide selection around the lens (26a). Hit Shift+Command+I to invert the selection (26b). With the pentaprism layer selected hit Command+J to create a new layer from the selection. Clear all layer styles from this new layer (26c).

Step 27

Add a drop shadow to the new layer (27a). Create a layer from the style and scale the shadow down vertically (27b). Mask it with the main body so it doesn’t bleed outside the camera (27c).

Step 28

Go back to the top of the pentaprism and add a Bevel and Emboss style (28a). In the result (28b) you can see that the top is now convex.

Step 29

The camera is finished so we can add a few tweaks.
A fictional brand and model name have been added as well as a couple of extra buttons. These were created by cloning the flash sensor and changing the colors in the layer styles. Pay attention to the grip barrel on the left: the top ellipse has been lightened to medium gray and the right edge of the barrel has been enhanced by another stroke made with the Dodge Tool (29a). The icon is finished (29b).

Conclusion

This was the second installment in the “Creating a Set of Digital Painting Icons” series. We created a simple but effective SLR camera with an array of subtle gradients and the occasional brush stroke. Next time we’ll create a paint brush, the most important weapon in the digital artist’s arsenal.

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Tutorial and Series Details

Below are the five icons we are creating in this series.

Here is the icon we will create in this tutorial. Every artwork starts with the most basic combo, pencil and paper, so let’s do that first.

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

Step 1

We’ll create the pencil first because it’s the trickiest item in our icon. Draw a small green circle at the center-top of the canvas using the Elliptical Marquee Tool (M). Then make two smaller copies, one on each side.

Step 2

Activate Snap from the View Menu (Shift + Command + and create guides for the pencil. Snap to the three circles to mark where the pencil’s vertical edges will be. Draw a light yellow triangle on a separate layer below the circles using either the Pen Tool (P) or the Polygonal Lasso Tool (L), snapping to the guides to ensure symmetry. Name this triangle “tip.”

Step 3

Draw a black circle on top of the “tip” on a separate layer and name it “lead” (3a). Command-click the “tip” layer and use this selection to mask the “lead.” Right-click on the mask in the Layers palette and choose Apply Layer Mask to crop the “lead” to the “tip” (3b).

Step 4

Add two gray ellipses at the bottom guides, right where the metal clasp will be, using the Ellipse Tool (U) (4a). Copy the bottom ellipse, name it “eraser” and move it down. Change its color to a pinkish orange then rasterize all three shapes. With a simple rectangular selection fill in the gap between the bottom gray ellipse and the “eraser” (4b).

Step 5

Move the bigger green circle down a bit, then using the Pen Tool (P) draw the shape for the pencil’s body, snapping to the guides (5a). Adjust the position of the three circles so they look like a crown on top of the main shape then merge all green shapes together (5b).

Step 6

Using the Rectangular Marquee Tool (M) and snapping to the edges of the circles at the top, select each vertical side of the pencil’s body then hit Shift + Command + J to create a new layer from the selection, or go to Layer > New > Layer via Cut. You will thus obtain three layers. From left to right name them as follows: “top”, “front” and “bottom.”

When we rotate the pencil so it points to the sketchbook, the left side will be on top, the middle side will be at the front, and the right side will be at the bottom (6a). Let’s imagine that the light comes from the left so when we rotate the pencil to make it write on the sketchbook it will appear to be coming from the top. To comply with the light’s direction we have to make the “top” layer lighter and the “bottom” layer darker. You can use the Brightness/Contrast, the Hue/Saturation (Command + U) or the Levels window to accomplish that. It’s your choice (6b).

Step 7

Let’s shade the tip now. Add a pale yellow-to-orange horizontal Gradient Overlay style to the “tip” layer (7a) so the right part, which will be the bottom once the pencil is rotated, is darker (7b). To enforce the lighting we must also brighten the left side of the “lead.”

Lock its transparency so you won’t be able to paint inside the existing pixels (7c). Hit B to select the Brush Tool and make sure the color is pure white. Then paint a single stroke along the left side with a big, soft, white brush, while keeping the opacity to a low number (7d). This adds a nice, subtle highlight.

Step 8

Type D to activate the default colors (black and white). Create a black square on a new layer between the “tip” and the “lead” and name it “wood texture” (8a). Go to Filter > Render > Fibers and choose the same values as in image 8b. The resulting texture (8c) hides the “tip” so we reduce the Opacity to 50% and choose the Overlay blending mode (8d). The wooden tip now has a nice color and a realistic grain (8e).

Step 9

All we have to do now is deform the “wood texture” so it follows the contour of the “tip.” To do that type Command + T to activate Free Transform, then right-click the texture on the canvas and choose Perspective. Drag the top anchor points inward to fit the texture to the “tip” (9a). Take a look at what we have so far (9b). We want to add a bit of shininess to the pencil so let’s paint the main highlight on the “tip” on a new layer, using a soft, white brush. Reduce the highlight’s opacity to let the texture shine through (9c).

Step 10

Let’s introduce some color variation on the pencil’s body, it looks flat right now.

Select the Burn Tool (O) from the toolbar and set it up as in image 10a. It’s important to use a large, soft brush and very low opacity. Use several brush strokes to darken the top and the bottom of all three sides, making the bottom darker (more brush strokes). Try it on the “bottom” layer first to get a feel for the Burn Tool. Once you’re satisfied with the shading (10b), repeat this for the remaining two layers. Make sure the pencil becomes progressively darker as you go to the right and to the bottom (10c).

Step 11

Let’s make the edges pop out. With the guides showing and Snap active, draw a path along the left vertical side (11a). In the Paths palette double-click it to name it “edge” (11b). Now set up a 3px, hard-edged, white brush (11c). Create a new layer on top of the three sides and select it.

In the Paths palette right-click on the “edge” and choose Stroke Path. From the pop-up window select the Brush and toggle on the “Simulate Pressure” option (11d). This is what it looks like: a nice, tapered highlight (11e). Name the layer “edge.” Create a second edge by copying the first one. Make the copy a bit transparent since it’s closer to the bottom where less light arrives (11f).

Step 12

On to the metal clasp now. Hide the “body” and “tip” layers. Darken the top ellipse. It will be the hole where the wooden pencil inserts. Fill in the lighter ellipse to close the gap (12a). Apply a Gradient Overlay style with many highlights to get a nice metal surface (12b).

Step 13

Duplicate the “hole” ellipse. Name the copy “ring,” reduce its Fill to 0% then add a dark Stroke (13a). Erase the top half (13b). Now add a white Drop Shadow (13c) to simulate a highlight (13d). Make a bunch of copies of the “ring” and arrange them over the metal clasp (13e). Group all similar layers together.

Step 14

Before we move on let’s take a look at the layer structure we have. It’s important to keep files tidy. We can easily toggle layers on and off, which speeds up productivity. It also makes complex layer structures less scary to look at (14a).

Move the “CLASP” group above the “BODY.” Add an internal shadow by painting with a soft, black brush on a separate layer (14b). To complete the pencil we have to shade the eraser. First let’s scale it down a bit so it’s smaller than the metal clasp. Then lighten the left part and darken the right part. How do you do that? Just like we did for the “lead,” lock the eraser’s transparency then paint with low opacity brushes along the edges, white to lighten and black to darken (14c).

Step 15

The pencil is complete. Select all layers and group them as “PENCIL.” Duplicate the group and hit Command + E to merge all layers into one. Keep the original group for later adjustments, just in case, but work on the single layer from now on (15a). Rotate the pencil 135 degrees clockwise so it points down diagonally (15b). Lock this layer to avoid messing it up. You can see now that the shading suggests light coming from the top. Let’s keep that in mind.

Step 16

Using the Pen Tool (P) draw the top page of the sketchbook (16a). The sketchbook’s orientation nicely contrasts that of the pencil for a balanced composition.

Step 17

Shade the page with a soft gradient, from almost white (top) to a light gray (bottom) (17a). Using the Pen Tool again add thickness to the sketchbook. Use two shades of gray, making the bottom darker (17b).

Step 18

Lock the transparency of all three layers (page, side and bottom). Using soft, black brushes with low opacity darken the page at the top and bottom. Also darken the bottom thickness near its center. These color variations suggest a slight unevenness that makes the objects look a bit more natural (18a, 18b, 18c).

Step 19

Using the Line Tool (U) set to white, draw parallel lines over the bottom and side (19a and 19b). They represent the stack of pages, of course, so adjust their opacity to your liking. Group them together once you’re done.

Step 20

You can now duplicate all the sketchbook layers and merge them together. Again, keep the original layer structure for any changes you require down the line. When creating icons you optimize the smaller sizes (48px, 32px, 16px) by eliminating those elements that won’t be readable anymore, for example the page lines. Add a Drop Shadow to the sketchbook using a simple layer style.

Step 21

The light comes from the top so the pencil projects a shadow onto the sketchbook. Duplicate the pencil layer and turn it black. I usually hit Command+ U to bring up Hue/saturation and move the Lightness slider all the way to the left. But everyone develops a unique workflow.

Skew the shadow (Command + T, right-click and choose Skew) so it lies parallel to the sketchbook’s top and bottom sides (21a). Alt-click the line between the “sketchbook” and the “shadow” layers to mask the shadow with the sketchbook’s contour (21b).

Step 22

Reduce the shadow’s fill to 0%. Add a Gradient Overlay, making the left color stop transparent and the right color stop black (22a). The shadow now fades away from the tip of the pencil to the border of the page. Blur the shadow using the Blur Tool. The farther from the tip, the blurrier (22b).

Step 23

The icon is now complete. All we have to do now is draw a little sketch on the page. I’ll leave you free to draw whatever you want. Just pick a brush with a little texture from the Brush Presets (hit F5) and you’re good to go.

Conclusion

The first icon in this “Creating a Set of Digital Painting Icons” series is complete. We have learned to use subtle brush strokes to give presence to otherwise plain looking objects. We also employed a simple but effective compositional trick to fill the square canvas nicely. Stay tuned for the next tutorial in this series, which is the camera icon!

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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.”

Give it these Layer Styles.

Step 9

Duplicate the “top” layer and place the duplicate layer below the “top” layer in the layers palette. Move the duplicate layer 7px down then give it these Layer Styles.

Step 10

Make another copy of the layer and reduce its fill to 0%. Just make these changes in its Gradient Overlay settings.

Step 11

With the Ellipse Tool (U), make a black ellipse over the “top” layer.

Give the layer these Layer Styles.

Step 12

Now you need to add shadows at the required places. Create a new layer below the “top” and it’s duplicate layers. Command-click on the “top” layer and move the selection a few pixels down, then fill it with black. Go to Filter > Blur > Gaussian Blur, enter 5px and click OK. You’ll clearly notice that the shadow is flowing outside the hat’s body.

To fix it, Command-click on the “body” layer and with the “shadow” layer selected, click on the Add Layer Mask button in the Layers Palette (as you did in Step 4). Set the Opacity of the layer between 30% to 50%.

Step 13

A shadow can also be placed beneath the base. To do so, fill an elliptical selection with black on a new layer, reduce the Opacity of the layer to 30%. This layer must be placed below the “body” layer. Go to Filter > Blur > Radial Blur, make the settings as shown in the image below before clicking OK.

Step 14

On a new layer, fill an elliptical selection with black and set the Opacity of layer to 50%. Go to Filter > Blur > Gaussian Blur, enter 2.5 px and click OK.

Step 15

The hat is done. You can now add a wand to the hat. Create a new layer set (name it “Wand”) and hide the “Hat” layer-set by clicking on the eye to the side of it’s name in the layers palette. Use Rectangle Tool (U) to draw a rectangle and give it a Gradient Overlay.

Step 16

Add two strips at the end of the wand while giving them a Gradient Overlay of purple shades.

Step 17

To reduce the flatness of wand, add anchor points to the strips using the Add Anchor Point Tool. Move them some pixels up. Along with that, add an ellipse at the end of the lower strip as shown.

Step 18

Duplicate the “Wand” layer-set and press Command + E to merge the duplicate set into a single layer. You can now hide the original “Wand” layer-set.
With the merged “wand” layer selected, go to Edit > Transform > Rotate and rotate the wand 75 degrees CCW. Place it in a suitable location.

Conclusion

A shadow of the wand, falling inside hat’s body, can also be added to complete our image.

If the final image appears too bright or dark on your monitor then you can add a Brightness/Contrast adjustment layer to the final image. To do so, open the final image in Photoshop then go to Layer > New Adjustment Layer > Brightness/Contrast, use settings that please you.

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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: Adobe Photoshop CS4
• Difficulty: Advanced
• Estimated Completion Time: 2 hours

Video Tutorial

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

Step 1

Let’s start by creating a new RGB blank document, choosing a 512 px square canvas. Activate Snap from the View Menu (Shift + Command + Semicolon key). Set up two guides to mark the center of the canvas.

Select the Rounded Rectangle Tool (U), choose Shape Layer and set the Radius to 10 px in the Options bar (1a). Draw a brown rectangle by Alt-clicking and dragging from the center of the canvas (1b). This is the briefcase’s main body, so name it “main.”

Step 2

Let’s achieve a higher realism by introducing some color variation. Set up the foreground (2a) and background (2b) colors to brown hues, then go to Filter > Render > Clouds. This will create an irregular stain pattern with the two colors that simulates leather’s natural color variation (2c).

Step 3

Let’s add a real leather texture. Download this image and place it in the document, naming its layer “texture.” Scale it down proportionally until it’s slightly bigger than the briefcase (3a). Command-click the “main” layer to select its pixels then add the selection as a mask to the texture (3b).

Set its blending mode to Soft Light and reduce the Opacity to 50% (3c). It looks a bit dull, doesn’t it? Let’s add some life to it. First bring up Levels by entering Command + L and move the right-hand slider closer to the center (3d). This raises the white levels, making the texture look brighter.

Step 4

Now select the “main” layer and double-click on it to bring up the Layer Style window. First add a dark brown Stroke to mark the perimeter (4a), then Inner Glow to simulate concavity around the edges (4b). It looks better already (4c).

Step 5

Now duplicate the layer and scale it down, clearing all styles (5a). Add an Inner Glow style to simulate a full pocket (5b). The hard edge is wrong, though, so go to Filter > Blur > Gaussian Blur and choose 3 px. Now there’s a smooth color transition (5c). Now back to the “main” layer, add a Gradient Overlay to darken the top part as it is shadowed by the flap that we’ll draw later (5d).

Step 6

Now we’ll use a clever technique to create the stitches. Draw a small rounded rectangle (6a), then from the Edit menu choose Define Brush Preset and name the brush “stitch” (6b). You can erase the rectangle now.

In the Brushes palette set the brush’s properties. Set its Diameter to 8 px and the Spacing to 550% (6c). These values were found by trial and error using the preview at the bottom of the palette. The brush is ready to be put to good use.

Step 7

Choose a pale yellow color for the stitches (7a). Now create a rounded rectangle (choose the Path option for the Rounded Rectangle Tool) sized between the “main” and “main copy”. The stitches will run along this path (7b). In the Paths palette you’ll see the path you just created, double-click on its generic name and enter “main-stitches” (7c).

Now create a new layer and make sure it’s selected. Back to the Paths palette, right-click on the “main-stitches” path and select Stroke Path. A dialog will pop-up. Choose the Brush Tool and uncheck the Simulate Pressure option if it’s not already. Here’s the result (7d).

As you can see, the brush doesn’t conform to the path so the little dashes are always horizontal. We need to erase the vertical sides. Then marquee-select the dashes at the corners and rotate them 45 degrees (7e, 7f). It’s OK if they don’t look symmetrical, as that looks more natural.

Step 8

We need to create a new layer now and stroke the path again to create the missing sides. Hit B to select the Brush Tool, then F5 to open the Brush palette, and rotate the “stitch” brush 90 degrees. See in the preview window that the dashes are now vertical, that is perpendicular to the path (8a). Just like we did before, stroke the “main-stitches” path on the new layer (8b). Erase the horizontal sides and you should be finished (8c). You can merge the two layers into one named “stitches” (8d).

Step 9

The stitches look flat. Let’s add some thickness. First a Bevel and Emboss style (9a) to give the stitches some thickness, then a Drop Shadow (9b). Now they look more realistic (9c).

Step 10

Leather reflects the environment so we need to add ambient reflections. Draw a rounded rectangle near the bottom of the briefcase, choosing a light pink color (10a). Name this layer “ambient reflection,” set it to Screen mode, and 40% Opacity (10b).

We need to soften its edges so apply a 3 px Gaussian Blur (10c). Now type Q to enter Quick Mask mode. The colors will change to black and white. Type G to select the Gradient Tool and click-drag vertically to create a black-to-white gradient (10d).

Hit Q again to exit Quick Mask mode and see the gradient turned into a selection: use it to mask the layer and fade out the top of the reflection (10e). At this point you might need to adjust the opacity to 60% and blur again to get a satisfying result (10f).

Step 11

Now let’s draw a divider to suggest two pockets. Draw a thin vertical ellipse with the Ellipse Tool (U) smack in the middle (11a). Name it “pockets.” We need to make the endpoints darker, imply lighting coming let’s say from the right and also add some soft reflections around this slit. Once again layer styles will make the job easy. First add a Gradient Overlay (11b), then Bevel and Emboss (11c) and finally Outer Glow (11d). Very nice, the bottom of the briefcase is complete (11e).

Step 12

Let’s draw the flap. Snap to the center guide and draw the right half of the flap (12a). Duplicate this layer, flip it horizontally and snap it to the left side of the guide (12b). You can adjust the paths until you’re satisfied with the shape. Rasterize the layers when you’re done. Name this layer “flap.”

Step 13

Add a Gradient Overlay style to the flap, making the top part bright, as it is lit (13a). The flap needs a texture too, so duplicate the “texture” layer and move it above the flap. To avoid repetition of the pattern, flip it vertically and squash it to match the flap’s proportions (13b). Also use the flap to mask it (13c).

Step 14

The flap needs some thickness. Copy the “flap” layer and move the copy below it, naming it “flap thickness.” Move it down a bit (14a). Adjust its Gradient Overlay so it’s a bit lighter (14b). The thickness is not textured. Since the flap casts a shadow on the main body, we need to add a Drop Shadow style too (14c).

We only want the shadow to be cast onto the briefcase so we need to mask out the parts that stick out. Right-click on the “flap thickness” and choose Create Layers. This turns the styles into separate layers, masked by their parent (14d). Now Command-click the “main” layer (14e) and use this selection to mask the drop shadow (14f).

Step 15

Let’s add stitches to the flap. Command-click the “flap” then go to Select > Modify > Contract and choose 6 pixels (15a). How do you know how much to contract the selection? Trial and error, no magic knowledge required (15b).

Create a path from this smaller selection and name it “flap stitches” (15c). With the Direct Selection Tool (A), modify the path so it sticks out from the top. We want to imply that the stitches curve around to the back (15d).

Step 16

Stroke the path using our custom “stitch” brush with its rotation reverted to 0 degrees (16a). Erase the vertical sides, then manually rotate the dashes around the curved corners so they conform to the flap (16b). On a new layer stroke the path again, this time rotating the brush 90 degrees. Erase the superfluous dashes. Copy and paste the layer styles from the previous stitches (16c).

Step 17

Next up are the locks. Choose a yellow color and draw a rounded rectangle, moving it below the “flap thickness” and naming it “lower plate” (17a). Apply a gold Gradient Overlay (17b), a Drop Shadow (17c) and a Stroke to simulate highlights on the edges (17d).

Step 18

Copy this shape and move it above all layers. Name it “upper plate.” Marquee-select the parts in excess and erase them (18a). Open the layer styles and uncheck Reverse from the Gradient Overlay (18b). Reduce the Drop Shadow’s Opacity to 30% (18c) and the Stroke’s Opacity to 50% (18d). It looks good (18e). Finally make a smaller copy of the “lower plate,” name it “lock” and reduce the Stroke’s Opacity to 50% (18f).

Step 19

The lock is attached to the flap by means of a short leather strap. Behind the “upper plate” draw a brown ellipse and name it “strap” (19a). Copy and paste the layer styles from the “main” layer (19b). Modify them: reduce the Inner Glow (19c), change the Gradient Overlay color (19d), and change the Stroke (19e). The changes were needed to accommodate the smaller dimensions of the strap (19f).

Step 20

Let’s add small, point-like stitches to the flap. The procedure was explained twice already. Make a smaller copy, select it and turn it into a path. Modify the “stitch” brush’s properties (20a) and stroke the path on a new layer called “strap stitches.” This time we don’t need to rotate the dashes as they are round. Apply the same layer styles as the other stitches (20b).

Select and link the “lower plate,” “lock,” “upper plate,” “strap,” and strap stitches.” Now move them to the center of the left pocket. Copy them over to the right pocket (20c). When you copy them, the layers will all be above the originals. You need to move the “lower plate copy” and “lock copy” below the “flap thickness” so they’ll receive the drop shadow properly.

Step 21

The last element to draw is the handle. Create two small metal buckles using the Rectangle Tool (U) (21a). Apply a light gold Gradient Overlay style (21b). Create a light brown rectangle behind the buckles, skewing it to conform to the flap’s upper edge (21c). Copy it and flip it horizontally under the right buckle.

Step 22

The handle is created with a rounded rectangle (Radius = 5 px) placed below the buckles (22a). Type Command + T to invoke the Free Transformation Tool, then right-click on the handle and choose Warp. In the Options bar select Arc and set Bend to 20 (22b). The resulting shape (22c) needs to be scaled down and be made lighter (22d).

Step 23

Let’s add a couple of finishing touches to make the handle look better. Add a Satin layer style to darken the middle part (23a). Subsequently add an Inner Glow style to create the top highlight (23b). The briefcase is now finished (23c).

Conclusion

Complete the icon with a shadow or a reflection to suit your needs. In this tutorial you learned how layer styles can be used to simulate thickness and lighting with a minimum effort and how custom brushes can be employed to create patterned strokes. I hope you had fun creating the briefcase. Hey, you can use it to show off your impressive portfolio now!

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