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Hi, everyone! We will be providing rudimentary information about designs created with GIMP (2d) and Blender (3d), both free and open source applications available to all major platforms including Microsoft Windows, Linux, and Mac OS.

For this first tutorial, we have decided to introduce you to one of the most common and basic tasks comprising design – creating buttons, shiny buttons! We will be using GIMP, the free and open source raster graphics application in creating this said effect.

To those who are unfamiliar with GIMP, I highly suggest that you first make yourself comfortable with the software. You can download the user manual and view some tutorials here. This way, you will be familiar with the terms and tools that I’ll be showing you along. Nevertheless, I will do my best to explain the topics as simple as possible and as quick as I could.

With that said, let us get on with creating shiny buttons, similar to the one you see below:

Sample Image

Prerequisites:

• GIMP 2.6 (download from http://gimp.org/downloads)
• Outline/sketch of the button design (if any)

STEP 1: CREATE A BLANK CANVAS

With GIMP now open on your machine, the first thing we have to do is to create a blank canvas on which we will be designing our button later on.

Proceed to the Image Window and click File > New or press CTRL N on your keyboard to invoke the New Image command.

Creating a New Canvas

After which, a pop-up window will appear enabling to input details for your new canvas.

New Image Pop-up Window

Let’s take a closer look at the settings we have. Under Template, you have the option to choose between a number of presets; this wall save you a lot of time especially if you’re not very familiar with the exact resolution and image size settings to use.

But most often, manually typing in the dimensions is a good idea, since you mostly have a general idea on the size of your canvas. Either way, it serves the same purpose.
Additionally, under Advanced Options, you have more choices to tweak. Most of which are self-explanatory.

New Image Pop-up Window Advanced Options

Once you’re satisfied with the settings, press the OK button to create the canvas, which will most likely look like the image below.

New Image

You will instantly notice that the Layers Window already has a new entry, being the original canvas we created. Also, our main Image Window is now named “Untitled-11.0 (RGB, 1 layer) 640×400”, which clearly tells us that this is an unsaved image, with an image mode of RGB, consisting of 1 layer, and with a dimension of 640×400. As we go along in this tutorial, some of these variables will change accordingly. In relation to that, it might be a good idea to save this file and give it a decent name that is easy to remember and symbolic of what we will be making.

To save the image, simply go to File > Save or by pressing CTRL S.

Saving the New Image

A pop-up window will appear asking you for the filename, destination, and the file format of your image. As I said earlier, it is really a good idea to name your project according to the context it has. For example purposes, we’ll name this file “shiny_button.xcf”. Immediately, you’ll notice I have suffixed the filename with an “.xcf”. What this does is it explicitly tells GIMP to save the image as an XCF file, which is GIMP’s native file format. You can, however choose to use other formats like the common JPG or PNG, simply suffix “.jpg” or “.png” at the end of your file name. Alternatively, you can also use the File Type Selection at the bottom of the window to choose from a variety of file formats.

However, I highly suggest that for now, we use the XCF file format since it is GIMP’s native format, which basically means it will retain all the data we have saved including layers, selections, paths, channels, etc. Unlike if we used, for example, a JPG file format which will clearly flatten your image. The next time you open your file in GIMP, those layers you have worked on are gone and cannot be recovered. Right now, the safest route that we can take is to save our file as an XCF file format, comparable to Adobe Photoshop’s PSD format. Then later in this tutorial, we will be exporting the file to a general file format that can be viewed anywhere else.

Saving the Image

STEP 2: RENAMING LAYERS

After we have saved our image with a relevant name, we proceed to naming our layers, in this case we only have one layer so far. To rename the layers, simply double click on the layer name, type a text, and press Enter to confirm the renaming. Renaming layers enables us to keep track of the contents and the purposes of each layer. Imagine having a very large project, with something like 100 Layers; if you didn’t take the time to rename all those layers, it will be very hard to distinguish one layer from the other, probably wasting your time guessing which does which. By renaming them accordingly, you save yourself the frustration and will be keeping track of changes better, focusing more on the artistic creation.

For this tutorial, we’ll be naming this layer as “bg”, or if you want you can just leave the default “Background” name. But for the next addition of layers, it is critical to name them accordingly.

Renaming a Layer

STEP 3: CREATING A NEW LAYER

By this time, you might already be starting to get frustrated with all these preparations we’re doing. But whether we like it or not, they will help us greatly along the way. And it’s a good practice too to do this often, if not always, in projects that you create.

To create a layer, click the icon under your Layers Window with a plus sign. A pop-up window will appear asking you for the details of this layer.

Creating a New Layer

Let’s name this layer as “shape” denoting that this will be the layer where our basic shape will be on. Leave the Layer Fill Type option to Transparency, this way everything we create that does not encompass the whole image size will have a transparency value, enabling the color of “bg” layer to still be visible. Press OK to confirm the settings.

New Layer Settings

STEP 4: CREATE A BASIC SHAPE

Next thing we have to do is to decide how our shiny button will look like or what shape it will be. Once we have done so, the remaining steps will just be a matter of color addition and layer blending.

To create the basic shape, I decided to use the Rectangle Select Tool and enabled the Rounded Corners option under the Toolbox Window and have set it to the maximum value of 100. This will enable us to create roundish elongated button shapes that are otherwise more difficult to achieve simply by using an Ellipse Select Tool. By default, when selecting tools, you will notice your cursor change to the context you have chosen, and in this case, a rectangular selection tool.

Rectangle Select Tool Options

Make sure you have layer “shape” active; we’ll be creating our basic button shape here shortly.

With your cursor on the canvas, left click and drag your mouse until you create a shape similar to the image below then release the left mouse button to confirm selection.

Creating the Basic Shape

After you release the left mouse button, you will notice a motion around our shape; this is called the “marching ants” which clearly indicates that we have an active selection on our layer. To deselect this, simply use any of the selection tools and left click outside of the selection area, this technique is also commonly referred to as anchoring. However, if you want to further edit the scale of your button, you have to select the same selection tool we used to create it (Rectangular Select Tool), then left click on the active selection. You’ll notice the control points are back again, enabling you to make modifications on the shape as needed.

STEP 5: ADDING COLORS TO THE SHAPE

Now that we have a basic shape to work on, it’s time to add some colors! There are various ways of coloring elements in GIMP (or any other graphics application), we can use brushes, paint fills, pencils, gradients, textures, etc. But for this part, we will be using the Blend Tool to add colors to the shape.

NOTE: Keep the selection active. Avoid clicking outside the selection, causing the selection to disappear.

Select the Blend Tool from the Toolbox Window or press L on your keyboard.

Activating the Blend Tool

The Blend Tool, one of my personal favorites, uses two colors as input and blends these colors accordingly creating smooth transitions, depending on user preference.

Before we use this tool, let’s first set the foreground color and background color that will be used as transition colors for the Blend Tool. Choose the colors to your liking. Simply click the color swatches on the Toolbox Window and select a color from the selector. To quickly switch between foreground and background colors, you can press X, also called color swapping. I have decided to choose a more orangeish tint of colors—one darker than the other.

Choosing Foreground and Background Colors

Now that we have chosen both colors for the blend tool, it’s time to apply these color transitions to our current selection, our active shape. You also have the option to modify how these colors will behave, selecting from a list of presets and blending options.

Blend Tool Gradient Options

Blend Tool Shape Options

With the Blend Tool (L) still active, move your cursor to the Image Window, on the active shape selection then left click and drag such that we create an appearance of darker top and lighter bottom (which will be apparent from your color choices previously).

Blend Tool Application

Blending Applied

STEP 6: ADDING THE SHINE

After we have filled the shape with the necessary color blends, we can now deselect the selection by selecting any of the selection tools and clicking outside of the selection region; alternatively, you can simply press CTRL SHIFT A to deselect.

Following the same procedure in creating the basic shape, we can create the shine that we’ll be adding on top of our previous creation.

Create a new layer and name it “shine”, again with a Transparency Layer Fill Type.

Adding “shine” Layer

Using again the Rectangular Select Tool, with the same options enabled before, we draw a small elongated shape on the top part of our basic shape (as seen below).

Creating the “shine” Shape

Next, select the Blend Tool and choose a foreground color near to white (or you can use pure white) – this color will serve as your specular highlight. For the Gradient type, select the Foreground to Transparent option; you’ll see why in a second. Just leave the default Shape to Linear.

Blend Tool Settings

Move your cursor over to your active selection and drag your blend tool from the top part of the selection to its bottom, creating something like the image below.

Applying the Shine

We can now safely deselect the active selection and proceed with the next part.

STEP 7: CREATING SHADOWS

The main purpose of this step is to add a bit of depth to our button, which already looks decent on its own. We will be creating a soft shadow effect, that would somehow emulate a part of the button which is unevenly lit from the center, which was caused by the light source’s energy falloff.

Click the “shape” layer and add a new layer. The reason we selected the “shape” layer first before adding a new layer is because by default, when adding layers, it instantly positions itself on top of the currently selected layer; in this case, the “shape” layer.

Label the newly-created layer as “shadow”.

Creating New Layer “Shadow”

Select the “shape” layer then right click and choose “Alpha to Selection”. What this will do is it will select everything in the layer that has alpha values – not fully transparent.

Alpha to Selection

Now that we have the original shape selected again, we will be deriving the shadow selection area from this shape. Right click on the active selection, go to Select and choose “Shrink”.

Shrinking the Selection

On the pop-up window that appears, you can input values (in varying units) how much contracting/shrinking you want. On this part, you can play on the values. I will use 25 pixels in this case.

Shrink Value

Which will create something like:

Selection Shrinked

With the selection still active, right click on it, choose Select, then click Invert. This will invert the selection, so instead of the center part being selected, we now have everything selected except the center part.

Inverting the Selection

Select the “shadow” layer then go back to the Image Window (with the selection still active), right click on the selection, choose Select > Feather. On the pop-up window, you can play around with the values. The more feathering you have, the more blurry your selection edges will be. You’ll see the effect shortly.

Feathering the Selection

Feather Selection Value

Once you have successfully feathered out the selection, pick the Bucket Fill Tool from the Toolbox Window, select a foreground color of black, then under the Bucket Fill Tool Options, enable Fill whole selection.

Bucket Fill Tool

Now go back to the Image Window, with the selection still active and left click on the selection to fill it entirely with black. You’ll notice the effects of the selection feathering on the edges of the selection near the center, creating a blurring effect.

Bucket Filling the Feathered Selection

We can now deselect the active selection since we’re already done filling it with our desired color effect. The next thing we have to do is to constrain this shadow effect only to the shape and not affecting the rest of the image. To do this, select the shape layer, right click on it and select Alpha to Selection to select the entire “shape” figure.

Creating a Selection from “Shape” Layer

Alpha to Selection

To get rid of the excess part, there are many ways of doing it, two of which would be to use a mask and the other one is simply by removing the selection. For simplicity purposes, we’ll use the latter technique. With the selection still active, select the shadow layer. On the Image Window, right click the selection and go to Select > Invert. After the selection has been inverted, press Delete on your keyboard or you can use the cut command (CTRL X), to remove the selection and place it to buffer; but pressing the delete button should do the trick.

Deleting the Selected Colors

Now we can safely deselect the current selection. Currently, the blacks in our button is just too much and it doesn’t blend well with the general color of our button. To address that issue, we’ll use the ever powerful and fun-to-use layer blending modes. Select the shadow layer and under Mode, select Overlay. You can select other types of Blending Modes and see what it does to your image.

Selecting Layer Blending Modes

STEP 8: FINALIZATION AND TWEAKING

Alas! We have reached the final step of the creation process. This part will mainly deal with the minor tweaks and effects, it might be very subtle you can ignore it or you can proceed and see the difference for yourselves.

Go to the Layer Window and select the shadow layer. Under this same window, press the Duplicate Layer button to make a duplicate of the layer currently selected, thus duplicating the effects this layer has too (like the layer blending mode, for instance). Do this also to the shine layer, creating an even brighter specular highlight.

Duplicating Layers

To add a little spice to our button, let’s add some text! To add text in GIMP, simply head over to the Toolbox Window and select the Text Tool or you can press T on your keyboard. Then click on the Image Window and start typing your text.

Adding Text

With further tweaking and playing around, you can get something like the image below:

Sample Image

STEP 9: EXPORTING THE FILE TO A GENERAL FILE FORMAT

To export this project to a more human-readable and web-compatible format, simply go to File > Save As. Then manually type the file extension or you can choose from the list on the bottom part of the window. You can choose to save as JPG (.jpg), PNG (.png), GIF (.gif), and many more. Then simply follow the pop-up window instructions that appear as you save.

Exporting Image to a General File Format

SUMMARY:

In this tutorial, we have learned how to create shiny buttons (aka glass buttons) with few simple tricks that involves selection and colorizing techniques.

We hope you have enjoyed this tutorial. Until next time!

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Lots of websites use mascots in their header, but my feeling is that mascots are not so frequent in logo design. This round-up presents some well designed logos that use a mascot.

1. Yeti snowboard club

2. Clowntale

3. Napoleon sushi bar

4. Grrrafix

5. Recipe Bot

6. Antartica

7. Brandoodle

8. iBox man

9. ClockingBird

10. Airomo

11. Tuna

12. Beast media

13. gatto picante

14. Ninjava

15. Monkey Business

16. Mariolle

17. Canina

18. Archery Center

19. Zoorganic

20. Moovies

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Vectoring is easily done in Adobe Illustrator but there’s no need to fret if you don’t have one installed. Photoshop can also be handy for creating vector art. In this tutorial, we are going to learn how to vectorize a pair of sneakers. Now, crack your knuckles and get ready to create some kick-ass vector art!

STEP 1: Prepare Your File

The first step is to download a good quality photo. Good quality means high resolution and good contrast; these attributes make tracing less difficult and more accurate.
Download the image here.

On the Layers tab, right-click Background and select Duplicate Layer.

STEP 2: Create a Rough Outline

It is usually easier to trace when the entire photo is visible, so create the shape under the duplicate. Start by selecting the original Background Layer. Then, click on the image to mark a point; this new point is called an anchor point. A line will automatically be generated to connect one anchor point to the next.

Click on several points around the image to create a rough outline. Close the shape by connecting the last point to the first.

Before we continue, we need to change the color of the shape. It is always better to choose a shade closer to the image’s dominant color. I opted for #068536.

STEP 3: Adjust Curves

Select the Convert Point Tool and click on an anchor point. A pair of new lines called the Bezier handles will appear. Use these handles to control a point’s curvature.

When you complete this step, you should now have a proper outline.

When you complete this step, you should now have a proper outline.

Step 4: Add Details

So far, our design hardly resembles a real pair of sneakers. The next step is to identify the details. These are: toe caps, heels, insoles, eyelets, tongues, stitches, and laces. Googling a bit about shoe anatomy should help.

Since creating a vector image usually requires several layers, you may want to create groups for each part. Groups are like folders that can help organize your layers. Click the Create a New Group icon at the bottom of the Layers Tab. You don’t have to create the groups right away, you may opt to do this as you trace each part.

The heels, edgings, and toe caps are the next most basic parts, it’s only practical to trace them next. These parts are all white (#FFFFFF). Create black (#000000) strips over them for the rubber linings.

The insoles are the insides. I used #B9AF8C, which is a pale shade of brown. Include tracing the thin lines that creates the silhouettes of the tongues.

Use the Ellipse Tool and foreground color #696C73 to create the eyelets. Duplicate this gray circle, then press CTRL + T. Adjust it to the size of the inside circle on the photo and change its color to #000000 or black.

The Ellipse Tool allows you to create circles that are similar to shapes created by the Pen Tool. Therefore, these circles also contain movable anchor points. Click on the outline of a circle to enable its anchor points. Adjust the points according to the shape of actual eyelet on the photo. Do the same procedure for the rest of the eyelets.

On the photo, the sneakers’ tongues are the same color as the upper soles, but we’d want to distinguish them. Use the Pen Tool to trace all the visible parts of the tongue on each shoe and use #005A22, a darker shade of green.

Next, trace the shoelace by forming a solid outline.

Here comes the tricky part: select the Pen Tool and click the Paths icon on the options bar. Create a path around the parts you want to remove. While on the laces layer, click the Add Layer Mask icon at the bottom of the Layers Tab.

A new layer mask thumbnail will appear beside the vector mask thumbnail. Press CTRL + ALT + Enter to convert the path into a marquee, then press Delete. This action eliminates the mask inside the marquee.

Our initial trace is still showing bits of the green mask through the laces. Delete or hide the appropriate anchor points. Trace the aglets and set the color to #F2F1F1 or dirty white; these are the two sheaths at the ends of a lace. Perform the same procedure for other parts of the laces.

Next, create a new layer. Set the foreground color to #FFFFFF or white, and set the brush size to 2px. Using the Paths option of the Brush Tool, trace the stitches. Right-click on the path, then select Stroke Path.

Turn the lines into dashes by using the Eraser Tool. Select a 4px Square Brush, then manually delete portions of the lines. Trace a rough zigzag on right shoe’s tongue. Finally, adjust the stitches group’s or layers’ opacity to 19%.

Final Image

Here is our final artwork! We hope you have enjoyed this tutorial as much as we did. Check us out regularly for more awesome design articles and tutorials.

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If you want to make some spark or add some bright effects to a photo – use appropriate decorative accessories. Nowadays it’s not a problem and you can use various additional things related to different fields of art to enhance the quality of your photo and make it really bright and outstanding.

Food photography is an obligatory element for any company that deals with beverages and food. The main reason why marketing and advertising companies use food products in their campaign today – is that the restaurants that utilize photos in their menus sell more dishes than those who use only its titles and written descriptions. To make an excellent shot is not so easy as it seems, food photography is considered to be one of the most difficult specialities for photographers. Sometimes, an artist has really less time to make two or three pictures before the food is no longer at its best shape. Nowadays, photographers can achieve great results that would have been impossible decades ago. They get off such amazing shots that viewers find them more than particularly tempting. To ensure your photos of food and beverage are effective and enticing, follow these simple but really wholesome tips and tricks for food photgraphy.

Fake ice cubes

Fake ice cubes comes in different shapes, sizes and various materials, the most popular are acrylic and plastic. Acrylic ice cubes are, as you understand, not real and can be used only for merchandising or photography purposes. Of course they can not be frozen or used for chilling, but they make beautiful items of display, provide a glitter to the decor and you can utilize them as aesthetics props when taking photos. Plastic Ice Cubes are also good helpers in the process of photography. They have some kind of non-toxic gel inside, you can freeze them and pop into drinks and they won’t sink to the bottom of any liquid. These cubes come in various funny forms, such as balls, animals, fruits, hearts, cherries and shells. A great advantage is that plastic cubes can be re-used: just wash them and these ice cubes are ready.

Fake ice cubes are highly demanded in photography and even in film production, because real ice melts quickly and is difficult to work with. Some production companies sell fake ice cubes, like Trengove, a special effects store in New York. They are not cheap, often costing up to 30$ for a single cube. Fake ice is very handy to use and it doesn’t melt under the hot photography lights, so by using it you can really simplify your work.

Classic ice cubes

Drink with lemon and refreshing ice cubes. The composition looks so seductive that it’s hard to resist the temptation to empty this glass.

Love won’t drown

Two ice cubes in the glass. The picture creates an impression as if ice is melting and transforming into water.

Glycerin

What is it and why do photographers use it? It is a neutral, sweet-tasting, colorless, thick liquid which freezes to a gummy paste and which has a high boiling point. Glycerin can be dissolved into water and alcohol. Many things will dissolve into glycerin easier than they do in alcohol or water. So it is a good solvent. This thick liquid has a variety of uses, it can be used in prints and inks, lotions, preserved fruits and it can be used as a lubricant, due to its antiseptic qualities glycerin is applied in scientific specimens. It can be also used to make a dynamite, but of course it is not explosive on its own, so don’t be afraid to hold a glycerin soap.

Photographers also like to decorate their photos with beautiful details and to make these details more outstanding, prominent and natural they utilize glycerin. In the pictures we’ve showcased below you can see the examples of their work.

Bella Sera

A bottle of wine with two glasses which look like they have been already filled in. The artist achieved such effect using glycerin and water spray for a lasting and controlled condensation look. These fresh palatable drops will stay on for about 15 minutes.

Take a bite

In order to make this apple seductive and appetizing the photograph also have applied a water-glycerin mixture. It gives a fruit a juicy, glistering and so tempting appearance.

Glue

Photographers use glue instead of real milk for cereal photos, for hot chocolate photos and for pie repair shots. It’s a good way to make the food as appetizing as possible. White multi-purpose glue prevents flakes from becoming soggy too quickly and the bowl with glue won’t slosh around during the photography process and won’t become discolored after a long period under bright hot lights. If the artist delicate spread more glue among the flakes they will look really natural and mouth-watering on the photo.

Spilled milk and cereal

Of course it isn’t milk, it’s glue with variegated round corn flakes. They can’t be eaten, but look really cute and appetizing.

Cereal Photography

This composition was made using clamp to hold the spoon firmly in the place and placing glue on the spoon. Then the creator of this artwork with the help of tweezers added flakes and more glue between the greased flakes with toothpick. The last step – the artist added natural oiled strawberries. Oh, I want to eat it right now.

Chocolate caliente

This beautiful cup is filled with genuine chocolate glue. The author of this shot has used chocolate bars. He melted them and stuck in a cup then mixed with glue and the result is in front of your eyes. A palatable hot chocolate without messing with powder and milk. The only shortcoming is that this beverage can not be drunk. Would you like a cup of tempting hot chocolate?

About the Author: Rebecca Smith

Rebecca Smith works for flashtemplates.com, a top-class leader on the market of flash gallery templates, flipbook flash templates and flash CMS templates. Rebecca writes about the Web, its up-to-date approaches and state-of-the-art flash technologies. Outside of her job, she has a passion for art, literature, and the outdoors.

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Sneaker fashion is on the rise these days; people wear them both for comfort and to make a statement. That’s why some wildly talented sneaker designers and illustrators have grabbed this great opportunity to use these kicks, chucks, slip-ons, and whatever else you call them as literally walking canvases of their crazy sneaker design creations!

Charlottes Sneaker

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Wo-To Sneaker

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Vaqueiro

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KAT Sneaker

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Maxims Sneaker

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Kizioko

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Mie Sneaker Look Like Dunks

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Wolve Sneakers for Tanja

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Haruhi Sneaker

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Piraten

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OCD #1 Sneakers

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Commissioned Slip-Ons

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Bruno

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Fate Chucks

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Customized Adidas Stan Smith Sneakers

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Custom Public Royalty Sneakers

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Theory vs Senyol Sneakers for Sneaker Pimps

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More Kicks

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Timrobot X Converse Custom Chucks

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Pimp my sneakers!

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MTV Raps Puma

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Wolve Sneakers for Alex

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Sneaker Customizing

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Gorillaz Fanart

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Controller Chuckz

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Custom Nike Air Force 1

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noel heaven sneaker

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Pointer Shoes

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Pyramids

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Electro Chucks

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Don’t they just make you wanna bust out your tools and DIY your own sneaker design too?

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gorillaz

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The 1963 TIME Magazine Man of the Year and youngest ever awardee of the Nobel Peace Prize, Martin Luther King Jr. will forever be remembered …

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In western societies, losing weight has become an obsession for some, a necessity for others, and a juicy market for [...]

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A look at dieting and weightloss ads

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Got Wood? Get get your hands on this cool set of wooden icons and graphics featuring Apple Inc. products. As usual, you can download and …

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Apple Inc.Themed Wooden Graphics Set

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Lobulo design creates some great artworks with paper, see more on his portfolio.

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Paperkraft by Lobulo

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A few of the 2011 additions to the Ligne Roset collection. You can see more on Design Milk or on Ligne Roset’s Facebook page.

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