2011 - tutorial #2 - Glee
This to 
Program: Adobe Photoshop CS5 - Non-Translatable.
Involves: Filters, Levels, Curves, Brightness/Contrast, Gradient Map, Colour Balance, Vibrance, Selective Colour & Texture Use.
Original Cap: This, found at rawr-caps.
Original Icon | Recreation
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Note: I do Step 1 & 2 in various degrees in almost every icon that I work with. I find that if you work on making a base smoother and softer (no matter the quality of the image) then the overall icon is much easier to work with.
Step 1. Cropping your image
• I usually work with my images at 300px by 300px, just because I like the space that it gives me to play with, and when finishing an icon I find it much easier to work with that size and avoid over-sharpening anything.
• However, this icon has a close crop. It’s something I rarely do (I believe cropping is where my weakness lies) so I’m going to suggest you play with the full screencap first, and finish your icon with a crop. If you do it this way, you can play with the sorts of crops you want as well.
• With that in mind, resize your image (Image > Image Size) to Width: 711 px (ish), Height: 400 px. Now we are going to copy the image, and paste it into a new file.
Ctrl + A (Select All) > Ctrl + C (Copy) > Ctrl + N (New) > Image Size: Width: 300px, Height: 300 px > Ctrl + V (Paste).
Step 2. Preparing your base
Layer 1: Base Layer. Remains untouched.
I always leave my first layer untouched. If I stuff something up and need to go back to the start, it’s nice to not have to crop again, especially if you’ve got a really interesting/unique crop going. It’s also handy to have it on hand if you want to use your base to add an extra element to the colours of an icon later on.
Layer 2: Duplicate the base layer. Filter > Blur > Box Blur > Radius: 10. Set this layer to 10% opacity.
I think that Box Blur has a really interesting way of working with the backgrounds of images, and helping them blend together. It’s very intense in the way it blurs in tiny squares that are then all joined together though, which is why the layer is only set at 10% opacity, so it doesn’t blur the original image too much.
Layer 3: Duplicate the base layer, and drag it to the top. Filter > Blur > Gaussian Blur > Radius: 1.0. Set this layer to 20% opacity.
Again, we’re trying to blur out any of the flaws and faults within the icon to make the base something nicer to work with. This will soften the edges of your image further, without making the image too blurry again, and distorting the original image.
Layer 4: Duplicate the base layer, and drag it to the top. Filter > Blur > Surface Blur > Radius: 5.0, Threshold: 5.0. Set this layer to 25% opacity.
This can be interchanged with Smart Blur if available. I like the effect Surface Blur/Smart Blur has on softening the features of an icon, makes it smoother in general, and sometimes (especially for lower quality images or darker images that seem pixelated) that’s a real bonus.
Layer 5: Duplicate the base layer, and drag it to the top. Filter > Blur > Box Blur > Radius: 10.0. Set this layer to 15% opacity.
Layer 6: Ctrl + A (Select all) the image. Ctrl + Shift + C (Copy Merged) the image and Ctrl + V (Paste) it as a new layer. Set this layer to screen > 100% opacity.
When you copy a merged image, you are copying the sum total of the previous layers together, as opposed to just one layer. This screen layer’s opacity could be anywhere from 10% to 100%, depending on how dark the image you started out with originally was, or how bright and vibrant you would like your icon to be.
Layer 7: Layer > New Adjustment Layer > Curves > RGB > Output: 138, Input: 117.
In this step, I’ve used curves simply to lighten up the image. Later I’ll use it to add some colour, but while I’m preparing the base, I just want to use the RGB layer to add more lightness to the icon.
Layer 8: Layer > New Adjustment Layer > Levels > RGB > 0 | 1.10 | 245.
For the same reason as Layer 6, Levels have been used here to help lighten the image. I generally use this setting, but if the image is especially dark, I’ll lower 245 to 235 to give it that little bit more brightness.
Layer 9: Layer > New Adjustment Layer > Brightness/Contrast > Brightness: -10 | Contrast: +10. Set this layer to 100% opacity.
This layer is used to add some contrast and depth back into the image. In this image that we’re working with, there’s originally not a lot of contrast to the image, so we leave the opacity at 100%. But if there was more contrast in the original image, lowering the opacity often works to add just enough depth to the image.
Layer 10: Duplicate Layer 9. Set this layer to Soft Light, 40% opacity.
This layer is used to add the same kind of contrast to the image, and also helps to distinguish the various colours in an image, and add contrast to them as well.
Step 3. Its All About the Curves.
WARNING:This part is quite Curves heavy. Like, OVERLY curves heavy. Hopefully it will encourage you to explore the magic of curves, rather than shrink away from them in fear.
Layer 11: Layer > New Adjustment Layer > Curves
RGB Point 1: Output: 148, Input: 89
Set this layer to 80% opacity.
The first thing I’m concerned about is getting some lightness into the image to really draw out the colours. This is quite a bright curves layer and therefore something that I wouldn’t do all the time. It’s often easier to gradually bring the light into the image, so the quality remains as intact as possible. It may seem a little too bright right now, especially if you’ve started out with an image that had good lighting initially, so play around with the settings if you think it needs to be a little less intense.
Layer 12: Layer > New Adjustment Layer > Curves
RGB Point 1: Output: 134, Input: 121
Red Point 1: Output: 58, Input: 67
Red Point 2: Output: 153, Input: 143
Red Point 3: Output: 230, Input: 240
Green Point 1: Output: 63, Input: 71
Green Point 2: Output: 133, Input: 114
Green Point 3: Output: 213, Input: 209
Blue Point 1: Output: 67, Input: 74
Blue Point 2: Output: 140, Input: 121
Blue Point 3: Output: 201, Input: 217
Set this layer to Multiply > 60% Opacity.
I too, felt that the previous layer was slightly too bright, so here’s when I begin to get into the nitty gritty of curves (which is basically code for me playing around with settings until I fall on something I like). There are a lot of points in this curves layer, which served a purpose to lesson the intensity of the previous layer, while adding some depth to the colours within the image.
Layer 13: Layer > Duplicate Layer > Set layer to Linear Burn at 25% opacity.
I’m still not satisfied with the depth of the shadows from the previous layer, so this layer helps to counteract that. Linear burn can be intense though, and when I use it, it’s generally on minimal opacity so it doesn’t overwhelm the image.
Layer 14: Layer > New Adjustment Layer > Curves
RGB Point 1: Output: 140, Input: 108
I’ve lost my lovely brightness now though, so I throw in another curves layer to bring it back. By now, there’s a pattern emerging, and I think it will continue for a little while. When I sat down to write this tutorial, I’d forgotten just how many curves layers I’d used to give the icon the depth I wanted.
Layer 15: Layer > New Adjustment Layer > Levels: RGB > 0 | 1.15 | 240.
Set this layer to 50% opacity.
I’m still not satisfied with the brightness of the image, so I throw in a levels layer to give it a little bit extra. Note: I like bright icons, so my icons are generally quite bright, and look a little overexposed on other monitors. If you want to tone it down a little, try playing with opacity of each layer, or even the strength of the numbers you put in.
Layer 16: Layer > New Adjustment Layer > Curves
RGB Point 1: Output: 145, Input: 128
Red Point 1: Output: 92, Input: 84
Red Point 2: Output: 120, Input: 138
Red Point 3: Output: 192, Input: 212
Set this layer to Multiply > 20% Opacity.
I want to add some depth to the image again, so this time I’ve played with some brightness as well as added a slight touch of green to the curves layer. Once I set it to multiply, it helps to bring out the pinks in the image, but it’s too dark at 100%, so I bring it back to 20% opacity.
Layer 17: Layer > New Adjustment Layer > Curves
RGB Point 1: Output: 137, Input: 122
Red Point 1: Output: 66, Input: 54
Red Point 2: Output: 117, Input: 139
Red Point 3: Output: 201, Input: 204
Green Point 1: Output: 84, Input: 78
Green Point 2: Output: 122, Input: 136
Green Point 3: Output: 202, Input: 193
Blue Point 1: Output: 87, Input: 75
Blue Point 2: Output: 121, Input: 136
Blue Point 3: Output: 208, Input: 203
Set this layer to Multiply > 30% Opacity.
Much of a muchness. Playing with the colouring by adding depth to the shadows, but we’re taking less away from the lightness of the image now, and adding some colour into the pinks and slight yellow tones.
Layer 18: Layer > Duplicate Layer > Set layer to Linear Burn at 15% opacity.
Similar to before, I would like to add a little more depth to the colours of the icon. The opacity remains low again to avoid the overly burnt look that Linear Burn can give an image.
Layer 19: New Adjustment Layer > Curves
RGB Point 1: Output: 105, Input: 67
Green Point 1: Output: 20, Input: 14
Green Point 2: Output: 70, Input: 70
Green Point 3: Output: 129, Input: 111
Green Point 4: Output: 191, Input: 190
Set layer to Soft Light > 40% Opacity.
And now comes the contrast. This layer initially washes out the image, but once it is set to soft light it creates a wonderful contrast that enriches the natural tones of the image. My personal preference is that it’s a little too intense at 100%, so that’s why it’s been lowered back to 40% however it’s not imperative that you do so. Deviating from the plan is always part of the fun. I think if I’d changed my mind here, the finished product could have been entirely different!
Layer 20: New Adjustment Layer > Curves
RGB Point 1: Output: 74, Input: 54
RGB Point 2: Output: 118, Input: 91
RGB Point 3: Output: 146, Input: 129
Set this layer to 40% Opacity.
So we want to brighten the image a little, but keep most of the contrast and colour. Together, the three points are too bright, so if we lower the opacity the layer is softened, and it brightens up the image without taking over it.
Layer 21: Layer > New Adjustment Layer > Levels: RGB > 0 | 1.15 | 240.
Starting to sound like a broken record, right? I want to lighten the image up more, so I throw this in. It probably could have been removed and the previous layer could have been upped in terms of opacity. But hindsight, and all that.
Layer 22: New Adjustment Layer > Curves
Blue Point 1: Output: 79, Input: 58
Blue Point 2: Output: 131, Input: 126
Blue Point 3: Output: 176, Input: 194
Set this layer to Multiply at 30% opacity.
With this layer, I want to add some extremely subtle blue tones into the facial features of Quinn. Later on we’re going to highlight the yellow tones of her hair, but I wanted her face to be quite soft in comparison to the yellows and magenta’s of the icon. So the layer itself adds the blue, and in lowering the opacity and setting it to multiply, it’s subtle but not too overwhelming.
Layer 23: New Adjustment Layer > Curves
RGB Point 1: Output: 103, Input: 77
Green Point 1: Output: 88, Input: 83
Green Point 2: Output: 133, Input: 123
Green Point 3: Output: 183, Input: 189
Blue Point 1: Output: 130, Input: 128
Blue Point 2: Output: 174, Input: 183
Set this layer to 50% opacity.
I wanted to highlight some of the softer facial tones, lighten the image a little and really begin to draw out the magenta in the image, so that’s what this layer does. I could have potentially had a higher opacity, as that would have helped to emphasise the softer blue tinges we just highlighted, but that’s okay.
Layer 24: Layer > New Adjustment Layer > Levels: RGB > 0 | 1.10 | 245. Set this layer to 50% opacity.
A final touch of lightness, just because I’m odd like that, before we move on to something more than curves!
Step 4. Adding Something Extra.
Layer 25: Layer > New Adjustment Layer > Gradient Map > Set this layer to Soft Light at 10% opacity.
This layer serves to add the smallest amount of contrast to the image, especially in the darker shadows of the icon. I tend to use gradient maps in the lowest opacity possible because otherwise they can very easily remove all the vibrancy and colour from the image. And I am a huge fan of brightness in images.
Layer 26: Layer > New Adjustment Layer > Colour Balance >
Midtones:
-5 | +15 | +9
Shadows:
+15 | -5 | +10
Set this layer to Soft Light at 25% opacity.
Colour Balance and Soft Light should be best friends forever. I played with the blues and greens in this image while the setting was on normal, but once on Soft Light it helped to highlight the reds, magenta’s and slight yellows that exist. It also helped to add a little bit of contrast into the icon.
Layer 27: Layer > New Adjustment Layer > Vibrance > Vibrance: +50.
My favourite tool ever! This is quite subdued in comparison to my normal use, but I think if I’d put the setting any higher, I may have compromised the quality of the image. It’s something to note if you are playing with vibrancy.
Layer 28: Layer > New Adjustment Layer > Selective Colour:
Reds -
Yellow: -5
Black: +10
Yellows -
Yellow: + 50
Black: +10
Neutrals -
Yellow: +5
Black: +5
Blacks -
Black: +5
Set this layer to 50% opacity.
While I could have kept the intense vibrancy of the colouring, I chose to lower the opacity to 50% as I still wanted to keep the blueish hue of the skin tone quite recognisable, and it would have been a little overwhelmed by yellow had the opacity remained at 100%. This layer also serves to add some contrast into the image, and play with the magenta’s a little more.
Layer 29: Texture by motorized. Set this layer to Screen at 30% opacity.
This is one of my favourite textures ever. I love the blues, and how they can change the make up of the icon completely depending on the setting. I usually use it with screen (like above) or Soft Light. I play around with the placement until I find something I like, because that’s what I love about larger textures. There is always some awesomely intricate part to it that will do something completely different to an icon than you expected. It’s so much fun.
Layer 30: Texture by mscam. Set this layer to Soft Light at 30% opacity.
Another texture that I use frequently when I want to add some interesting coloured elements to the icon. I moved this layer around until it looked something like this. I enjoy playing with this texture both with it’s yellow, and blue (if it’s inverted) highlights. I generally tend to play with it on Soft Light, because it adds some really lovely colours to the icon. Here, it’s helped to highlight the yellows, without overwhelming the other colours.
Layer 31: Texture by mscam.
As mentioned above, I love playing with the blue tones of this texture as well. Although I prefer the darker tones, so I crop it like this and then hit Ctrl + I which will invert the image, including all the colours of the image. I end up with a lovely rich deep blue, that I then Free Transform (Ctrl + T) and drag out over the image.
Set this to Soft Light at 15% opacity. This will take away some of the yellows from the image, and keep those blue hues I brought into the image throughout the curves layers.
Layer 32: Now it’s time to really play with the yellows of the image, and highlight some of them that are hiding in Quinn’s hair.
I create a new layer (Layer > New > Layer) and then use the colour picker to choose a yellow I’m going to brush on. I generally use rich yellows, because they are fun to highlight colours, but sometimes a darker, richer orange toned yellow can work as well. In this case, I’m using #f2e400. I pick a brush that works with the size of the image (in this case, 35px) and leave it on 0% hardness, and simply brush some lines along my image like this.
I then box blur it once or twice to spread it a little more, and merge the brush lines together. I then set the layer to Screen at 25% opacity, so it adds a little bit of yellow to the highlights of the hair but doesn’t obscure the image completely.
Layer 33: Now we do the same with the magenta’s that are quite present in the current colouring. I want to highlight the colour of her lips and eyelash, as well as the magenta strokes in her hair.
Create a new layer (Layer > New > Layer) and use the eyedrop tool to pick one of the colours from the image (If you are playing with a different image, try using a blue if there is quite a bit of blue within the image, or green, orange or red). There are lots of magenta’s in this one, but I ended up using #ff009f. Using the same brush size as before (35px, 0% hardness) I stroke over the parts I want to highlight, and the image looks like this. Box blur the brush lines 3 or 4 times, and then set the layer to Screen at 50% opacity.
It’s a little intense over the face, but that is easily fixed. You can mask the unwanted parts away, or using the eraser, you can remove it that way. I used the eraser in this image at about 75% opacity, (sticking with a 35px brush at 50% hardness) and just remove it from the skin/eyes where it’s quite overwhelming.
Alternatively, this layer could be replaced with a layer of Selective Colour that plays with the Magenta’s of the image, or a Curves or Colour Balance layer to play with the same sorts of colours.
Layer 34: Layer > New Adjustment Layer > Vibrance > Vibrance: +50
Again, vibrance has been used to add a little more punch into the bright colours of the image. It’s not too high because otherwise it could detract from the quality of the image, and because there are other ways to really emphasise colour as well.
Layer 35: Layer > New Adjustment Layer > Selective Colour.
Yellows -
Yellow: + 80
Black: +20
Magentas -
Yellow: +100
Black: +50
Neutrals -
Yellow: -5
Black: +5
Blacks -
Black: +5
Okay, so an intense layer. Really, this is to bring out the yellows and the magentas completely. Nothing left behind. We still have a lovely light blue hue over the facial features, but I really wanted to highlight the yellows and magentas and after every other layer, this is what this layer achieves.
Layer 36: Layer > New Adjustment Layer > Vibrance > Vibrance: +50
The final layer of vibrance which words in the same basic manner as each of the others, improving the colour without taking away from the image quality.
Layer 37: Layer > New Adjustment Layer > Curves
RGB Point 1: Output: 132, Input: 124
Our final curves layer, which has been used with the sole purpose to add a final touch of light to the image. We don’t want it to be too dark, but this layer could be skipped if you wanted the icon to be a little darker.
Step 5. Adding the finishing touches
Now that I’ve coloured and textured the image, I’m ready to finish the icon. To start off with, we’re going to play with the crop. Ctrl + A (Select All) the image, and then Ctrl + Shift + C (Copy Merge) the image into a new canvas. Depending on how close you want the crop to be, you can play with the size of the new canvas. I’m working with a 200px by 200px canvas, because that’s where I feel the crop works best.
Layer 38: Ctrl + A (Select All) > Ctrl + Shift + C (Copy merged) > Ctrl + V (Paste) > Filter > Blur > Gaussian Blur > Radius 1.0 > Set this layer to 30% opacity.
I used Gaussian Blur to soften the image before sharpening the edges. I think the sharpening effect just looks a little bit softer if this is done, as it takes away that absolute sharp edge that can sometimes occur in an icon.
Layer 39: Ctrl + A (Select All) > Ctrl + Shift + C (Copy merged) > Ctrl + V (Paste) > Filter > Sharpen > Sharpen. Set this layer to 50% opacity.
Depending on the image you began with, the sharpen layer will be anything between 10% & 100% opacity. And while you’re image may look a touch too sharp now - remember we still have to resize the image to 100 px by 100 px, which will also take away a little of the sharpness.
You have to be cautious here, because sometimes sharpening can lead to rough, harsh edges. It’s always good to have a little bit of leeway on each side.
We’re finally ready to resize the image: Image > Image Size (Alt + Ctrl + I) > Width 100 (pixels), Height 100 (pixels).
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Layer Summary
In case you were lost, this is what my final layers looked like:
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This was written for the Ask the Maker meme hosted at icon_talk.
As always, comments are love. Please let me know if you found this useful, or alternatively, hard to follow!
Program: Adobe Photoshop CS5 - Non-Translatable.
Involves: Filters, Levels, Curves, Brightness/Contrast, Gradient Map, Colour Balance, Vibrance, Selective Colour & Texture Use.
Original Cap: This, found at rawr-caps.
Original Icon | Recreation
|
Note: I do Step 1 & 2 in various degrees in almost every icon that I work with. I find that if you work on making a base smoother and softer (no matter the quality of the image) then the overall icon is much easier to work with.
Step 1. Cropping your image
• I usually work with my images at 300px by 300px, just because I like the space that it gives me to play with, and when finishing an icon I find it much easier to work with that size and avoid over-sharpening anything.
• However, this icon has a close crop. It’s something I rarely do (I believe cropping is where my weakness lies) so I’m going to suggest you play with the full screencap first, and finish your icon with a crop. If you do it this way, you can play with the sorts of crops you want as well.
• With that in mind, resize your image (Image > Image Size) to Width: 711 px (ish), Height: 400 px. Now we are going to copy the image, and paste it into a new file.
Ctrl + A (Select All) > Ctrl + C (Copy) > Ctrl + N (New) > Image Size: Width: 300px, Height: 300 px > Ctrl + V (Paste).
Step 2. Preparing your base
Layer 1: Base Layer. Remains untouched.
I always leave my first layer untouched. If I stuff something up and need to go back to the start, it’s nice to not have to crop again, especially if you’ve got a really interesting/unique crop going. It’s also handy to have it on hand if you want to use your base to add an extra element to the colours of an icon later on.
Layer 2: Duplicate the base layer. Filter > Blur > Box Blur > Radius: 10. Set this layer to 10% opacity.
I think that Box Blur has a really interesting way of working with the backgrounds of images, and helping them blend together. It’s very intense in the way it blurs in tiny squares that are then all joined together though, which is why the layer is only set at 10% opacity, so it doesn’t blur the original image too much.
Layer 3: Duplicate the base layer, and drag it to the top. Filter > Blur > Gaussian Blur > Radius: 1.0. Set this layer to 20% opacity.
Again, we’re trying to blur out any of the flaws and faults within the icon to make the base something nicer to work with. This will soften the edges of your image further, without making the image too blurry again, and distorting the original image.
Layer 4: Duplicate the base layer, and drag it to the top. Filter > Blur > Surface Blur > Radius: 5.0, Threshold: 5.0. Set this layer to 25% opacity.
This can be interchanged with Smart Blur if available. I like the effect Surface Blur/Smart Blur has on softening the features of an icon, makes it smoother in general, and sometimes (especially for lower quality images or darker images that seem pixelated) that’s a real bonus.
Layer 5: Duplicate the base layer, and drag it to the top. Filter > Blur > Box Blur > Radius: 10.0. Set this layer to 15% opacity.
Layer 6: Ctrl + A (Select all) the image. Ctrl + Shift + C (Copy Merged) the image and Ctrl + V (Paste) it as a new layer. Set this layer to screen > 100% opacity.
When you copy a merged image, you are copying the sum total of the previous layers together, as opposed to just one layer. This screen layer’s opacity could be anywhere from 10% to 100%, depending on how dark the image you started out with originally was, or how bright and vibrant you would like your icon to be.
Layer 7: Layer > New Adjustment Layer > Curves > RGB > Output: 138, Input: 117.
In this step, I’ve used curves simply to lighten up the image. Later I’ll use it to add some colour, but while I’m preparing the base, I just want to use the RGB layer to add more lightness to the icon.
Layer 8: Layer > New Adjustment Layer > Levels > RGB > 0 | 1.10 | 245.
For the same reason as Layer 6, Levels have been used here to help lighten the image. I generally use this setting, but if the image is especially dark, I’ll lower 245 to 235 to give it that little bit more brightness.
Layer 9: Layer > New Adjustment Layer > Brightness/Contrast > Brightness: -10 | Contrast: +10. Set this layer to 100% opacity.
This layer is used to add some contrast and depth back into the image. In this image that we’re working with, there’s originally not a lot of contrast to the image, so we leave the opacity at 100%. But if there was more contrast in the original image, lowering the opacity often works to add just enough depth to the image.
Layer 10: Duplicate Layer 9. Set this layer to Soft Light, 40% opacity.
This layer is used to add the same kind of contrast to the image, and also helps to distinguish the various colours in an image, and add contrast to them as well.
Step 3. Its All About the Curves.
WARNING:This part is quite Curves heavy. Like, OVERLY curves heavy. Hopefully it will encourage you to explore the magic of curves, rather than shrink away from them in fear.
Layer 11: Layer > New Adjustment Layer > Curves
RGB Point 1: Output: 148, Input: 89
Set this layer to 80% opacity.
The first thing I’m concerned about is getting some lightness into the image to really draw out the colours. This is quite a bright curves layer and therefore something that I wouldn’t do all the time. It’s often easier to gradually bring the light into the image, so the quality remains as intact as possible. It may seem a little too bright right now, especially if you’ve started out with an image that had good lighting initially, so play around with the settings if you think it needs to be a little less intense.
Layer 12: Layer > New Adjustment Layer > Curves
RGB Point 1: Output: 134, Input: 121
Red Point 1: Output: 58, Input: 67
Red Point 2: Output: 153, Input: 143
Red Point 3: Output: 230, Input: 240
Green Point 1: Output: 63, Input: 71
Green Point 2: Output: 133, Input: 114
Green Point 3: Output: 213, Input: 209
Blue Point 1: Output: 67, Input: 74
Blue Point 2: Output: 140, Input: 121
Blue Point 3: Output: 201, Input: 217
Set this layer to Multiply > 60% Opacity.
I too, felt that the previous layer was slightly too bright, so here’s when I begin to get into the nitty gritty of curves (which is basically code for me playing around with settings until I fall on something I like). There are a lot of points in this curves layer, which served a purpose to lesson the intensity of the previous layer, while adding some depth to the colours within the image.
Layer 13: Layer > Duplicate Layer > Set layer to Linear Burn at 25% opacity.
I’m still not satisfied with the depth of the shadows from the previous layer, so this layer helps to counteract that. Linear burn can be intense though, and when I use it, it’s generally on minimal opacity so it doesn’t overwhelm the image.
Layer 14: Layer > New Adjustment Layer > Curves
RGB Point 1: Output: 140, Input: 108
I’ve lost my lovely brightness now though, so I throw in another curves layer to bring it back. By now, there’s a pattern emerging, and I think it will continue for a little while. When I sat down to write this tutorial, I’d forgotten just how many curves layers I’d used to give the icon the depth I wanted.
Layer 15: Layer > New Adjustment Layer > Levels: RGB > 0 | 1.15 | 240.
Set this layer to 50% opacity.
I’m still not satisfied with the brightness of the image, so I throw in a levels layer to give it a little bit extra. Note: I like bright icons, so my icons are generally quite bright, and look a little overexposed on other monitors. If you want to tone it down a little, try playing with opacity of each layer, or even the strength of the numbers you put in.
Layer 16: Layer > New Adjustment Layer > Curves
RGB Point 1: Output: 145, Input: 128
Red Point 1: Output: 92, Input: 84
Red Point 2: Output: 120, Input: 138
Red Point 3: Output: 192, Input: 212
Set this layer to Multiply > 20% Opacity.
I want to add some depth to the image again, so this time I’ve played with some brightness as well as added a slight touch of green to the curves layer. Once I set it to multiply, it helps to bring out the pinks in the image, but it’s too dark at 100%, so I bring it back to 20% opacity.
Layer 17: Layer > New Adjustment Layer > Curves
RGB Point 1: Output: 137, Input: 122
Red Point 1: Output: 66, Input: 54
Red Point 2: Output: 117, Input: 139
Red Point 3: Output: 201, Input: 204
Green Point 1: Output: 84, Input: 78
Green Point 2: Output: 122, Input: 136
Green Point 3: Output: 202, Input: 193
Blue Point 1: Output: 87, Input: 75
Blue Point 2: Output: 121, Input: 136
Blue Point 3: Output: 208, Input: 203
Set this layer to Multiply > 30% Opacity.
Much of a muchness. Playing with the colouring by adding depth to the shadows, but we’re taking less away from the lightness of the image now, and adding some colour into the pinks and slight yellow tones.
Layer 18: Layer > Duplicate Layer > Set layer to Linear Burn at 15% opacity.
Similar to before, I would like to add a little more depth to the colours of the icon. The opacity remains low again to avoid the overly burnt look that Linear Burn can give an image.
Layer 19: New Adjustment Layer > Curves
RGB Point 1: Output: 105, Input: 67
Green Point 1: Output: 20, Input: 14
Green Point 2: Output: 70, Input: 70
Green Point 3: Output: 129, Input: 111
Green Point 4: Output: 191, Input: 190
Set layer to Soft Light > 40% Opacity.
And now comes the contrast. This layer initially washes out the image, but once it is set to soft light it creates a wonderful contrast that enriches the natural tones of the image. My personal preference is that it’s a little too intense at 100%, so that’s why it’s been lowered back to 40% however it’s not imperative that you do so. Deviating from the plan is always part of the fun. I think if I’d changed my mind here, the finished product could have been entirely different!
Layer 20: New Adjustment Layer > Curves
RGB Point 1: Output: 74, Input: 54
RGB Point 2: Output: 118, Input: 91
RGB Point 3: Output: 146, Input: 129
Set this layer to 40% Opacity.
So we want to brighten the image a little, but keep most of the contrast and colour. Together, the three points are too bright, so if we lower the opacity the layer is softened, and it brightens up the image without taking over it.
Layer 21: Layer > New Adjustment Layer > Levels: RGB > 0 | 1.15 | 240.
Starting to sound like a broken record, right? I want to lighten the image up more, so I throw this in. It probably could have been removed and the previous layer could have been upped in terms of opacity. But hindsight, and all that.
Layer 22: New Adjustment Layer > Curves
Blue Point 1: Output: 79, Input: 58
Blue Point 2: Output: 131, Input: 126
Blue Point 3: Output: 176, Input: 194
Set this layer to Multiply at 30% opacity.
With this layer, I want to add some extremely subtle blue tones into the facial features of Quinn. Later on we’re going to highlight the yellow tones of her hair, but I wanted her face to be quite soft in comparison to the yellows and magenta’s of the icon. So the layer itself adds the blue, and in lowering the opacity and setting it to multiply, it’s subtle but not too overwhelming.
Layer 23: New Adjustment Layer > Curves
RGB Point 1: Output: 103, Input: 77
Green Point 1: Output: 88, Input: 83
Green Point 2: Output: 133, Input: 123
Green Point 3: Output: 183, Input: 189
Blue Point 1: Output: 130, Input: 128
Blue Point 2: Output: 174, Input: 183
Set this layer to 50% opacity.
I wanted to highlight some of the softer facial tones, lighten the image a little and really begin to draw out the magenta in the image, so that’s what this layer does. I could have potentially had a higher opacity, as that would have helped to emphasise the softer blue tinges we just highlighted, but that’s okay.
Layer 24: Layer > New Adjustment Layer > Levels: RGB > 0 | 1.10 | 245. Set this layer to 50% opacity.
A final touch of lightness, just because I’m odd like that, before we move on to something more than curves!
Step 4. Adding Something Extra.
Layer 25: Layer > New Adjustment Layer > Gradient Map > Set this layer to Soft Light at 10% opacity.
This layer serves to add the smallest amount of contrast to the image, especially in the darker shadows of the icon. I tend to use gradient maps in the lowest opacity possible because otherwise they can very easily remove all the vibrancy and colour from the image. And I am a huge fan of brightness in images.
Layer 26: Layer > New Adjustment Layer > Colour Balance >
Midtones:
-5 | +15 | +9
Shadows:
+15 | -5 | +10
Set this layer to Soft Light at 25% opacity.
Colour Balance and Soft Light should be best friends forever. I played with the blues and greens in this image while the setting was on normal, but once on Soft Light it helped to highlight the reds, magenta’s and slight yellows that exist. It also helped to add a little bit of contrast into the icon.
Layer 27: Layer > New Adjustment Layer > Vibrance > Vibrance: +50.
My favourite tool ever! This is quite subdued in comparison to my normal use, but I think if I’d put the setting any higher, I may have compromised the quality of the image. It’s something to note if you are playing with vibrancy.
Layer 28: Layer > New Adjustment Layer > Selective Colour:
Reds -
Yellow: -5
Black: +10
Yellows -
Yellow: + 50
Black: +10
Neutrals -
Yellow: +5
Black: +5
Blacks -
Black: +5
Set this layer to 50% opacity.
While I could have kept the intense vibrancy of the colouring, I chose to lower the opacity to 50% as I still wanted to keep the blueish hue of the skin tone quite recognisable, and it would have been a little overwhelmed by yellow had the opacity remained at 100%. This layer also serves to add some contrast into the image, and play with the magenta’s a little more.
Layer 29: Texture by motorized. Set this layer to Screen at 30% opacity.
This is one of my favourite textures ever. I love the blues, and how they can change the make up of the icon completely depending on the setting. I usually use it with screen (like above) or Soft Light. I play around with the placement until I find something I like, because that’s what I love about larger textures. There is always some awesomely intricate part to it that will do something completely different to an icon than you expected. It’s so much fun.
Layer 30: Texture by mscam. Set this layer to Soft Light at 30% opacity.
Another texture that I use frequently when I want to add some interesting coloured elements to the icon. I moved this layer around until it looked something like this. I enjoy playing with this texture both with it’s yellow, and blue (if it’s inverted) highlights. I generally tend to play with it on Soft Light, because it adds some really lovely colours to the icon. Here, it’s helped to highlight the yellows, without overwhelming the other colours.
Layer 31: Texture by mscam.
As mentioned above, I love playing with the blue tones of this texture as well. Although I prefer the darker tones, so I crop it like this and then hit Ctrl + I which will invert the image, including all the colours of the image. I end up with a lovely rich deep blue, that I then Free Transform (Ctrl + T) and drag out over the image.
Set this to Soft Light at 15% opacity. This will take away some of the yellows from the image, and keep those blue hues I brought into the image throughout the curves layers.
Layer 32: Now it’s time to really play with the yellows of the image, and highlight some of them that are hiding in Quinn’s hair.
I create a new layer (Layer > New > Layer) and then use the colour picker to choose a yellow I’m going to brush on. I generally use rich yellows, because they are fun to highlight colours, but sometimes a darker, richer orange toned yellow can work as well. In this case, I’m using #f2e400. I pick a brush that works with the size of the image (in this case, 35px) and leave it on 0% hardness, and simply brush some lines along my image like this.
I then box blur it once or twice to spread it a little more, and merge the brush lines together. I then set the layer to Screen at 25% opacity, so it adds a little bit of yellow to the highlights of the hair but doesn’t obscure the image completely.
Layer 33: Now we do the same with the magenta’s that are quite present in the current colouring. I want to highlight the colour of her lips and eyelash, as well as the magenta strokes in her hair.
Create a new layer (Layer > New > Layer) and use the eyedrop tool to pick one of the colours from the image (If you are playing with a different image, try using a blue if there is quite a bit of blue within the image, or green, orange or red). There are lots of magenta’s in this one, but I ended up using #ff009f. Using the same brush size as before (35px, 0% hardness) I stroke over the parts I want to highlight, and the image looks like this. Box blur the brush lines 3 or 4 times, and then set the layer to Screen at 50% opacity.
It’s a little intense over the face, but that is easily fixed. You can mask the unwanted parts away, or using the eraser, you can remove it that way. I used the eraser in this image at about 75% opacity, (sticking with a 35px brush at 50% hardness) and just remove it from the skin/eyes where it’s quite overwhelming.
Alternatively, this layer could be replaced with a layer of Selective Colour that plays with the Magenta’s of the image, or a Curves or Colour Balance layer to play with the same sorts of colours.
Layer 34: Layer > New Adjustment Layer > Vibrance > Vibrance: +50
Again, vibrance has been used to add a little more punch into the bright colours of the image. It’s not too high because otherwise it could detract from the quality of the image, and because there are other ways to really emphasise colour as well.
Layer 35: Layer > New Adjustment Layer > Selective Colour.
Yellows -
Yellow: + 80
Black: +20
Magentas -
Yellow: +100
Black: +50
Neutrals -
Yellow: -5
Black: +5
Blacks -
Black: +5
Okay, so an intense layer. Really, this is to bring out the yellows and the magentas completely. Nothing left behind. We still have a lovely light blue hue over the facial features, but I really wanted to highlight the yellows and magentas and after every other layer, this is what this layer achieves.
Layer 36: Layer > New Adjustment Layer > Vibrance > Vibrance: +50
The final layer of vibrance which words in the same basic manner as each of the others, improving the colour without taking away from the image quality.
Layer 37: Layer > New Adjustment Layer > Curves
RGB Point 1: Output: 132, Input: 124
Our final curves layer, which has been used with the sole purpose to add a final touch of light to the image. We don’t want it to be too dark, but this layer could be skipped if you wanted the icon to be a little darker.
Step 5. Adding the finishing touches
Now that I’ve coloured and textured the image, I’m ready to finish the icon. To start off with, we’re going to play with the crop. Ctrl + A (Select All) the image, and then Ctrl + Shift + C (Copy Merge) the image into a new canvas. Depending on how close you want the crop to be, you can play with the size of the new canvas. I’m working with a 200px by 200px canvas, because that’s where I feel the crop works best.
Layer 38: Ctrl + A (Select All) > Ctrl + Shift + C (Copy merged) > Ctrl + V (Paste) > Filter > Blur > Gaussian Blur > Radius 1.0 > Set this layer to 30% opacity.
I used Gaussian Blur to soften the image before sharpening the edges. I think the sharpening effect just looks a little bit softer if this is done, as it takes away that absolute sharp edge that can sometimes occur in an icon.
Layer 39: Ctrl + A (Select All) > Ctrl + Shift + C (Copy merged) > Ctrl + V (Paste) > Filter > Sharpen > Sharpen. Set this layer to 50% opacity.
Depending on the image you began with, the sharpen layer will be anything between 10% & 100% opacity. And while you’re image may look a touch too sharp now - remember we still have to resize the image to 100 px by 100 px, which will also take away a little of the sharpness.
You have to be cautious here, because sometimes sharpening can lead to rough, harsh edges. It’s always good to have a little bit of leeway on each side.
We’re finally ready to resize the image: Image > Image Size (Alt + Ctrl + I) > Width 100 (pixels), Height 100 (pixels).
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Layer Summary
In case you were lost, this is what my final layers looked like:
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This was written for the Ask the Maker meme hosted at icon_talk.
As always, comments are love. Please let me know if you found this useful, or alternatively, hard to follow!