1, hand-painted, and then stroke the path with a pen in illusrtrator, etc.
2. Adjust the details with the font of the font library and then turn the text into a curve;
3. Add filters and other common effects in photoshop, such as flame characters and metal characters.
Second, the poster
1, the name poster, originated in Shanghai, is a common way of publicity. In the past, posters were used in plays, movies and other performances or ball games. Shanghainese usually refer to professional theatrical performances as "going into the sea", while those engaged in professional theatrical performances are called "going into the sea". Perhaps because of this, people call it "poster", which is a propaganda poster to attract customers as the performance information of drama. Formal posters usually include the nature, organizer, time and place of the event.
2. Poster design is one of the manifestations of visual communication. It attracts people's attention at the first time through the composition of the layout, and gets instant stimulation, which requires designers to perfectly combine the elements such as pictures, characters, colors and space to show people the propaganda information in an appropriate form.
Ps How to make a beautiful poster with font renderings: Specific steps:
1. First, create a new document with 1000X 1000 pixels.
2. Fill the background color with (#1414), enter the text you want, regardless of the font, just choose one and adjust the letter spacing.
3. Convert the text layer into a "smart object" and use the shortcut key CTRL+I to reverse it. If it is not reversed, the color in the liquefaction filter will be white, and it is not easy to recognize the effect.
4. According to your text, adjust the stroke size and pressure in the liquefaction tool. My parameters are as follows:
5. Draw the following feeling with the stroke tool. I use conservative and formal painting methods, using straight lines. If you want to make other effects, which direction can your brush go, but only if it is beautiful.
6. Return to the layer after liquefaction, copy the text layer, and then enter the liquefaction effect of the copied layer. Select Rebuild in the Brush Rebuild option to change the data, and I will change it to 80. If you want to make the fault effect more obvious, you can also change other values.
7. Turn on the layer style of the original text layer, and we turn off G and B of the channel options.
8. Turn on the copy layer layer style, and we turn off R in the channel.
9. So far, the effect is this. Here, I think the colors of red and blue are too monotonous. If I want one more color, I will turn on the hue/saturation and click my little hand to absorb the blue.
To learn more ps tutorials, click -PS. Zero-based learning ps.
How to design font posters? Since it is a font poster, you must first have a font design. We need to properly consider the possibility of font application in layout when designing the font part, and we will analyze it in detail in the case; The second step is usually to adjust the effect of the font or increase the sense of form, mainly considering the expression of the font as the main body in the poster; The last step really lies in how to present the layout and proper composition by combining fonts and text groups. Let's start directly from the first case and look at the basic information first. The theme of this poster is "space", and the concept that the artist wants to express is "if space is a blank sheet of paper". Based on this concept, we try to design the font part. For the first one, we try a simpler basic glyph. The concept based on the white paper is also a relatively normal way to start, and it is a straightforward expression without modification. In this way, the basic glyphs with relatively regular order are made, and the regular glyphs are easier to start with in layout. Students with poor foundation can consider referring to commonly used headline words, and it doesn't hurt to be at the bottom, just pay attention to rationality. When making basic glyphs, we generally need to pay attention to two parts. One is the stroke thickness setting. Conventionally, based on visual balance, we set the vertical pen slightly thicker and the horizontal pen relatively thinner; If there are oblique strokes, we need to adjust the thickness appropriately to make the whole harmony. The second problem is the structural problem. What we are doing here is completely orderly processing, physically aligning the strokes around the font. Stroke spacing should be as neat as possible, and alignment should be as aligned as possible! As for the placement of strokes, students with zero foundation can refer to the handling of fonts. Basic glyphs always feel a little less sense of design, so we try to do some stroke deformation for empty words. When doing the deformation of strokes, we can change the design from a small part of the strokes, such as the treatment of leaving empty word, to increase the sense of design on the basis of the same overall structure. We can also make greater structural changes, which are relatively difficult as a whole and will involve the coordination of structure and strokes. Generally speaking, we should try our best to start with the manuscript, choose the direction, optimize the details and not expand. Let's try a basic effect first and make a similar gradient effect. The implementation method is extremely simple. Copy directly, and then use the clipping mask to select the reserved part. After the text effect is done, then we will enter the layout. Let's first divide the text group into hierarchical relationships, match appropriate Chinese and western fonts, and try to add small elements of color and rich details to the layout. Finally, we try to arrange the text groups and fonts in order in the form of double-column composition. Add some small elements appropriately to enrich the details, so that our first case is basically completed. Let's try another scheme (mainly because we are not satisfied with one scheme). Let's choose the same basic font as before and try different font effects. We use the "path finder" to cut the part, and then do a messy processing. Enhance the visual form of fonts. Similarly, let's try to arrange the text groups first, combining color matching and adding different elements. In this version, we have made a little more fashionable visual orientation. Based on the previously determined elements and text groups, we put them into the whole poster layout for arrangement. We still try to use a basic composition of double-column or so typesetting, and put "space" as the main body of the text on the right side, while other text information is weakened and typesetting is orderly and regular. Small radioactive elements are often used to compare the tonality of tidal currents. One more edition! ! Let's see if we can make a better "space" effect to try ~ We try to enhance the three-dimensional level of fonts with a hybrid tool. Copy the "space" to a smaller size, adjust the color to be the same as the background color and put it in the middle. Double-click the blending tool to adjust the number of steps, and then click the large font and the small font respectively. As for how this type of hybrid tool works, interested students can look through this article written before and have a detailed analysis. We try to add a sense of form to the arrangement of colors and text groups. After hierarchical division of text information, we combine text groups in the form of color blocks. The overall layout is not difficult, and the centered composition method puts the font design at the center of the layout. Mainly mention three points to increase the overall sense of hierarchy. First, adjust the surrounding color matching to red-blue contrast; Step 2, add a white wireframe on the gray background; Finally, a diagonal texture is superimposed on the whole before exporting the picture. Tired ~ Let's change the subject. "Phase", what the artist wants to express is "philosophical thinking about existence and perception". So we can be flexible in this version of the font, and we don't have to be too rigid about structural strokes. Everyone has different habits for glyphs with relatively flexible structures. I am used to trying manuscripts or referring to the source of ancient calligraphy. As far as possible, the deformation of structural strokes should be consistent with the sense of handwriting, so as to avoid problems such as stiff connection and disobedience. In the previous version, the tonality of the later layout was considered to be more elegant, with the text scattered up and down as the main form. So I changed the layout of the font to up and down and adjusted the strokes. Considering that it can be used as an auxiliary element in the following arrangement, the addition of circular strokes is also increased. After we clearly divide the text information level, we try to combine elements and typesetting tonality in the basic layout. When we have basically determined the text group and tonality, we can try to build the whole page. (In fact, in implementation, we often cross the composition mode and tonality at the same time. ) In the final layout construction, we take four columns as the basis of composition. The combination of words is completed in the form of cross-ordered arrangement. In the overall layout, in order to echo the glyph and theme, the combination of two red circles and the addition of seal elements are introduced. In fact, it is to enrich the details of the layout and the overall hierarchical relationship. As a course of conscience, there must be cases! ~ Let's do a new case with the theme of "sound prism", which is an art project of a sensory laboratory. Let's build a basic font first. At this time, we didn't think too much about the expression of the theme.