General How to

How To Create a Funny Caricature Effect in Adobe Photoshop

Have some fun transforming yourself, your family members or your work colleagues into a bobblehead style caricature with this step-by-step tutorial for Adobe Photoshop. We’ll make use of Photoshop’s image manipulation techniques to exaggerate the features of a portrait photograph to give it a funny cartoon-like appearance. Since we’re using a photograph as the source, rather than illustrating the caricature by hand, it retains degree of realism and retains a strong resemblance to the subject.

How To Create a Funny Caricature Effect in Adobe Photoshop

Exaggerating the subject’s proportions with an oversized head and eyes will be the first step to transform the subject from a life-like photograph to a comedic caricature. We’ll then use some processing techniques to enhance the skin, giving it a hyperrealistic appearance similar to a vinyl toy or 3D model.

To achieve the best results, you need a high resolution portrait photograph with sharp details. For the purpose of this tutorial, I’m using this stock image by Wayhome studio from Shutterstock. Ideally the subject will have short or tied up hair and will be set against a clean background to make the clipping process easier.

To make the head larger, first it needs clipping onto its own layer. Use the Pen tool to roughly draw an outline around the hair, then carefully trace around the chin.

Zoom in and use smooth bezier curves to make an accurate outline around the face, then right click and choose Make Selection with 0 feathering. Use the CMD+C and CMD+V shortcuts to copy/paste the head onto its own layer.

Double click the Background layer to convert it into a regular, unlocked layer.

Rather than scale the head layer up, which would reduce the quality of the image due to interpolation, instead, select the original layer and scale it down in size using the CMD+T shortcut.

Use the Crop tool to trim the document to size to remove the excess canvas.

If there’s an empty portion of canvas at the top, make a selection with the Marquee tool, then under the Edit > Fill menu, choose Content-Aware to fill in this space with a perfectly matching background.

Apply a layer mask to the head layer, then use a soft tipped brush to blend out the hard edge of the clipping by painting with black within the layer mask.

Enlarging the eyes is a similar process. Begin by making a rough selection around each eye in turn and copy/paste them onto a new layer. Don’t forget to click the layer thumbnail to reactivate the artwork, rather than the layer mask.

Rather than scale the eye layers up and reduce the image quality, select both the original image layer and the head clipping and use the CMD+T to scale them down together.

Use the Crop tool to trim the canvas to size and remove the excess pixels around the edge of the image.

Move each eye layer into the correct position, then apply a layer mask. Use a soft brush to erase the edges so the eye perfectly blends into the face with no hard edge.

Under the Layer menu, hold the ALT key and click Merge Visible to create a flattened copy of the artwork on a new layer.

Go to Filter > Liquify and select the Bloat tool. Make some subtle adjustments with a few short mouse clicks to enlarge the cheeks, nose, eyes and mouth to further distort the facial proportions.

Switch to the Forward Warp tool and manipulate the face to exaggerate the facial expression. For instance, move the eyebrows higher on a surprised face, or increase the smile on a happy face.

Apply the Liquify effect, then duplicate the layer with the CMD+J shortcut. Head to Filter > Other > High Pass and enter 2px.

Invert this high pass layer with the CMD+I shortcut, or the Image > Adjustments > Invert menu option.

Change the blending mode to Overlay to soften the image with a subtle blur. While this blurring helps smooth out the skin, we don’t want the effect being applied to the facial features.

Add a layer mask and use a soft brush to effectively erase the effect from the eyes, nose, mouth and hair, leaving the blurring applied to the rest of the image.

Select the merged and liquified layer again and make another duplicate. Add the High Pass filter again with the same 2px setting.

Change the blending mode of this High Pass layer to Overlay, without inverting it first, which will sharpen the image.

Add a layer mask, but this time use the ALT+Backspace shortcut to completely fill it with black, which will erase the whole effect. This time use a soft brush while painting with white to restore the sharpening on those key areas of eyes, nose, mouth and hair.

Create a new empty layer and drag it to the top of the layer stack. Go to Edit > Fill and choose 50% Gray. Change this layer’s blending mode to Overlay.

Select the Burn tool and configure the settings in the top toolbar to Shadows with an exposure of around 20%. Paint over the subject tracing all the darker areas.

Switch to the Dodge tool and target the Highlights, also with a 20% Exposure. Paint over all the bright portions of the subject. Scale the brush tip down to accurately trace the eyes and teeth to brighten them.

Reduce the opacity of the dodge and burn layer to tone down the high contrast effect until it looks more natural.

How To Create a Funny Caricature Effect in Adobe Photoshop

The final result is a fun caricature effect that transforms the subject with completely exaggerated proportions. Simply altering the size of the features produces the basic effect, then it is enhanced with some surface adjustments which helps give the artwork a hyperrealistic appearance.


How to tutorials photoshop

Learn how to use layer masks with selections to cut out people.

Learn how to use layer masks with selections to cut out people.

What you’ll need

This sample file is an Adobe Stock asset you can use to practice what you learn in this tutorial. If you want to use the sample file beyond this tutorial, you can purchase a license on Adobe Stock. Check out the ReadMe file in the folder for the terms that apply to your use of this sample file.

What you learned: Create a layer mask from a selection

You can create a layer mask based on a selection. This is useful when you want to isolate a complex subject with the precision of a selection and the flexibility of a layer mask.

Make a selection

Start by creating a selection using any selection method. If the image has a solid color background, it may be easier to select the background than the subject. The Magic Wand tool is useful for selecting a solid color background.

  1. Select the Magic Wand tool in the Toolbar and check Contiguous in the Options bar.
  2. Click the image background to select it. To add to the selection if necessary, Shift-click in the image. To subtract from the selection, Option-click (MacOS) or Alt-click (Windows).
  3. Choose Select > Invert, so the subject is selected instead of the background. Leave the selection active.

Add a layer mask

When you add a layer mask with a selection active, the layer mask automatically contains white where there was a selection and black where there was no selection.

  • With the selection active, click the Add layer mask button in the Layers panel. On the layer mask, there is white where there was a selection (the subject) and black where there was no selection (the background). The black hides the area that was not selected.

Copy to another image

You could add a new background to this image on a layer below the isolated subject. Or you could use the following method to copy the isolated subject to another image, retaining the layer mask for editing flexibility.

  1. Open another image. Each of the open images has its own tab at the top of the document window.
  2. Copy the masked layer into the second image as follows: In the Layers panel of the first image, click and hold an empty part of the layer that contains the subject and layer mask. Keeping your mouse pressed down, drag from the Layers panel of the first image to the tab of the second image and then into the document window of the second image. Release the mouse. In the Layers panel of the second image, there is a new layer containing the subject and its layer mask.
  3. With the subject layer still selected in the second image, press Command+T (MacOS) or Control+T (Windows). A bounding box with handles appears around the subject.
  4. Drag a corner handle of the bounding box to make the subject smaller or bigger. Drag from inside the bounding box to move the subject.
  5. Click outside the bounding box to finish scaling and positioning the subject and its layer mask in the second image.
  6. If you need to edit the layer mask in the second image, click the layer mask in the Layers panel to make it active. Select the Brush tool in the Toolbar. Paint with black, white, or gray to edit the layer mask.

Save your work with layers

  • Save both images in .PSD or .TIFF format to retain the layers and layer masks for future editing.
How to tutorials Illustrator

How to Create a Tunisian-Inspired Motif in Adobe Illustrator

Final product image
What You’ll Be Creating

If you plan to travel to Tunisia, make a half-day stop in the ceramic capital, Nabeul. Your eyes will be dancing around from the vibrant display of handmade color ceramics, glazed bowls, jugs, plates, tiles and all kinds of appealing pottery objects, spilling onto the streets and sidewalks and displayed in the town’s courtyard of shops.

These pottery and ceramic gems are the ancient tradition of Tunisian master craftsmen.

In this tutorial, you will use Adobe Illustrator to design a Tunisian-inspired motif. We will use basic Illustrator tools, as well as tools like the Live Paint Tool and Symbols Tool. Plus you will learn some tips and tricks to speed up your workflow. After completing the design, we will upload it to customize our very own throw pillows and cushions.

Continue reading the lesson tutorials Illustrator

How to tutorials tutorials Illustrator

Learn how to use the Color Picker to select and apply colors to your artwork in Illustrator.

Step 1 of 6

Select an object in your Illustrator document.



Step 2 of 6

Locate the Fill and Stroke swatches at the bottom of the toolbar. Double click the Fill swatch to bring up the Color Picker dialog box.

If you want to change the stroke color, double click the Stroke swatch.



Step 3 of 6

Use the sliders on either side of the Color Spectrum Bar to select a hue. You can also click directly on a hue in the Color Spectrum Bar.



Step 4 of 6

Select the shade of the color by clicking and dragging on the circle in the Color Field.



Step 5 of 6

When you’re done choosing a color, click OK.



Step 6 of 6

The Color Picker allows you to fine-tune your color selections. You can also use it to input specific RGB, HSB, CMYK, or HEX colors.



General How to

How To Outline Text in Photoshop

How To Outline Text in Photoshop

How To Outline Text in Photoshop

Whether you’re creating a professional business logo for your startup or working on a personal project, you may be wondering how to outline text in Photoshop. Outlined text generally looks crisper and more professional than plain text. Here’s how to create an outline that will make your design stand out.

Step 1: Type Your Text

To begin, add the text you want to a blank layer in Photoshop. Next, go the Layers panel and right click/Cmd on the layer name. Rasterize the layer by selecting “Rasterize”, then Ctrl/Cmd click on the thumbnail for the layer you’re working on to select the type you want to outline. If you do this correctly, the type will be outlined with scored lines.

Step 2: Create a New Layer

Create another blank layer, then select Edit > Stroke and select the stroke width you want. Change the Location to Center, then click ok. To select the new stroke, hold Ctrl/Cmd and click on the layer thumbnail.

Step 3: Apply a Gradient

Go the Layer panel, then turn off the bottom layer. Once you do this, you should see the outline of the text. Use the Gradient tool to apply a gradient to the selected text. The gradient will determine how the outline looks.

Step 4: Modify the Stroke

Go to Edit > Stroke to modify the stroke again. This time, change it to 1 Pixel width and change the Location to Outside.

Step 5: Fill the Text With Color

In the Layers panel, select the bottom layer and fill it with a gradient or color to get the look you want. If you’re looking for more depth, use a dropshadow in the Layer Style panel.

Step 6: Make Adjustments as Needed

Play around with your image until you’re happy with the way your outlined text looks. You can also invert your image to achieve a completely different look. Keep in mind that you’ll need to flatten the image first before inverting it. You can also hide the fill if you just want to see outlined text with no color inside.

Step 7: Save Your Image

Once you’ve achieved the outline and text color you want, save the image. You can now use it for your various projects. For even more pictures you can use for personal and professional projects, look through Shutterstock’s inventory of royalty-free images. You can find the perfect image for your project by narrowing your search results by genre, keyword and more.

General How to

How to Change Text Color in Photoshop

How to Change Text Color in Photoshop

When you’re trying to create a compelling digital image, color can make all the difference. This is especially true if text is prominent in your design, because it’s easy for a text color to clash with the main photo. Below, we’ve outlined how to change text color in Photoshop, so you can create striking designs where the image and text serve as strong complements.

Need images for your project? Shutterstock’s impressive collection of more than 70 million images can help! See what our library has to offer.

Changing Text Color (Editable)

  1. First, open the image that you wish to edit, or start a new Photoshop project. Then, select the Text tool (it looks like a “T”). Click and drag anywhere on the image to create a text box, and then type in your text.
  2. Before adjusting the color, you can choose a new font by clicking on the drop down menu in the left corner of the Text option bar (located above your image). Options for text size, alignment, and color can also be found on this toolbar.
  3. Next, launch the Color Picker by clicking on the rectangular box filled with your current text color (it’s on the right side of the Text option toolbar). A new window will appear, with a large color selector and a thin hue selector beside it. You can select a color by clicking on different areas of the Color Picker, or you can manually input a color code into the text boxes.
  4. For even more control over the color, click the “Color Libraries” button to view specific libraries, such as Pantone. While this window is open, you can wield the Eyedropper tool to click anywhere on the image and retrieve a color, which you can then use for your text. When you’re happy with the selection, click OK.
  5. The Color Picker can also be used to change individual words and letters to a different hue. Just highlight the characters/words you’d like to change, and then proceed to Step 3.

Changing Text Color (Rasterized)

  1. Text that you type into a Photoshop text box uses vectors, whereas rasterized text is converted into a static graphic. It’s still easy to change the color of rasterized text, though. First, click on the icon for the Color Picker (foreground color), which is located on the main toolbar.
  2. Next, select the Paint Bucket tool. Click on the first letter of text, and it should change to the foreground color that you selected. If some of the original color is left over around the edges, you can increase the Paint Bucket’s Tolerance setting (located on the top toolbar).
  3. When you’re happy with how it looks, continue clicking on the other letters to change their color. Then, press Command+S to save your work.
General How to

How to Use the Illustrator Color Picker

How to Use the Illustrator Color Picker

The Adobe Illustrator Color Picker allows you to fine-tune a color selection for individual objects, and it provides way more control over hue, saturation, and other attributes. Below, we’ve shared how to use the Illustrator Color Picker, so you can achieve any color necessary for a logo, illustration, or other design.

1. First, launch Illustrator and select an object on the artboard that needs a color adjustment. At the bottom of the Tools panel, you’ll see two colored swatches, which correspond to the current fill and stroke colors. You can double-click on either swatch to access its respective Color Picker.

2. In the Color Picker window, you’ll see a variety of settings that determine the final color, including a vertical slider called the Color Spectrum Bar. This slider allows you to select a specific hue, and you can do this by dragging on the arrows, or clicking directly on the spectrum.

3. To the left of the Color Spectrum Bar, you’ll find a large, square gradient called the Color Field. This section determines the color’s shade. If you change the Color Spectrum Bar’s position, the Color Field will automatically adjust as well. For example, if you want a dark green color, you’ll need to move the slider on the Color Spectrum Bar to a green section, and then click on a dark area of the Color Field.

4. If you prefer to enter manual color values, the Color Picker also has custom settings for HSB, RGB, CMYK and HEX. You can also click on individual values and adjust them with the Color Spectrum Bar and Color Field. For example, selecting “B” (which stands for “Brightness”) and then tweaking the Color Spectrum Bar and Color Field settings will not have an effect on the hue or saturation values.

5. Lastly, the “Only Web Colors” box limits your palette to 256 colors, which is useful when creating GIFs, HTML-based text, and solid-colored backgrounds. In most cases, though, you should leave this box unchecked.

General How to

How to Make Dr. Oz Good Life cover Better?

Last few weeks we have been writing a lot about cover pages. We presented what we thought were the best ones from the last year, we gave you some tips, and we introduced you to the cover page design. This post will discuss one that is, well, not that good.

Yesterday I was reading an article by Robert Newman and his opinion on the cover page of the new magazine “Dr. Oz The Good Life”. Mr. Newman shares his disappointment and I must agree with him. This cover is simply subpar.

Since our readers are interested in what, how and why of magazine design, in this post I will try to explain in detail what in my opinion is wrong with this cover and what could have been improved.

Let’s start with a masthead. As Mr. Newman stated, this is the biggest problem on the cover.

It is obvious why is this such a problem but let me explain. First of all, its size and shape are wrong. The size of the logo is the same as the main coverline on the bottom of the cover. There is this awkward space around the masthead that is empty and it is a waste of valuable space in my opinion.

Typography of the masthead is also a problem for me. I am sure there were much better choices than this. And if you take a closer look you will see that the masthead font and the font of the rest of cover lines are not the same. They are way too similar. Just look at the capital letters E and O. Very similar, but not the same. Another clash that should not be there. Another similarity you can see in the words “Dr. Oz” and in the rest of the masthead. It seems that words “Dr. Oz” are in some rounded sans font. Take a closer look and you will see. Again not good. The whole masthead should be in same font or in totally contrasting one. Not in a similar one.

As Mr. Newman stated there is nothing distinctive about it and its structure is wrong. I think that different design and font selection would be much better. Also this magazines best selling point is Dr. Oz itself. So why not make the Dr. Oz much bigger. Maybe some condensed, elongated font would be better.

Arrangement of the masthead, for example, could have been, large “DR. OZ” and below it smaller “The Good Life”. In this way masthead would be positioned in top left corner with “Dr. Oz” as a focal point of the masthead. This is just one proposition. I am sure that there are many more.  As I stated above, the size of the masthead is clashing with the main coverline at the bottom. Both in size and in font similarity. There is no contrast. The masthead just does not stand out.

Second big problem is the image. Jeans and sweater? OK, causal style, I get it. But in my opinion some better styling would be more appropriate. White shirt, blue blazer… Something more stylish. Image is dull and flat. There is no depth in it. Nothing special and for the first issue you should do something really special. But I leave this to photographers and photo editors to discuss further.

Although I do not have a problem with the font selection in coverlines, but the arrangement of them is another weak point. I think that the serif font used in the middle right coverline “Super Soft Skin” would be much better choice for the main coverline. Also the size could have been increased, by some 10-20%. In this way main coverline would dominate the page and it would be instantly recognizable as a focal point. Not to mention it would stand out against other coverlines and the masthead. In this way it just blends with the rest.

Headline in the top left cover “Drop 10 LBS…” uses numbers, but again not in an interesting way. Number 10 could have been made in this nice Bodoni looking serif font. Just to pop out from the rest of the headline. And the number should be a bit larger.

And there is this third font in there, above number 10, “easy plan”. This font is used only once as I can see. Why not some more? Why only once? In this way it looks it is there by mistake and not by purpose. I would use it more or none at all. If it was supposed to be used only once, than it should have been bigger.

Than there is this oval shape in top right corner. I don’t like oval shapes. Circle is much nicer. But, that is not the only problem. Maybe some double stroke would give it some panache. White color also does not work for me. Maybe some shade of blue or a yellow or pure cyan would be better or some other contrasting color that would make this oval pop out. Again, something is missing there.

And if I see it right this font in the oval shape looks condensed. So, it is different then the others on the page but not clearly different. There is no need for this. One font width is just enough.

Other cover lines are nice and neat. More or less, everything is fine with them.

Basically the problem is not in the strange oval shaped objects or four different fonts, don’t get me wrong. It is just that they are not arranged and designed in a nice and appealing way. Generally speaking this cover lacks some diversity, excitement and some playfulness. As you can see there is hardly anything in it that captures your attention.

I am not a Dr. Oz follower but I remember I have seen one or two TV shows by him. As I remember 75% of the audience were women. I suppose the same will be with the magazine. And this cover is not appealing for women.

It seems that the art department just did not have enough time do develop it further. It is visible that they did not spend enough time playing around with the cover and did not test some more options. When designing cover page, you just have to play around. Test and test and test. Numerous coverline choices, numerous type arrangements, numerous color schemes, shapes, sizes. We can only guess what happened during last stages of magazine production.

This is another proof that good cover design takes time and patience and I think that with few different choices both in font selection, sizing and arrangement this could have been much better looking cover page and I am looking forward to see the second issue.