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Create a Halo Inspired Ring World in Photoshop

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Read Time: 32 min

Photoshop can be used to create all kinds of imaginary worlds. In today’s tutorial we will demonstrate how to create a ring world from the 1970’s Ring World novels by Larry Niven (and more recently from the Halo franchise) using some of the 3D tools available in Photoshop.

Tutorial Assets

The following assets were used during the production of this tutorial.

Step 1 - Setting up the 3d ring perspective

OK so first of all lets set up the document, this will also be different from most of my works, that are usually in a cinematic horizontal format; this time we will go with a vertical format much like that for a poster or a book cover.

Double click on the background layer to unlock it.

Then find the 3D menu on top and select a new shape from layer; then pick the ring shape.

Be warned that the 3D tools in Photoshop are a bit demanding on hardware, and slows things a bit. If you have one of the latest generation CPU and more than 2GB of ram you should be OK. OK so this is the ring shape you should get from Photoshop.

Now on the right hand side tool bar find this icon that opens up the 3D palette and select the rotating tool from the lower left icons.

Now with this tool selected you can click and drag on the screen to rotate the ring but you also get this widget in the image top left corner that you can use for mostly everything as shown here.

Right now we will use the little cube in the z axis (blue arrow) to scale the ring down.

Scale it down until you have a much thinner ring as seen here.

Now be sure you have the ring selected in the list and use the widget once again, this time clicking on the longer curved tool used to rotate the object.

Our objective here is to rotate the ring into a vertical position, so familiarize yourself with the tool until you achieve the position shown here.

Now be sure to select the scene in the list and click on the render settings selection to change it to solid wire frame. This reduces the amount of memory needed to render and display each time we change something.

Now click and hold on the tool shown here so you can select the3D walk camera sub-tool.

Now we are using the camera positioning tool so just click and drag on the image to move the camera into this position.

Now lets modify the zoom setting of the camera in the same way this time selecting the 3D zoom camera tool and again dragging on the image to get a wider zoom.

Drag up to increase the zoom angle and get this perspective.

Once you have a wider angle perspective, change to the 3D pan camera tool as shown here.

And drag sideways to reposition the camera as shown here.

And then go to the 3D walk camera tool.

And drag as shown here to reposition the view as shown. We are trying to find a pleasing composition for our ring perspective.

Then again choose the camera walk tool.

And finish adjusting the view till you are at this position. As you can see by now these tools work in tandem to move the camera around, different tools provide different movement of the camera.

Now select the zoom tool again and increase the angle just a bit as shown bellow.

Now we will adjust the lights a bit, first selecting light 1 and the light rotate tool bellow.

Drag on the image from right to left so that the light gets repositioned, you can see a subtle shadow move and appear on the right edge of the ring.

Then select the camera zoom tool again.

And increase the angle yet a bit more.

And adjust for this new angle with the pan tool again.

Now it is also much better as we continue building the scene that the 3d objects are converted to smart objects so that the ram required to edit them its just accessed in case we need to modify something. So go ahead and right click on the ring layer and choose convert to smart object.

Then we have a much more manageable layer that can still be accessed to modify the 3d object.

If you double click on the layer you can re- enter the 3d environment and you get this reminder by Photoshop, you can choose the don't show again option; yet I will leave it on as a reminder that we are editing the 3d object.

OK once we are in the 3d layer we will adjust it a bit more using the camera zoom tool and widget as shown bellow.

And that is it for this step; remember that when you enter the smart object layer you need to save the changes for those to be applied to the main document, and that is it. We have successfully placed our ring to guide us in the scene creation process and learned the basics of the 3d handling tools in Photoshop.

Step 2 - Setting up all elements

Now we will be setting up the different images we will be using for our scene; we will be roughly masking them, and if everything works correctly we will return later to refine the masks. Lets start with this image here, so open it and copy/paste it on to a new layer.

Then go to the scale command and reduce its size as shown below.

Then I want the features to be inverted so go ahead and flip the image horizontally.

As you can see the image fits much better like this with the ring perspective coming down on the valley.

Now we will be using this brush here to make our rough masks, so select it and create a mask for this layer.

Use the brush to go around the border of the mountains as shown here.

For the rest just use the lasso tool and enclose all the sky left.

And just fill in with black so its all masked off; be sure to check if there are any bits left and mask them off with the brush.

And this is where we all should be right now, now just move the layer a bit up as shown bellow, we will have other content to fill in the lower foreground.

Lets now bring this other very important image to our document and scale it down as shown here.

Move it so it sits on this part of the ring as shown here.

Do a quick selection of the ring, as shown here and create a layer mask for our new image so a new mask with the shape of the ring its created.

So this is where we are right now we need to manipulate this image heavily so it fits our ring.

We will do this by using the warp tool so go ahead and enable it.

Once enabled unlink the mask from the image so we only transform the content and not the mask, then we will use the handles, corners and and thirds to distort the image as shown bellow.

We might end up with a section as this one that doesn't cover the ring so we will use the clone tool to quickly fix it.

Just select this brush here and select a source for the clone tool close to the area.

Finish covering the zone as seen here.

OK lets bring this new image into our document.

Scale and place it as shown here.

Make a quick selection of the ring layer again and create a mask as we did for the other image.

Select the brush tool once again and select a soft brush such as this bellow.

Paint in the mask to fade the border that overlaps the previous image.

OK next up to make this piece blend with the atmosphere lets create a hue/sat layer and make a clipping mask for it.

Adjust the layer as shown here.

And lets create a similar layer for the previous image, also with a layer mask.

Adjust this other hue/sat layer as shown here.

Use the mask and your soft brush to mask off the bluish tint of all the lower section of this image until you get a nice transition from this stock to the other one on top.

Once again make a quick selection of the ring layer and then right click on the selection to choose Transform selection from the menu.

Scale the selection as shown here so there are thin sections out of both sides of the ring area.

Go to the layer mask of the first image, invert the selection and fill in with either the fill tool or with the brush.

As you can see this gives us an edge where we see the ring structure bellow.

With the selection still active repeat the same action on the other layer mask as shown here.

Now we have that thin edge that lets us see the ring all the way to the top.

Now lets go ahead and open up this next image.

And of course create a layer mask for it so we can block off what we don't need; remember we are still making rough masks just to setup all elements in place and then we will refine those masks as soon as we know everything is working together, and if not then we have to study and find a replacement or another course of action.

We will use this image to cover the foreground gap we left with the previous images, so place it as shown here.

And we will start blocking in with the mask, so select the brush shown below.

We don't need all the sky and background city from this image so lets block it all as shown here.

OK now we will add something for our sky with a simple blue to white gradient.

Adjust the angle of the gradient layer to 90 degrees.

OK now we need something darker behind the gradient because there is space beyond the rings atmosphere; yet I don't know yet how much of this darker space layer I want to see peeking through, its better to have it in place so we can test and of course so that all the transparency is blocked.

So just choose this dark blue color and use the bucket to fill in the layer.

Next lets use the mask in the gradient layer to test how much of the darker blue we want to see.

Grab a very big soft brush as shown with reduced opacity and paint in the mask just a bit on the sections of the sky that should be further from the ring.

To be honest I don't know how that looks/feels, but lets go ahead and decide later on this. Create a new layer all the way on top.

Pick up the custom cloud brush I have prepared for you and paint in some clouds following the curvature of the ring as shown.

Then select the eraser, with the same brush tip.

And erase a bit of these clouds as shown here; these are also rough clouds just to see how the overall scene is working, we will come back later to enhance and detail these, yet the technique will be the same.

Then reduce the brush size a bit and erase a bit more in between the clouds so they appear more detailed and keep planing on the final position of this clouds.

Now click back on the original brush to reset the size and erase a bit from the foreground clouds as shown.

Next we will create a duplicate of the gradient layer.

Then drag it on top both images used for the ring texture.

We will use this gradient to provide the bluish atmosphere tint on the layers bellow so first disable the hue/sat for this layer shown here, and adjust the layer mode and opacity for the gradient layer as shown below, plus delete the layer mask.

Make a quick selection of the ring layer.

Create a new layer mask for it, and adjust the opacity a bit lower.

Then pick up a big soft brush with reduced opacity and mask off the gradient influence from the area shown below. And that is it we have placed all the elements, we can check our composition, make some adjustments, and at this point decide if everything is working good or we need to find some other images or adjust our layers further.

Step 3 - Re-Light the foreground

This one here is a very short step, yet its better off if we keep it separate. We need to relight the foreground image so it fits better with the scene, so we will plan for this at this point, and again we are still working "rough" not making any definitive detailing. Lets start with a new layer.

Create a clipping mask so it only affects the building image.

Set the layer mode to soft light.

Now we start with a very soft medium brush tip as shown here, yet if needed we can vary the size at any time back and forth.

And we will use a white color to start painting.

And paint in as indicated here to find where and how the new light will be placed. We are considering a light source coming from the top left, yet softened by clouds and also suggesting other structures are outside the frame to the left.

Step 4 - Planets

Next up we will create a couple of classic planets for our background sky, yet we will not use the typical spherize method, we will go 3D on this too. OK so first off create a new layer as seen here.

Then access the 3D menu and of course choose a sphere.

Right away we will convert this sphere 3d layer to smart object so we can separately work with it.

And then double click on the smart object so we can edit our 3d object.

OK first off we will choose for our lights, the cold preset.

Then select light number 2 and select the rotate light icon.

Click and drag on the document to rotate the light as shown.

And then select the other layer of light to place it as shown below.

We will now reduce infinite light 1intensity to 0.03

After all this light adjustments, our objective is as shown here, a bit of light on the right and the rest just a bluish delicate hue on the shadow.

Great but now we need a nice material for our planet surface, so we will load a texture to our sphere.

Select the Turkey A image and open it.

Great we have loaded our texture, yet we need to adjust it better to the 3d sphere; so in the 3d texture load menu select edit properties.

Simply adjust the U scale and V scale as shown here.

Now to complement our colors, we need a bump texture that makes the texture really jump out.

And load the Turkey.bump I have prepared for you, made directly from the color image. Of course we have to adjust the properties for the U and V scale to exactly the same as the color texture.

We will then up the intensity in light 2 as shown here.

And now we can see how much cooler our planet is using the 3d method.

And also we will setup the bump to 0.6

We can now close the 3d document, save the changes and go back to our main document and setup our planet on the scene.

Right off setup the layer mode to screen so it blends nicely with the atmosphere.

Next lets rotate the planet so the light corresponds to that of the scene coming from the top left.

And we will also scale it a bit as shown below.

Finally I decided the layer mode looks better on linear dodge and with an opacity of about 70%

There we have it a very cool looking planet enclosed on a smart object that we can re-enter at any time to adjust either texture, lights and such.

Now we will follow the same procedure to create yet another smaller planet, or moon if you like, so create a new layer and once again go to the 3d menu to create another sphere.

And as we did before we immediately convert the layer to a smart object.

And immediately double click on the smart object to enter the 3d sphere layer and edit it.

First off we load a new texture for our moon called ganymede.jpg which is a very nice texture from NASA of the solar system largest moon over at Jupiter.

Then we proceed to edit the properties as shown below.

And we load the bump texture as shown here.

And of course we edit the bump texture properties to match the base color texture.

Then go back to the texture properties and adjust the U offset as shown here; this moves the texture horizontally to get some nice features in the lit section of the sphere.

Then of course we need to match that adjustment in the bump texture to match.

We have now our texture and bump all setup.

We will now disable light 2 and focus on rotating light 1.

Drag on the image to position the light in about the same way we did on the planet. And we are done, just close the 3d document and save the changes so it reflects on the main scene.

And then scale and rotate the object.

Follow this image to place, rotate and scale the new moon as shown.

Set the layer mode to screen.

That is it there we have our planet and moon for our background, all made from 3d objects right in Photoshop.

Step 5 - Clouds

OK its time to start finalizing the "rough" steps we have taken so far, so lets start with the clouds; but first lets fix a small detail. For this pick up this soft brush at about 45px in size.

We will brush on this layer mask so we can fix the horizontal line shown below.

And just gently brush so the horizontal line fades.

OK now we can go to our clouds, first of all lets disable the rough clouds we sketched in previously and create a new layer on top. We will use the same brushes we used for the rough clouds and we will vary size and texture size as we go about painting the new clouds; plus we will use the same brush with the eraser, also with the same variations in size as needed.

First off adjust the scale of the texture at about 68% and paint in some tiny clouds over the upper section of the ring.

Then we switch to the eraser with the same cloudy brush and adjust the texture scale as shown.

Then erase bits and pieces off the clouds so we get realistic looking distant cloud formations. This is a trial and error process switching between the eraser and brush tool until you get something you like.

Then for this section of clouds we will use the layer style as shown, to quickly make a drop shadow for all the distant clouds setting it up as shown.

To adjust these distant clouds for the atmospheric hue we will add a photo filter clipped to our new cloud layer.

We will now set the color for this filter and adjust the density as shown below.

Next up go back to our cloudy brush and adjust it as shown.

And we paint in a bit bigger clouds down the ring surface.

We then jump to the eraser, again with the same brush and erase some bits to randomize the clouds we just painted.

Now we will continue in a new layer as the rest of the clouds are closer to our POV and need different characteristics than the distant clouds. First off lets increase the texture size in the brush palette as shown below.

Paint in some bigger clouds as shown here.

Select the eraser and adjust the texture size in the brush palette as shown.

Here is what I have come up with so far.

For these new clouds we also need a bit of atmospheric blue so we will quickly duplicate the filter for the previous cloud layer and then drag it and clip it to these new layer.

Then adjust the density as shown here.

We will use the layer mask to brush off the influence of the layer as shown below.

Now for the close foreground clouds, I decided to use this nice cloud image, so go ahead and bring it in to a new layer.

We will now scale it a bit as indicated here.

Now we will make a selection of the blue sky using color range.

Then in the dialog box that appears we will select the additive picker tool and go about the image trying to select the whole range of blues that correspond to the sky.

Then we adjust the fuzziness as shown here to broaden the range of our selection.

Now just delete all the selection so we end up just with the clouds.

There is still a blue hue all over our clouds so we will eliminate it by desaturating the layer.

Then we will create a layer mask to mask off the parts of this image that we don't need.

Lets pick up this soft brush and mask off as shown below.

Now we will still use our great cloudy brush to paint in a bit as shown bellow.

Then we will adjust the levels for this cloud layer as shown here.

This gives our clouds a stable softer white all over the layer.

Now we will just grab the eraser with our big cloudy brush and erase selectively as shown below. And that is it we have successfully finished with the clouds for our scene.

Step 6 - Modify and adjust the ring layers

So double click on the ring layer to enter the 3d shape and modify it.

Now just change the render settings to default and click on the edit button to enable the final render output in the dialog box.

That is it, close the file and save the changes.

Now that we have applied the final settings to the ring 3d layer we can now rasterize it so we can work with it as an image.

We will apply a levels layer clipped to it, and adjust its settings as shown.

Then we will bring back both of this layers indicated here to 100% opacity

And adjust for this change by using the gradient layer and adjusting its opacity. And we are finished with this simple adjustment step.

Step 7 - Reflection

Now we have a reflection on the fountain section that reflects the old buildings so we need to fix this and change the reflection to our current sky scene. Lets start by picking up our pen tool.

We will trace a path all around the shiny surface as shown.

Then as soon as we close the path, go ahead and make a selection.

Then we get a selection of the whole surface, yet we will save the path just to be safe.

Give a name to the path or just click OK.

Next lets open up this texture and copy/paste a selection of the central clean area on to a new layer in our document.

Now lets use the distort command to set it into place.

Modify and distort the image as shown here so it fits the perspective of the fountain surface.

Go back to the path and make a selection again.

Click on the layer mask icon to create a new mask that automatically blocks all unneeded content.

Now drag the layer into the clipped group for the building stock.

Adjust the levels directly for it as shown here.

And there we have a new surface for the fountain reflective area.

Next up, lets copy and paste the same selection of the tiles image on to a new layer.

Lets now access the distort command again.

And distort the image so it fits on the two thin diagonal sections left.

Once again go back to the path and make a selection.

Make a mask for it and drag it to the clipped group bellow the first section.

And directly adjust the levels as indicated here.

Now as you can see I have grouped everything that we have so far, so if you haven't done so yet go ahead and group it now.

Then duplicate the group.

And then merge the group.

Flip the resulting layer vertically.

Return to the path and make a selection once again

Make a layer mask for it with the selection active and reduce its opacity to about 35% and set its mode to overlay.

And we have a nice reflection of the sky and upper ring.

The reflection layer is a bit to saturated so lets fix this directly as indicated below.

And that is it we have a perfect reflection replacing the previous surface.

Step 8 - Refine and detail

OK now that we have everything in place and already painted the final clouds, we will go ahead and detail the mask for our content; and we will start with the foreground buildings image layer.

First of all we need to see the border back again so pick up this brush here and a white color.

And paint on the mask as shown here so we can see the border of the building clearly enough.

Once we can see the border again, we will use the pen tool to define a path all around the building.

Once you have defined all the path over the border, finish it so the selection its outside the building since we will mask off what is left inside the selection; and then right click on it and choose make selection.

Then simply take this brush here and mask off all of the border defined by the selection.

Now in the smaller tighter areas we will need to mask directly and carefully by using a very small sharp brush.

So just go about all the small areas and mask off as shown here.

Once you are done detailing the handrail section, go back to the pen tool.

Define a path all over the border of this floor section here.

Then of course make a selection.

And mask off so we get a smooth defined border for the floor.

We will now fix those feet left inside the floor area with the clone tool.

Select a clone source from a nearby area of the floor and work to remove those two feet.

Perfect, now lets make a duplicate of the building layer without any of the clipped layers and drag it on top of the original.

On the duplicate, right click on the mask and select apply layer mask.

Now go to the image menu and select from adjustments Shadows/Highlights; and adjust the settings as shown below.

This will give us a much brighter image with desaturated shadows.

Now we will access the color balance in the image menu.

We will make adjustments separately for the mid tones and highlights as shown here.

This provides our image with a yellowish tone.

Now we will only apply this layer selectively, so go ahead and create a layer mask and then fill it up with black so its all gone.

Then we will select this big soft brush tip and paint in the mask with white.

Painting with white masks in the effect of the yellowish layer, but we just want it in some sections as shown here.

Reduce the brush size as indicated and mask in a bit more of the layer as shown below.

Now we will grab the pen tool once again.

Define a straight lines cut on this section of the floor, and then make a selection.

First mask it off the top yellow layer as indicated by brushing off with black

And then also mask it off the original layer as indicated here.

Now back again to the pen tool.

Define a path and make another selection as seen here.

Then repeat the same process, masking off both layers so we get another cut on the floor.

Now we will need a new layer bellow both building layers.

We will now sample color from the shadows of the building image.

Then select the brush tool back on and use a blocky sharp tip.

And simply paint in some diagonal structure going down supporting these sections, and des at urate the color of this layer a bit, so its more a neutral gray.

Next up create a new clipped layer for our building image.

Select black for the color and reduce the blocky brush to 1px

Now paint in some sections on the building as shown here; you can go as far as you like adding details here, I will keep it subtle.

And when you need a rounded line, use the pen tool to define the path and then choose stroke path which will paint in with the 1px brush we have been using, and the color black we have previously selected.

And there it is a nice defined line where we traced our path; again you can add more detail if you want here.

We have successfully finished another step integrating our foreground structure on to the image. We should also check the mask of the mountain and trees layer next which is too easy to make it a step; just grab the blocky brush and check on the mask border for any obvious choppy areas.

Step 9 - Finalize the planets

OK now we will finalize the look of our planets first off by creating some atmosphere for the big planet, by applying some outer and inner glow. First off set the outer glow with this settings, and for the color select the light blue shown below.

Now adjust the settings for the inner glow and choose the light blue color below.

This leaves us with the layer style on our planet.

Yet we want the atmosphere in a separate layer and we also want it to be editable, so lets fix this; create a new layer and do a quick selection of the planet layer.

In the new layer, fill the selection with black.

Now we will do three simple things, first off copy/paste the layer style of the planet atmosphere we created on tho this new layer. Then set the fill of this layer to 0, and the opacity to 79% . And finally create a new layer and merge both so all layer styles are applied.

This leaves us with a layer that only contains the blue hue of the atmosphere separated from the planet. We don't need the layer style on the planet anymore so just remove the layer style from it, and create a layer mask for our newly created atmosphere layer.

So grab a big soft brush and mask off the atmosphere as shown below.

Finally I decided to move our moon to this other section; I like it better there, yet you might prefer another position.

We have finished with the planet and moon, yet I noticed another thing we can detail right here. First off grab this blocky brush and set its size to about 13px

Now lets go to the layer where we painted these "steps" and refine the edge sampling color from the gray used.

Now lets apply this style here to suggest a subtle texture on this structure.

This is the result the texture provides, a very subtle hint of concrete blocks. And that is it, now we are really finished with this step.

Step 10 - Adjustment layers and cooler window

We will now make some adjustment layers to bring our scene color and feel to a final state. If you haven't done so yet, bring the reflection layer inside the group with the rest.

Then duplicate the group.

Now the duplicate group merge it into one image.

OK perfect, now first off we will create a photo filter layer and set it up as shown.

Now we will be masking most of this layer off so we need a big soft brush, with a bit of reduced opacity.

Mask increasingly as shown here.

Next up lets create a vibrance layer and adjust it as shown below.

Lets setup the brush as seen here and mask off the layer as indicated.

Next up we will create a channel mixer layer.

We will now adjust the green red and blue channels separately as indicated here.

And set the layer mode to multiply.

And this is where we are so far.

Drag the vibrance layer to the top of the stack.

Next up lets go back to the channel mixer layer.

And once again we will use a big soft brush to mask off the layers influence as shown here.

The result is the layer influences mostly only the shadow areas.

Then setup a gradient layer and choose the gradient shown bellow.

Change the angle of the gradient to -90.

Set the layer mode to screen and reduce its opacity.

This provides us with the final atmospheric cast that we need, yet again we don't need it in the foreground.

So once again select a big soft brush with reduced opacity and mask off as shown below.

OK Now the only thing left to do is make the building windows look better. So create a new layer on top the building stack.

Select the pen tool again and remember to have its settings enabled to make a path, not a shape as indicated.

Now define a path all over the edge of the window.

Make a selection of it and fill it with this bright blue.

Set the layer mode to overlay and create a mask for it.

And this provides us with a nice tint/reflection for our windows.

Then modify the soft brush as indicated and mask a bit off the window as shown below. And that is it we have concluded this step successfully.

Step 11 - Sci fi Spheres

Now we will add some kind of floating control spheres that orbit inside the ring, so make a new layer.

We will use the same technique as that for the planets, so create a sphere 3d object.

Right away lets load a texture for it that I have prepared.

It shows up as seen here, so lets modify the properties.

Click on edit properties and adjust it as shown below.

Next up lets load the bump texture indicated below.

And edit the properties of the bump map to match those of the texture.

Now just set the bump level at 4.

Convert the 3d sphere to a smart object.

Double click on the layer to enter the 3d object so we can continue editing it.

Select the first light and disable the second, then click on the light rotate tool, and drag on the screen to position it as shown.

Close the 3d document and save the changes; then back on the main document select the scale command and rezise the sphere as shown.

Now create a mask for this sphere.

Make a quick selection of the yellow building duplicate layer.

Then mask off the corner of the sphere so it appears behind the building.

Next, create a levels layer and a clipping mask for it.

Adjust the levels as indicated.

Create a new saturation layer also clipped and adjust its settings as seen below.

Then select this soft brush and mask of a bit of this layer as indicated here.

Then touch up the levels settings a bit.

Then we will use the ellipse shape tool, so go ahead and select it.

Drag a circular shape about the size of the sphere.

Set is color to black.

Then access the distort command.

Move and distort the shape as shown.

Set the layer to multiply and its opacity at 51%

Then rasterize the layer and access the Gaussian blur filter

Set the blur as shown here.

Then make a layer mask for it.

Then select the brush tool again and a brush tip as described below.

Then mask off as shown here.

Now we have the sphere all setup and in place.

Then we will double click on the sphere layer to enter the 3d environment again.

This time we will use the widget to rotate the sphere a bit, first horizontally as shown here.

And then laterally as shown here.

Now exit and save the 3d layer to check how the new position looks in our scene.

OK now we will duplicate the sphere and all its layers

Select all duplicated layers and then the scale command.

Scale and reposition the new sphere as shown here.

Then as the new sphere is a bit more distant we need to adjust the levels a bit as shown below.

Then duplicate all these new sphere layers once again.

Then scale and reposition the new sphere.

And again lets adjust the levels for this even more distant sphere.

Continue the same steps until you get all these spheres shown here.

And that is it we have reached the end of our final step.

Final Image

We have arrived at the end of the tutorial, we have a nice looking scene of the ring world environment and in the process we have accessed and learned the basic tools Photoshop has to offer for 3d that with a bit of creativity can be used for quite a bit of elements in our images. Hope you have enjoyed this tutorial and thanks for the support; as always send me a mail if you need assistance or just to show your results. Till the next one.

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