Step 1
Create a new document in Photoshop (Ctrl + N) 1250x1000 pixels. Set the font to "Franks Regular", set the size to 280pt and write "GOOD LUCK" in all caps.

Step 2

If you have two or more lines of text, set Leading to 250. You can do this on the Character panel (Window> Character) (Window> Character). Also change Tracking.

2. Convert to shapes

Step 1

Right-click on the text layer and select Convert to Shapes. Create a copy of the resulting layer (Ctrl + J) and name it "Stroke".

Step 2

Activate the tool Select node (Direct Selection Tool) and on the top panel turn on the stroke with color # e5bf25.

3. Create 3D layers

Step 1

Select both text layers and go to the menu 3D> New Extrusion From Selected Path (3D> New Extrusion From Selected Path).

Step 2

Both 3D layers need to be merged into one (3D> Merge 3D Layers) (3D> Merge 3D Layers)

Step 3

To work with the 3D environment, you need two panels: 3D and Properties. They are available through the Window menu.

The 3D panel contains all the components of the scene. When you select any of the elements, you can see various options and properties in the Properties panel.

4. Grid setup

Step 1

Select the text mesh and change the Extrusion Depth to 70px.

Step 2

Go to the Cap tab and change the properties as shown in the screenshot.

Step 3

Select the Stroke mesh in the 3D panel and change the Extrusion Depth.

5. Creating a Texture for the Front Inflation Material

Step 1

Select Front Inflation Material of the text mesh. Click on the Diffuse parameter icon and select Edit Texture.

Step 2

You will open a new document with letters. Change the color of the letters to #61129d.

Step 3

Pick the Rectangle Tool and create a 15 px thick stripe with #e5bf25 color. Make a copy of this strip.

Step 4

Activate the mode Free transform (Free Transform) and move the copy down. Press Enter to apply the changes.

Step 5

Press Ctrl + Shift + T several times to repeat last changes. As soon as you cover all the text with stripes, merge the layers. Name the resulting layer "Stripes" and save the document, but do not close it.

6. Create reflections and terrain texture

Step 1

In the document we just worked with, go to the menu File> Save As (File> Save As) and give the name "Reflection". Save the file to your project folder to make it easier to find.

Step 2

Change the text color to #535353.

Step 3

Apply the Pattern Overlay style to the "Stripes" layer: Satin pattern.

Save the document (Ctrl + S).

Step 5

Save another copy of the file as "Bump".

Step 6

Change the text color to #1c1c1c and save the document.

7. Customizing 3D Mesh Materials

Step 1

Go back to the original document and select Front Inflation Material. Click on the Reflection parameter icon and select Load Texture. This will load the "Reflection" texture we created earlier. Then do the same for the Bump parameter.

Step 2

Set the rest of the properties as shown in the screenshot.

Step 3

Select both Bevel Material and Back Inflation Material, set them up like this:

Step 4

Select Extrusion Material and delete the texture.

Step 5

Change the colors of the Extrusion Material like this:
Scattering (Diffuse): 70, 9.93
Specular color: 207, 178, 75

Step 6

Set up all stroke materials:

Step 7

Select Extrusion Material and delete the texture Scattering (Diffuse), color - 229, 191, 37.

8. Removing grids and changing angles

Step 1

Select both text grids and go to the tab Coordinates (Coordinates). Change the rotation angle. After that, go to the menu 3D> Move Object to Ground Plane (3D> Move Object to Ground Plane).

Step 2

Use the Move Tool to position the stroke in the middle of the text.

Step 3

Select Current View in the 3D panel and set the view to Top.

9. Lighting

Step 1

Select Infinite Light 1 (Infinite Light 1) on the 3D panel and change it:

Step 2

Add a new spot light.

Step 3

Set it up as shown below. Color 249, 247, 238.

Step 4

Position the light source here:

After that, return to the top view.

Step 5

Select Environment (Environment), click on the icon of the parameter ISBI (IBL) and select Replace texture (Replace Texture). Select the image of the room and change the intensity.

Step 6

The location of the texture can be changed.

Step 7

Insert a blurred background under the text layer and flip it (Transform - Flip Vertical). For the background, you can use some kind of gradient fill or strongly blur any image.

After adding the background, you will need to work a little more with the light. Add more lights, move the object to make it look better on the scene.

10. Rendering

Step 1

Once you're done with the scene, start rendering (3D> Render) (3D> Render). It can be stopped at any time by pressing the Esc key.

Step 2

Once rendered, convert the 3D layer to a Smart Object.

Step 3

Create a copy of the smart object and rasterize it, turn off the original.

11. Stripe Edge Alignment and Text Color

Step 1

Zoom in and you will see that the edges of the stripes have become jagged.

Step 2

Choose a tool Spot healing brush (Spot Healing Brush Tool) soft type and paint over the bumps.

Step 3

You can also work with the Clone Stamp Tool.

Step 4

You should get this result:

Step 5

Create an adjustment layer. Levels (Layer – Levels).

Step 6

Create a clipping mask and change the point of the shadows.

12. Stars

Step 1

Open the second image from the "Deep Space 10K Backgrounds Vol2" set. Go to the menu Image> Image Size (Image> Image Size) and set Resolution (Resolution) to 72 pixels.

Transfer the image to the main document and name the layer "Stars". Convert it to a Smart Object. Set the blending mode Lightening (Screen) and reduce the opacity to 60%. Create a copy of the layer (Ctrl + J) and reduce the opacity to 30%.

Step 2

Apply the Aperture Blur filter to the top layer of stars (Filter> Blur Gallery> Aperture Blur) (Filter> Blur> Iris Blur).

Step 3

Adjust blur like this:

Step 4

This step is optional. We will remove the stars under the Bokeh effect. Add a layer mask to the original layer of stars. Eraser Tool white color Or with a black brush, erase the white dots inside the circles.

UV varnishing of printed products is the coating of the entire surface of the print or certain areas of it with varnish. Partial varnishing of image fragments is called selective. Using this method of post-print processing helps to achieve a unique and expressive design of booklets, covers and bindings of books and other printed products.

Continuous UV varnishing is used as an alternative to lamination to protect the surface of the printed product from abrasion, dust, and moisture.

Selective varnishing in printing industry is used in combination with lamination, continuous offset varnishing, different types embossing.

Varnishing technology for printed materials

The essence of this operation is that the varnish is applied to the desired areas of the image by offset, screen, gravure or flexographic printing (using devices installed in line on printing machines or using special varnishing machines), and then the print is placed in a UV dryer for fast curing.

The widest possibilities when applying varnish gives screen printing. The use of printing forms-grids allows you to set the maximum thickness of the varnish layer, create different textures.

There are coatings that can be applied using the inking unit of a UV printing press or a section followed by a UV dryer.

The quality of the varnish layer depends on how correctly this consumable is selected. Its choice depends on the characteristics of the printed material (weight 1 m2, bulkiness, friability, etc.), colors on the print, subsequent processing of the product, the equipment used. Negative influence the quality may be affected by non-observance of atmospheric conditions in the workshop, increased humidity of the paper, violations technological process, too high UV intensity during drying.

UV varnish in printing industry

Manufacturers of consumables for printing represent quite wide range of varnishes for various kinds print. According to the optical characteristics of the resulting prints, they are divided into glossy and matte. A specific effect is given by metallic, pigmented, opaque, voluminous, foamed, as well as varnishes with a chameleon effect, which change color depending on the viewing angle, with a cracking effect (craquelure). The use of varnishes with capsules of aromatic oils will make printed products fragrant as well.

There is also a division according to the method of application: by conventional paints, by UV paints, by water-dispersed primer varnish.

Other types of varnishing in the printing industry

Along with UV varnish, VD, oil and alcohol varnishes are also used. They are applied using the printing press sections and dried like regular inks. When coating the impression in this way, it is necessary to use an anti-setting powder.

The advantage of VD over UV varnishing is lower cost and no need for additional equipment. But at the same time, VD varnishes are applied in a thin layer, which does not have such high strength as UV varnish. In addition, VD-lacquer does not allow to achieve a high degree of surface brilliance and any design effects. Therefore, this method is used for processing inexpensive printed products for mass use.

Application of solid and selective UV varnish

Continuous varnishing of printed materials is mainly used to protect the ink layer on the covers of multi-page publications, folders, and packaging. The matt lacquer gives the products an unusual velvety surface, the covers covered in this way exude moderation and restraint, if this can be said about the publication. Glossy coating - on the contrary, creates the effect of brightness, expressiveness.

Selective varnishing is the most popular way to make a publication stand out from the rest. Glossy letters against matte backgrounds, varnished photographs, various transitions and combinations of varnished and non-varnished areas make the print play, increase contrast and emphasize the designer's intent.

The area of ​​application for selective varnish includes the finishing of most types of printed products, from business cards to book bindings. An important area of ​​application for UV varnish printing is the production of printed products for the blind.

Postcards, invitations, exclusive packaging, corporate packages and other elements of corporate identity - all this becomes truly expressive and outstanding when using the described type of post-print processing.

In this tutorial I will show you how you can create amazing ultra glossy text.

Final result:

Step 1

Create a new document 700 x 700 pixels, 72 dpi. As a background, I will use a wood texture. Desaturate the texture (Shift + Ctrl + U). Thanks to this, the texture will become a little darker. Add a fill layer to the texture layer as well. Gradient (Layer > New Fill Layer > Gradient) (Layer > New Fill Layer > Gradient). Adjust the gradient as shown in the image below:

Fill layer Gradient(Gradient) is needed in order to darken the top and bottom of the wood texture.

Step 2

You can use any font to create this text effect, but I'm a fan of the font called "Lobster" and that's what I'll be using to create the text. Choose a tool Horizontal text(Horizontal Type Tool) (T) and write any text.

Let's add layer styles to the text layer. And let's start with the layer style Shadow(Drop Shadow).

Now apply layer style External glow(Outer Glow):

Embossing (Bevel and Emboss):

Make a double click on Gloss contour(Gloss Contour) and create a contour. It may not look like my outline, the main thing in this matter is to focus on your text.

Add some blue color to the text by applying layer styles color overlay(Color Overlay) and Gradient overlay(Gradient overlay). You will not see a blue tint immediately, but only after adding another layer style Pattern overlay(Pattern Overlay).

Gradient overlay(Gradient Overlay):

Step 3

For layer style Pattern overlap(Pattern Overlay) I used the image of the city.

Desaturate the image (Shift + Ctrl + U). Apply to this image Spherization filter (Filter > Distort > Spherize) (Filter > Distort > Spherize): 100% spherization.

Also apply the Radial Blur filter to the image ( Filter > Blur > Radial Blur) (Filter > Blur > Radial Blur): blur level - 15%.

Create a texture from this image via the menu Edit > Define Pattern(Edit > Define Pattern) and name this texture "Texture 1". Now add a layer style to the text layer Pattern overlap(Pattern Overlay), and from the drop-down list with textures, select the texture that was created from the image.

Not closing the layer style window Pattern overlay(Pattern Overlay), you can tool moving(Move Tool) (V), move the superimposed pattern on the text the way you like best. Now you can click OK.

The last layer style to add to the text is Stroke(stroke). Stroke type - Gradient (create a gradient using the colors you see in the picture).

As a final touch, add some sparkle to the text with a soft white brush. Draw a few spots on the text - this will be the glow. Move the glitter layer above the text layer.

That's all! Ultra glossy text is ready!

The most famous fonts in the world are found almost everywhere. When you become a designer, all these serifs and stroke thicknesses start to literally jump out at you, and you start to recognize them in environment. Every stroke you see has its creator, history and fans.

See how some of the most famous typefaces were created and the designers who changed our visual world with their bold moves.

1. Helvetica

Designed by: Max Miedinger and Eduard Hoffman

Font style: sans serif

History of creation: Switzerland, 1957, Haas type foundry. Miedinger wanted to become an artist, but his father convinced him to focus on a more applied profession. Miedinger took up type design and created Helvetica with Hoffman 30 years later. It was meant to fill in the lack of a neutral typeface suitable for signage.

Where can you see it: It is considered the most common font in the world. Film "Helvetica". American Apparel branding. Crate & Barrel logo. Lufthansa logo. Jeep logo. New York Subway signage system. And much more.

2. Bodoni

Designed by: Giambattista Bodoni

Font style: serif

History of creation: Italy, 1798. Bodoni was hired as the official typesetter for a number of Italian dukes. These dukes were in love with his work and offered him a job at the printing press in the palace at Parma. At one time he was called "the designer of kings and the king of designers." After his death, his work was combined to create the font we now know as "Bodoni".

Where can you see it: One of the oldest typefaces still in use today. Vogue Magazine. Posters for the musical Mamma Mia! ". Nirvana logo. Trademark of Columbia Records.

3. Times New Roman

Designed by: Victor Lardent

Font style: serif

History of creation: England, 1931. Was commissioned by the British newspaper The Times after typeface designer Stanley Morison was criticized for poor readability. Morison helped the in-house designer create Times New Roman, which then sold around the world.

Where can you see it: Your report from the university. Typed with a double space. 12 font. It is commonly referred to as the "font of least resistance". Included in all versions of Microsoft since 1992. Often used in books and newspapers. Its high legibility is great for texts. No list of fonts is complete without it.

4. Futura

Designed by: Paul Renner

Font style: geometric grotesque

History of creation: Frankfurt, 1927 at the Bauer type foundry (Bauer Type Foundry). Futura is often erroneously considered the first geometric sans-serif typeface. However, this honor goes to Erbar from the Ludwig & Mayer type foundry. Futura was created due to the popularity of such typefaces at the time. But because Bauer was so much bigger than Ludwig & Mayer, Futura managed to stand the test of time.

Where can you see it: A huge number of movie posters, including Gravity, American Beauty, Gone Girl and Interstellar, as well as series such as Lost and Sesame Street. Used in the highly acclaimed graphic novel The Watchmen. This is the favorite font of famous directors Wes Anderson and Stanley Kubrick, so it can often be seen in their films.

5. Frutiger

Designed by: Adrian Frutiger

Font style: sans serif

History of creation: 1974 Frutiger, a Swiss designer, was hired by the American type foundry Mergenthaler. The company wanted a printed version of the Roissy typeface that Frutiger created for the signage of the new Charles de Gaulle airport in Paris. Frutiger opined that the typeface had clarity and "nudity" due to the lack of additional features.

Where can you see it: The official font of many universities and colleges, including Claremont McKenna College, Cornell University, and the University of Southern California. On the signage of the Rapid Electric Train (BART) systems, Amtrak and Sydney's CityRail. The most notable is the use of this font on the official Euro banknotes of the European Union.

6. Garamond

Designed by: Claude Garamont

Font style: old style antique

History of creation: One of the oldest fonts still in use today. The date of occurrence is considered to be approximately 1530. The time of political and social unrest in France. It was an era that needed new typefaces to articulate new ideas. Later, after Garamond's death, the typeface was acquired by a French-German type foundry, and began to be used as typeface in the 20th century.

Where can you see it: Mainly used for printing. Still one of the most popular typefaces in French book publishing. Abercrombie & Fitch logo. Allegedly it was thought that this font could save US$400 million. due to his thinner strokes (warning: this was a miscalculation).

7. Akzidenz-Grotesk

Designed by: Berthold type foundry

Font style: grotesque

History of creation: According to rumors, it was created in 1898 at the Berthold type foundry. The exact origin is unknown, and the creation of this popular typeface is credited to many designers. In 1950, the font was modified and expanded by the then director of Berthold, Günther Gerhard Lange. This is the version most commonly used today.

Where can you see it: The official typeface of the American Red Cross. Font trademark the Brooklyn Nets basketball team. Was in a series of Volkswagen print ads in the 1960s. The font of many Braun products.

8. Avenir

Designed by: Adrian Frutiger

Font style: geometric grotesque

History of creation: 1988. Avenir was developed in old age by Frutiger typeface designer Adrian Frutiger. He considered Avenir his best work.

Where can you see it: Amsterdam's official corporate identity typeface, including the famous letters I Amsterdam. Apple use Avenir for their Maps app. And for Best Buy was specially designed

I think many will agree with me that glossy shiny text looks impressive and eye-catching. When I see some nice effects applied to text, I try to determine the layer styles that were used to create these labels. Creating beautiful text in Photoshop is not at all difficult.

Everyone can create spectacular lettering with just a few layer styles. And in this tutorial, I want to show you how to make beautiful glossy text in Photoshop.

Here is what we get after completing the tutorial:

Step 1

Create a document with a size of 700×700 pixels and a resolution of 72 dpi.

Let's start working on beautiful text in Photoshop with a background image.

For this, I picked up a texture with wood panels. You can choose any other texture of wood or even paper.

Adjust the saturation (Shift + Ctrl + U) to make it a little darker. I also added a gradient adjustment layer (to do this, click on the corresponding icon at the bottom of the layers palette):

This gradient will darken the top and bottom of the background so that the text in Photoshop looks spectacular:

Step 2

To create this shiny text you can choose any font, I used Lobster. On a new layer, make a large inscription with the Type Tool (T):

Let's make the text in Photoshop a big shadow. Double-click on the layer in the layers palette and in the window that appears, select the line "Drop Shadow" (Shadow).

Set similar settings:

Add a blue outer glow. In the same window, check the box and select the line "Outer Glow" (External glow), set the following settings:

Let's add volume to our text in Photoshop. Select in the layer style window “Bevel and Emboss” (Embossing), make the following settings:

Double click on the icon called "Gloss Contour" to go to the Path Editor and create a path similar to mine. You can tweak it a bit depending on the chosen font:

Now we apply color and gradient overlay styles to our text in Photoshop. However, now we will not see these changes until we make a pattern overlay.

Select “Color Overlay” (Overlay color), set the color to #b7eaff:

Step 3

We continue to create super shiny text in Photoshop. Let's make a pattern. For this I used the following image:

I reduced the saturation of the image to a minimum (Shift + Ctrl + U) and applied a spherize filter: Filter > Distort > Spherize with a value of 100%.

Now save this image as a pattern (Edit > Define Pattern). You can leave the default name - Pattern 1.

Now back to our inscription. It's time to apply a pattern to the text in Photoshop. Double-click on the text layer to open the layer style window.

Check the box next to "Pattern Overlay".

Select the template created by the step above from the drop-down list:

Use the cursor to position the pattern over the text while the Pattern Overlay dialog box is open. You should end up with a similar image of text in Photoshop:

Let's add a gradient stroke to our shiny text. Put a tick in the line "Stroke" (Stroke). Set up a gradient stroke like this:

Let's make the text in Photoshop even prettier - add some shine. To do this, take a white soft brush and apply some highlights on a new layer, above the text layer:

Here is some beautiful text in Photoshop we got:

This concludes the lesson on creating glossy shiny text in Photoshop.

Hope you enjoyed!