PS Imitation Chevrolet logo

Make you not a friend of the car, believe that it is hard to forget the Chevrolet logo. The common bow tie symbolizes the generosity, style and grace of Chevrolet, as well as the design motto of Chevrolet's "make the popular car". Today, let's use Photoshop to copy a Chevrolet's car logo.

1. First, open Photoshop, create a new document, RGB mode, white background.

The first step is to set the shape of the car. Unfortunately, I didn't find the standard graphics for this logo, so I just draw by memory. Select the Pen tool to draw the first path out of the box. (Figure 01)

Figure 01

Although not used in industrial standards, we strive to be as symmetrical and accurate as possible. To keep the lines consistent, you can use the Measurement tool, click at one end of the line, and then drag the mouse to the other endpoint to relax, when the tool options on the top of the screen will appear on this line of data. Drag the measurement line to the point where the graph corresponds and, based on it, correct the length of the other line. The graphs made with this method are basically symmetrical. Figure 01 shows the correspondence between the segments.

2. Next, select this path, select the Copy command in the Edit menu, and then paste, and the second path will coincide with the first path, when Photoshop chooses the second path, reducing the length of the path to around 70% with the transform path command, Then continue to use the direct selection tool with the measurement tool to adjust the node, slowly adjust the path of the transformation of inappropriate lines, so that the two path sections of the space is basically the same. When necessary, it can also be supported by guides, as shown in Figure 02a.

Figure 02a

The area surrounded by these two paths is the shape of the chevron we want to make, and now we convert it to a selection. Deselect any path or node (otherwise you can only convert one path to a selection), and click the "Load path as a selection" button below the path panel to convert the path to a closed selection.

Saves the selection to a new channel named Chevy Frame, resets the color swatch, fills the background selection with black, and cancels the selection. (Figure 02b)

Figure 02b

3. Go to the channel panel, copy a channel at will, rename the copy channel to original, reverse phase processing, return to the RGB channel, fill the background layer with white.

Create a new layer on the background layer named inside frame Color, open the Fill dialog box, and fill the layer with 50% gray. Next, we'll use the hue/saturation command to select the color of the car frame. This is your own car label, you can specify the color. Assured General Motors will not fight you for this! ）

Open the Hue/saturation command and use it to color the layer. Here, I chose the coloring mode, set the color hue of 230, saturation of 75, lightness is 0.

If you want the logo to be more beautiful, you can add a variety of decorations to its own requirements. But don't be too complicated. Here, we add the noise effect first. Open the Noise Filter dialog box and set the noise count to 12%. Gaussian distribution, monochrome; then select the grid filter from the Pixel filter group, set the cell size to 5, and then add the noise again, slightly less, 8%, still Gaussian and monochrome; then select the sharpening Edge command in the Sharpen command group. Perform two consecutive times so that the screen looks richer. We will use this pattern as the shading of the vehicle frame. (Figure 03)

Figure 03

4. Below, we will eliminate the extra shading outside the frame. The selection that is loaded into the channel original, shrinks the selection by 1 pixels with the shrink command, and then softens the selection with the feather command, with a feather radius of 2 pixels, and an inverse selection that fills the selection outside the frame twice with black, because it contains the translucent pixels after the feather, so the effect of the two fill is not the same as one fill. After the second fill, use the Fade command under the Edit menu to eliminate the fill effect, the opacity is 50%, the mode is normal, deselect. After shrinking-feather processing, the selection range becomes softer. (Figure 04)

Figure 04

5. Next we make the range of reflective on the car. In the channel panel, copy the channel original and rename the copy channel to highlights. Performs a Gaussian blur on the channel, The radius is 6.0 pixels, the gradient is adjusted, set the input levels to 218,1.00,255, and then use a color order, set the input level to 94,1.00,195, so that the white range further reduced; Perform relief filters with an angle of 135 degrees, a height of 4 pixels, a quantity of 150%, reverse-phase processing, use the color order again, and the input color The order is 128,1.00,255 so that the gray pixels in the channel are all converted to black pixels, and then a Gaussian blur is used, the radius is 2.0 pixels, the color level is adjusted, and the input color order is 100,1.00,175. In this way, the white area in the image is the reflective point on the car's mark. (Figure 05a)

Figure 05a

Go back to the layers panel, create a new layer on top, name inside Frame highlights, load the selection of channel highlights, fill the white and deselect. (Figure 05b)

Figure 05b

6. Go to the channel panel and the next step is to select the range of the outside frame of the car. Create a new channel, named Frame, load the channel original selection, reset the color board, white stroke selection, width of 6 pixels, center, Normal mode, opacity is 100%, then deselect. (Figure 06a)

Figure 06a

Go back to the Layers panel, select the inside Frame color layer, create a new layer on it, name Frame, and fill the layer with white. To load a selection of a channel frame, shrink the selection inward by 1 pixels with the shrink command, and then deselect after the black is filled. (Figure 06b)

Figure 06b

Here we will add three-dimensional icing to the border. First, blur the layer with the Gaussian blur filter, a radius of 4 pixels, with an embossed effect, an angle of 135 degrees, a height of 4 pixels, a number of 150%, and then the opacity of the layer to 50% (part A and B of Figure 06c); The selection that loads the channel frame, feathering 1 pixels, After the selection is reversed, fill the selection with black and deselect. (Part C of Figure 06c)

Figure 06c

Now we temporarily turn off the layer visibility of the layer inside frame highlights and inside frame color so that you can see the border clearly (figure 06d).

Figure 06d

Here we are going to process it. First add a noise effect to the layer: set the noise quantity to 4%, Gaussian, monochrome, and then use the Curve tool to increase the contrast (Figure 06e), then the selection of the channel frame is loaded, and the selection is reversed, deleted, and deselected. Displays the layers inside frame highlights and inside frame color, as shown in Figure 06f, in the layer inside frame color, load the selection of the channel original, deselect, delete the extra black image, cancel the selection. (Figure 06g)

Figure 06e

Figure 06f

Figure 06g

7. Now let's adjust the color of the border. Select the frame layer, you do not have to display this layer separately, with other layers to display, you can better grasp the color contrast. Open the Hue/Saturation dialog box, first select the coloring mode, and then set the hue to 256, saturation of 10, lightness is 20, you can set at will. Then select USM Sharpening in the sharpening filter group, with a number of 100%, a radius of 1.0, and a threshold of 0. (Figure 07)

Figure 07

8. In the channel panel, create a new channel, named Highlights 2, in which we make the high light area of the vehicle's surface. Load the Channel original selection, shrink 2 pixels, open the Fill dialog box, and deselect the selection after filling the selection with a 50% gray. Blur the channel with the Gaussian blur filter, the RADIUS is 4.0 pixels; Next, we use the Art Effect Filter group of plastic packaging to increase the gloss, set a high light intensity of 10, the details of 6, smoothness of 8; load the Channel original selection again, deselect it, and select it with a black fill. Use the level tool to slightly adjust the input color to 30,1.00,255. (Figure 08a)

Figure 08a

Load the Channel highlights 2 selection, go back to the Layers panel, select the layer inside Frame Color, create a new layer on it, name highlights 2, deselect the selection with white fill, and then reduce the opacity of the layer to 30%. (Figure 08b)

9. Next, we need to further process the border to make it more exquisite. First select the layer frame, copy two times, and name the two duplicate layers as frame Shadow and frame Shadow 2 respectively. To define the range of the image, load the selection of the channel frame, but you may find the marquee unsightly, you can press CTRL+H, the selection of the box temporarily hidden, do not let it interfere with the view. In the Frame Shadow 2 layer (above the frame Shadow layer), lock the transparent pixels, then fill the selection with black, and do the same for the frame Shadow layer. Select Frame Shadow 2, unlock, then blur the layer with a Gaussian blur filter, RADIUS 2.0 pixels, then select Filters > Other > Displacements, set both horizontal and vertical values to 2, so that the image moves 2 pixels to the right and the bottom, and then selects the frame Shadow layer to unlock , Gaussian blur processing, the radius of 4.0 pixels, and then use the displacement filter to move the image to the right and down each 6 pixel, and then do a Gaussian blur, the radius is still 4.0 pixels, so that our image is shown in the following figure (Figure 09).

Figure 09a

In the absence of a selection, the displacement is the same as the move with the mobile tool, of course, I mean when there is no image pixel on the edge of the canvas before or after the move (this is exactly what the displacement filter is all about, but it doesn't matter what we're talking about today, so we're going to exclude it first). But when a constituency exists, the role of the displacement filter and the mobile tool is vastly different. With the displacement filter, you can move the image without interfering with the selection but still be affected by the selection, while the Move tool moves the selection and the image together. The impact of the two methods on the image can be seen clearly from the following figure. (Figure 09b)

Figure 09b

10. You may not see the effect in the following step, because the change is too subtle. We're going to get rid of the effect of the reflection in the top layer on the border. If you just did not cancel the selection, then choose inside frame highlights layer, delete directly, otherwise it will be loaded into the channel frame of the selection, and then select inside frame highlights layer, delete. Finally cancel the selection. (Figure 10)

Figure 10

11. Let's make a final modification to the border section. Select Layer Frame Shadow 2, set the opacity of its layer to 70%, set the opacity of the Frame Shadow layer to 80%, then select the layer inside frame Color, link the 4 layers on it, and merge the linked layers. Rename the merged layer to Chevy. (Figure 11)

Figure 11

12. Finally, we will add a little reflective effect to the vehicle. Create a new layer named Glow, load the selection of the channel highlights, fill white, and deselect. Gaussian blur of the layer, with a radius of 4.0 pixels, load the selection of the channel frame, remove the unwanted reflection in the selection and deselect it. Sets the opacity of the current layer to 50%, merges all layers, and completes the production. (Figure 12)

Figure 12