Monster Creative Font Bundle (Includes Web Fonts) Just $29
Deal Expired ($29)
Who this deal is for:Graphic designers Scrapbookers Print designers Web designers
10 Beautifully Versatile, Artistic Fonts for Creatives
We’re back with our biggest font bundle yet! This entirely new bundle contains 10 best-selling creative font families that are perfect for adding an artistic element to your design work. Each font includes web font versions and extended licensing!
Our Biggest, Best Font Bundle Yet!
After our previous ‘Huge Creative Font Bundle’, we had our work cut out for us to bring you guys something bigger and better. However, we’ve gone all in on this deal, to bring you fonts that are even more creative, even more popular, and at an even bigger discount!
These are seriously our favourite fonts yet. Here’s why we think you’ll love using them:
- The 10 font families in this bundle are all best-sellers, and hugely popular even at full price. This bundle includes some classically popular creative fonts, and also some new kids on the block that are selling like hotcakes. The attention to detail is stunning, and many of the fonts include tons of extra glyphs, ligatures, stylistic alternates, and extras. Some of the font families contain up to 20 fonts/variations, giving you ultimate value for money.
- Deals in this price range will typically bring you 1-2 fonts maximum, at perhaps 50-75% off. This deal contains over $1000 worth of fonts, and we’re crushing the price down to just $29. That makes this deal our biggest discount ever, at 97% off! You won’t find fonts of this quality available for such a huge discount anywhere else!
- All fonts in this bundle include web versions, at absolutely no extra cost to you. These web versions would normally skyrocket the price, so to get them for free is pretty insane.
- As well as web versions, we’ve secured you the best licensing possible! There is an extended license on all fonts in this bundle. This means that not only are they OK for commercial projects, but you can use these fonts in items that you sell. The only restriction is that you cannot redistribute the fonts directly (i.e.: ‘as is’).
Take a look at how incredibly creative the fonts are below. They’re a joy to work with, and we’re sure you’ll love using them:
Daft Brush Font
Daft Brush is the stylish contemporary brush font you’ve been looking for.
This is not just a rad face, it also brings 4 alternates for each letter, 2 alternates for numbers and also variations for punctuation marks. Its OpenType Contextual Alternates feature is programmed to instantly cycle all these folks and get an amazing organic feel (OpenType savvy software needed, but these days even the pretty basic Windows Notepad will do!).
It’s only rock and roll, and we like it! Play it out loud!
This font includes web versions
Brush Up Font
Brush Up is the cool handpainted typeface you are looking for. Swiftly painted on paper and carefully translated into a font, it brings 3 glyphs for each letter and 2 for each number, plus variations for some punctuation marks. The font is nicely programmed to cycle these alternate glyphs when Contextual Alternates engines of applications are turned on. Or, you can always pick up your choices manually through a glyphs palette. Either way it will certainly turn out refreshing!
Surprisingly versatile, Brush Up is available in two cuts – upright and oblique – and is perfect for tons of purposes.
Is it a headline? A small chunk of text? Maybe not that small? Ok, just Brush’em all!
This font includes web versions
Amorie Complete Font Family
This is the Amorie master package, which includes EVERYTHING this amazing font has to offer. Included in the font family is :
Amorie Modella: (Light, Light Italics, Medium, Medium Italics, Bold, Bold Italics) + webfonts
Amorie Nova: (Light, Light Italics, Medium, Medium Italics, Bold, Bold Italics) + webfonts
Amorie SC: (Light, Light Italics, Medium, Medium Italics, Bold, Bold Italics) + webfonts
Amorie: Extras (50+ Borders, Flourishes, Lines & Frames) + webfonts
Amorie is a tall and skinny hand drawn font. It comes in various weight and styles, and with an array of opentype options. Built to appear completely hand crafted, different designers could produce completely different results, selecting either Modella (classic and chic), Nova (fun and fancy) or SC (Small Caps and all business.) Each style comes in light, medium and bold and has an accompanying italics version.
Opentype for this font includes Contextual Alternatives, which produces three versions of each character, making sure no two identical letters appear next to each other. This feature helps give your design a fully authentic look. There are also stylistic alternatives, which offer different style for a select few characters, including capital letters: A, K, R, Q, Y and lowercase letters: a, e, t, y. Lastly, is a large set of swashes, 3 for each letter. This includes swashes for the whole uppercase alphabet as well as lower case letters with an ascender or descender.
Amorie includes a large set of graphic extras, including stylish frames, arrows, line breaks, corners, flourishes and more. The complete package gives you one unbeatable font family.
If you do not use Opentype but are using a program that includes a full glyph panel, you will be able to access each of the style variations you want.
Languages supported by Amorie include: Albanian, Cornish, Croatian, Czech, Danish, Dutch, English, Estonian, Filipino, Finnish, French, German, Hungarian, Icelandic, Irish, Italian, Latvian, Lithuanian, Polish, Portuguese, Romansh, Slovenian, Spanish, Swedish & Swiss German.
This font includes web versions
D-I-Y Time (Complete Hand-Drawn Type System)
D.I.Y. Time is a hand drawn type system designed by Luciano and Coto. It is a typeface based on hand lettering drawing with different brushes and pens on paper. With versions ranging from organic proposals as DIY time hand to other based on the classic proportions of Gill as DIY time sans. There are endless variations to this font, giving you total creative control. Here’s a look at what’s included:
- 8 fonts within this font family, including D.I.Y Time Ink, D.I.Y Time Sans Thin, D.I.Y Time Sans, D.I.Y Slab, D.I.Y Time hand, D.I.Y Time Ink Italics, D.I.Y Time Brush and D.I.Y Time Slab Italic.
- 133 Ornament Characters (presented as a font)
- 90 Amazing catchwords (presented as a font)
This font includes web versions
Four Seasons (Complete Font Family)
Four seasons is a display handwritten typeface inspired by nature and its changes in summer, spring, fall and winter. Designed by Coto Mendoza and Luciano Vergara between winter 2010 and 2013.
Its true handmade stroke can achieves real lettering, perfect for use in photographic and illustrative compositions.
It has an extensive character set of opentype programming including: titlings, endings, initials, swashes, ligatures, alternates besides a cute set of ornaments, dingbats and words all based on the shoots, branches, leaves and flowers of the forest in the four seasons.
This font includes web versions
Julieta (Complete Font Family)
Inspired by romanticism, Julieta is a charming and versatile typeface. By alternating uppercase and lowercase, and mixing them with alternate characters, ligatures, swashes and endings, you obtain endless possibilities of composition, with 810 glyphs available in the Pro font. In case you don’t need all these alternatives, there is also an Essential version consisting of 247 characters. In addition, Julieta has an affordable set of ornaments, connectors and catchwords to complete this attractive display system.
This font includes web versions
Showcase (Complete Font Family)
Showcase, the new typeface of Daniel Hernandez and Paula Nazal is a handmade font consisting of a set of types that are composed of four styles, one script, one sans, a slab, sans mini and finally a set of ornaments and dingbats, all made to work together in the same language. It’s inspired by a pen that writes different typefaces and ornaments, and casually reaches into a harmonious family.
Showcase is very easy to use and allows great versatility, can be used both in a magazine as a restaurant, through windows, cafes, and really anyway you can think of!
This font includes web versions
Yellow Design Studio
Thirsty Rough Complete Font Family
Thirsty Script Rough from Yellow Design Studio is the warm and weathered version of Thirsty Script with texture that captures the authentic qualities of letterpress printing. It’s highly customizable with four alternate versions of every weight ranging from very light to heavy distress. Because it’s remarkably detailed, it looks great even at large sizes. For extra customization and fun, it includes a set of matching shadow layers and texture pieces.
Includes 21 fonts in OTF format:
Thirsty Rough Light
Thirsty Rough Light One
Thirsty Rough Light Two
Thirsty Rough Light Three
Thirsty Rough Light Shadow
Thirsty Rough Regular
Thirsty Rough Regular One
Thirsty Rough Regular Two
Thirsty Rough Regular Three
Thirsty Rough Regular Shadow
Thirsty Rough Bold
Thirsty Rough Bold One
Thirsty Rough Bold Two
Thirsty Rough Bold Three
Thirsty Rough Bold Shadow
Thirsty Rough Black
Thirsty Rough Black One
Thirsty Rough Black Two
Thirsty Rough Black Three
Thirsty Rough Black Shadow
Thirsty Rough Textures
Typographic features include: Stylistic Alternates, Ligatures, Oldstyle Numerals and Multiple Language Support. In Photoshop setting anti-aliasing to “smooth” may yield the best results.
This font includes web versions
Gist Complete Font Family
Gist from Yellow Design Studio is an inline slab serif with a retro yet modern vibe. It’s a collision between monoline slab and indie script. With 627 glyphs per weight, it’s highly customizable…either keep it simple with the base character set or use ligatures, alternates and swashes for extra flair. All-caps typesettings have an especially retro edge. Also included are line layers for adding color to the inline areas.
Gist has both Upright and Regular (italic) versions. It includes a complete set of funky contextual alternate caps plus some schmancy lowercase variations. Most caps have additional swash versions as well. A bunch of other capital and lowercase alternates are thrown in for an especially pleasurable typesetting experience.
Opentype Feature Descriptions:
Ligatures – Enables the standard ligatures that fix overlapping letters
Discretionary Ligatures – Enables the funkier ligatures
Contextual Alternates – Enables the alternate caps and q, v, w, x, y, z alternates
Swash – Enables the swash caps
Stylistic Alternates – Enables the funkier h, k, m, n, v, w, y, z
Stylistic Set 1 (Same as Stylistic Alternates) – Enables the funkier h, k, m, n, v, w, y, z
Stylistic Set 2 – Enables the end-of-word alternates (terminal forms)
Stylistic Set 3 – Enables the alternate round lowercase a
Stylistic Set 4 – Enables additional alternate B, D, E, H, M, N, R,T, W, Z, &, d
Stylistic Set 5 – Enables additional alternate E, H, M, N, R, Z, d
Stylistic Set 6 – Enables additional alternate H, M, N
Stylistic Set 7 – Enables additional alternate l, t
Stylistic Set 8 – Enables additional alternate l, t
Stylistic Set 9 – Enables additional alternate l, t
Superscript – Enables the superscript characters
This font includes web versions
Microbrew Complete Font Family
Microbrew is a versatile retro display family with 14 individual styles, plus retro banners, ornaments, and symbols. The more detailed styles work well at large sizes, and the cleaner styles add legibility at smaller sizes.
Microbrew is an all caps display font, but the lowercase act as alternates. For super-easy alternates, just mix uppercase and lowercase letters. To add to the realism, Microbrew includes double-letter ligatures. Microbrew also includes a set of extremely intentional ornaments and symbols. Designed to give a vintage feel, the ornaments and symbols compliment Microbrew nicely to round off the family. The ornaments also include catchwords, old style numbers, and lots of retro symbols.
*Please note the Old Style numerals are in the “ornaments” font.
Don’t let the name fool you, Microbrew is very versatile and works great for almost any subject matter, including weddings, birthdays, restaurants, coffee shops, music, and many more.
Opentype features include automatic fractions, subscript numbers, superscript numbers, and double-letter ligatures.
This product includes 16 fonts total + Vector files for the banners and ornaments.
All fonts are in OTF format. Some opentype features (like fractions) are only available in opentype-aware applications, such as Adobe Photoshop® Illustrator® or InDesign®, etc.
1. Microbrew One
2. Microbrew One Inline
3. Microbrew One 3D
4. Microbrew One Combined
5. Microbrew One Shadow
6. Microbrew Two
7. Microbrew Two 3D
8. Microbrew Three
9. Microbrew Three Inline
10. Microbrew Three 3D
11. Microbrew Three Combined
12. Microbrew Four
13. Microbrew Four 3D
14. Microbrew Four Shadow
15. Microbrew Ornaments
16. Microbrew Banners
This font includes web versions
Take a look at the hundreds of glyphs and ornaments available with this font!
Full Deal Terms & Licensing:
This deal includes extended licensing. This means that as well as using these fonts within personal and commercial projects, you can also use them in designs/products that you resell. This could be anything from a poster print to a web banner.
The only restriction is that you can’t resell these fonts directly, but of course, you already knew that!
Here’s a quick overview of all the fonts included in this bundle, and remember, each font also includes web versions, at no extra cost to you:
Includes a Handy Pdf Browsing Guide
After many community requests, we’re including a useful .pdf browsing guide. This allows you to easily see which fonts are included in each folder, without having to refer back to this deal page. (This is included with your deal download).
How to Design a Creative Concert Poster
Hello Design Cutters! Today’s tutorial comes to us from Simon, one of the two partners and designers at Studio Ace of Spade. To Simon!
Hello all! I’m excited to share another tutorial with you today. The good peeps at Design Cuts have put the Monster Creative Font Bundle in my hands, and watched me run with it. Today’s tutorial is very comprehensive, but I hope that you’ll stick with it, as you should pick up plenty of excellent techniques.
One of the things that I’m excited by now that spring is finally showing up, is concert season. So I felt it very fitting to use the amazing typefaces of the bundle to create a fake concert poster.
WHAT WE’RE CREATING:
One image in particular that struck a chord was these specimens from Microbrew Ornament by Albatross Studio:
From there, I decided to invent the band The Krakens, and book them a gig at 93 Feet East, a popular London concert venue.
From there, I wanted to give the poster a grunge vibe, but without being overwhelming. So, looking through the typefaces in the deal, Amorie Modella and BrushUp just jumped at me.
Sprinkle a few additional resources on top, and we’ll make ourselves a cool poster. Let’s get started, shall we?
STEP 1: DOCUMENT SETUP
I’m working with a 11″x17″ @300 dpi canvas, in Photoshop CC (but any version of Photoshop past CS3 should do).
Next, it’s time to add a few guides. I have vertical guides at 1″, 2″, 5″, 5.5″, 6″, 9″, and 10″, and horizontal guides at 1″, 2″, 8″, 8.5″, 9″, 15″, and 16″.
STEP 2: BUILDING THE BACKGROUND
To start, we need to build the background. We’ll place the picture, we’ll sharpen it, and do some post-processing to it.
Placing and sharpening the image
Use File > Place embedded to place the sea scene as a smart object in your document. I lined up the top left limit of the field with the horizontal guide at 15″.
Next, we’ll use a technique that I’ve already shared in my retro, grungy poster design tutorial to sharpen the image a bit. It involves the High pass filter.
Start by creating a copy of your background layer (Layer > Duplicate layer or CTRL/CMD+J).
Clip it to the original layer below (CTRL/CMG+G). Note that I’ve left both layers as smart objects.
Then, run the High pass filter on the layer copy (Filter > Other > High pass). I’m using a 50 pixels radius.
Once the filter has been applied, place the layer on Soft light @ 35% opacity. The result is a sharper image, as well as an slightly increased contrast.
Extending the background
The image is in place, but we still have a wide open spot at the top of our poster.
To fill this spot, we’re going to sample a blue hue at the edge of the vegetation, and fill a new layer with this blue. We’ll then place that layer at the bottom of our layer stack.
The color I sampled is #acc5ce.
Now, in order to get rid of that line, we’ll leverage the power of layer masks. Simply add a layer mask to the original photo layer (Layer > Layer mask > Reveal all with the proper layer selected).
With that done, you can simply paint in the layer mask with a big, soft brush to make the limit disappear. But that’s a bit tedious. I’m using the gradient tool to go a bit faster. Make sure to start your gradient below the line you’re looking to hide.
The gradient I used is a simple black to white gradient, in a top to bottom direction.
With that done, let’s move on to processing the image a bit.
Post-processing the image
The post-processing “recipe” I’m using below is just one among many. Feel free to tweak the image differently!
First, we’ll be “lowering the temperature” of the image by using a photo filter adjustment layer.
I’m using the LBB cooling filter, with a 15% density.
Next, we’ll emulate a cross-processing effect by using a curve adjustment layer. Simply add a curve layer, and toggle the Cross process (RGB) preset from the drop-down menu.
The effect is quite strong, so I chose to lower the opacity of that layer to 50%. You can also note that I’ve labeled each adjustment layers with what they accomplish.
Next, we’ll emulate a vintage saturation on the image. Simply add a Hue/Saturation adjustment layer to the image, and bring the saturation to -25.
Then, we’ll “increase the temperature” of the image with another photo filter adjustment layer. I’m using the Warming filter (LBA) preset, at a 25% opacity.
Next, we’ll “fade” the image a bit. Use a Solid color adjustment layer, and fill it with #4e4e4e. Then, change its blending mode to Screen @ 15% opacity.
A bit of house-keeping
Before we switch to the last part of the background build-up, I’d like to suggest to organize our layers a bit. Here’s a view of my structure: the photo and its related layers are in their own layer group, and so are the layers for the post-processing.
It’s time to add a few textures to our background. It’ll give it a bit more depth and substance. Here are the textures you should have at hand:
Start by placing BB_AntiqueEnvelope_04.jpg in your document. I’ve placed, turned, and sized mine so the seam at the middle is out of the frame.
Once the texture is in place, rasterize it, desaturate it (CTRL/CMD+SHIFT+U), and sharpen it a few times using Filter > Sharpen > Sharpen.
Note that you could keep the workflow non-destructive by using adjustment layers.
Next, we’ll be using levels (CTRL/CMD+L) to bring some of the textures details out. We’ll use a value of 75 for the dark tones, 0.75 for the mid-tones, and 225 for the light tones.
Once the adjustments are done, change the layer’s blending mode to Soft light @ 50% opacity.
The next texture we’ll be using is Coffee Stains Texture 02. I placed, turned, and sized the file so it covers the whole canvas.
After that, following the same process as above (desaturation, sharpening, and levels), we’re bringing the stains into the design. The layer’s blending mode is Soft light @ 25% opacity.
One more bit of house-keeping, and we’re ready to move on to the rest of the poster.
STEP 3: THE BADGE
The center badge with the octopus is easy to build, but we’ll need to quickly leave Photoshop for Illustrator.
Grabbing the elements in Illustrator
Let’s go ahead and create a document in Illustrator that has the same specifications than our Photoshop canvas. Note the RGB color mode.
Using the same size and color modes allows us to start playing with sizes and colors straight in Illustrator, without fearing any discrepancy between the two documents we have.
Once in Illustrator, make sure that your Glyphs panel is visible. If it isn’t, make it appear by using the Window > Type > Glyphs menu.
Next, choose the typeface Microbrew ornaments and grab the octopus symbol. Start a new text block, and then simply double-click on the glyph in the Glyphs panel. Size it very big (at least 500 points).
Next, we’ll need to grab this circular frame from the extras that comes with the Amorie type family. You could either grab them from the Glyphs panel, or from the handy Illustrator file (AMORIE_EXTRAS-Frames.ai)included in the bundle. I chose the later.
Copy and paste it in your Illustrator document, and start playing with sizes.
Once you’re happy with the size relationship between the frame and the octopus, it’s time to prep the vector elements to be brought into Photoshop.
Bringing the vectors in Photoshop
First, expand the appearance of the octopus text object. Simply right click on the character, and choose the Create outlines option.
Make any size adjustments you feel are necessary now, as they’ll be a far more annoying to deal with once in Photoshop.
Once done, simply copy and paste each element individually into Photoshop, as smart objects. This will allow us to play with each element independently of each other, and to retain their vector characteristics should we need to refine their sizes.
I also went ahead and gave these two their own layer group, as things will get a bit more complicated later.
Creating the badge itself
First, we need to assign a color to the badge elements. I went ahead and sampled one of the dark browns from the field. I went in the lower-right corner, and chose #302b2c, a darker, red-brown hue.
Once the color has been chosen, you should double-click on the octopus’ smart object thumbnail. This will open the smart object in Illustrator, where you should change its color to the brown you just sampled.
Once you’re done, save your modification (CTRL/CMD+S), close the smart object, and return to Photoshop to admire the result.
Follow the same process for the frame.
Creating the mis-registered color overlay
This step is a bit delicate. Go back to the Illustrator document in which we were originally experimenting with size relationships. Turn off the frame in the layer panel. Then, proceed to copy (CTRL/CMD+C) and paste in place (CTRL/CMD+F) a copy of the octopus.
Turn off the top copy of the octopus.
Next, grab the Blob brush tool (SHIFT+B). You’ll want to fill the highlights of the octopus in, like below (I’m painting in red so you can see). You can change the size of the brush by double-clicking on the tool’s icon. The goal isn’t to paint a perfectly smooth shape, but something that will feel enough like done by hand.
Once you’ve done the shape to your liking, fuse it with the octopus by using the Unite functionality of the Pathfinder tool (Window > Pathfinder). Select both the octopus and the shape you’ve just painted, and hit the unite button, and you’ll be done.
Slide the newly created shape underneath the remaining copy of the octopus, turn it back on, and admire the result. The two still line up, and it looks like the highlights of the octopus have been colored red.
Go back to your Photoshop document. Sample a darker blue from the original photo. I went in the lower-left area of the image, and got #384d69.
Switch the highlight shape we created in Illustrator to that color.
Once that’s done, paste the shape in Photoshop as a smart object, below the octopus layer you have there.
To make it look out of alignment, you simply have to offset it using the keyboard arrows (with the Move tool active, of course – V). I offset it 4 taps down, and 4 taps to the left.
To create the frame’s off-registered effect, you’ll first have to create a new smart object via copy (through the right-click menu obtained when clicking the layer). If you just duplicate the smart object, the changes you’ll do to one will be replicated on all of its other instances.
Once that’s done, slide the copy underneath the first frame, and change its color via Illustrator to the same blue you gave to the octopus highlight.
Then offset it the same way you offset the octopus highlight (the out-of-register effect of a color has to stay consistent throughout the piece).
Adding the stroke around the octopus and its highlight
The badge’s finishing touch is a little gap between the octopus and the badge (and their respective highlights). To accomplish this, create a selection around the octopus by CTRL/CMD+CLICK its layer thumbnail.
Then go to Select > Modify > Expand to expand the selection by 25 pixels.
Invert the selection (CTRL/CMD+SHIFT+I), and add a layer mask to the dark brown frame smart object. It will fit the selection we’ve made, and show the gap.
Repeat the same steps, but using the highlights layers to show the gap on the offset frame.
We’ve got ourselves a pretty nifty center-piece element. Now, onto the type!
STEP 4: THE TYPE
What’s the copy?
Before adding type to our poster, let’s agree on some copy. The title element should be the band’s name: The Krakens.
We’ll also need to add the venue’s name (93 Feet East, London, UK), a date (April 17th, 2015), and a cover charge (£10).
The band’s name will be written in Brush Up Too, while the additional information will be written in Amorie Modella Bold. The lines that frame the additional information are coming from the Amorie extras: lines vector file (AMORIE_EXTRAS-Lines.ai). All of the type elements are colored in #302b2c.
As you saw above, it’s written in two parts. The “The”, which is rotated 90° counter-clockwise, and the “Krakens.” Start by writing both parts, and placing them in relationship to each other.
I wrote “Krakens” 174 points big, and “The” 90 points big.
Now that this is done, it’s time to take advantage of the many alternative characters that Brush Up has. This will avoid repeating a letter in an identical manner, which in the end gives the type a true “handwritten” vibe.
For instance, select the second “K”, and hit the Stylistic alternates button in your Type panel.
This results in a different “K” to be displayed.
Repeating this process, let’s change the “E” in “Krakens” so it’s different than the one in “The.”
Turn the guides back on, and double check that there isn’t any spacing or placement issue you’d like to fix at this stage. Once you’re happy, it’s time to move on the additional information for the gig.
Before being able to start, it looks like I have to bring the badge element up a bit in my canvas, so I actually have room to add the extra information.
We’ll adjust the spacing again once all the elements are there, but I like working with a little bit of room at least.
I wrote 93 Feet East / London • UK on two lines. Amorie Modella Bold is set in 78 points tall, with a 72 points leading. The copy is left aligned, and placed on the bottom-left side of the canvas.
The date and cover charge
I wrote April 17th, 2015 / Tickets £10 with the same size and leading values. The main change is that this time, the block of text is right-aligned, and placed on the bottom-right side of the piece.
Let’s tweak this block of text a bit more. First, let’s put the “th” as superscript.
Then, using the same Stylistic alternates functionality as before, let’s make sure than characters don’t repeat themselves identically (pay attention to the “A” and “E” for instance).
A bit of layer housekeeping:
Oh, and next, make sure that your text blocks are well aligned, both vertically to their respective extremities of the title, and between themselves. Feel free to use the Layer > Align menu to make this quicker.
We can finally add the dividers to frame the additional information blocks. Head to AMORIE_EXTRAS-Lines.ai, and grab one of the dividers.
Paste copies as smart objects around the venue info. You can just paste one from the Illustrator file, and then make duplicates from it in Photoshop.
Don’t hesitate to flip and/or rotate the dividers, so the fact that they’re copies of each other doesn’t jump out to the eyes of the viewers.
Repeat with the date and cover info (don’t forget to adjust the width accordingly).
Now is also a good time to make sure that the dividers are also of the appropriate color. If you just duplicated one smart object through the piece, you should just have to change one of them to #302b2c, and you’ll be good to go.
With all of that done, we’re getting close to having our layout completed.
It’s time to adjust the various elements in relation with each other before moving further. In my case, it means bumping the badge up a little bit.
Remember to also look at the piece with the guides turned off, as your perception might shift.
STEP 5: MORE TEXTURES!
It’s time to do the second and last pass of textures. These, by being applied to the poster as a whole, will participate to tie everything together in a consistent ensemble.
We’ll follow the same process than for the background: place, size, rasterize, desaturate, sharpen, and contrast enhancement.
Please note: I’ve been collecting and making textures actively for the past three to four years, and my library is quite big (40+ Gb). I know my texture library very well, and usually I’m able to pick the ones I’ll be using on a project ahead of time based on the desired outcome. Most of the ones below are some that I’ve not made myself. Note that the two that are mine are part of pack I’m selling on my Creative Market store, The Shop.
Note that you’ll also need a Ps action from the good people at Go Media that I’m calling “Aged 2.” You can download it in this post (and read the poster tutorial should you feel so inclined). If you don’t want to read the tutorial, you can also try this direct link to it.
Grabbing the different resources
Here are the textures you’ll need to have at hand to reproduce the effects I’ve obtained:
- VV_MicroscopicBurnedFilm_10 by Dustin Schmieding
- The painter’s effect #7 by Startextures
- VV_GrindhouseTexture_07.jpg from the Grindhouse texture pack at Valleys in the Vinyl
- Delta 3200 – 120 film – very dusty by JakezDaniel
- Like leak #8 from the free light leak pack at Spoon Graphics
- .too dusty. film texture by missAlienation-stock
- photocopy by clarisaponcedeleon
- photocopy-noise-textures-sbh-001.jpg and photocopy-noise-textures-sbh-004.jpg from the Photocopy noise texture pack at the Shop
With these ready, let’s get started.
Applying the textures
Open and place VV_MicroscopicBurnedFilm_10.jpg in your document.
Rasterize, desaturate, and sharpen it, before moving onto levels (CTRL/CMD+L). I’m using the values below.
Finalize by setting the layer to Soft light @ 35% opacity.
Next up is the painter’s effect #7 texture. Open and place painter-s-effect-snb-07-4416485295_a78f2da722_o.jpg (yay Flickr file names) into your document.
Blending mode: soft light @ 50% opacity.
Next: delta_3200___120_film___very_dusty_by_jakezdaniel-d5milqk.jpg (yay DeviantArt file names). It’s sized up so none of the film edge numbers show up, but not rotated.
No need to play with levels. Simply put the blending mode to screen @ 50% opacity.
Next: Like leak #8. Place 8.jpg in your canvas, and change the layer’s blending mode to screen @ 100% opacity.
Next: .too dusty. film texture. Place _too_dusty__film_texture_by_missalienation_stock-d3bxobe.jpg into your canvas.
Blending mode: multiply @ 100% opacity
Next: photocopy_by_clarisaponcedeleon_-_deviantart.jpg. You’ll have to slightly distort this texture so it fully covers your canvas.
Note the particular levels settings, lowering the white output on the texture.
Blending mode: soft light @ 25% opacity.
A bit of housekeeping:
The case of the photocopy noise textures
The two textures from the Photocopy noise texture pack are not used as overlays, but rather pasted into layer masks to weather the type and the badge.
The process to paste a texture in a layer mask is super simple:
- Open your texture.
- Copy its contents.
- ALT/OPTION+CLICK the thumbnail of the layer mask you wish to paste the texture into. This will show you the content of the layer mask, and allow you to edit it. Make sure to disable the little chain link of the layer mask so you can move the texture without moving the element along
- Make the edits you deem necessary (size, placement, sharpening, levels, etc.)
- Admire the result
Let’s start with photocopy-noise-textures-sbh-001.jpg. Add a layer mask to the layer group that contains your badge. It’s name Frame in my document. Make sure the link between the layer mask and the layer group is disabled.
ALT/OPTION+CLICK the layer mask, so you can access its content. Note how the layer mask is highlighted.
Open photocopy-noise-textures-sbh-001.jpg, and copy and paste it into the layer mask.
Sharpen it, and invert it (CTRL/CMD+I).
Use levels to increase the contrast.
Note how the result will slightly differ from the preview given by the levels. It’s probably due to how high-resolution our document is.
Click on the octopus layer thumbnail, and admire the result. Adjust the levels again if necessary.
We’ll follow the same process, and paste photocopy-noise-textures-sbh-004.jpg into a layer mask attached to the layer group containing all the type elements.
With that done, here’s a before/after comparison of the effect on the title. It’s very subtle, but it participates to the overall vibe.
STEP 6: BRIGHTNESS ADJUSTMENTS
The poster is quite dark. So dark in fact, that we can’t read the details of the octopus very well.
My solution: changing the blue hue used for the offset highlights. You’ll want to stay in a range of brightness and saturation levels that could be present in the original image, so the blue doesn’t seem out of place in the final piece.
Going from #384d69 to #54769b helps, but it seems that we could do a bit more. Let’s change the brown hue of the type a bit too, to #474042.
After switching around all the dark brown elements, we’re in a better place.
But it isn’t enough. So I added an Exposure adjustment layer at the top of my layer stack, to brighten things a bit more. I just changed the Exposure value to +0.25, which is plenty enough to make a visible difference.
STEP 7: FINAL TOUCHES
With the poster in place, it’s time to use the Photoshop action I mentioned when applying the global textures.
First, create a merged copy of all your layers at the top of your layer stack. There’s a convenient keyboard shortcut for that: CTRL/CMD+SHIFT+ALT/OPTION+E. Just make sure you have your most top layer selected when doing that.
After a bit of layer organization, you should have something like my layer stack. I’ve called the merged copy Comp, and I’ve given it its own layer group.
Duplicate the Comp layer, and rename the copy into Aged 2. Run the Aged 2.atn action you’ve downloaded earlier on the layer.
The result will be this very noisy version of the poster. It’s like a bad color copy of the poster.
Simply change the layer blending mode to soft light @ 25% opacity. It’ll add a bit of that noise to the piece, and also boost the contrast slightly.
Create another merged copy at the top of your layer stack. Rename it Halftones, and make that layer a smart object (Filter > Convert for smart filters).
Let’s apply a color halftone filter to that top layer (Filter > Pixelate > Color halftone.
Change the filter’s blending mode to Soft light @ 100% opacity by double clicking on this little icon in your layer palette.
Change the layer’s blending mode to lighter color @ 50% opacity.
Since the effect has been faded too much, we’re just going to increase the size of the halftone dots. Double click the filter’s name in the layer palette.
Simply change the value of the Max. radius to 14 for a more pronounced effect.
The icing on the cake: a last Hue/Saturation layer, that’s clipped to the Halftone layer (CTRL/CMD+G with the layer highlighted in the layer palette). With a value of -75, it’ll participate to soften the color distortion brought by the halftone effect.
And we’re done!
I hope that you enjoyed this poster design tutorial. As usual, if you have any questions, comment below or tweet at me @simonhartmann.
Remember, there’s only a few days left to get the Monster Creative Font Bundle for just $29, so if you don’t want to miss out, we recommend jumping on it now.
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Design a Fresh Summer Cocktail Menu
WHAT WE’RE CREATING:
Hey Design Cutters!
Today we’ll be creating a summery cocktail recipe card that utilises the incredible amount of fonts and decorations available in the current deal.
There’s a lot of fonts to get familiar with, so let’s jump straight in!
Follow along with this tutorial: Download the freebie + source file
Today we have another huge freebie for you design geeks to enjoy. Jay from Albatross Design has kindly agreed to offer his Microbrew Banners font as a freebie for the Design Cuts community. These hand-drawn style banners are perfect for your more creative projects!
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Enter your email below to download the free Microbrew banners pack, so you can follow along with this tutorial easily.
Open a new A6 Document in Photoshop (1240 pixels x 1748)
We’ll start by layering up a richly textured background to contrast with the solid, bolder colours of the fonts.
To keep things tidy, create a new folder called ‘Background’ which we’ll be working in for this step.
We’ll set the vibe by downloading this summery sunset photo from Public Domain Pictures:
Paste the image on to your canvas, scaling to fit the height. Move the image across so it frames the sunset nicely:
Create a new Levels Adjustment Layer, with the following settings:
This is to create a more even tone we can build the texture up from, which is what we’ll move on to next.
Everyone loves a good grungy paper texture We’ll be using this one from Bashcorpo:
Paste on to your canvas and set the layer blend mode to Multiply:
Let’s add a fun pattern which compliments the colours in the photo nicely, and give the background a more graphic feel. You can find this in the freebies area:
Select ‘Digital Paper – Gabriela-08.jpg’ and paste it on to your canvas:
Scale to fit, then set the blend mode to Overlay:
Duplicate the layer, changing the blend mode to Multiply and opacity to 75%:
To add extra warmth, colour fill a new layer using #F36C4F and set the blend mode to Soft Light. Duplicate the layer:
Finally for this step, create a new colour fill layer using #AC3300 and set the blend mode to Multiply:
We’re going to layer the background up even more with this great freebie texture from the 2 Lil Owls. The colour is just like a Long Island Iced Tea!
Select ‘2LO Jewel Chalks 1.jpg’ and paste it on to your canvas, scaling to fit:
Change the blend mode to Multiply, and we’ll use the next two layers to tone-down the red a bit!
Duplicate the layer, changing the blend mode to Soft Light:
Next, we’re going to create our own screen texture using this source paper from Camino Palmero:
Paste it on to your canvas, scaling to fit.
To get the right screen effect, inverse the layer:
Change the blend mode to Screen and reduce the opacity to 75%:
Finally, create a new Hue/Saturation Adjustment Layer. To make sure it only applies to the screen layer, hold down ‘alt’ on your keyboard and click just between the two layers.
That’s our cocktail-coloured background finished! Now, let’s start playing with some fonts…
We’ll be extensively using not only the text, but also the ornaments and extras that are included with many of the font families (including the Microbrew Banners in the freebie pack for this deal) to help familiarise yourself with what’s available (ie: lots!)
As there’s going to be a *lot* of text layers adding up in your layers panel, let’s keep them in folders so they’re easier to find. Descriptive layer names will also save you much frustration later on when using the ornament fonts.
With the neat-freak disclaimer over with(!) create a new folder called ‘Header’.
These are the colours and fonts we’ll be using to create this section:
It’s worth setting up the colours in your swatches, as we’ll be using them throughout the tutorial and make styling the text a bit quicker.
Type each phrase/ornament on a separate layer using with the following properties:
Iced Tea: BrushUp Too, #FFFFFF, 60pt
Long Island: Showcase Script, #FFFFFF, 17pt
n (sun): Four Seasons Dingbat, #FFF586, 61pt
K (hearts): Four Seasons Dingbat, #FFFFFF, 41pt, blend mode: Overlay
W (blue splash): D.I.Y Time Ornaments, #9CE2E6, 88pt
w (underline): D.I.Y Time Ornaments, #C4DF9B, 150pt
t (make): D.I.Y Time Catchwords, #C4DF9B, 55pt
W (corner leaves): D.I.Y Time Dingbats, #8DC63F, 100pt
v (banner): Microbrew Banners, #FDC689, 163pt
Once you’ve got your individual elements, play around with their positioning, scale and angle so you have something similar to the image below:
Quick tip: If you find it difficult to select the specific text you want because everything is close together, temporarily hide some of the surrounding text layers so they can’t be selected by accident.
This might be a good point to take a screen-break, as we’ll be doing some intensive font-tweaking in the following steps!
Create a new group called ‘Ingredients’.
On a new layer, select the Microbrew Banners font, # #9CE2E6, 135pt and type a lowercase “i” (minus the quotation marks).
This should give you the following banner:
We’re going to create some curved text to sit in here, which we’ll do in Illustrator:
Open up a new document in Illustrator and type the same as we just did (or copy/paste).
Use the pen tool to create a curved line that echoes the bottom of the banner:
Select the ‘Type on a Path’ tool, and click at the very beginning of the line, then set the justification to centre.
Select Daft Brush as the font, set the size to 70pt and color to black and type “You’ll Need”:
Don’t worry that it’s a bit close to the bottom for now, as we’ll reposition this when we paste it into photoshop – which is what we’ll do next.
Copy and paste the text on to your Photoshop canvas and resize to fit the centre of the banner:
We’ll now create a ‘cut out’ effect using the text that’s just been placed.
With the layer that the text (now a smart object) is on activated, select the Magic Wand tool. Click on any area that isn’t black, not forgetting the inside of the ‘O’ and ‘D’. You can select multiple areas by holding down ‘shift’ on your keyboard whilst you click.
With the text still selected, activate the layer below, which has the banner on it. Add a layer mask, then hide the original “You’ll Need” layer to see the effect:
Let’s look a bit more at how the various ornaments and dingbats can help emphasise and add character to the text.
On separate layers, using the Four Seasons Pro Bold font, type:
15ml: #FFF586, 20pt
each of: #FFFFFF, 12pt
Arrange them so that they sit centrally under the banner, and that the baseline roughly aligns with the tips of the banner:
This looks nice enough as it is, as it’s such a characterful font. But being a creative bunch, let’s take it a little further!
Because it’s a liquid measure, we can emphasise this nature of the text by adding some decorative splashes. To do this select the D.I.Y Time Ornaments font, and type:
o (lowercase): #FFFFFF, 42pt
Duplicate the layer and flip horizontally via the Edit > Transform menu to create a mirror image, and position on the opposite side of the text.
As you can see, this makes the text ‘pop’ a bit more and the symbols serve to mimic the real splashes that’ll be made as the ingredients are all poured together, adding some movement and energy.
Here’s an overview of the fonts we’ll be using to write out the ingredients:
This section really just requires you to have a bit of a play with the font sizes, line heights and layout to get an arrangement you like.
See what works best for you. You can try typing each word on a separate layer and manually resize and position it using the Transform tool.
Alternatively, you can use the type full phrases and use the Character properties box to select individual words and alter their settings:
The Leading (pronounced as in ’sledding’) and Font Size should be the only properties you need to adjust.
Set up some grid lines to help you arrange everything and have a bit of a play!
The properties for each word as they are in this tutorial piece, are listed below for reference:
Vodka: Thirsty Rough Regular, #FFFFFF
Light Rum: Four Seasons Pro Bold, #FFF586
Gin: Julieta Pro Gota, #FFFFFF
Fresh Lemon Juice: BrushUp Too, #FFF586
Orange Liqueur: Showcase Slab, #FFFFFF
Freshly Squeezed Orange Juice: Microbrew One Inline, #FDC689
D (splash): D.I.Y Time Ornaments, #FDC689
p (spoon): Four Seasons Dingbat, #FFF586, Blend Mode: Screen
1 teaspoon: Four Seasons Pro Bold, #FFFFFF
Sugar Syrup: Showcase Script, #FFFFFF
Cola to top up: Thirsty Rough Regular, #FFF586
Mint & Lemon wedge to garnish: Four Seasons Pro Bold, #8DC63F, #FFFFFF, #FFF586
Note the little touches such as the splash after “squeezed” to make it feel juicy, and the colour changes on”mint” and “lemon wedge” to reflect the ingredients.
Here’s what the completed list looks like:
Now we’ve got the ingredients, we need to let people know what to do with them! Create a new group called ‘Method’ to keep everything in.
We’ll be taking exactly the same approach as we did for writing out the ingredients, for the method.
Here’s a summary of the fonts used for this example:
As before, have a play with the layout, sizes and angles to see what fits nicely in the space.
For reference, here are the properties for each word:
E (pointing hand): Microbrew Ornaments, #FFF586
Place All Of The: Microbrew Four, #FFF586
ingredients: Thirsty Rough Regular, #FFFFFF
into a cocktail shaker: D.I.Y Time Slab, #FFFFFF, #C4DF9B
with a handful of: Showcase Script, #9CE2E6
ice: Thirsty Rough Black, #9CE2E6
&: Four Seasons Pro Bold, #C4DF9B
Shake: Daft Brush, #FFFFFF
Strain: Thirsty Rough Regular, #FFFFFF
In to a tall glass: Showcase Slab, #C4DF9B
& serve!: Thirsty Rough Regular, #FFF586, #FFFFFF
Once all the text has been created, let’s quickly revisit the word “SHAKE”.
To add a bit more character to the text and emphasise the nature of the work, we’ll be adjusting the height of every other letter using the Baseline Shift feature in the character panel:
Change the number to somewhere between 5pt – 9pt for a balanced effect. Now it looks like the letters are shaking up and down to match the word:
We’ll be using some of the Dingbats and Ornaments for some illustrative touches to complement the text. The fact that these all come included in the font families makes it super easy to do.
We’ll be working in this bit of space remaining below the method:
Create a new group called ‘Cocktail Illustrations’ to keep the layers together.
To get the image of a tall glass and straw, type:
h (lowercase): Four Seasons Dingbat, #FDC689, 75pt
For the blue arrow, type the following:
M (uppercase): Microbrew Ornaments, #9CE2E6, 75pt
Position it so that it points from the phrase “Cola to top up” to the glass, which links the two sections and adds an extra instructional aspect, as well as a decorative one.
We’ll now add the the lemon wedge and mint leaves, as mentioned in the ingredients. To get these, type the following on their own layers:
4 (lemon base colour): Showcase Ornaments, #FFF586 , 24pt
z (lemon outline): Showcase Ornaments, #FDC689, 24pt
d (mint leaf): Showcase Ornaments, #8DC63F, 25pt
Duplicate the mint leaf layer, then flip it horizontally via Edit > Transform. Then resize it using the Transform tool, and adjust the angles of the other items so they look similar to the image below:
To get the more abstract mint/lemon image above the glass, type the following:
W (uppercase): D.I.Y Time Dingbats, #8DC63F, 87pt
Use the transform tool to adjust the angle so it’s similar to below:
Duplicate the layer, changing the font colour to #FFF586. Use a layer mask to hide the two smaller parts, so that the green version from below shows through.
Finally, we’ll add another banner to balance the one at the top of the ingredients section.
To do this, type:
e (lowercase): Microbrew Banners, #FFFFFF, 78pt
Position it so that it’s roughly central:
To create the cutout heart, we’ll use the same masking technique as we did in Step 5.
For the heart, type:
S (uppercase): D.I.Y Time Dingbats, #000000, 24pt
Use the Magic Wand tool to select anywhere that isn’t black, then activate the layer below (the banner) and create a layer mask.
Hide the original text/heart layer to see the effect:
Feel free to mock up the design as a finishing touch:
And we’re done!
It’s been a font adventure, and I hope you had fun following this tutorial as well as getting a better idea of just how much is available in this bundle to fuel your creativity.
Perhaps you could some to create your own invites to a summer BBQ or cocktail party?
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