Simply use a thick stroke as opposed to a shape, and apply a gradient to the stroke.
You can expand the gradient stroke afterwards, resulting in a gradient mesh object.
You can also stack multiple strokes via the Appearance Panel to add additional gradients. Here I've added a second stroke with a gradient to indicate shadowing on the lower portion...
I am naming these chapters starting with V as the second part of this post.
Chapter V. Illustration
One thing that I was considering on my other answer on this same question is the premise that Illustration has an artistic interpretation that can or can not correspond to reality. That is a strong point of using an illustration over a real photo, or in this ...
That looks like rust or dirt to me. And the style is grunge. I think what you're after. I'm pretty sure there're lots of video tuts how to make it. I'd search a b&w background pict and change to desired colour.
Look at images of real gold! I mean sure you can try to solve this issue with plain thinking. But truth is, gold has a very special reflective behavior.
The trick to gold is that its reflection is actually red in color, especially apparent in inter gold reflections (see above and this stock image). But be careful, not very many people can afford to have a ...
In the effects menu, select "Document Raster Effect Settings," and set the resolution to 300DPI. This should take care of the graininess, though I'm not sure if it will create a convincing glitter texture without some extra processing. You won't get the clumping and highlights like you see in your sample from Figma.
I would recommend generating a large ...
You have used something like "gold gradient" It's especially unrealistic if it's used on several surfaces. You should notice that polished gold is like a mirror, only a colored one and generally so non-planar that the image is extremely distorted.If there's bright lights, they should be seen at least on some rounded edges.
Color of gold:
That depends on ...
For me.. Gold has always been about using the proper palette for colors and then layering gradients on top of each other.
Too often people see "gold" as being strictly yellow when in reality the ore has a range of colors from yellows to browns and oranges. The more contaminated the ore is, the more brown it can get. Then throw in shadows and tonal changes ...
Better I think to use images that have been photographed perpendicular to the textured surface being photographed. By perpendicular I mean at right angles to the textured surface.
Here's how to set up a camera like that:
Also you will need to use a camera with a lens that doesn't distort the image, specifically not a phone camera which has a wide angle ...
At first: I do not have your 3D programs, only some simple to use freebies and low cost entry level stuff.
Check, if you can get acceptable result with simple non-photorealistic shading, select a grey color and define it be matt, not glossy:
Adjust rendering settings for good contrast.
You can add coarseness by placing a thin noisy image on the surface:
I believe the result you're looking for can be achieved with Lighting effects.
Following your steps up to the RGB noise, and then navigating to
Filters > Light and Shadow > Lighting effects
Within that menu turn on the Bump Map, then edit the material settings to your liking.
This quick mockup was made with Bump Mapping set to a Linear curve and Maximum ...
Import the SVG paths into JOSM to create a geocoded file format as follows:
Download JOSM (Java OpenStreetMap Editor)
Run JOSM: java -jar josm-latest.jar
Click Edit > Preferences
Click Plugins icon (socket and plug)
Search for importvec
Click Restart when prompted
Click File > New Layer
ABOUT THE PROBLEM: The problem is mathematically exact, but visually it is not as well defined. That's because the subjective colorfulness depend in a complex way on RGB hue, saturation and brightness. Photoshop's HSB system set B=the highest one of the RGB components/255, so the apparent brightness of full white is much bigger than say max bright red. Still ...
If the things to move are each on their own layer (use the selection to copy/paste them to a new layer if not), then you can chain-link the layers, and move one of them, which will make the other ones move the same way.
It's like some color lights seen as reflected by a little worn aluminium foil paper or cardboard. Here's at first an attempt to synthesize something resembling:
For a start paint some colors which together fill a layer totally:
Then apply a heavy Gaussian blur:
As you see the blurring reduces fully black, white and all original color areas, have them as ...
Photoshop has a Grain Texture filter, and a Hue/Saturation adjustment which can also be used to colourize an image like that.
Filter > Texture > Grain - there are various types of grain which you can experiment with
Select the image layer in the layers panel, and hit the Layer Adjustment icon (looks like a circular half-moon). Choose Hue/Saturation - select ...
Illustrator gets easily overloaded if you have something this complex as vectors. Every grain must be an object. You may create them with sprayers, scatter brushes and by tracing raster images which contain noise, but finally you still have 100000 objects instead of a few megapixel bitmap image.Try at first to make the textures in Photoshop. If you have ...
I would suggest you don't use an effect in Illustrator for this, nor use Illustrator to create the texture itself.
Instead, find a good quality high resolution raster image of a nice glitter texture you like. Or alternatively make your own from scratch, using Photoshop or some other raster image editor.
Copy and paste it, or place it in Illustrator, and ...
Not sure if there's a plugin for Illustrator to automate it, however it can be done manually. It's a little repetitive, but doable.
Create a grid of equilateral triangles with a thin stroke and no fill, select all, and turn them into a Live Paint object.
Blur a colourful raster image in Photoshop using the Gaussian blur filter.
Place the raster image in ...
I've not used Maya since about version 5, having moved over to modo years ago for most of my heavy 3D work, but I am 100% certain you can bake textures there without trouble.
I can tell you how I'd do that in modo, and hopefully there's enough which is at least concept transferrable that it will give you a direction to investigate in Maya's documentation - ...
Given you mention textures coming from Substance Designer, one assumes you're targeting either a PBR workflow or a PBR-like stylized workflow - you might be in your own engine or in a custom forward renderer built into an existing engine - but for the sake of this answer I will assume use of the engine with which I am personally most familiar: Unity.
The basic paper texture can be made using a layer above with any paper-like texture as a grey (rgb 128 128 128), and then set the layer blend to "difference" with a low opacity.
The fuzzy edges from ink bleed, you might try using "color range" selection with a high fuzziness on the ink, dupe that to its own layer directly above the drawing layer and then ...
This is similar to the answer give by Bestorio, in that I've also used the Lighting Effects filter, but with some differences.
Here I applied correlated RGB noise to a 50% grey layer above a red filled layer, with the blending mode of the noise layer set to hard light, then I scaled the noise layer to make the particles bigger, then created a new layer from ...
There are two things:
One is color halftone - a filter that simulate result of printing where each color dots are far enough to be separated with a naked eye yet close enough to make the picture readable.
Second is overprinting (¡es bueno!) an effect that show itself when there is no "knockout" under certain color/objects and the opaque paint is printed ...
As already mentioned by user287001 The fix for existing shots is to attempt some guesswork with either Transform > Perspective, or Perspective Crop.
For this type of texture it's not vital to get the image exactly perpendicular to the ground, but when you come to doing more exacting surfaces, there are a couple of things you can try.
Bricks or paving ...
Correction so that it begins to seem to be photographed straight downwards - that does not exist except shooting a new photo. That's because nobody knows what's hidden behind the objects. If the pieces seem to be a little smaller on the top than in the bottom due the distance difference, that can be corrected by selecting all and applying Edit > Transform > ...
I guess you want to deform the existing eyebrow image so that it fits inside your other image that you call UV layout.
Put one eyebrow to another layer of the same image as your UV layout. Scale and rotate the eyebrow as near as possible with the Transform tool:
Use Cage Transformation or Warping (=submodes of the Transform tool) to stretch and bend the ...
Of course you can add textures by merging images. There probably are tutorials, but it's not really difficult to imagine how it could be done.
A fairly simple method:
Find or take a photo of real lips
Create a texture by using the high pass filter
Erase everything except the lips
Scale and position the texture over the lips
Set the layer blending mode to ...