18 Useful Kits for Designers

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Many designers think that they have to design everything themselves from scratch — but there’s nothing wrong with using elements that other designers have made available for use, so long as you adhere to the terms on which they were made available. Below we’ve compiled 18 great resources including UI kits and icon collections for your convenience.

Electric UI Kit

Tron UI Kit

Simple UI Elements

Dark Neon UI Kit

Moonify UI

Pixel UI Icon Set

Chat UI PSD

Light UI PSD

Glyph UI Icon Set

iPhone 4 GUI PSD

iOS 5 GUI PSD

Cloudy UI Kit

Mass Web UI and Button Set

UI Element Set

Stylish Progress Bar

Simple UI Elements

UI Resource

Lion OS X UI Kit PSD

Blue and White GUI Kit

Did we miss your favorite? Tell us about it in the comments!

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Adobe Illustrator Tutorial: Create a Printer Illustration

In the following Adobe Illustrator tutorial you will learn how to create a detailed printer illustration. We’ll start with two simple rectangles and some basic vector shape building techniques. Once we have our starting shapes we’ll continue with some Pathfinder options, a bunch of complex linear gradients and some simple effects. For the highlights we’ll use some simple blending techniques along with some new effects and pixel perfect vector shape building techniques.

Final Image

As always, this is the final image that we’ll be creating:

Step 1

Hit Control + N to create a new document. Enter 600 in the width and height box then click on the Advanced button. Select RGB, Screen (72ppi) and make sure that the "Align New Objects to Pixel Grid" box is unchecked before you click OK. Now, turn on the Grid (View > Grid) and the Snap to Grid (View > Snap to Grid). Next, you’ll need a grid every 5px.

Go to Edit > Preferences > Guides & Grid, enter 5 in the Gridline every box and 1 in the Subdivisions box. You can also open the Info panel (Window > Info) for a live preview with the size and position of your shapes. Do not forget to set the unit of measurement to pixels from Edit > Preferences > Unit > General. All these options will significantly increase your work speed.

Step 2

Pick the Rectangle Tool(M) and create a 350 by 160px shape. Fill it with a random color, make sure that it has no color set for the stroke and go to Object > Path > Add Anchor Points. Keep this new shape selected and switch to the Direction Selection Tool(A). Select the middle, left and middle, right anchor points (highlighted in the second image) and simply drag them 25px up. The Snap to Grid will ease your work.

Step 3

Keep focusing on the shape created in the previous step and continue with the Direct Selection Tool(A). Select the top, left anchor point and move it 20px to the right then select the top, right anchor point and move it 20px to the left. Move down, select the bottom, left anchor point and move it 5px to the right then select the bottom, right anchor point and move it 5px to the left. In the end your shape should look like in the second image. Make sure that it’s still selected and go to Effect > Stylize > Rounded Corners. Enter a 5px radius, click OK and go to Object > Expand Appearance.

Step 4

Pick the Rectangle Tool(M), create a 360 by 5px shape and place it as shown in the first image. Select it along with the shape created in the previous step and duplicate them (Control + C > Control + F). Select these copies, open the Pathfinder panel (Window > Pathfinder) and click on the Intersect button. Fill the resulting shape with the linear gradient shown in the final image. The white numbers from the gradient image stand for location percentage.

Step 5

Reselect the original thin rectangle created in the previous step along with the large shape created in the starting steps and click on the Minus Front button from the Pathfinder panel. Move to the Layers panel (Window > Layers) and you will find a new group with two separate shapes. Select it and ungroup it (Shift + Control + G). Focus on the bottom shape, select it and fill it with the linear gradient shown in the final image.

Step 6

Disable the Snap to Grid (View > Snap to Grid) then go to Edit > Preferences > General and make sure that the Keyboard Increment is set at 1px. Reselect the shape edited in the finale of the previous step and make two copies in front (Control + C > Control + F > Control + F). Select the top copy and hit the down arrow once (to move it 1px down). Reselect both copies and click on the Minus Front button from the Pathfinder panel. Fill the resulting shape with black.

Step 7

Reselect the shape edited in the finale of the fifth step and go to Object > Path > Offset Path. Enter a -2px Offset and click OK. Duplicate the resulting shape (Control + C > Control + F). Select this copy and move it 2px down. Reselect both shapes created in this step and click on the Minus Front button from the Pathfinder panel. Fill the resulting shape with R=166 G=169 B=174, lower its opacity to 50% and go to Effect > Blur > Gaussian Blur. Enter a 2px radius and click OK.

Step 8

Once again, select the shape edited in the finale of the fifth step and make two copies in front (Control + C > Control + F > Control + F). Select the top copy and move it 3px up. Reselect both copies and click on the Minus Front button from the Pathfinder panel. Fill the resulting shape with R=23 G=37 B=52.

Step 9

Move to the top shape created in the fifth step. Select it and fill it with the linear gradient shown in the following image.

Step 10

Reselect the shape edited in the previous step and make two copies in front (Control + C > Control + F > Control + F). Select the top copy and move it 1px down and to the right. Reselect both copies and click on the Minus Front button from the Pathfinder panel. Fill the resulting shape with a random color, for now.

Step 11

Reselect the shape edited in the ninth step and make two new copies in front (Control + C > Control + F > Control + F). Select the top copy and move it 1px down and to the left. Reselect both copies and click on the Minus Front button from the Pathfinder panel. Again, fill the resulting shape with a random color.

Step 12

Reselect the two shapes created in the last two steps and click on the Unite button from the Pathfinder panel. Fill the resulting shape with the linear gradient shown in the following image.

Step 13

Reselect the shape edited in the ninth step and make two copies in front (Control + C > Control + F > Control + F). Select the top copy and move it 1px up. Reselect both copies and click on the Minus Front button from the Pathfinder panel. Fill the resulting shape with R=244 G=244 B=244.

Step 14

Enable the Snap to Grid (View > Snap to Grid). Pick the Rectangle Tool(M), create a 190 by 30px shape, fill it with black and place it as shown in the first image. Switch to the Direct Selection Tool(A) and focus on this new shape. Select the top, left anchor point and move it 10px to the right then select the top, right anchor point and move it 10px to the left.

In the end your shape should look like a trapezoid (image #2). Select it and go to Effect > Stylize > Rounded Corners. Enter a 5px radius, click OK and go to Object > Expand Appearance.

Step 15

Reselect the shape edited in the ninth step and make a copy in front (Control + C > Control + F). Select it along with the shape created in the previous step and click on the Intersect button from the Pathfinder panel.

Step 16

Disable the Snap to Grid (View > Snap to Grid). Reselect the shape created in the previous step and make two copies in front (Control + C > Control + F > Control + F). Select the top copy and move it 1px down. Reselect both copies and click on the Minus Front button from the Pathfinder panel. Fill the resulting shape with the linear gradient shown in the final image.

Step 17

Reselect the shape created in the fifteenth step and make two new copies in front (Control + C > Control + F > Control + F). Select the top copy and move it 7px down. Reselect both copies and click on the Minus Front button from the Pathfinder panel. Fill the resulting shape with the linear gradient shown in the final image.

Step 18

Reselect the shape created in the fifteenth step and go to Effect > Stylize > Drop Shadow. Enter the properties shown in the left window, click OK and go again to Effect > Stylize > Drop Shadow. Enter the properties shown in the right window and click OK.

Step 19

Enable the Snap to Grid (View > Snap to Grid). Pick the Rectangle Tool(M), create a 140 by 150px shape, fill it with the linear gradient shown below and place it as shown in the following image.

Step 20

Disable the Snap to Grid (View > Snap to Grid). Reselect the shape created in the previous step and go to Object > Path > Offset Path. Enter a -1px Offset and click OK. Duplicate the resulting shape (Control + C > Control + F). Select this copy and move it 1px down. Reselect both shape created in this step and click on the Minus Front button from the Pathfinder panel. Fill the resulting shape with R=250 G=250 B=250.

Step 21

Reselect the shape created in the nineteenth step and make two copies in front (Control + C > Control + F > Control + F). Select the top copy and move it 5px up. Reselect both copies and click on the Minus Front button from the Pathfinder panel. Fill the resulting shape with black and lower its opacity to 3%.

Step 22

Enable the Snap to Grid (View > Snap to Grid). Pick the Rectangle Tool(M), create a 230 by 85px shape, fill it with the linear gradient shown below and place it as shown in the first image. Switch to the Direct Selection Tool(A), select the bottom, left anchor point and move it 5px to the right then select the bottom, right anchor point and move it 5px to the left.

Make sure that this new shape is selected and go to Effect > Stylize > Rounded Corners. Enter a 5px radius, click OK and go to Object > Expand Appearance. Finally, select the resulting shape and go to Effect > Stylize > Inner Glow. Enter the data shown in the final image and click OK.

Step 23

Pick the Rectangle Tool(M), create a 170 by 45px shape, fill it with the linear gradient shown below and place it as shown in the following image. Select it and go to Effect > Stylize > Inner Glow. Enter the properties shown below, click OK and go to Effect Stylize > Drop Shadow. Again, enter the data shown in the following image and click OK.

More on Page Two

That is only half the chore, there is still more tutorial to work through on page two.

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Tips And Tricks: Increase The Realism Of Your Vector Images In Adobe Illustrator

Over the years, Adobe Illustrator has become one of the top applications for creating vector illustrations. There is almost nothing you can’t make in Illustrator. It is a powerful tool for creating vectors for all kind of logos, websites, icons, business cards, print materials, etc. One of the best features of the vector format is its ability to scale up or down to any size without any loss in quality (unlike raster illustrations).

But let’s not forget that Adobe Illustrator is complex software. Despite all of its advantages, Illustrator demands a lot of skill, work, time and patience. The software will not generate effects automatically; excellent effects are the result of trying and testing different settings. Trial and error is an effective method in achieving the desired result. Creating realistic vector illustrations in Adobe Illustrator can be fun, but it can also give you a headache if you can tell something’s missing from an illustration but don’t know how to get it.

Here is a list of things to consider when creating stunning vector illustrations:

• Perspective,
• Smooth lines,
• Colors,
• Edge highlights,
• Reflections,
• Shadows.

Stick To Perspective

When it comes to drawing realistic vector illustrations, perspective is paramount in importance. If you ignore perspective, the illustration will look flat and distorted and lack depth.

The most important aspects of perspective are size and distance. The farther away an object is, the smaller it will appear, and vice versa. By increasing and decreasing size in this way, you can achieve good depth in your illustrations.

There are a several methods of drawing perspective.

Perspective Grid

One very useful way is to use a perspective grid, which is a new feature in Illustrator CS5. Establishing a horizon and the vanishing point is part of this. The perspective grid in Illustrator is an editable tool, so it can be adapted to suit one’s purpose. You can change the perspective simply by dragging the corner nodes of the grid. You can make the vanishing point longer or shorter and change the number of boxes in the grid. Being able to adapt the working environment to your needs will make it easy for you to do advanced drawings.

Extrude and Bevel

Some people have trouble seeing and presenting perspective in the first place. In this case, I would recommend “Extrude and Bevel,” which is a convenient tool for creating 3-D objects. You can set a value for “Perspective” in the “Extrude and Bevel” options box (either type in a value or drag the slider over). Expanding an object will make it editable. Because the Extrude and Bevel effect gives you an object with many parts and anchor points, it is highly recommended that you use that object as the reference for tracing with the Pen tool (P). This way, you’ll create clean and simple vector illustrations without any unwanted parts or any anchor points that are an obstacle in the printing process.

If you have imagination and some skill, you will be able to draw an illustration based on an estimation of perspective. Of course, this method is not quite precise.

But adding perspective alone is obviously not enough to create stunning artwork.

Using The Pen Tool For Smoother Lines

Creating shapes in Illustrator shouldn’t be complicated. To draw paths and curves, either use the Pen tool (P) or simply combine objects with Pathfinder features such as “Unite,” “Minus Front,” “Subtract,” “Intersect,” etc. Because the paths contain numerous anchor points, you will have to adjust them to create smooth lines. Anchor points are highly editable and can be adjusted with a few excellent tools. You can change the position of the path just by editing one anchor point. This takes a lot of practice; you’ll need a steady hand and patience.

Live tracing is one effective way to create vector illustrations. Try to complete a drawing with as few anchor points as possible; avoid adding anchor points at shorter intervals just to maintain the smoothness. To get smooth lines, make sure that the handle of the anchor point forms a tangent on the curve (i.e. inner or outer tangent). You can always add or remove anchor points by going to the “Add Anchor Point” (+) and “Delete Anchor Point” tools (-).

“Convert Anchor Point” (Shift + C) allows you to make changes on the anchor points themselves. With this amazing tool, you will be able to change the angle of the handle, thus enabling you to change the path of the lines. Whereas adjusting just one side of the handle will result in an angular shape.

Coloring

This part of the creative process is quite fun, but still demanding. Choosing the right colors can be a challenge. First, you have to determine what style you want. Gentle and pastel colors might work for retro illustrations, which would be rather simple and two-dimensional.

If you want to get photo-realistic, you might want more vivid colors. Good contrast can make the artwork stunning. If you don’t know how to mix and match colors, Adobe has a great website with color swatches and beautiful combinations.

There is also a swatch library in Adobe Illustrator, where you can find a lot of useful swatches and even create your own and save for future projects.

Gradients

When it comes to coloring, applying linear and radial gradients is the best way to show light sources and to give depth to your artwork. Establishing the position and angle of the light source is the first step in the coloring process. Shadows and highlights should be added according to the source of the light. Dark colors will simulate shadows and shade, while light colors will create highlights.

Besides creating shadows and highlights, gradients are the great way to simulate shape. Using color, you can give volume to an object or character. Use as many colors as you’d like to build a gradient, but just blend them well; otherwise, you’ll end up with harsh color transitions. If you tend to blend colors effectively, then try out the different “Blending Modes,” such as “Multiply,” “Overlay,” “Screen” and “Light.”

Linear gradients are mostly used to present a plane. Radial gradients are suited to ovals and round shapes.

Transitions between colors in gradients can be smooth or sharp. Smooth transitions are convenient for representing shade, shapes and forms. Sharp transitions are good for simulating gold, steel, chrome and other metals (i.e. for representing the reflection of light on these metals).

Gradient Mesh Tool

Because gradients are limited to linear and radial shapes, we sometimes have to find ways to use gradients in unconventional ways. Creating a gradient for an irregular shape is complex, because it involves blending colors between uneven forms with the use of linear and radial gradients. This can be a lot of work, but the Gradient Mesh tool is handy for this purpose.

The Gradient Mesh tool is a powerful tool that enables you to split up any part of an object by adding editable points and applying solid colors to those points. This way, you are able to create a gradient that follows the actual shape of the illustration.

While gradients make illustrations more realistic, there is always room for improvement. A great illustration is made up of many well-integrated details. Mixing and matching colors and shapes is not easy, but it does lead to a beautiful result.

Highlighting The Edges

When you are done with the gradients, your illustration should be ready for some nice edges. There are a few ways to create them. If your illustration has straight edges, the best way to highlight them is with the Pen tool (P). This enables you to create simple shapes that can be blended (via gradients) with the rest of the illustration. Or you can create a sharp white edge and turn it into the reflection using a low-opacity setting. Either way, you will be emphasizing the shape of the object.

Creating a highlight for curves is not much different. The most important thing is to make the shape of the highlight follow the shape of the object. The Pathfinder panel has a lot of features for creating curved highlights; doing it with the Pen tool alone would be tricky.

Reflections

Besides edge highlights and shade, light sources can create many reflections and shadows. Take a good look around you and you’ll see all kinds of reflections: on glass, plastic, wood, metal, clay, even in liquid. Reflections come in various forms. The most important thing, again, is to follow the shape of the object. For those skilled with the Pen tool, curved highlights shouldn’t be a problem. If you are unsure how to draw highlights with the Pen tool, try combining different shapes in the Pathfinder panel.

Even though the most common color for reflections is white, with reduced opacity, try out different color combinations.

Highlights are useful for showing off the material of an object. With a careful color combination and reflections in the right places, you can simulate the look of a surface quite well. The result is a nice illustration with a glossy surface.

The Final Touch: Shadows

The main purpose of a shadow is to create an illusion of three-dimensionality. Without shadows, the illustration is not really complete. The shadow “defines” the illustration in a way. Like reflections, shadows are created by the influence of light sources. The intensity or softness of the shadow depends on the distance between the object and the light source. A light source above an object will cover almost the entire object. Uncovered parts of the object will cast shadows on surfaces below and on objects nearby.

You can create a shadow with a solid color (for a sharp shadow) or with a linear or radial gradient (for a soft shadow).

If your object is complex, the best way to create a shadow that follows the entire shape of the object is to use the Blending tool.

There is one rule about the Blending tool, and that is to create two objects or paths with the exact same number of anchor points. This way, you ensure that every anchor point on one object (or path) has a corresponding anchor point on the other object (or path). The result will be a shadow with nice color transition.

Summary

Although there are just six rules to follow, there is the danger of too much detail. Try not to exaggerate the details, or else the illustration could look messy and overcrowded.

Light is your greatest ally. It will lead you through the whole creation process, connecting the different parts of the illustration and making them come alive.

Just keep the illustration simple and clean to minimize mistakes.

(al)(rb)

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Freebie: Free Vector Web Icons (91 Icons)

Download the Set for Free!

This freebie offers vectors, all scalable, Adobe Photoshop PSDs as well as Fireworks PNGs. The icon set is completely free to use for commercial or personal applications without any restrictions. Please link to this article if you want to spread the word.

• large preview
• download the free icon set (.zip, 3,4 Mb)

Behind the Design

As always, here are some insights from the designers:

“For us, the end of the year usually brings some precious time to reflect on our work and how our love for design remains relevant to the user interface design community. Our revelation this year is that clean, pixel perfect vector icons have become immensely important to our work. This means we typically spend the extra time to develop the icons that fit the specific need of the job at hand. As you can imagine, this ‘extra’ time takes considerable effort — effort that is often not a part of a clients’ original scope of work.

These holidays, we decided that the best gift we could offer our friends and colleagues is free access to some of our favorite custom UI icons. They are available in Adobe Photoshop PSDs, and for our really special friends, Fireworks PNGs. All vector, all scalable, all free to use for commercial or personal applications. Stay tuned for more in 2012!”

Thank you, Tomas Gajar and August Interactive. We appreciate your work and your good intentions!

(il) (vf)

© Smashing Editorial for Smashing Magazine, 2011.

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Transportes en vectores

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