Presentation
Hello! Welcome. This time, we'll cover the principles we need to make our own digital and printable card designs, from dimensions to printing and assembling. Without further ado...
Let's get started!! (o･ω･o)
Note: This tutorial will be long, so I'll try to separate each point so that it's easy to locate in the index. I hope you'll stick around until the end (⌒‿⌒).
0. Materials
In this tutorial I will cover the design of digital and printable cards (pop up).
This tutorial will be done with the tablet interface because I am using a brand new tablet and what better way to test it than using Clip Studio!
For the printed part, the materials used are:
• Sheets with a higher weight to print the designs. They have to be thick sheets so that the mechanism can withstand it (in my case I used 225 gram sheets). We will print the designs on them.
• Glue.
• Scissors.
• A cutter (optional).
In this tutorial we will create two types of printable cards:
1. Prepare the file
Let's start by determining the dimensions of the canvas. There are a number of measurements we can take for this type of card. The following is a table of conventional measurements that we can use as a reference.
• A5: The size of this type is usually 14.8 x 21 cm (148 x 210 mm).
• A6: A versatile size for this type of purpose. Its measurements are: 10.5 x 14.8 cm (105 x 148 mm).
- PRINTABLE DESIGNS -
For this type of cards we will use the following settings:
(1) For this project we will open the fourth file: Show all comic settings.
(2) In unit we will change to cm.
(3) Here we have the total size of the canvas and the vertical or horizontal orientation. In my case I will use a horizontal orientation.
(4) As for resolution, we have that files with more than 300 dpi are ideal for printing and 72 for digital files.
(5) With expression color we have two: Color and monochrome. We will use the color option.
(6) Here we can choose the dimensions, in my case I chose an A5 format.
(7) The bleed width is normally set between 3 and 5 mm, that will depend on the printing standards. In my case I will use one of 0.50.
(8) The internal dimension of the file that will not be cropped.
These last three options affect the canvas in the following way:
PURPLE: This is the bleed area, therefore it must be cut after printing.
PINK: Final area of the cut, inside must be the important elements.
- DIGITAL DESIGNS -
For digital designs, the configuration is simpler:
➀ We create a normal work (illustration).
➁ I will leave the unit at px.
➂ From the drop-down menu, there are several options that will depend on each one, but I recommend: B5 or Postcard.
➃ As for the resolution, as I explained before 72 dpi is good for digital environments.
- SCREEN RESOLUTION -
It is important to match the canvas measurements with the final dimensions, to do this we can configure the screen resolution.
➀ We will go to: File (In the tablet version you have to click on the CSP icon in the upper left corner) > Preferences.
➁ Now, in the window you have to go to the section: Canvas > Screen resolution > Settings.
➂ In the new window a rule will be displayed that we will have to match with a trusted physical rule.
- COLOR CONFIGURATION -
There is some debate about which color mode is best. There are two models RGB (which is the default in CLIP STUDIO PAINT) and CMYK. Using one or the other will depend on personal or business preference.
Note: This is just an approximation to something more professional in terms of printing, therefore it is something that can be skipped.
To preview between these two there is a tool within the program that will allow us to do so.
➀ First we will go to: View > Color Profile > Preview Settings.
➁ In “Preview Profile” we change to the most appropriate one for CMYK.
➂ Finally we click OK.
This is just a preview, colors may vary when printing.
➃ To activate and deactivate the preview between RGB and CMYK, go to: View > Color Profile > Preview.
2. Typographic designs
Typography is an important element in this type of design, so we have to learn how to use typography.
- Text Tool -
Let's start by learning the basic editing features of the text tool. In this tutorial we won't pay much attention to the full details of the tool's functionality, so I'm leaving a tutorial below where I talk in more detail about the settings.
And in this other tutorial you can find more examples of fonts that you can create with CSP tools.
- TEXT -
We can find this tool in the tool palette (icon with the letter “A”) or using the keyboard shortcut “T”. In the Tool Properties window we will find all the settings.
Once the tool is activated, just click on any part of the canvas to start typing. To edit again, once again choose the text tool and click on the letters or characters.
In addition, the text box can be moved by clicking on the edge of the line, rotated using the control point at the top, and finally using the box handles to change the size of the text.
Shortcut: SHIFT maintains the proportion.
- STYLE -
As for the styles we have: Bold, italics, underline and strikethrough. By selecting a word, letter or the entire text we can apply the effect.
- ADD SOURCES -
Clip Studio has some fonts, but if we want to use more eccentric ones we will have to add them.
When we display the list of fonts, we will find at the end the option: Add font. Here, as its name indicates, new fonts are added; we click on the option, the file search window will open where we will choose the ZIP/RAR/TTF/OTF package that contains our font, and we click OK.
A message will appear allowing us to save it in the cloud. If you find it convenient, click Accept, otherwise, just click Close.
And that's it, now we can have decorated fonts.
Important: When you download a font, remember to read and save the license to use it, to avoid legal problems.
- SPACING -
Spacing refers to the separation between letters or characters. Letters that are too close together or too far apart make reading difficult, but these two characteristics are useful for adding dynamism to the text, giving it a fresh air. To edit these characteristics in CLIP STUDIO PAINT, do the following:
➀ Go to “Subtool Detail”, which will be visible by clicking on the wrench at the bottom right of the “Tool Properties” window. In this window, you will find more functions that are not visible in the Tool Properties window.
➁ In the “Font” section, you will find two options: Space between characters and narrowing. You can control the degree of separation with the sliders.
Let's start now by learning some extra effects that can be given to fonts.
(A) Watercolor
Once the text is set, we will convert the layer into a raster layer. To do this, we will hold down the layer in the tablet version (for the desktop version, right-click). In the menu, choose the option “Rasterize”.
Note: Text layers cannot be edited or drawn on.
In the layer window we will activate “Lock transparent pixels”, this allows us to paint without leaving the area. Then, with a brush and pure white we will paint over the letters.
Now choosing a watercolor brush and using black we will paint over it in an irregular way so that the letters acquire the texture of the brush.
Then we activate the “Layer Mask” function (1), a white thumbnail will appear that we must select (2).
We choose the “Droplets” brush found in the airbrush section and with the “Transparency” option selected (located between the main and secondary color in the lower right corner of the color wheel) we will begin to paint over the text. This will create the effect of uneven ink.
Now, we choose the black color and a hard brush (like the G nib), keeping the layer mask thumbnail selected, we paint some areas of the letters just to make the excess dots that could have remained from the previous step disappear.
We hold down the mask thumbnail and a menu will appear where we will choose the option “Apply mask to layer”.
In: Edit we choose “Convert luminosity to opacity”. This option allows you to add color to the letters.
With the airbrush we will paint with one or several colors.
In the “Layer Properties” window we choose: Edge Effect > Watercolor Effect. We modify the area, opacity and blur width parameters until we like the result.
- Paper texture -
➀ To give it a more realistic effect we will add a texture from: Materials > Downloads > Monochromatic Pattern > Texture.**
➁ With the new layer created by the pattern selected, we will go to the window: Layer Properties. In the panel we will click on the option «Overlay texture» and lower the «Strength» to a range that we like.
➂ Now, on a layer below we will paint the edges of the canvas with the airbrush and a light yellowish color.
Ready, we now have the watercolor effect on paper.
(B) Patterns
To create this effect, it's as easy as:
➀ Add a pattern above the letter layer.
➁ Then you have to activate the option: Dock to lower layer found in the layer window.
We can get the patterns in the materials library or by importing them to the canvas from a personal file (this is done from: File> Import > Device storage. This is on the tablet).
Ready, we can have an endless number of textures on the letters.
(C) Colors
For colored letters it is as easy as selecting letter by letter with the "Selection" tool and painting with the Paint Bucket found in the selection tool's floating menu.
(D) Should
In the Tool Properties we find the option: Border. When activated, a bar will appear where we can choose the thickness and color of the border.
If this option is not activated, we can activate it by clicking on the wrench located at the bottom right. A window will open where we will go to "Text" once there we will click on the border and border color boxes. Ready, now these two options will appear in the main window.
(E) Hollow
Since version 3.0 of the program, making hollow fonts has become much easier. Let's see how to make them following the following simple example:
➀ Let's start by duplicating the text layer 3 times.
➁ We will number them as follows, from top to bottom we will number them from 1 to 3.
➂ We will convert layers two and three to a raster layer, then we will hide them.
- Hollow typography -
➃ Now, we will select the first layer (text layer) and go to the properties of the text tool, there, in the section “Strong,” if we display the menu we will find the option “Hollow with outline,” this option allows us to choose between two styles: Thin and Bold. In my case I chose bold. Ready, we now have a hollow typography.
Note: The resulting line will be very thin and with light colors it will be lost, but we will improve this in the next step.
- Line thickness -
➄ To change the thickness of the line we will have to go once again to the “Tool Properties” window. There we activate the “Border” option (this function was already discussed in a previous section).
➅ Now we have to change the color of the border to the same as the line, to do this we have to click on the “Border color” color box, a window will appear where we have several options to choose the color, in my case I chose it from the “Color history” window.
➆ Done, with the slider we can modulate the thickness of the line just as seen in the following GIF.
To continue with the design of our example we will do the following:
➀ We will activate layer number two and with the Transform tool (CTRL plus T or from Edit > Transform) we will move the layer in such a way that we offset it from the hollow letters.
➁ We click OK and deactivate this layer.
➂ We activate layer number three.
➃ We will activate the keyboard shortcut CTRL (1) and click on layer number three right by the thumbnail (2). This will automatically select the edge of what is contained in the layer.
➄ Now we click on the option “Invert selection” (3) found in the floating bar of the selection tool.
➅ We deactivate the CTRL key and activate layer number two, having this layer selected we click on the option “Delete” (sixth option in the floating selection menu). This is done in order to erase the area that was left protruding when moving the typography in the previous steps.
➆ We deactivate or delete layer number three and that's it.
(F) Other modifications
Simple shadow: To create this effect, duplicate the font layer and paint it with a color that contrasts with the original layer. This copy must be placed below the original and offset in the desired direction using the “Transform” tool.
Separating the characters into different layers and superimposing them on each other gives a playful effect.
Having some elements on top of each other makes the composition look less rigid.
DIFUSE SHADOW: Following this same process, you can create a shadow effect behind the letters. The additional step will be to apply a blur filter to the layer behind them. I recommend using the “Gaussian blur” found in the following path: Filter > Blur > Gaussian blur. You can also lower the opacity so that it is not such a deep shadow.
NOTE: You need to disable the “Lock transparent pixels” option to be able to use the blur.
PROJECTED SHADOW: To make this shadow it is necessary to use the tool: Selection > Polyline. The trick in all this is to use the SHIFT key that will allow you to make lines at 45° angles, with this we can create the angular shape.
Let's see some tricks that will help us modify several fonts at the same time.
SEVERAL TEXT LAYERS: If we have several text layers, they can be grouped into one with the “Merge with lower layer” icon. This layer can contain many text boxes that can be modified independently. If we want to select several texts at the same time, we must activate the option: “Select text”, this function is found in the “Drag” section (Deactivate this option, once finished, recreate the text box to avoid dragging.).
NOTE: If one of the merged layers is not a text type, the result of the merger will be a raster layer.
Modifying multiple layers at once: We must change the “Apply to” setting in the tool properties palette from: “New only” to “Selected text”.
(G Transformations
Not all texts have to be in front, we can also fit them in different spaces for different perspectives. Here I will discuss some transformations.
- PERSPECTIVE -
To place a text in perspective, follow these steps:
➀ Convert the layer to raster.
➁ With the layer selected, go to: Edit > Transform > Free transformation, perspective, distort or tilt. Now you have to move the nodes of the box in the direction of the perspective you want to obtain.
There are different transformation tools that allow us to position the text at multiple angles, it is just a matter of trying.
To have a better perspective, I recommend using guide lines. In this case, I used a structure that helped me fit the text together.
- MESH TRANSFORMATION -
Bending text or placing it in an odd position is easy. With the layer selected, go to: Edit > Transform > Mesh Transform.
A mesh will appear with a series of nodes; these nodes can be moved to the desired position.
- CIRCULAR TEXT -
With the update to 3.0, a function was added to place text in a circular shape. A wonderful new effect. To achieve this, do the following:
➀ Go to “Subtool Details”; once in the window, go to the “Circular Text” section.
➁ We activate “Circular text”. With the other settings we can modulate the radius, the direction (clockwise and counterclockwise) and the uniform arrangement.
Using guide compositions like those used in LETTERING and the transformations explained above we can create beautiful creative designs.
(H) Calligraphy
Another way to add text is to do it manually by writing with a calligraphy brush like the ones that are pre-set in CLIP STUDIO, or one downloaded from the materials library. This method is recommended to add your personal touch or to achieve a style that would be difficult or impossible with digital media.
For example, in the following card I wrote “Happy Birthday” in Russian with the text tool, but the font formatting is lost because the fonts loaded are not designed for this alphabet. Given this difficulty, it is better to resort to old habits.
Some tips for better handwriting are:
➀ Use the grid, which is activated from: View > Grid. Later in the section on the rotating pop-up card I will explain about this tool.
➁ Use the brush stabilizer so that the shaking of our hand is not noticeable and we get firm strokes. If this option is not visible we should go to: Subtool Detail > Correction, which will be visible by clicking on the wrench found at the bottom right of the Tool Properties window.
Note: The higher the stabilization, the heavier the drag.
➂ Create a layer with the sketch, then lower the opacity and write more confidently on a layer above it.
3. Structure of a card
Let's quickly learn some principles for structuring cards. Birthday cards usually contain two elements: The text and the decorations.
• The text: These types of cards conventionally contain small phrases alluding to the theme such as “Happy Birthday” and in some cases the years are also included.
• Decoration: On the other hand, the decorations can be classic elements alluding to parties such as balloons or cakes or with elements that the person to whom the card is addressed likes.
- COMPOSITION -
There are different forms of composition that we can use to make our illustrations more visually attractive. Among them we have: Rule of thirds, triangular, golden ratio, etc.. Each of the methods aims to establish points where it is more pleasant to place the focal point.
- HIERARCHY -
It is used to direct the viewer's gaze, the path goes from the most striking to the least striking; in the most striking we can find large and decorated letters, in bold or underlined, while in the rest, a flat and continuous style, not so large.
In the following image we can see the importance of prioritizing the elements, not only the text but also the decorations. The purpose is to create a balance between each element, which one captures your attention best?
- DECORATED -
Once the composition and typography have been established, it's time to place the allusive embellishments.
Let's see how I made this card:
• Style: I decided that the style of this card would be watercolor.
• Typography: For the typography I chose a font that simulated handwriting.
• Color: For the background I chose a cream color that allowed me to simulate an old sheet of paper. For the letters, brown and yellow.
• Decorations: I surrounded the letters with a rose material that I got from the Clip Studio Materials Library.
• Watercolor Texture: From the folder: Materials > Monochrome Pattern > Texture. I took a texture that I liked and added it to the canvas above all the layers and flattened it with the “Texture Overlay” option, this method was explained in the previous “Watercolor” section.
• Final details: To finish, I decided to add a gold outline to the roses to simulate those gold details that are put on some homemade cards to make them look prettier.
To achieve this, I did the following:
➀ I painted the outline with a hard brush (G pen) rose by rose (only in some parts, not the entire rose).
➁ I added a gold texture material that I downloaded from the library on a layer above and «Attached it to the bottom layer» where I had the outline. Ready.
4. Rotating POP UP card
Now we will learn how to make a rotating pop-up card. The charm of this card is that when you open it, the mechanism makes the elements move from one place to another.
(A) Step by step design
This card will have four sides, two of them are exterior (Front cover [1] and back cover[2]) and the other two are interior (The ones where the mechanism will be placed [3][4]). I started by making some sketches using different combinations of floral elements. My key phrase will be “Happy Birthday”. It's a trite phrase, I know, it's best to use personalized messages.
Note: This card is designed to be read from left to right, if you need the reverse direction you just have to reverse the order of the layers, for example, the front cover will be in position (2) and the back cover in position (1).
The second step is to do a color test, in this part I try different combinations until I find one that I like.
GUIDE LINES: I'll start by placing some guide lines to help me distinguish the two sides of the card. Use a shape ruler and a line ruler to create the rectangle and the line that divides it. Then, use the G-pen to paint the shapes and lower the layer opacity.
Note: To make the ruler guide lines straight, hold down the Shift key on your keyboard or the same key on the shortcut sidebar of the tablet version.
Note: If we hold down the layer, a series of options will appear that allow us to control the functions of the ruler tool. We can delete it, make the ruler usable or make it visible on other layers.
- General fund -
The aesthetic of this card will have a watercolor effect, so I will make a paper effect with the textures, this is why I start by setting the layer color, using the paint bucket tool with a pink color.
In the materials window I will go to: Monochromatic Pattern > Texture. From the options I will choose the one I like the most and drag it to the canvas.
Having selected the new layer created by the pattern, I will go to the window: Layer Properties. In the panel I will click on the option «Overlay texture» and lower the “Strength” to a range that I like.
- Back cover -
Frame:
➀ To make the back cover frame I will use the vector layers (1).
➁ Now with the «Rectangle» tool I will create a large rectangle. The tool properties settings should be the following:
● Line/Fill: Line.
● Smoothing: Hard.
Note: The elements that will be added from now on will be placed between the texture layer and the background.
Note: I will use vector layers when making figures because vector layers allow us to scale what they contain without losing quality.
BRUSH SHAPE: All Figure subtools can have their brush shape changed. This way we can go from a simple line to a dotted one or the texture of any brush. We can find this option in the section “Brush Shape” within the «Tool Properties». In my case I will use the «Dry Watercolor» texture.
Here we only find some default shapes, to add textures or shapes from other brushes we will do the following:
➀ We choose the brush we like.
➁ Then we will open the window «Tool Properties», there we will click on the wrench that is located at the bottom right.
➂ In the new window that will open we will go to: Brush shape > Current brush shape.
➃ We will click on the option: Register as preset.
Ready, now we have added a new texture to the brush shape.
Note: If a window is not visible, you can open it from: «Window» from the menu bar.
To create notches at each corner I will create a new vector layer where I will place a small circle.
Now using the «Transform» function I will move and align the center of the circle with the corner of the rectangle. In tablet mode there is a shortcut in the menu bar; for the desktop version you can use the keyboard shortcut «Ctrl plus T».
Then I will copy and paste this circle 3 more times using the options from the floating selection menu (1). These other 3 will also be aligned with the rest of the corners.
Note: To exit Selection mode you can click on the first option from the floating menu (2) and in the desktop version with the shortcut «Ctrl plus D».
VECTOR ERASER: I merged all the layers into one, then used the vector eraser. This eraser allows us to erase the vector lines that are between two intersections. This will make it easy and precise to erase the part of the circle that we don't need.
For the vector eraser to work like this, we have to have the “Erase until intersection” option active in the “Tool Properties” window.
Finally, decorate the center with a watercolor rose image material and decorate the edge of the flower with a star brush.
- ADD MATERIALS -
The material, brushes or anything that is downloaded will appear in the downloads folder (1), if they are image materials, they must be dragged to the canvas to be added to the illustration, but if it is a brush, it must be dragged to the “Subtool” window. Automatic actions are added from the automatic actions configuration window and gradient maps from the settings window.
The material will be created in a new layer (2). Most materials are vector layers or image materials (the advantage of these two formats is the preservation of quality when scaling), regarding the latter, when selecting the material a blue frame will appear with nodes that will allow us to rotate or scale the image.
- GRID AND RULER -
To achieve greater precision when aligning elements, you must activate the grid and ruler. To activate them, go to: view > grid and ruler.
To modify the settings we will have to go to the same route, but now we have to choose the option: Ruler/Grid Settings. Here we mark the option «Top left» (1) and in Grid Settings (2) we mark 1.00 in interval and 5 in No. of divisions.
With this we have a 1 cm X 1 cm grid for each large box.
- Front page -
Once again I created the same structure as the back cover for the front cover, but this time I filled it with the paint bucket, then dragged a pattern from the library, a pattern taken from Clip Studio Assets. With the option «Snap to layer below» I limited the pattern to the area of the figure.
Note: With the blue nodes we can modify the angle, position and frequency of the pattern.
Create a new rectangle filled with white to which you place another slightly larger rectangle with the shape of the brush in point mode, so that it simulates a paper perforated around the edges.
- FIGURE RULE -
Finally, in a new layer create a guide box with the tool: Ruler > Shape Ruler. In tool properties (3) the shape must be marked in: Rectangle. Place this ruler inside the white rectangle.
Now, with a brush that simulates clothing seams, I draw over the ruler to simulate that the sheet is sewn, then I deactivate the ruler. Finally, with a star brush, I paint some around and added another rose in the center.
With this last step I finish the design of the front and back cover.
- Inner face -
For the inside, I marked a white outline like on the back cover and on a layer below I established a flower pattern that I downloaded from the ASSETS materials. I painted this pattern with the same color as the background and set the blending mode to “Multiply” (option in the layer window) so that it wouldn’t stand out as much.
Finally, add the same leaf-shaped frame sewn together as before and some stars on the frame.
Note: On the right side (the one without anything) is where we will glue the mechanism and the moving elements.
(B) Mechanism
The mechanism that rotates the central pieces will be done in the following way:
First, start by making a rectangle of 4 cm x 6 cm. These measurements are only to design the structure; later when the structure is finished I will scale it to fit the measurements of my design, therefore we can adapt it to any measurements other than those of this card.
To mark the measurements it is necessary to activate the ruler as explained in the previous section, in the section “Grid and ruler”. To activate them you have to go to: view > grid and ruler.
Now you have to divide the rectangle from the six centimeter side into five parts, four of 1 cm and one of 2 cm.
Important: Remember that to make straight lines and shapes you must keep the Shift key activated either on the side panel or on the keyboard.
Then, on the four centimeter side, you have to divide it into three equal parts, in this case 1.3 cm.
In the center we will mark a cross that covers two rectangles and two small notches on each side.
Mark with a small “x” all the areas that we should eliminate.
After the cuts the shape should look like this.
Now we will divide the two lower lashes in half, the measurements are (0.65 cm).
We will cut those parts and we will have this. Then we will mark the tips of both triangles.
And we will delete them.
Finally, we will divide the two wings just along their length and erase them.
Done, this should be the final form.
- CLIMB THE MECHANISM -
What we have to do so that our mechanism adapts to any measurement is the following:
➀ Mark the vertical half of the face of the sheet where we will stick the mechanism.
➁ We will place the mechanism aligned with the area where the folds will be created, the half where the sheet is folded to close it as seen in the following image.
➂ We will align the central point that was created with the two diagonal lines with the center of the sheet using the line that we created before by scaling the figure using the “Transform” tool. The result should be like this: The center of the mechanism and the center of the sheet should be aligned.
I leave the mechanism below in PNG format so that you can download and scale it to size as explained before.
- ROTATING ELEMENTS -
Now we will make the designs of the elements that will rotate with the mechanism.
➀ First I made a circle that I placed in the center, for this I used the functions of the “Align/Arrange” window, specifically “Align horizontally” and “Align vertically”.
In order for the effects of these functions not to be applied taking into account the entire sheet, it is necessary to delimit the desired area where we want the alignment to be applied. In my case, I used the selection tool in its rectangular form and marked the face of the sheet where I will place the mechanism.
I duplicate this same circle and make it a little smaller, then merge the two layers and fill the donut that is formed with the paint can.
The mechanism must have three elements that will complete the sequence of movement; these are: Two mobile wings (1. The central donut, 2. An ornament that protrudes from behind the donut) and a static center (3. An element that covers the central space left by the donut).
In my case, I decorated the circle with flowers, thus forming a flower crown (1) and to cover the empty space left by the donut and that will serve to hide the mechanism that is in that part, I put an open flower (3), and finally, for the last mobile wing I will use a single butterfly (2). These elements will be the ones that together create the movement.
Note: Each of the elements must be on separate layers.
The structure should look something like this. I need to make sure that all the elements are the right size so that they fit together without going over the edges of the page. I'll also add some butterflies, but I'll show those in the next section.
This is why the first section of this tutorial where I taught you how to set the format to actual measurements is important, so that when you print it out there are no errors regarding the sizes.
- PREPARE FOR PRINTING -
Let's go to: File > Export. There we have several options for exporting, in our case we will choose "Attach and save to device" and choose the desired format. One of the best options and the one that maintains the largest number is the PNG format.
A new window will then appear allowing us to name the file and change its format.
A window will open where we can adjust other parameters, among which we may be interested are: Activate the cutting lines (this allows some lines to be printed that will allow us to see the areas where the cutting should be done according to the measurements established at the beginning), but this is optional.
Finally, a window will appear showing us what the final file will look like. Click OK and that's it.
We will do the same with the files for the inside, the mechanism and the accessories.
Before printing the mechanism, I lowered the opacity of the layer or folder if applicable so that the lines would not be as noticeable at the time of printing.
I arrange the movable elements along the blank canvas without piling anything up. Ready, now all that's left to do is save and print.
(C) Armed
The first thing is to cut the card, the moving elements and the mechanism.
Let's start with the mechanism, the first thing is to fold all the marked lines.
We will then glue the two long vertical wings to the back of the mechanism, this will serve to reinforce the structure.
Now we take the two sections of the cross and bring them together inwards, by doing this an arrow should form.
We will put a little glue on the first rectangle, the one marked in the image. This rectangle will be below the arrow when it is formed.
This rectangle will be facing the card. Now you have to glue it by aligning the arrowhead with the center of the card and the final rectangle with the double of the card (as shown in the diagram to scale the mechanism in the previous section and the following image).
After the mechanism is well glued, we will lift the final part and we will see the two wings; in the first (1) we will glue the circle and in the second other decorations, in my case I placed a small rectangle that will serve me to glue a butterfly that I want to stand out from the circle of flowers.
Both wings should be glued underneath the decorations.
Before gluing, we must test which will be the best position for the other elements so that they do not collide with each other and do not protrude from the card.
Now with the elements placed in their position it is time to glue the other end of the mechanism to the other side, for this we will add glue to the rectangle shown in the image.
Then we will close the card so that both sides stick together.
To hide the mechanism you have to glue the cover, for that we will add the glue on the triangle indicated in the image.
And we hit.
As a finish, glue the rest of the elements.
- Result -
- Bouquet of flowers -
This mechanism also works for creating simple POP cards. One example I made was with a bouquet of flowers.
To achieve this, we have to make some small modifications. First, when we glue the mechanism as explained before, now instead of gluing elements on the wings, we have to cut them.
The central element must be glued the same way the central rose was glued, in the left triangle.
- Result -
5. Card in the shape of a bouquet of flowers
Another birthday card idea that can be made is one in the shape of a bouquet of flowers. This is a very easy type of card to design.
- Front design -
Using the same settings from the previous canvas, I followed the following steps:
➀ Using the shape tool on a vector layer, I marked the rectangle where I am going to make the design.
➁ Now, on a new vector layer, I created a circle. I scaled this circle until the nodes that mark the middle of the selection match the lower corners of the previous rectangle, as shown in the image (these nodes are visible when using the transform function).
➂ Using the vector eraser I erased the excess circle that protrudes from the bottom of the rectangle. The shape I want to get is a semicircle inside the rectangle.
Note: For each new line I make I will create a new vector layer.
➃ We activate the ruler and grid as explained in the previous card. So that we can better guide ourselves when placing the elements.
➄ We will create a line that divides the semicircle in two. To achieve this, we must be guided by the guide lines that are created with the file when establishing the dimensions.
Remember: With the Shift key we can generate straight lines.
➅ Using the symmetry rule we will create a division on each side. The symmetry rule is located at: Tools > Ruler > Symmetry Ruler.
First, we will activate the SHIFT key, then using the symmetry ruler we will create a line right in the middle, where we marked the previous one. Then, without deactivating the SHIFT key we will mark a diagonal using the tool: Figure > Line from the bottom center just as shown in the following GIF. Once the lines are created we deactivate the ruler as explained before.
➆ Using the paint bucket, fill the shape in a layer below the structure. To paint only the area inside the lines, you need to activate the option “Multiple reference > All layers” in the «Tool Properties» window.
➇ On a new normal layer I create a circle filled with the color of the cone. I duplicate it and arrange them along the perimeter of the semicircle. When I finish I put all the circles together on a single layer.
➈ On a layer below everything created before, I place some flowers simulating a bouquet within the range of the left triangle next to the center.
➉ I do the same with the right rectangle. The flowers on the left side should be taller than those on the right side.
At this point I changed the color of the structure because the previous one did not convince me.
Finally, I place the presentation text in the last triangle on the left side.
- Front design -
For the front design we will use the previous structure, only now we will add other elements to it.
➀ We will create a semicircle that will almost cover the one from the previous structure (a margin should be visible between the white semicircle and the one from the structure) on a layer above. This area will be dedicated to writing a message.
➁ We will cut diagonally both lower parts of the main frame and the semicircle. The design should look like a fan. This change to the frame should also be applied to the front face.
➂ We duplicate the flower layers, unify them into one and flip it horizontally. To do this, we select the layer and activate the “Transformation” tool (1), now in the tool properties window we will find the “Flip horizontally” function (2). Ready.
Both sides should look like this. For the inside, I drew some guide lines to help me know where I should fold it. I painted these lines the same color as the structure. Now it's just a matter of saving the files as explained before and printing them.
Below I leave the format of this card in PNG format so that you can download it and scale it to size.
- Armed -
Assembly is as simple as cutting and folding along the guide lines and you're done.
Farewell
These are the resources I used throughout this tutorial:
I know it was really long, if you read it to the end I have to thank you deeply, thank you so much (⌒‿⌒). I hope that what you see here helps you to make your own cards. It would be very helpful if you share it and give me a like. Thanks for getting here! See you another time!
Bye bye.
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