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The Making of Legends™ Camo


by Scott Boerner December 21, 2016

Ever wonder how the most exquisite and unique camo pattern ever created was made? For the first time ever, we are going to dig in and share our secrets on exactly how we created the popular Legends™ Camo.

Legends™ was designed in 2011 and has made it to the mainstream marketplace on well known brands such as Legendary Whitetails, Carbon Express, Weatherby, Ruger, DPMS, New Breed Archery to name a few. This timeless pattern continues to succeed in the outdoor markets and will likely continue to do so for many years to come.

STEP 1

This was the very first thing that needed to be done. A quick sketch of the layout of the pattern and how the bucks would be positioned in relationship to one another. This was simply done in Photoshop while using a Wacom Tablet and Pen. Notice, even at this early stage, we have already established a basic "repeat" so that we can see how the pattern will flow into itself both vertically and horizontally.

 

STEP 2

Here is where we take the original rough sketch, place it into Adobe Illustrator and start drawing out the vector shapes of the antlers. This is a very important step in creating super crisp edges in the pattern. These vector antlers will be copied and placed back into Photoshop and will serve as the shape of our clipping mask.

 

STEP 3

Here you can see how we determined the angle and position of the skulls that were needed for each buck. This really helped us get the skulls in the correct position during the photoshoot.

 

STEP 4

This is where we did the photoshoot of the skulls. We had a few different skulls to use and positioned them in reference to the printout you see here. It was important the we had very good lighting that didn't cast a dominant shadow on the skull. We would add the shadows in photoshop based on position. The blue background made it easy to key out everything but the skull without having to trace it manually with the pen tool.

 

STEP 5

At this stage, we have copied the vector antler shapes from Illustrator and placed them into a new Photoshop document. It's important to note that we already achieved the exact repeat while in Illustrator so that the antler shapes would tile seamlessly both vertically and horizontally. This is where we start adding the antler to the antler shapes. You can see the two small curved sections of antler texture that was used for the entire rack system. The white area is actually an object on it's own layer and it's above the antler texture layer. Then the tan is the bottom layer. This made it much easier rather than messing with a "Layer Mask" layer feature. As you can imagine, this took a very long time to accomplish because one the texture was in place, we had to add the highlights and shadows to them as well.

 

STEP 6

Once the antler textures and shading was complete, it was time to start creating the peeling bark shape. First the shape was created with the lasso tool to get the selection and then just brushed in with a solid color. This would act as our mask so that we could start adding in the bark texture.

 

STEP 7

Not only was this little swatch of bark texture used for the peeling bark, it was also used for the sticks and limbs that were hand created as well. So a lot of what we do is a 3 step process, 1- draw in the solid shape, 2-Fill the shape with a texture, 3-Add highlights and shadows to the texture to bring it to life.

 

STEP 8

It's at this point that the pattern starts to come to life. Now we are bringing in some different elements like some other photographic sticks and leaves, as well as little pine shrubs. This is also the stage where we add the moss texture to some tree branches and bark and that adds a nice touch, making it look very "organic". The moss was created by using a hard round brush in Photoshop. The brush had a some "scatter" applied to it as well as some "size jitter". That is how the shape mask was created...the moss itself is actually a real photo of some moss texture. I would like to point out that every element was created in stages, and it was important to make sure each individual element was tiled to repeat separately before the next stage was started. Rather than trying to tile the final composition which would have been a nightmare.

 

STEP 9 - COMPLETION

 

 

 




Scott Boerner
Scott Boerner

Author




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