IntroductionWelcome | 00:04 | In this installment, we are going to
look at the techniques that I developed in
| | 00:07 | the creation of my painting Time Square.
| | 00:09 | A lot of these techniques will involve
things like for instance right here,
| | 00:11 | going in there and creating these
reflections in the glass, or something as
| | 00:14 | simple as this little traffic light right here.
| | 00:17 | Now, these techniques are going to
employ all of the tools that we learned about
| | 00:22 | in the Tools installment, because here,
instead of just a brushstroke, we are going
| | 00:26 | to combine that brushstroke with a
layer style and possibly a mask from an
| | 00:29 | alpha channel to create a very dramatic effect.
| | 00:32 | Now again, you might never have to
create an element like this one, but it's what
| | 00:36 | I did to create that glow and the
little reflections on the elements around it
| | 00:39 | that might come in really
useful in your particular workflow.
| | 00:43 | So let's go in there and look at these
techniques, and hopefully they'll inspire
| | 00:45 | you to let your imagination go wild
and create some really cool stuff.
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11. General TechniquesWorking with reference materials| 00:00 | During many of these movies I've
stressed the importance of using reference to
| | 00:04 | get things to look just the way they should.
| | 00:06 | I use reference for just about
everything I do, as do many artists.
| | 00:11 | Looking at these lights over here,
coming in close and looking at the lights on
| | 00:14 | the Toys "R" Us building, I didn't guess
at what these were going to look like.
| | 00:17 | My original shots had no detail, but I
did do additional studies just so I could
| | 00:22 | see what in fact these lights looked like.
| | 00:25 | If we go over here and look under
bridge, you'll see that in the folder for
| | 00:28 | Toys "R" Us, I have a folder called
Reference, and in there you'll see that there
| | 00:33 | are many, many shots of different parts
of the building, including the lights,
| | 00:37 | as you can see right there.
| | 00:38 | I took many shots, so I could see the
detail of what these individual lights
| | 00:43 | looked like. That's the inside, and so on.
| | 00:46 | There is my original shot right there.
| | 00:48 | You can see that there was no detail.
| | 00:50 | It was shot at night, very grainy, so I
had no detail, but you can see that there
| | 00:55 | I have other shots where I took similar
angles from the exact same spot during
| | 01:00 | the day with the telephoto, so I can
see the detail of the lights, so I could
| | 01:03 | then replicate them as close as possible
once I started creating the painting.
| | 01:08 | Now, I don't guess at things. Sometimes it
requires making a little model for myself.
| | 01:12 | Like for instance here. We'll look at
this one painting of mine right here.
| | 01:17 | I'll zoom in to a certain area just to see.
| | 01:20 | Like right here. We're going to look at
this glass right there at the top there.
| | 01:24 | And we see the reflection in the
class, the reflection of the tablecloth.
| | 01:28 | Now I didn't have the ability to go
back there and have lunch again and place
| | 01:32 | that glass in the exact same spot.
| | 01:35 | No, I just made a little model for myself.
| | 01:37 | I took the tablecloth art before I
skewed it, because this was created as a
| | 01:42 | pattern, nice and flat, and I
printed it out on my LaserWriter, nice and
| | 01:46 | straight. And I did this.
| | 01:50 | I printed it out, put it on a tabletop,
taped a little tiny mirror to a Kleenex
| | 01:54 | box, and I studied how the reflections
were being reflected inside of that glass.
| | 02:00 | That gave me an idea of how it should
bend once I looked at it in the painting.
| | 02:04 | You have somebody walking down the
staircase and they are going to be casting a
| | 02:08 | shadow, and you want to know how that
shadow is going to bend up the steps.
| | 02:12 | Well, you don't have a staircase, you
don't have somebody to pose for you, or lot of
| | 02:15 | room to start taking shots; it's not required.
| | 02:18 | It's not necessary to get to that extent.
| | 02:20 | Here is a little study of a
shadow going up a staircase.
| | 02:24 | I took a piece of paper and I folded it
into multiple steps, and I lit a little
| | 02:27 | stylus, so I could see how the
shadow traveled up the steps. And can I see
| | 02:32 | that it got softer and dimmer as it got
further away, and I could see how the
| | 02:37 | steps were breaking up the shadow.
| | 02:38 | So you make little models for yourself
in order to be able to see how things
| | 02:42 | work in reality, so that when you
re-create them in your image they're not
| | 02:46 | going to look like they are fake.
| | 02:47 | They're going look like they are real.
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| The Alpha Channel technique| 00:00 | Some elements of Times Square might seem
simple, but require many, many different
| | 00:04 | steps to make them look real.
| | 00:07 | I'm going to zoom in on one such item, which is
right down here on the ground: a manhole cover.
| | 00:12 | Now we're looking at a low-res version of this,
so it worked very quickly on this machine.
| | 00:16 | But I do have opened in the background
the actual file of that, the manhole cover.
| | 00:21 | This is what it looks like.
| | 00:23 | Now if you look at it closely, you see
that there are all kinds of things going on.
| | 00:27 | You see the bumps, you see the depths of
them, and you see the little highlights
| | 00:30 | from the different streetlights all
over the place, reflection of the signs up
| | 00:34 | above, and then these reflections
from the Toys "R" Us buildings, and so on.
| | 00:38 | So, all these little edges need a
special type of attention and selection to be
| | 00:43 | able to apply those effects.
| | 00:44 | So let's see how those guys were created.
| | 00:46 | Right here I have a series of paths
for the manhole cover right there.
| | 00:52 | Now these were created in the Illustrator,
and the tutorials on Illustrator will
| | 00:56 | show you how exactly this was created.
| | 00:59 | But here we have the paths.
| | 01:00 | I brought them in as straight paths,
and right here I'm going to go in there
| | 01:04 | and scrunch them down.
| | 01:06 | I'm going to go in there and do a
little scale down like that, so it starts to
| | 01:11 | look like it's on the ground there.
| | 01:13 | I'm just going to make it a little
bigger here, just like that, and let's move
| | 01:16 | it up into the middle.
So there we have it.
| | 01:19 | Make that happen, and now the paths are
all fitting into the perspective of the
| | 01:23 | scene, so it's down on the ground.
| | 01:25 | We are looking down onto it.
| | 01:26 | Now I need to separate some of
these, because they're going to be
| | 01:28 | handled separately.
| | 01:29 | So I'm going to go in here and
I'm going to select certain paths.
| | 01:33 | I'll select these outer ones, these
ones that form the outside frame, and these
| | 01:38 | two that form the inner part of the
frame, and I'm going to cut those.
| | 01:42 | I'm just going to go in there and say Cut.
| | 01:44 | I'm going to go to my paths and create a
new path here, and paste them into there.
| | 01:50 | Now they will paste in position, so they
are in register with the rest of the paths.
| | 01:56 | So we'll call this one outer edges.
| | 01:58 | Going back to this, I'm going to
select these particular paths that are
| | 02:05 | separate from the rest, which are these little
holes, these little vents in the manhole cover.
| | 02:10 | So I'm going to select every one of
these, and there are quite a few of those,
| | 02:14 | and we'll just make sure we get them all.
| | 02:16 | Go in there, and let's select this one,
and we've got one more here and one
| | 02:21 | more, and then we just look around to
make sure we have them all, and yes, we do.
| | 02:26 | So I'm going to go ahead and
cut those from the main set.
| | 02:32 | Create a new path, and we'll
call this one 'holes' and paste.
| | 02:39 | So now we have the three sets of paths
that are going to make up our manhole cover.
| | 02:48 | So, we are going to start
off with these outer edges.
| | 02:52 | I'm going to go into my Layers and in Layers
here, I'm going to create a series of layers.
| | 02:56 | So this will be the outer ring.
| | 02:59 | That's the furthest ring out.
| | 03:04 | It helps to spell it right,
so let's just do that.
| | 03:07 | There you go, outer ring.
| | 03:10 | Now let's select this one way
out here, and I have got this gray.
| | 03:13 | Let's pick those slightly darker gray
right there, like that, and I'm going to
| | 03:17 | go ahead and fill that path in that layer.
| | 03:20 | Now since I have that path selected, the
others are not being affected, just that one.
| | 03:26 | Then I'm going to go in there and pick
this ring right here, right inside there,
| | 03:31 | which you can see that
these guys are inside of it.
| | 03:33 | So I am going to go in there and
create another layer, and we're going to say
| | 03:37 | that this is the indent, right?
| | 03:41 | This is where the actual hole is.
| | 03:43 | So I am going to click OK.
| | 03:44 | Let's reverse these so we keep that gray,
and we'll make this a much darker gray, like that.
| | 03:49 | Then in this layer here, I'm going to
fill that next path with that tone, and
| | 03:54 | you can see it's that darker tone inside.
| | 03:56 | Now, I'm going to pick this ring here.
| | 03:58 | This is another ring on the outside.
| | 04:00 | Let's go back to that gray and a
new layer, which we call inner ring.
| | 04:08 | And we'll go ahead and
fill that layer with that.
| | 04:15 | Go to our Paths and fill it.
| | 04:18 | Now I'm going to select this one,
this one here, which I am going to make a
| | 04:22 | selection, and then let's turn off our
Paths and delete it from that inner ring layer.
| | 04:29 | Now I've deleted those paths.
| | 04:30 | That was crucial, because if the paths
were on and I hit that Delete key, the
| | 04:34 | paths would have disappeared.
| | 04:35 | But now it's taking away the
center part of that ring right there.
| | 04:40 | So now we can deselect, and we have
another layer which will be the center ring.
| | 04:46 | Go to our path, and we see that
here is our center ring right here.
| | 04:55 | So we're going to select that, and in that
layer, we're going to go ahead and fill it.
| | 04:59 | I'm going to select this center part
here, turn that into a selection like
| | 05:04 | before, deselect, and delete
that from that center part.
| | 05:08 | So now we have all the rings that make
up the outside area of our manhole cover.
| | 05:14 | Now comes that crucial inside part right there.
| | 05:18 | So now we have that same gray.
| | 05:20 | I'm going to fill this
entire thing with this path.
| | 05:23 | So I'm going to create another layer.
| | 05:24 | We'll call this design, and we'll go
ahead and fill that path with that.
| | 05:33 | Now we have all the little shapes inside.
| | 05:35 | And then finally, we need the little holes.
| | 05:37 | So I'll create one more layer,
and we'll call it holes, and we take the
| | 05:44 | path that makes up the holes and
we've switched this to black and white and
| | 05:48 | fill that with the black.
| | 05:50 | So now we have the little holes.
| | 05:51 | Now we have the basic shapes for
our manhole cover all completed.
| | 05:56 | Now we have to give this a little dimension.
| | 05:58 | So now they are separate layers, which
makes it really easy to go in there and do
| | 06:02 | anything that we need to do with this.
| | 06:03 | So I'm going to go in there, and the
first thing I'm going to do is go to my
| | 06:07 | outer ring, and give it a layer style.
| | 06:09 | Give it a little Bevel and Emboss, just
a tiny Bevel and Emboss which gives me
| | 06:12 | this little highlight and shadow
right in the edge there, just like that.
| | 06:16 | I'm going to increase the Depth, so I get a
really strong kind of a tone. There we see it.
| | 06:20 | All right! We can even make it a little smaller.
| | 06:22 | Bring it down to about a 3.
| | 06:24 | So we just get this little tiny edge in there.
| | 06:26 | And if we want, we can
start adding some of the color.
| | 06:28 | So I can go in there and maybe give this
a nice little yellow tone along that edge.
| | 06:33 | There we can see it. Click OK.
| | 06:36 | If you really want to see how this looks,
let's go ahead and say OK, and let's
| | 06:41 | invert our background. Make it black.
| | 06:43 | So now we can start to see our little
highlights and shadows and so on in there.
| | 06:46 | Or since we do want to be able to see
the shadows here, let's just make this
| | 06:51 | a kind of a bluish tone.
| | 06:52 | Let's go in there and fill that with a blue.
| | 06:54 | There, and now we can see our
little shadow in there as well.
| | 06:58 | It helps to add a color to our
background, which is going to make it easy to
| | 07:01 | see the elements that we're creating
and see all the different parts, like the
| | 07:05 | little shadow in there.
| | 07:06 | So now that I have that effect, I'm
going to apply that to the inner ring.
| | 07:10 | So I'm going to hold down Option, Alt
on a PC, and drag the little fx up to
| | 07:15 | the inner ring, which is going to apply that
same effect to the inner ring, as you can see there.
| | 07:20 | I'm going to then give it to the center ring.
| | 07:22 | I'm going to drag that into there.
| | 07:24 | Now, each one of the rings has
that same effect being applied to it.
| | 07:28 | Now comes this area here.
| | 07:30 | Now this is going to require a little
more work, because this is going to pick
| | 07:33 | up all those little highlights that we
saw before, all these things that make up
| | 07:37 | the metal on top here.
| | 07:38 | So I'm going to go into the design area,
and I'm going to do quite a few things to this.
| | 07:43 | First of all, I'm going to
give it some layer styles.
| | 07:45 | I'm going to give it a little Bevel
and Emboss, except this time it's going
| | 07:47 | to be a little bit different, because I'm
going to just kind of soften this up a little bit.
| | 07:51 | Let's bring this down and make the Size smaller.
| | 07:54 | Let's bring that to about 2, so we just
get that little edge in there, and I'm
| | 07:58 | going to give it a little drop shadow as well.
| | 08:01 | Now the drop shadow is giving it that depth.
| | 08:03 | Instead of actually making it a shadow,
it looks like it has got some depth to it.
| | 08:07 | Now that I have got that, I might
increase the Distance just a little bit, so
| | 08:10 | they look like they are a little deeper.
Not too much, because I don't want to
| | 08:14 | see that separation.
| | 08:15 | I just wanted to give it a little
depth in there like that. That's good.
| | 08:18 | Click OK, and we're
getting the beginnings of this.
| | 08:21 | Now I might want to move to
design over down behind the inner ring.
| | 08:24 | There, you can see now the
inner ring came out on top.
| | 08:27 | Now we need to accent all those little areas
to add the little highlights that we wanted.
| | 08:33 | That requires a special kind of a mask.
| | 08:36 | That requires an alpha channel.
| | 08:38 | So what I'm going to do is I'm going
to turn the designs into a selection by
| | 08:42 | Command+Clicking, Ctrl+Clicking on the
preview icon, which turns them into a
| | 08:45 | selection like that.
| | 08:46 | I'm going to send that
selection to an alpha channel.
| | 08:50 | So I go over here and say Save
Selection, and we will call it design.
| | 08:55 | I'm going to save it again.
| | 09:01 | This one we'll call edge.
| | 09:04 | I can now deselect it.
| | 09:05 | Going over to my Channels, you see
that we have the two alpha channels.
| | 09:11 | They are exactly the same, because they
were both made from the same selection.
| | 09:14 | Now the edge, that's that little edge
that we're going to see right in there.
| | 09:18 | So what I'm going to do, I
want it to be a little soft.
| | 09:21 | I'm going to go in there
and blur it just a little bit.
| | 09:23 | So I'll give it a little Gaussian blur,
just enough to make it soft, not so
| | 09:28 | hard, just a little softening to
it right there, about like that.
| | 09:31 | That looks good. Nice and soft. Click OK.
| | 09:35 | Now I want to see the other channel,
| | 09:37 | so I'm going to turn on the
eye for the other channel.
| | 09:39 | Now what we are seeing
here is a Quick Mask mode.
| | 09:42 | It goes into red, which really doesn't
let us see the difference between these two.
| | 09:47 | So what I'm going to do is I'm going
to double-click on the edge channel,
| | 09:50 | which is the one I'm going to manipulate,
and that brings me up with the Channel Options.
| | 09:55 | Now this has nothing to do with the
way the channel is going to operate.
| | 09:58 | It simply deals with how you see it
when other channels are turned on.
| | 10:03 | The color right now indicates the
Masked Area, the area that's black;
| | 10:07 | the Selected Area, the area
that's white; or a Spot Color.
| | 10:10 | In this case, we are going
to leave it at Masked Area.
| | 10:12 | We can also change the name here, just
like you just changed the name in the panel.
| | 10:16 | But the color, that's
what we're going to change.
| | 10:18 | We're going to change that to a blue color.
| | 10:21 | That's going to be a
contrast against the red there.
| | 10:24 | I'm going to bring the Opacity for it up to
about 80%, and it's still the Masked Area.
| | 10:28 | Click OK, and now we can see
the difference between the two.
| | 10:31 | We see it has a little
purple haze right in there.
| | 10:34 | So what I'm going to do is
I'm going to take that edge.
| | 10:36 | With my Move tool, I'm going to move it.
| | 10:38 | I don't want to move design, because design is
in register with the rest of the manhole cover.
| | 10:43 | So I just want to deal with the edge.
| | 10:45 | So I'm going to move it over to the right.
| | 10:46 | I am hitting my cursor keys a little
bit to the right and down, and you can see
| | 10:51 | the area that's being exposed right there. See?
| | 10:53 | That's the area I want to affect on this side.
| | 10:57 | Now that I have that, that little
movement and that overlap, I'm going to come
| | 11:00 | over here to Image and go to Calculations.
| | 11:04 | In Calculations, I'm going to take the
sources, and which sources does make a difference.
| | 11:10 | So if I put the design up here, you can
see something happened right off the bat.
| | 11:16 | I want to go in there and subtract
one from the other, and you can see that
| | 11:20 | that's giving me an edge on the outside.
| | 11:22 | I want that edge on the inside,
| | 11:24 | so I am going to put the edge on top
and the design for Source 2, and there you
| | 11:30 | can see that we are now
exposing the edge that I want.
| | 11:34 | Now keep in mind that an alpha
channel, this is a mask to which you apply
| | 11:37 | effects to your image.
| | 11:39 | Filters, colorizations,
whatever it is you want to do,
| | 11:42 | it's being done through a specialized
selection where white is exposing, black
| | 11:47 | is protecting, and the level of
gray is the level of exposure.
| | 11:50 | So now we see that those
edges are now being exposed.
| | 11:54 | I send the information over to a new channel.
| | 11:57 | I can make it a selection
or a completely new document.
| | 11:59 | But in this case, this will just
send it to a new channel. Click OK.
| | 12:03 | There is our channel, which I'm going to
name right in here and call it the left edge.
| | 12:09 | I am now going to go back and look at
that channel again and turn on this one
| | 12:13 | again, and I'm going to move
it in the opposite direction.
| | 12:17 | I'm going to come over in this
direction here, exposing that side of my design.
| | 12:23 | Again, I go into my Calculations, where
I have the previous settings, and I'll
| | 12:29 | send it to a new channel, which I
now call this channel the right edge.
| | 12:36 | Now that I have my channels, I can go
back to the RGB layer, and here I can now
| | 12:40 | start to apply my effects.
| | 12:42 | So I'll go in there and load the channel
for the left edge right here like this,
| | 12:47 | and now in a whole new layer on top of
this, I will pick up say a reddish tone.
| | 12:55 | I can very loosely paint right into
these areas here, and you can see that I'm
| | 12:59 | picking up those little red edges
just where I want them, right on top.
| | 13:04 | I come over to this side and I will
load the other channel, the right edge, and
| | 13:10 | I could pick up different color.
| | 13:11 | Let's say we pick a blue. And I'll
even bring down the Opacity this time to
| | 13:15 | about a 50%, and you can see that I am
adding a little blue just to those little
| | 13:19 | edges of my designs.
| | 13:21 | If we pull back, of course, I am only
working in little areas there, but you can
| | 13:25 | see how you start to develop a sense of
the edges picking up the light, whereas
| | 13:30 | the other sides do not.
| | 13:31 | When the whole thing is done, I can
easily go in there and add an overall glow
| | 13:36 | to the entire thing.
| | 13:37 | By going in there and creating
another layer on top of here, this one,
| | 13:41 | we'll just say glow.
| | 13:42 | We'll create this one as a glow.
| | 13:44 | I'll just pick up a yellow color, nice
yellow like that, and a large paintbrush,
| | 13:50 | and I'll just throw a streak right
across here like that, and we make sure that
| | 13:54 | the holes are on top of all this.
| | 13:55 | So we take those holes and put them
on top, because there should be no
| | 13:58 | color inside of those.
| | 14:00 | So I'm going to take that yellow that I just
created and possibly even make a mask for it.
| | 14:05 | So what I'll do is I'll just make a
mask, which is going to soften the whole
| | 14:08 | thing up, and I'm going to go in there
and I'm going to duplicate that, because
| | 14:12 | I'm going to want it for something else.
| | 14:13 | So I'm going to have two of them.
Let's turn one off for now.
| | 14:16 | This one, I'm going to take that
original path. There is my path.
| | 14:20 | So I'm going to take the path for the
design and turn it into a selection.
| | 14:23 | Now that I have that selected,
I come back to my Layers.
| | 14:26 | In that layer, I'm going to say, give
it a mask, and now you can see that we're
| | 14:29 | seeing it only inside of that area there.
| | 14:33 | Then the second yellow glow, this
one here, I'm going to go back to those
| | 14:37 | paths, and I'm going to make the inner
selection right in here, this inner ring right there.
| | 14:44 | I'm going to make that a selection,
and then go back to that yellow guy and
| | 14:48 | say, give that a mask.
| | 14:50 | Now I'm going to put this one behind
the design, right here inside the indent,
| | 14:55 | and I'm going to lower the
Opacity for that one quite a bit.
| | 14:57 | So now I've just got a little soft
hint of the yellow on the lower levels and
| | 15:01 | then a bright yellow on the top level.
| | 15:03 | So you can see here how many
different facets of Photoshop went into play
| | 15:08 | to create this effect.
| | 15:09 | There were layers styles, there were alpha channels,
| | 15:13 | and layer masks being applied to
create the final effect, which we once
| | 15:18 | again look at it here.
| | 15:20 | I took my time to create it right,
and you can see that all these little subtle
| | 15:23 | tones and colors have been applied to
all the different ridges, giving it that
| | 15:27 | three-dimensional look of a real manhole cover.
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| Creating the look of metal armor| 00:00 | There are many billboards in Times
Square, some more intricate than others.
| | 00:03 | I'm going to zoom in on one of them
| | 00:05 | in particular here that's just going to
give us a chance to look at some techniques.
| | 00:09 | It's that one right there, the one with the Iron Man.
| | 00:12 | Now again, this is the low-res version,
| | 00:13 | so I'm going to zoom in to the actual file,
which I have opened right here. There is the Iron Man.
| | 00:19 | When we get in close on him, you can
see that there is a considerable amount of
| | 00:22 | detail in the illustration itself.
| | 00:25 | So what I'm going to concentrate on is
right here, that arm piece, the little
| | 00:29 | protective gear on his arm.
| | 00:31 | I'm going to see how this was created.
| | 00:33 | So I'll go over here, and I have a
little file here that has a path.
| | 00:38 | There are some paths, free paths to
make up the basic shape for that arm piece.
| | 00:43 | So what I'm going to do is I'm going to
select this outer part right there, and
| | 00:47 | I'm going to create a layer right
here, which I'm going to name armpiece.
| | 00:51 | And I'm going to fill it with that
golden color that I have right there.
| | 00:58 | So I take that path and go ahead and fill it.
| | 01:01 | So now I'm going to select these two
little pieces right here, which are going
| | 01:04 | to be these little indents.
| | 01:05 | Let's get a darker version of that
color, right there like that. And in a
| | 01:09 | separate layer right on top of here,
I'm going to call this indents.
| | 01:13 | And I'm going to fill that path with that color there.
| | 01:19 | So now we have these two different
layers that make up the overall armpiece.
| | 01:23 | I'm going to go ahead and clip the
indents with the armpiece by holding down
| | 01:27 | my Option key, Alt on a PC,
and clicking between the two layer. There you can
| | 01:30 | see that it now became indented and
they looked like they are in fact indents
| | 01:34 | into this metal piece.
| | 01:36 | Now I'm going to give the indents a
little layer style just to give them a
| | 01:39 | little more dimension.
| | 01:40 | So I give it a little Bevel and Emboss,
and I'm going to change it the direction
| | 01:43 | of the light to come down from this side
| | 01:45 | so it looks like they are inside, just
like that. Maybe bring that light
| | 01:49 | over, so we get a little highlight in that edge.
| | 01:51 | There we go, and soften it up a
little bit, just like that and click OK.
| | 01:57 | I'm also going to blur it
just to soften that edge,
| | 02:00 | so it doesn't look so sharp.
| | 02:01 | So I'm going to blur the actual indent
layer, give it a Gaussian blur, and just
| | 02:06 | give it a little bit,
just a tad, about let's say 1.
| | 02:10 | That's good enough, and keep in
mind that this is not a formula.
| | 02:13 | I'm using 1 because this is a low-res file.
| | 02:15 | A higher-res file, 1 would not be enough.
| | 02:18 | This is just for the sake of this demo.
| | 02:20 | So I'm going to click OK.
| | 02:21 | I'll add other textures to that layer, but
right now let's work back on the armpiece.
| | 02:26 | Now I want to give this a little dimension.
| | 02:28 | I'm going to pull back to give myself a
little room here, and I'm going to use
| | 02:31 | my Dodge and Burn tools.
| | 02:33 | I'm going to increase the size and I'm
going to leave it for shadows right now,
| | 02:36 | which is going to give us
a nice warm kind of a tone.
| | 02:38 | I'm not make it even bigger, and I'm
just kind of scraping along the side here,
| | 02:42 | just rubbing it along there to get
that darker tone going on right in there.
| | 02:46 | Now I'm going to switch to Highlights,
which is going to darken it even more
| | 02:49 | and give it a nice dark edge right
through there like that, and maybe a little
| | 02:54 | bit right on this edge here.
| | 02:56 | Now I'm going to switch to my Dodge
tool, make the brush much bigger, and I'm
| | 03:02 | going to just kind of give it a couple
of dabs right there and make it smaller,
| | 03:05 | and I'm just going to very lightly drag
it right through this area till I start
| | 03:08 | getting a nice little highlight
appearing on the edges of the metal like that.
| | 03:14 | Now I might want to add a
little more tonality to this,
| | 03:17 | so I might want to go in there and
just add a little more Burn right through
| | 03:19 | there just to darken that
even more, make it more dramatic.
| | 03:22 | So there, we had that effect.
| | 03:24 | I might want to do that to the indents as well.
| | 03:26 | So I'll just go in there and darken
those edges right there like that, and add a
| | 03:30 | couple of highlights to the indents.
| | 03:32 | So I'll get a much smaller brush,
and I'll add a little highlight right in there
| | 03:35 | like this, and I keep dabbing it just
until I get some nice little highlights
| | 03:39 | happening right there and
maybe a couple right in there.
| | 03:42 | So I get a couple of little
highlights happening there.
| | 03:44 | Now we need a texture.
| | 03:46 | So, on top of the whole thing here, I'll
create another layer, and this layer I'm
| | 03:50 | going to fill with that gold. It doesn't
matter because I'm just going to give
| | 03:53 | this some effects here.
| | 03:54 | I'm going to go in there and we'll
give it some Noise > Add Noise, a lot of
| | 03:59 | noise, which is in Monochromatic mode,
| | 04:00 | so it's going to stay in those tones.
And I'll click OK, and then I'm going to
| | 04:04 | give this another filter.
| | 04:05 | I'm going to go in there and
give it a Motion Blur filter.
| | 04:09 | The motion blur is going to streak it.
| | 04:10 | I want it to go straight up and down,
| | 04:12 | so I'll enter 90 degrees
| | 04:13 | so it's straight up and down,
and increase the Distance. So now they
| | 04:16 | became these long streaks.
| | 04:18 | Click O. And in my Levels, I'm
going to go into Levels and I'm going to
| | 04:22 | increase the contrast to really bring
out those lines to bring out that texture.
| | 04:27 | See, it's starting to look almost like wood.
| | 04:30 | Click OK and I have the textures that I want.
| | 04:32 | So I'm going to put that in a Multiply
mode, so I can see the shapes underneath,
| | 04:36 | and I'm going to bring down the Opacity.
| | 04:37 | It's just a little hint of this
texture right there like that. And then I'm
| | 04:41 | going to clip it with
the rest of the group here.
| | 04:44 | So now I see only inside.
| | 04:46 | Now, it's not following
the shape of my armplate.
| | 04:49 | So I'm going to now warp
it to follow that shape.
| | 04:52 | So I come over here and I say Transform > Warp.
| | 04:55 | I'm going to grab the four outer handles,
the points here, and drag them so that
| | 05:01 | they correspond to the four
corners of the armpiece itself.
| | 05:05 | Then I'm going to adjust the handles
so that they follow that shape as well.
| | 05:10 | You can see that they're all following,
right through there. Bring this over
| | 05:17 | and bring this one down and bring this
one in. And we're just going to kind
| | 05:24 | of grab these points here and just kind
of straighten them out until we have it
| | 05:27 | just the way we want it following
these basic shape of the armpiece.
| | 05:32 | When I have it, I'll just hit Return,
and then it takes on that form.
| | 05:36 | Now we could bring that our Opacity
down just a little bit more, so that it
| | 05:39 | starts to have the effect.
| | 05:40 | We can even possibly try some
of the others, like maybe Overlay.
| | 05:43 | Overlay gives us a nice little texture as well.
| | 05:46 | The thing here is that there are so
many different modes, and depending on the
| | 05:49 | colors that you use and the effect
you're trying to get, the different modes
| | 05:52 | will give you different
effects to your different layers.
| | 05:56 | So there you can see where we've
added this texture, which now follows
| | 05:59 | the angles of the armplate with
the highlights and the shadows all in
| | 06:03 | the appropriate places,
| | 06:04 | making it a real easy.
| | 06:05 | The hardest thing was to
basically create the shape itself.
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| Creating the look of denim fabric| 00:00 | There are many materials in Times Square,
and one material in particular which is
| | 00:04 | pretty predominant in our society is blue jeans.
| | 00:08 | Now, we will come in close. We see that
quite a few people are wearing blue jeans.
| | 00:11 | There are some there.
| | 00:13 | These two people are wearing blue jeans.
| | 00:15 | There is more blue jeans, blue jeans here.
| | 00:18 | I'm going to zoom in on this one here.
| | 00:19 | This is John Knoll, one of the
co-authors of Photoshop, with his brother Tom, and
| | 00:24 | right here we have the original
file that was created for the painting.
| | 00:28 | I am going to zoom in down here on his
jeans and we can see that denim material right there.
| | 00:33 | So what I'm going to do is I'm going
to show you how this denim material was
| | 00:36 | created. I'll create a new file here and I'm going
to fill this file with a color for our denim.
| | 00:43 | So I'll pick a blue like that, and I am
just going to go ahead and fill that with
| | 00:46 | that color, fill foreground color there.
| | 00:50 | So in the layer on top of this, I'm going to
fill that layer with a 50% gray, a neutral density.
| | 00:57 | Now I'm going to return my colors to
black and white and I'm going to use a
| | 01:01 | filter on this layer. I'm going to go in there
and choose a particular filter that's
| | 01:07 | going to give me what I need, which
is Halftone Pattern, under Sketch.
| | 01:12 | Now, I have quite a few things that I
could choose from. I'm going to go in
| | 01:16 | here and choose Line.
| | 01:18 | I'm going to bring the Contrast down to
zero and I've got the Size to the default
| | 01:22 | of one. And I am going to click OK and
that's going to give me a bunch of nice
| | 01:27 | little lines based on my
two colors of black and white.
| | 01:30 | I'm going to give this another filter.
| | 01:32 | I am going to go in
there and give this a filter.
| | 01:35 | Under Pixelate, we'll find Mezzotint.
| | 01:38 | I am going to give it a Mezzotint
which is set to Fine Dots as a default.
| | 01:43 | That's what I'm going to use, and you can
see that it's going to create a texture
| | 01:46 | to my little lines. Click OK and I
now have a texture to those lines.
| | 01:51 | I'm going to duplicate that layer,
so now I have a duplicate of it.
| | 01:55 | I am going to pull back a little bit.
| | 01:58 | And I take that layer and I'm going to
rotate it 45 degrees. So I'm going to go in
| | 02:03 | there and say Rotate and holding down my
Shift key to constraint it, I'm going to
| | 02:07 | give it to 45-degree angle just like that.
| | 02:10 | I'm not going to enlarge it. Let's turn
this off, so we can see the blank area.
| | 02:13 | I'm going to enlarge it, so that it
covers up the entire space. I'm holding on my
| | 02:18 | Option key and my Shift--that's
Alt and Shift on a Windows machine.
| | 02:23 | I'm going to pull out until I just cover
the entire area of the canvas, as you see
| | 02:28 | there. Make that happen.
| | 02:30 | I'm going to come in real close and
look at this texture I've created so far.
| | 02:35 | I'm now going turn on the one
behind you, which we don't see it because of
| | 02:38 | the face that these layers are covering each other.
| | 02:40 | I'm going to change the mode for these layers.
| | 02:42 | I'm going to change this one here to a
Soft Light, and I'm going to change this
| | 02:47 | one here to a Multiply. And there we
see that the resulting effect is that we
| | 02:53 | have a denim type of material
that we can then use for our images.
| | 02:58 | I'm going to select the top layer here
and holding down my Option key, I'm going
| | 03:03 | to say Merge Visible.
| | 03:06 | That's going to give me a layer that's
a composite of the three layers beneath
| | 03:10 | it, which has the entire fabric, which I
can now call it 'denim', and I can use this
| | 03:17 | file and drag this layer over to
every other file where I need this denim
| | 03:22 | material and then use it from there on.
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| Creating the look of stitched denim| 00:00 | What we are going to do here is
create the jeans that John Knoll is
| | 00:04 | wearing right here.
| | 00:06 | I'm going to create it, complete with the
stitching and all the worn effects and so on.
| | 00:11 | So, right here we have a blank screen,
and I am going to go in here and create
| | 00:16 | the basic shape that's going to be the jeans.
| | 00:18 | So, right here it's going to be the pocket.
| | 00:20 | This is the pocket area. And we are
going to come over here and create this
| | 00:23 | little edge down here.
| | 00:25 | And just come over and up. And this is
going to be a little irregular through
| | 00:30 | here and then just close it off right there.
| | 00:33 | So, this is the basic shape of
what's going to be the denim. Now,
| | 00:38 | I am going to go in here and create a
series of lines, which are going to kind of
| | 00:42 | follow this edge a little bit.
| | 00:44 | It's slightly different in certain
spots, so it starts to not look so rigid.
| | 00:48 | And basically, what this is
going to be is the stitching.
| | 00:52 | So, I am going to go in here and just
let me grab these points down here, bring
| | 00:55 | it down, and then let's continue.
| | 00:58 | And we are just going to go in here and
just follow along this edge, like so.
| | 01:02 | Fairly close, but not exact,
because I want it to look a little off.
| | 01:06 | All right, and there we go.
| | 01:10 | I am going to do the same
thing around the pocket here.
| | 01:12 | So, I am going to go in here
and just create a series of lines,
| | 01:15 | two lines here that just kind of follow
the edge of the pocket and double back
| | 01:20 | on itself, like so.
| | 01:24 | These are going to represent
the stitching on the jeans.
| | 01:27 | I'm just going to move these over a little
bit, get them a little closer.
| | 01:31 | And there is all our basic shapes. That's it.
| | 01:33 | So, let's save that path, so we have it.
| | 01:37 | So, now I am going to go in here and I
have another file where I created some denim.
| | 01:42 | I am going to select this, make sure
I am in the right layer that has the
| | 01:47 | composite, and I am going to just copy
it over to the file where I am creating
| | 01:53 | the jeans. And I am going to
paste it right here. There.
| | 01:57 | Now, we will call it material.
| | 02:02 | And I am going to duplicate it.
| | 02:03 | I want two of them.
| | 02:05 | So, no right here, I am going to
create a layer above background, and this is
| | 02:09 | going to be the jeans.
| | 02:12 | And in there, I am going to take this path.
| | 02:13 | Here is my basic path--and let's turn
off these other two layers, so we can see
| | 02:17 | what I am doing here.
| | 02:18 | I am going to select this path right
here, which is the basic shape of my jeans
| | 02:22 | right there, and I am going to
go in and fill that with a color.
| | 02:26 | It doesn't matter what color, because
it's just going to be active pixels, which
| | 02:31 | are going to be a mask for the material.
| | 02:33 | So, I am going to go in there and
fill that path with whatever color, which
| | 02:37 | right now happens to be black.
| | 02:38 | And I can turn off my paths.
| | 02:41 | Go over to my Layers, and I am going to
turn on the material, and I am going to
| | 02:44 | clip it with the jeans.
| | 02:46 | Option+Click, Alt+Click click between the two of
them, and there we see that we have now put
| | 02:50 | the material inside that area there.
| | 02:53 | Now, I am going to take this material
and put it behind the jeans back here.
| | 02:58 | I want to see just this area here, so
what I am going to do is I am going to
| | 03:01 | select--let's just turn
this jeans off for a second--
| | 03:06 | I am going to select this area right
here with my lasso. And when I have that, I
| | 03:10 | am going to turn this layer back
on and I am going to say mask it.
| | 03:13 | So, now I am only seeing that within
that area, because I have masked it out.
| | 03:18 | So, now I am going to take these jeans
right here and I am going to darken this.
| | 03:23 | I am going to select the actual layer
and with my Burn tool, I am going to go in
| | 03:26 | there and kind of just start to
darken this area, so it looks like it's the
| | 03:30 | recessed part of the pocket
of the jeans, just like that.
| | 03:34 | So, I am adding some tone there,
which now I can see where it is.
| | 03:38 | So, now I am going to
add some stitching to this.
| | 03:41 | So, right here to the top of my material,
I am going to add my stitching, so we
| | 03:45 | will call it stitching.
| | 03:46 | I am going to use a brush for stitching,
which is outlined in the chapter on brushes.
| | 03:51 | So, I am going to go in there and I am
going to select the paths that make up
| | 03:55 | the stitching, which are this one and that one.
| | 04:00 | I am going to pick a color which is good
for denim stitching, which is somewhere
| | 04:04 | kind of a beigey tone like that, and I
am going to get my brush, which is my
| | 04:09 | stitch brush right here,
which right now is pretty big.
| | 04:12 | So, if you know how to adjust it, I am
going to go in there and bring the size
| | 04:16 | down, give it a little spacing, so we
have a nice little spacing in there, about like
| | 04:21 | that, and make sure that I have this off,
angle is off. Don't change the size.
| | 04:26 | We don't want any change in the size,
but we do want the Angle Jitter to be Direction.
| | 04:31 | There we go. So, now that we
have that, we are going to take that--
| | 04:34 | make sure we are in the
right layer, the stitching layer--
| | 04:36 | take that path and stroke
it with that paintbrush.
| | 04:39 | Now we have the little stitching,
and let me undo that, because I just noticed
| | 04:43 | something that my brush, the capacity is lowered.
| | 04:47 | Bring that back up to 100%.
| | 04:48 | I will take that path again and let's
go ahead and stroke it with our brush.
| | 04:56 | Now we have the stitching.
| | 04:57 | Now, it's overlapping, so it is a layer.
| | 04:59 | I am going to go ahead and clip
that one into the jeans material.
| | 05:03 | Now we see the stitching only where we want it.
| | 05:05 | So, I am going to add a
little detail to that stitching.
| | 05:08 | So, I am going to go in there and give
it a little Bevel and Emboss, bring this
| | 05:11 | down to about 1, increase the depth
on it, so we get some nice lights and
| | 05:15 | darks going on there, and give a little
outer glow, which I am going to change
| | 05:18 | to a dark tone, a deep blue like that,
and set this to Multiply, so I have the
| | 05:24 | little indents into the fabric.
| | 05:26 | And let's bring up that opacity a little more,
| | 05:28 | so we have a little indent into the fabric
where the strings are going into the fabric.
| | 05:33 | Now, I'm going to click OK. So, now we've
got the little stitching going on there.
| | 05:36 | Now, we need to wear the fabric.
| | 05:39 | So, I am going to go in there and I am
going to take the material of the jeans
| | 05:42 | themselves, and I am going to
add a little dodging and burning.
| | 05:45 | I am going to go in here and
just burn right through here.
| | 05:47 | I'm going to add a nice long strip right here.
| | 05:49 | I am going to kind of darken it.
| | 05:50 | And basically, I'm looking at kind of the
folds that I created with the stitching.
| | 05:55 | You can see where it's going in
there, so I am going to add a little
| | 05:57 | shadow right in there.
| | 05:58 | Make the brush a little smaller, a little
shadow in there, a little shadow in here.
| | 06:02 | And we make the brush bigger, and we
will darken this even more, and then we
| | 06:05 | see the little one right here.
| | 06:07 | I am going to darken that.
| | 06:08 | And we started adding some folds to this fabric.
| | 06:11 | Now, I'm going to go into my Dodge
tool and add a couple of highlights in
| | 06:15 | certain spots, like right
above those basic folds.
| | 06:19 | So, I am going to go in here and just
add a little highlight right across there
| | 06:21 | like that, right across this top part
there, and maybe a little one right through
| | 06:25 | here and right through there.
| | 06:27 | So, now we started adding
the little folds to our fabric.
| | 06:31 | And we will even lighten this area down here,
just to give it a little wear kind of a look.
| | 06:36 | We are going to do the same thing to this layer.
| | 06:39 | We will add a couple little
highlights right in here and add a couple more
| | 06:43 | little dark tones where we want it.
| | 06:46 | A little darker along the pocket there
and add a couple of little lines right
| | 06:50 | across there, so it's worn.
| | 06:52 | Now, the final touch to really make
it look worn is we are going to kind of
| | 06:56 | wear the fabric way.
| | 06:57 | I am going to pick a light blue.
| | 06:59 | Pick a very light blue, about like that.
| | 07:02 | And in the layer on top of the jeans,
right here, on top of the material but
| | 07:06 | below the stitching, I am
going to create a new layer.
| | 07:10 | There is a new layer. Right now it's blank.
| | 07:12 | I am going to take that path, the path
that's the basic shape of the jeans right
| | 07:17 | there and I am going to get my
paintbrush, and I am going to choose a soft-edge
| | 07:21 | brush like this one, and make a
little bigger, about that size.
| | 07:25 | That's good, right there. I'll set it to 100%.
| | 07:27 | I am going to go ahead and
stroke that path in that new layer.
| | 07:31 | So, I am going to say stroke it, and I
stroked it with that light-colored tone,
| | 07:36 | which I'm not going to go into that layer.
| | 07:38 | It's clipped inside there, but I
am going to get rid of parts of it.
| | 07:41 | So, I am going to get rid of this part.
| | 07:42 | I don't want this area in here, and
I don't want this area down here.
| | 07:47 | I am just erasing that part right out.
| | 07:49 | I am going to soften up my eraser, so I
can get real soft into these areas in
| | 07:53 | here and down in here.
| | 07:56 | And I am going to erase it
right up here in this area here.
| | 07:59 | And then with my little Smudge tool,
| | 08:01 | I am going to kind of just pull
some of these out in certain spots.
| | 08:05 | I am going to pull them out, make them
a little more irregular, just like so.
| | 08:10 | So, I am just pulling little threads
out, just to kind of roughen that up a
| | 08:15 | little bit, right through there, like that.
| | 08:17 | I am going to set that to Screen and
lower the opacity just a little bit like that.
| | 08:23 | Now, with that same color, I am going to
create another layer and with my brush,
| | 08:27 | I am going to go in here and start
adding small tones right in between the
| | 08:31 | stitching, right in here like that.
| | 08:32 | Let's turn off that pen pressure.
| | 08:34 | And I am just going to add a couple of
light tones right through these little
| | 08:37 | areas here, which start
to give it that worn look.
| | 08:40 | You are not sure how these things look?
| | 08:42 | Go to your closet, look at your jeans
and see how they've worn, and you can get
| | 08:46 | an idea of how these things should work.
| | 08:48 | So, I am going in there and adding
these little tones, and I am going to bring
| | 08:51 | down the opacity for my brush down to about 70%.
| | 08:53 | I am going to just add a couple of
little tones in these areas here, too.
| | 08:57 | I am just adding a couple of little wears into
all these areas, just messing it up like that.
| | 09:02 | Make a little line going like that.
| | 09:05 | And I am going to go in there, and I am going
to blur this whole layer that I just created.
| | 09:10 | So, I am going to give it a little
Gaussian blur just to soften it up a little
| | 09:13 | more, like so, like that, and change
its opacity, bring it down just a little,
| | 09:21 | and set it up to Screen also so that
it's just going to lighten those areas
| | 09:24 | just slightly like that.
| | 09:26 | And you can see that now we have this
nice denim material that's worn in the
| | 09:30 | right places and gives you
the feeling of real jeans.
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| Creating reflections| 00:00 | Reflections are a crucial part of
making something look right when it fits into
| | 00:04 | its environment if the environment is
made up of reflective surfaces--like say a
| | 00:09 | product sitting on a piece of plexiglass,
or some object standing by a window,
| | 00:15 | or a person looking into a mirror;
these are all things that have to be considered
| | 00:18 | on how these reflections are going to work.
| | 00:20 | Now in a case of say this product
sitting on top of a plexiglass stand, which is
| | 00:25 | the way Apple usually shows the iPhone.
| | 00:28 | That's a pretty easy reflection to do.
| | 00:30 | I am going to take the iPhone right here
and I am going to duplicate it, and
| | 00:34 | while I'm back here, I'm going to do a
Flip Vertical on it. And then I am going to
| | 00:40 | drag it down so that it fits directly
underneath the original, right there.
| | 00:45 | Now I am going to bring down
the Opacity for that reflection.
| | 00:48 | We will bring it down, so we can kind
of see through it at that milky white
| | 00:52 | plexiglass underneath, and then the
reflection should fade away because
| | 00:56 | this isn't a mirror.
| | 00:57 | It's just a shiny surface.
| | 00:59 | So it doesn't totally grab the reflection.
| | 01:01 | So I am going to give that reflection a
layer mask and in that layer mask, I am
| | 01:06 | going to go in there with a gradient
and apply black towards the bottom where I
| | 01:09 | want it to disappear going to white
towards the top where I want to see it, and
| | 01:12 | there we see we have this
really nice simple reflection.
| | 01:16 | Now, what if we decide we want to put
this phone at an angle against a surface
| | 01:22 | that is reflective as well?
| | 01:24 | So I am going to take the
phone and put it at an angle.
| | 01:26 | So I am going to just kind of bring
it over here to the side a bit, and I am
| | 01:28 | going to distort it.
| | 01:29 | I am going to give it a little
distortion. I am going to distort it down
| | 01:33 | like that and distort it up a little bit,
just so we have a little bit more of an angle.
| | 01:38 | I am going to just bring this in a
little, just to thin it out again like that.
| | 01:42 | And just to give it a sigh, I am going
to duplicate it, and the one in back here
| | 01:46 | I am going to fill with a solid gray,
so we will just get a nice solid gray
| | 01:49 | color like that, and I am going to
lock the Transparency and fill it.
| | 01:54 | Just move it out, just a little so
it starts to have a little depth to the
| | 01:57 | phone. See, that's good enough.
| | 01:59 | Now we're going to have this object
here, so I am going to just draw a shape.
| | 02:03 | Let's say this shape is just like this
here. And it's going to be our little
| | 02:07 | kind of plate glass or something
that's catching the reflection.
| | 02:11 | So in this layer right here that I
created before, I am just going to throw
| | 02:15 | a little tone in there, so
I've got white going to a gray.
| | 02:18 | So I am going to throw a little tone
in there like this, just like that.
| | 02:23 | So it starts to become this surface there
that's going to be reflecting our phone.
| | 02:27 | So now let's take the phone and its
background and just move it out a little bit more.
| | 02:32 | Now it's sitting here.
| | 02:34 | Now we need to know how this
reflection is going to work,
| | 02:37 | so what we need to do is to
create a little guide for ourselves.
| | 02:39 | I am going to create another layer
here, which I'll just call guide, and I am
| | 02:44 | going to get a color that makes it
really easy to distinguish it, a nice red.
| | 02:48 | I get my Line tool here and make sure
it's set to Pixels and a little bit more
| | 02:53 | Weight, so I can really see it.
| | 02:54 | Now draw a line that follows the edge
of the phone right there, just like that,
| | 03:00 | Then I'll do one at the bottom that
follows the edge of the phone like that.
| | 03:05 | So now I have guide as to how my phone
should look, so what I am going to do is
| | 03:10 | I am going to take these two, right here.
| | 03:13 | I'm going to Option+Click and drag up
like that. When I saw that little line,
| | 03:18 | it made a copy of those two, which I am
now going to merge just one down into the
| | 03:21 | one below. Merge it down, OK. And I am
going to bring it over. This is going
| | 03:27 | to be my reflection. So I am going to
bring it over to here, and I am going to do
| | 03:31 | a Flip Horizontal on it.
| | 03:33 | So now it's a reflection.
| | 03:36 | Now it's facing it. It's not quite
right, but we have our guide, so what I am
| | 03:41 | going to do now is I am going
to go in there and distort this.
| | 03:43 | And also, I see thing that we did wrong here.
| | 03:47 | Can you see that edge?
| | 03:48 | That's something to consider when you
first start to do your phone, because the
| | 03:51 | reflection, that edge is
going to be now on this side.
| | 03:56 | So we'll get rid of this guy, and what
we're going to do is we're going to take
| | 04:00 | the two phones again, make the copy, and
this time we're going to leave them as
| | 04:05 | is so we can make that adjustment
after the fact, because we can't distort
| | 04:09 | these guys together. So I am going
to bring them over and do that Flip
| | 04:15 | Horizontal, and then I am going to
have to go in there and distort them.
| | 04:18 | So I am going to base this distortion on
the face of the phone. So I am going to
| | 04:24 | bring this down a little, bring this
way down, like that, bring this one up.
| | 04:30 | And you notice how it's starting to
follow the guides that I prepared for myself.
| | 04:33 | I am going to make it thinner, just
like that, which means I have to bring
| | 04:36 | this one back up a little bit, bring this
one down, and this one up just a tad, like that.
| | 04:43 | I want to bring it in little
further away because I've got to kind of match the
| | 04:46 | distance of this phone right here, so
I kind of want to match that distance
| | 04:50 | right here. So we just bring it further
over, and then we just bring this down
| | 04:55 | like that. And there we're
starting to get sense of what we need.
| | 04:59 | Click OK on that. Then we take that
background one and we bring it out in
| | 05:02 | this direction. So I've get my Move tool and
I'm moving out in this direction right there.
| | 05:07 | And because it's little light, I am
just going to darken it just a little
| | 05:11 | bit, so I am going to go in there and just
darken that little background just like that.
| | 05:15 | So then I can now merge this down into
its side. So I merge it down, and we'll
| | 05:21 | bring down the Opacity just a little
bit just so it starts to look like
| | 05:24 | it's a little reflection. At that point, we can
take away our guide and we see that now we have a
| | 05:28 | reflection of the phone on
this other surface next to it.
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| Creating complex reflections| 00:00 | There are reflections all over Times
Square, many different parts. Like we can
| | 00:05 | zoom in right here and look at the cars
right here, where you can see that this
| | 00:08 | is reflecting the storefront
behind it, the little newsstand here.
| | 00:12 | This is reflecting a building that's
not even visible within the scene, and
| | 00:16 | here we have this cab.
| | 00:18 | This cab that we see right here is being
reflected on the side of this car right there.
| | 00:22 | Now creating these reflections in many
cases is just a question of taking what's
| | 00:26 | being reflected, do a little Flip
Horizontal on it, and then distorting it to
| | 00:31 | fit the shape of the object
that's reflecting it, like here.
| | 00:35 | Now creating this scene here was pretty easy.
| | 00:38 | Now it has to be in reverse.
| | 00:40 | Now this isn't actually this cab,
though in the scene it's supposed to be.
| | 00:43 | I simply took this cab here, and I
didn't have to flip the car, but I did have
| | 00:49 | to flip the reflection.
| | 00:51 | So when you look at it here, you see
that it is in fact the same cab, but I've
| | 00:54 | taken the reflection and I flipped it.
| | 00:56 | Same little reflections of light and
so on, but I flipped that logo to make it
| | 01:01 | look like it is in fact a reflection.
| | 01:03 | Going back, let's go in here and
we'll zoom in on this little area here.
| | 01:08 | Now here we see that this building is
being reflected in this big glass area
| | 01:12 | here, right? There are
reflections all through the area.
| | 01:16 | But let's concentrate on this one right
here, because this one required a little
| | 01:20 | more distortion and
effects to make it look right.
| | 01:25 | There we see the Toys "R" Us way back there,
just peering through the side of the building.
| | 01:29 | Now this requires a little study
of the angles of what's going to be
| | 01:33 | reflected and so on.
| | 01:34 | Now these are the big panes of glass,
really big, which means that there is
| | 01:40 | going to be distortion, because
they do buckle and twist and so on.
| | 01:44 | The nature of glass in this size in
this situation will cause distortions.
| | 01:50 | So one think that's good is to not
have a continuous line, like here we see
| | 01:55 | that this little section of the store
is being reflected there and you see that
| | 01:59 | it's being distorted unequally in
each pane, so it makes them look like
| | 02:03 | individual panes of glass.
| | 02:05 | Let's look at this whole little
section and see how it was done.
| | 02:09 | Right here we have the starting
file of where it was created.
| | 02:13 | Now to create that reflection right
there, I took the basic file of this section
| | 02:18 | of the building without that
reflection of light, because that reflection of
| | 02:23 | light is based on where we're standing
and we see some sign reflected there.
| | 02:28 | In the reflection in the glass
we'll not see that reflection.
| | 02:33 | So I took this file before I added
that reflection and then duplicated it and
| | 02:38 | brought it into here and put it into this area.
| | 02:41 | Then I distorted it, very much like I
did in the movie on the iPhone ad where I
| | 02:46 | created these guides, as you could see right here.
| | 02:49 | These guides allowed me to go in there and
distort the scene to fit the area of the windows.
| | 02:56 | So when we look at the layers, we see
that we have quite a few layers that
| | 03:01 | make up that reflection.
| | 03:02 | I have them in a folder called Reflections.
| | 03:05 | There is a guide that's right there on
top, and then there's multiple layers that
| | 03:09 | make up those reflections.
| | 03:10 | There is the MTV reflection.
| | 03:13 | You notice that these are straight.
They haven't been distorted yet. And each one
| | 03:17 | of these has a mask.
| | 03:20 | Now these masks are hiding
these portions of the glass.
| | 03:26 | There is a section in the series
discussing layer masks where you can go in
| | 03:30 | there and find out how these guys were
created, but what I want to do right now
| | 03:33 | is I am going to take a particular
area, like you see the outer wall and so on,
| | 03:37 | right here this particular one
is the face scene in the back.
| | 03:42 | So what I'm going to do is I'm going to
take that particular layer. I'm going to
| | 03:46 | select this little portion right here.
| | 03:50 | Now I can distort that independently.
| | 03:52 | It is that layer. So I can take that
layer and if I want to see it completely,
| | 03:56 | I can go in there and just bring up the
opacity a little bit so I can see it better.
| | 04:00 | There it is. So I can go in here and let's say
we use something like maybe Liquify.
| | 04:05 | And Liquify you can go in there and
start to distort that section of the glass
| | 04:09 | independent of the others,
| | 04:11 | so that I can go in there and
make it look more realistic.
| | 04:14 | It was flipped horizontally, as
you can see by the text and so on.
| | 04:18 | So now I can do things like let's say we
take the blow tool and I'll take a much
| | 04:22 | larger brush size and just kind of hold
it in place right there, right? And it's
| | 04:28 | going to go in there and
blow that area just like that.
| | 04:32 | And then I'm going to go in here and
maybe take this Warp tool and just kind of
| | 04:36 | bend this down a little bit
and bend is over or in,
| | 04:40 | just to create that illusion these are
distorted and I definitely want to push
| | 04:44 | that down so that line doesn't
match up to the one next to it.
| | 04:47 | So I go in there and just do a couple
little distortions just so it starts to
| | 04:51 | look a little more like it's a
distortion in the glass. So when I click okay,
| | 04:55 | we see that that area now got distorted,
and each section was handled independently.
| | 05:01 | So this was also distorted and so on and
once they were done, I bring the opacity
| | 05:05 | back down to where it belongs and we
see that we have a reflection inside that
| | 05:09 | glass that looks realistic.
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| Creating steam| 00:00 | Things like clouds and smoke and steam
are things that seem a little complex to do.
| | 00:06 | I'll come in right here and look at one of
the things that display on Times Square
| | 00:12 | to catch people's eyes, and right
here we have this big giant mug of hot
| | 00:16 | chocolate, HERSHEY'S cocoa.
| | 00:18 | Here we see the box up there.
| | 00:19 | And there's the steam
that comes out of that cup.
| | 00:22 | And there you see the steam just rising up
which we're going to create right now, steam.
| | 00:27 | So I got here, open in background, is the
file for that little section by itself.
| | 00:33 | And there we see the steam very
clearly now against the black.
| | 00:37 | Now, that steam looks complex, but it isn't.
| | 00:40 | Photoshop makes it a one-step process
to go in there and create that steam.
| | 00:44 | You'll also notice in this image
right here that there are certain parts
| | 00:47 | that are not completed.
| | 00:49 | I only do the parts that are going to be
visible in the scene, so I don't waste a
| | 00:54 | lot of time filling in everything else.
| | 00:56 | I just make the parts
that are going to be visible.
| | 00:58 | So now let's go in here and create the steam.
| | 01:01 | When we look at the layers, you see
that everything is in its own layer and of
| | 01:04 | course they're all named.
| | 01:06 | So way down here we have the steam.
Turn that off and we see that it's just all
| | 01:11 | the steam that's just
flowing around. And it has a mask.
| | 01:14 | So let's go in there and create this effect.
| | 01:17 | I'll turn that off and create a new
layer on top of this, which is where we're
| | 01:21 | going to create our new steam.
| | 01:22 | So I am going to select an area, and I
have black and white for my foreground
| | 01:26 | and background colors.
| | 01:27 | So what I'm going to do is in that
layer, right there--and let's just go
| | 01:31 | see just that layer--
| | 01:32 | I am going to create some steam.
| | 01:34 | And all I am going to do is create one filter,
which is right here under Render > Clouds.
| | 01:39 | Now Clouds created that.
| | 01:42 | Now let me give it a little tip here.
| | 01:43 | Look at it very carefully.
| | 01:45 | I am going to undo it.
| | 01:46 | This time I am going to hold down my
Option key, or Alt on a PC, and use that
| | 01:51 | same Filter, Render > Clouds.
| | 01:53 | And you'll see that now
you have a lot more contrast;
| | 01:57 | the darks are stronger
and the whites are stronger.
| | 02:00 | So that Option key, which is a modifier
key, went in there and changed the way
| | 02:05 | that filter is going to work.
| | 02:06 | So I am going to apply it again.
| | 02:07 | I am going to apply it a few more times
until we have the steam just the way I
| | 02:11 | want it, a nice group of steam.
| | 02:13 | Let's just keep going there.
| | 02:15 | There is a really good one, right there.
| | 02:17 | That's some nice steam because I got
this nice little thing going up.
| | 02:21 | So I am kind of creating it a few times
until I find one that I really like, so
| | 02:24 | I am going to just keep going.
| | 02:25 | You see that each time it's just
doing a different version of the steam.
| | 02:29 | But I have one that I like,
so we'll use that one.
| | 02:32 | That looks pretty good.
| | 02:34 | So now this is going to be our steam.
| | 02:36 | So let's see everybody else in place again.
| | 02:38 | So what I am going to do with this steam, that
one layer is going from white and black,
| | 02:43 | so what I am going to do is I
am going to see only the whites.
| | 02:46 | I am going to change the
mode of that layer to Screen.
| | 02:50 | So now I see only the
white portions of that layer.
| | 02:53 | You see everything else came
through where the dark tones are.
| | 02:56 | So now I can deselect it. And what I
want to do now just to make it look like
| | 03:00 | it's just coming out of
that area is give it a mask.
| | 03:03 | So I'll give that layer a mask, and in
the mask using black I am going to start
| | 03:08 | to paint away the parts I don't want.
| | 03:10 | So I am going to get a nice big soft
brush, make sure the Hardness is down to 0,
| | 03:14 | and I make the brush large enough
so I am going to get a nice big shape.
| | 03:18 | I am going to go in here and start to
paint, and let's bring up the Opacity a
| | 03:22 | little more to about 67 and so.
| | 03:24 | I don't bring it to 100% because I want
to be able to do this lightly, so I can
| | 03:28 | slowly start to get rid
of the parts I don't want.
| | 03:32 | So you could see that I am
softening up the outside edges of my steam,
| | 03:35 | like there, like this.
| | 03:38 | So I get that soft-
edge along the top. There we go.
| | 03:42 | And now I am going to go in there
and kind of bring down the Opacity for
| | 03:46 | the brush even more.
| | 03:47 | Okay, so now I can start hitting
some of these areas just to lighten them
| | 03:51 | up ever so slightly.
| | 03:52 | So it starts to look like the steam is
just dissipating off into the air, and
| | 03:57 | there you could see that we have this
whole new bunch of steam that's just come
| | 04:01 | out of our hot cocoa cup,
and it looks very realistic.
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| Working with multiple shadows| 00:00 | In making images look right, it's
very important to take into account all
| | 00:04 | the factors involved.
| | 00:06 | If we come in close over here to
the Toys "R" Us building here,
| | 00:09 | we see that these frames that hold these
giant glass panels are raised from the surface.
| | 00:14 | Since they are being lit from
above, they will cast shadows.
| | 00:18 | Another thing to consider is the fact
there are multiple lights, so you are going
| | 00:22 | to have multiple shadows.
| | 00:25 | So these are all things to consider,
and it doesn't require a doctorate
| | 00:28 | degree and stuff; it just requires you
looking around, studying the world around you and
| | 00:32 | seeing how things work.
| | 00:35 | So we're going to go in here
and create these multiple shadows.
| | 00:37 | It's not as hard as it sounds.
| | 00:39 | Here is a simplified file, and
you could see the multiple shadows.
| | 00:44 | I look at my Layers and we see that we
have all those shadows right down here.
| | 00:49 | All these groups of shadows,
| | 00:50 | these are all the shadows that
we're seeing in the image, right?
| | 00:54 | So let's just take this
whole bunch and throw them away.
| | 00:57 | We don't want to see them anymore.
| | 00:59 | We're going to create our own from scratch.
| | 01:02 | So we have multiple layers up here that make
up the actual little shapes. There they are.
| | 01:10 | There's the disks, there's a little shadow behind them,
| | 01:13 | there is a little depth reflection
on the glass of them, and then finally,
| | 01:19 | the lines themselves.
| | 01:20 | So what I am going to do is I am going
to turn off my background and I am going
| | 01:24 | to select the top one here and holding
down my Option key, which is Alt on a PC,
| | 01:29 | I am going to say Merge Visible.
| | 01:33 | And that created a layer on top here
which is a composite of all those layers.
| | 01:37 | If we look at just that layer by itself, we
see that that is the composite of all those layers.
| | 01:42 | So what I am going to do now is
let's turn everything back on.
| | 01:45 | I am going to lock the Transparency on that
layer and I am going to fill it with black.
| | 01:52 | Foreground Color, black.
| | 01:54 | That is the basis for my shadows.
| | 01:57 | So I am going to call it shadow, and I
am going to drag it behind all these guys
| | 02:05 | here, and we're going to move it over.
| | 02:07 | We'll just move it over a little bit to
the right, and let's get a little closer
| | 02:09 | here, so we're going to see
what's going to happen here.
| | 02:12 | And we're going to move it over to
the right a little bit, and down.
| | 02:16 | So there's our first shadow.
| | 02:20 | I am going to put that in Multiply mode.
| | 02:22 | I am going to reduce the Opacity for it
a bit, just so we start to see it more
| | 02:27 | like a shadow right there like that.
| | 02:29 | I am going to soften it up a little bit.
| | 02:32 | In order to soften it, I have to
make sure the Transparency isn't locked.
| | 02:36 | So now I can go in there and do little
bit of a Blur > Gaussian Blur and just
| | 02:41 | soften it up just a little. That's good.
| | 02:43 | There's my first main shadow being caused
by the light directly above that separation.
| | 02:50 | So now there's a light next to it on
either side that's going to cause a shadow.
| | 02:54 | What I am going to do is I am going
to duplicate that shadow right there.
| | 02:58 | And now I've got a second shadow.
| | 03:00 | This shadow, I am going to
move a little bit to the right.
| | 03:03 | And I am keeping it right in line with
the other one so that they're straight in
| | 03:07 | line, because the lights above
are pretty much in line as well.
| | 03:11 | This one I am going to reduce the
Opacity even more, just like that.
| | 03:16 | This was a little further away, the
light's further away, so it's also going to
| | 03:20 | be a little more blurred.
| | 03:21 | So I am going to go in there and
give this a little more of a blur,
| | 03:25 | another 2. Click OK.
| | 03:28 | I am going to duplicate that one,
| | 03:31 | and that duplicate I am going
to move over to the left side.
| | 03:35 | Again, keeping them in line with each
other, I am going to pretty much line
| | 03:38 | them up and make sure that they are
equidistant from each other, as are the lights above.
| | 03:43 | And then we're going to use a third.
| | 03:46 | And it would help to name these, but I
don't want to waste the time to name them.
| | 03:49 | This third one I am going to move over
right there to the left, bring down the
| | 03:55 | Opacity for that one even more, so
it's barely visible, just a little bit,
| | 03:59 | and give it that blur one more time.
| | 04:01 | And that's that farthest one, which I
will duplicate and bring it all the way
| | 04:07 | over to the other side and
putting it right there in the middle.
| | 04:11 | And there we see that we have all
these multiple shadows that are making this
| | 04:15 | look more realistic, more like the real scene.
| | Collapse this transcript |
| Working with complex shadows| 00:00 | Shadows are very important to make
something look three-dimensional.
| | 00:03 | Placement of those shadows,
the intensity of those shadows,
| | 00:06 | all of these things are very important.
| | 00:08 | Now sometimes the shadows can be very
simple, like way over here in the corner.
| | 00:11 | We have this shadow being
cast by this divider here.
| | 00:14 | Very simple, it's just a line that's getting
softer as it gets further away, and so on.
| | 00:19 | Some shadows can be a little more
complex, like for instance directly
| | 00:22 | under people's feet.
| | 00:23 | Now they have been lit by multiple light
sources so if we go in real close under
| | 00:27 | this guy's feet right here, real close
then you see that there's a dark shadow
| | 00:32 | slightly lighter as it gets further
out and getting darker as it gets deeper
| | 00:35 | inside underneath the shoe.
| | 00:37 | The actual shadow that is casting is
coming from so many different light sources
| | 00:41 | that you see multiple shadows being applied--
| | 00:44 | lighter ones, different darker ones--
depending on which light is hitting in just right.
| | 00:49 | Now I am going to discuss this
concept here, and I am going to use my close
| | 00:52 | friend Stephen Johnson who is way
over here, right there, this photographer.
| | 00:55 | I am going to put him into a
completely different scene right here.
| | 00:59 | So I got him right here,
and there he is just standing by himself.
| | 01:02 | I didn't complete his foot for the
painting because his foot is hiding behind
| | 01:05 | someone so why spend all that extra time,
especially when look at the amount of
| | 01:08 | detail that goes into the feet?
| | 01:10 | I just stuck little black sock, so
maybe he lost his shoe somewhere.
| | 01:13 | But we're going to create the shadows for him.
| | 01:15 | Now he's going to create a complex shadow.
| | 01:18 | The light is coming directly above him.
The shadow is going to be fairly easy to do.
| | 01:22 | So I am going to create a layer right
below in here and that's the shadow layer.
| | 01:26 | And using black and a soft-edge brush
that's brought down in Opacity, I can
| | 01:31 | go in here and start to create the
shadow that's going to be underneath him.
| | 01:34 | So this brought down in Opacity I
can create different hits at a time, making
| | 01:38 | it darker and so on, and I can get in
real close here and then start to really
| | 01:42 | darken certain parts.
| | 01:44 | So I get a much smaller brush and I
could start to really darken right
| | 01:47 | underneath his shoe right there, right
underneath that part of his shoe where
| | 01:50 | it's going to cast the most shadow, and
then really darken underneath this shoe
| | 01:54 | where he's going to cast a deeper shadow.
| | 01:57 | Pulling back you see that there he's got
the shadow, which I could bring down the
| | 02:00 | Opacity of the shadow so it
starts to look a little more realistic.
| | 02:02 | Well, what if the light was
coming from say another angle?
| | 02:06 | Let's turn it off this way, and let's
say that light is coming from this way.
| | 02:09 | So now it's not just going
to be some blur down here;
| | 02:12 | it's going to actually start to
take on the shape of his figure.
| | 02:16 | That starts to get a little more complex.
| | 02:18 | Now you could go in there and start to
redraw this whole thing here, but that
| | 02:23 | will be kind of time consuming.
| | 02:25 | So what I am going to do is
do something totally different.
| | 02:28 | I am going to go in here and give
him a drop shadow. There it is.
| | 02:33 | He's got a drop shadow. Click OK.
| | 02:35 | The drop shadow follows this shape.
| | 02:38 | So what I am going to do is I am going to take
that drop shadow and separate it from the layer.
| | 02:42 | So I am going to come over here and
say Layer Style > Create Layer, and that
| | 02:48 | separated the drop shadow into its own layer.
| | 02:51 | So if I took him and moved him
over here, there is his shadow, see?
| | 02:55 | So now I could to take this shadow
layer right here and distort it into
| | 02:59 | the shape that I want.
| | 03:01 | So I'll go in here and say Distort.
| | 03:02 | Now I'll just grab this guy and bring it right
into here and bring this guy way over to here.
| | 03:07 | And I am going to just kind of
distort the shadow into position down on the
| | 03:11 | ground right here below.
| | 03:12 | It might need a little adjusting here and
there, so we can do that after the fact.
| | 03:18 | So I am going to go in there and just
create this shadow just like so, and maybe
| | 03:21 | even down even more.
| | 03:23 | So there we see that we now have this
shadow that's being cast by him, so I can
| | 03:28 | say do it, bring it into position a
little better like that, and I might need to
| | 03:33 | go in there and adjust it, so
that's what I am going to do.
| | 03:35 | I am going to go in there and add a little bit.
| | 03:37 | Let's just pick up that color and we'll
just add some of these tones right into
| | 03:41 | these areas right in here where we need
them, and right in here, a little softening.
| | 03:45 | And then we'll erase the parts we don't
want, like right in here. We don't want
| | 03:48 | these little pieces right here, and we
want to soften this up a little bit.
| | 03:52 | And there you could see that now we
have our shadow that's being cast from a
| | 03:56 | different source and so
we're starting to see the shape.
| | 03:59 | Now it can get a little more complex,
because what if the surface that the shadow
| | 04:03 | is being cast on has a texture to it,
so I am going to just paste a file that I
| | 04:08 | have in my background right here.
| | 04:10 | And there we see that we have
this kind of a sandy desert here.
| | 04:13 | Now of course, we would have to go in
there and put in his footprints going
| | 04:16 | in, but we see that we have these
mounds so the shadow no longer looks proper.
| | 04:20 | The shadow has to follow those little mounds.
| | 04:23 | So here's where another
little filter comes in to play.
| | 04:25 | So I am going to take the shadow--
| | 04:26 | there's my shadow right there--and I
am going to duplicate it, just so I have
| | 04:30 | another one just in case.
| | 04:31 | I am going to turn this one off
and that one I am going to play with.
| | 04:34 | So let's turn off our little
desert here, and that's the shadow that's
| | 04:37 | currently selected.
| | 04:38 | So what I am going to do is I am going
to take that shadow and come up here to
| | 04:41 | my Filters and under Distort, I
have a little thing called Displace.
| | 04:45 | And with Displace I am going to go in
there and I am going to leave it at the
| | 04:48 | default, which is 10 and 10.
| | 04:50 | And I am going to go in there and distort it.
| | 04:52 | And, by the way, these two little
settings here, see the Displacement Map?
| | 04:57 | What's going to happen here is that it's
going to use another image--the image
| | 05:00 | of the desert itself--to displace my shadow.
| | 05:03 | Now it says the other image, do you want
to stretch to fit, or you want to tile it?
| | 05:06 | Do you want the undefined areas to
wrap around or repeat edge pixels?
| | 05:10 | I never concern myself with this
because I need that registration to go right
| | 05:14 | over where those mounds are, so my
Displacement Map, the other image, will be
| | 05:19 | exactly the same size and
resolution of the image I am displacing.
| | 05:23 | So when I click OK, it's going to ask
me for that displacement map, Choose a
| | 05:27 | displacement map, which on the
Desktop I have the desert right there.
| | 05:32 | So when I click OK, you see
that it distorted the shadow.
| | 05:36 | When we look at that desert back on
top we see that it's distorting it based
| | 05:41 | on the movements of the sand underneath
there and we could see how the effect works.
| | 05:45 | So there you could see that the
complex shadows can either be very
| | 05:49 | simple shadows like this--
| | 05:52 | this is directly beneath him, all
right as that one, which will put
| | 05:57 | right beneath him again.
| | 06:00 | There is that one. Or they can be a
shadow off into the distance, like that.
| | 06:05 | Let's turn this one off. Or they can be
a complex shadow over a complex texture
| | 06:10 | that starts to look like that.
| | Collapse this transcript |
| Creating fabric| 00:00 | One of textures that finds its way
into many parts of Times Square is fabric.
| | 00:05 | I am going to zoom in into three
different areas just to show you the fabric.
| | 00:08 | I am going to zoom in to Thomas
Knoll's shirt here, this billboard of Cindy
| | 00:13 | Crawford, and then way over here, the
little curtains way up in the building
| | 00:17 | above the Sephora store.
| | 00:18 | I am going to open up the actual
files here, so you could see them.
| | 00:21 | Here's Thomas's shirt, and when I zoom
in to this area, you'll see that there is
| | 00:26 | in fact a texture to the fabric, right in there.
| | 00:28 | When we look at the billboard, and I
zoom into this, you'll see again that there
| | 00:35 | is in fact a texture to that fabric.
| | 00:38 | Let's get even closer, there we go, and you
could see that there is a texture to the fabric.
| | 00:42 | You could see the little weaves.
| | 00:44 | And then of course, the little curtains
which are right here. And I am going to
| | 00:49 | zoom in on those and we see that they
do have little weave in the curtains.
| | 00:54 | So that's what we're going to create right now.
| | 00:56 | I am going to create that weave of a fabric.
| | 01:00 | Now it's going to be a pattern, and
it's very crucial in the creation of a
| | 01:05 | pattern that you have perfect symmetry.
| | 01:07 | So what I am going to do is I am
going to turn on my grid, Show > Grid.
| | 01:11 | And I want it to be much finer, the
mesh, so that I have something to go by.
| | 01:15 | I am going to go into my Preferences
and go over down here to Guides, Grid, &
| | 01:20 | Slices, and increase the Subdivisions
to a much higher number, like say 12, which
| | 01:24 | gives me these nice little
tones back there. Click OK.
| | 01:27 | Now I am going to zoom in so that I could
see a basic shape right there, real close.
| | 01:33 | So now it does need to be transparent,
| | 01:37 | so I am going to create the
actual pattern in a layer.
| | 01:42 | I need transparency so that the little
spaces between the weaves or the threads
| | 01:47 | will be a space, showing anything
that's behind or even just black, but I don't
| | 01:52 | want to see that white back there.
| | 01:53 | So I am now going to select based on one area
of subdivision here and fill it with a color.
| | 01:59 | I am going to fill it with a slight
off-white, like that, a nice light gray.
| | 02:03 | I am going to go ahead and
fill that area with that color.
| | 02:07 | I am going to duplicate this
guy straight across, right there.
| | 02:11 | So I have two of them.
| | 02:13 | We'll call this verticals.
| | 02:17 | A second layer which we're going to
call horizontals, I am going to create a
| | 02:23 | selection going across this way, fill it,
and duplicate it straight down. There we go.
| | 02:30 | Now this right here is going
to be the basis of my weave.
| | 02:34 | Now I want to give this a little dimension.
| | 02:36 | So I am going to go into the Layer
Styles for the horizontal and give it a
| | 02:40 | little Inner Glow, which I actually
wanted to be a darker tone, so I'll pick
| | 02:44 | the nice dark gray like this, set the
mode to Multiply, so I have a little dark
| | 02:48 | tone just like that.
| | 02:49 | I might bring down the Opacity
just a tad, just to soften it up.
| | 02:53 | I'll go over to Blending Options, and I
am going to set Layer Mask Hides Effects.
| | 02:59 | I am going to turn that on,
and you'll why in a few minutes. Click OK.
| | 03:03 | I am going to Option+Alt+Drag the effects
onto the verticals so they have the same effect.
| | 03:09 | So now on the horizontals I
am going to give them a mask.
| | 03:11 | I am going to turn the verticals into a
selection by Command+Clicking, Ctrl+Clicking on
| | 03:16 | it, which made us a selection.
| | 03:17 | Then right here in that mask for the
horizontals, using black, I am going to
| | 03:24 | paint black right into
there and right into there.
| | 03:29 | Now there's why I had to go in there
and say that the layer mask will hide the
| | 03:32 | effect because that way I didn't lose my effect.
| | 03:35 | It didn't suddenly appear here.
| | 03:37 | No, it just continues on to make
it one continuous kind of an effect.
| | 03:42 | Deselect that and there we could see that
this thread is going underneath that one.
| | 03:45 | Now this is a pattern, so when it steps
and repeats, the next thread here will be
| | 03:50 | over just like here.
| | 03:51 | So it'll be over, under, over, under, and so on.
| | 03:56 | Same thing with the vertical.
| | 03:57 | Now that I have that, I am going to
go in here and create my pattern.
| | 04:02 | Let's select it just like this.
| | 04:05 | Now it is a step-and-repeat, so right
here where it drops itself off, it picks
| | 04:10 | itself up right here, so that's why I
have a space on this side and here, bringing
| | 04:14 | in these holes, and then here it's
flush, because it'll flush along the top.
| | 04:19 | Turn off my background to ensure that I
have transparency in between there, and
| | 04:23 | I say Define Pattern.
| | 04:27 | Now Define Pattern was not visible and
that was because I had the mask selected.
| | 04:33 | When something doesn't go right,
it's good to look around. Don't panic.
| | 04:37 | It's usually a user error.
| | 04:39 | Now you can make a pattern out of the mask.
| | 04:42 | So if something is grayed out, don't
immediately start running around looking
| | 04:46 | for your manual, just look
around and see what's happening.
| | 04:49 | The mask was selected, so
therefore Define Pattern is grayed out.
| | 04:53 | If I switch over to a layer,
Define Pattern will become active.
| | 04:58 | So I choose Define
Pattern and there's my pattern.
| | 05:03 | I click OK, and it's done.
| | 05:06 | Now we can test it out by
pulling back, turning off our grid.
| | 05:10 | We don't need to see the grid anymore.
| | 05:12 | We'll say View, hide the grid,
and let's just look at the background here and
| | 05:17 | create a layer on top of it.
| | 05:18 | Now we'll go ahead and fill that layer with
our little pattern to see if it's working.
| | 05:23 | So let's just say Use a Pattern and
right here we have our little weave. Click
| | 05:28 | OK and there's the weave.
| | 05:30 | We'll come in close to look at it,
and we see that we have exactly the effect
| | 05:34 | that we want, so it looks
like this nice little weave.
| | 05:37 | So now I am going to be using
this in many different places,
| | 05:42 | so what's really advisable since I've
made it quite large and you want to have
| | 05:46 | it small, I am going to create a new
file for myself here, and I am going to
| | 05:51 | make it much larger than what I have.
| | 05:52 | I am going to increase this by 1000
on each end to have a nice big file.
| | 05:58 | And here, in the layer on top--in
fact let's throw away the background,
| | 06:02 | we don't even want the background--
| | 06:03 | I am going to fill this layer with that
pattern, so I have a nice big pattern I can work with.
| | 06:08 | So now this large file will give me
enough room so that when I bring this
| | 06:13 | pattern into some other file, I have
enough space that I can shrink it and
| | 06:18 | do anything I need to it and have
enough space that I can fill up any area
| | 06:21 | that I need.
| | Collapse this transcript |
|
|
12. Techniques for Creating ObjectsCreating a diamond stud| 00:00 | One of the many people that inhabit
Times Square here is right here in the
| | 00:03 | center, and that's Julieanne Kost.
| | 00:06 | Now is not the actual file. This is
low-res, so I'm going to open up the high-res
| | 00:09 | file, so you can see what she
looks like. There is the high-res file.
| | 00:13 | Now when I zoom in right here, you'll
see that she's got a little diamond stud
| | 00:17 | earring. So what I'm going to do is
show you how that little diamond stud was
| | 00:20 | created. Quite simple. It seems like it
would be a complicated thing, but that's the
| | 00:24 | beauty of Photoshop.
| | 00:25 | It keeps things very simple.
| | 00:27 | So I got here a blank document, and I'm
going to create a circle, a nice big circle
| | 00:33 | right here in the center of it.
| | 00:35 | And I just put it right there at center and in
the layer; everything gets created in layer.
| | 00:41 | So I going to go ahead and fill that
with a 50% Gray, a nice neutral density
| | 00:46 | right there. And I am going to give
that some noise, Add Noise. That's quite a
| | 00:51 | bit noise. Click OK.
| | 00:53 | I'm also going to introduce some grays
into that noise by blurring it. So I'll gave
| | 00:57 | a little Blur More, just
to introduce some grays.
| | 01:00 | Now that I have this nice
mixture of tonality in there,
| | 01:03 | I'm going to go in there and create all
little facets that make up the diamond.
| | 01:06 | So I'm go in there and just go
into another Filter, under Pixelate,
| | 01:11 | I have got a thing called Crystallize.
And Crystallize is going to turn all that
| | 01:15 | noise into facets, which I could make
larger if I want like right there.
| | 01:20 | We could reduce this or enlarge it just to see.
| | 01:23 | There is the effect that we're are
seeing and I can make a quite large, so
| | 01:25 | that the facets become much more like a
diamond, like right about there like that. Click OK.
| | 01:31 | I want this to be a little lighter,
| | 01:33 | so I'm going to into my Levels and in
Levels, I'm going just kind of lighten
| | 01:36 | these up, make the darks just darker and
give myself a little more contrast, just
| | 01:41 | like that. Click OK and now we
don't need to select anymore.
| | 01:45 | I could take this and very simply
scale it down and it starts to become this
| | 01:50 | believable little diamond stud.
| | 01:53 | Now in the next movie, we're going to
take that simple little diamond stud and
| | 01:57 | make it far more complicated.
| | Collapse this transcript |
| Creating the diamond billboard| 00:00 | In the last movie, we saw how the
little diamond stud on Julieanne's ear was made.
| | 00:04 | Well, now I am going to take that
diamond and put it elsewhere in the painting.
| | 00:07 | There is one scene right here
where we see quite a few diamonds.
| | 00:10 | Now this is the low-res
version so you really can't tell.
| | 00:13 | I happen to have open the high-res
version of the Broadway area right here where
| | 00:18 | we can now zoom in and see much better clarity.
| | 00:21 | There is the little diamond billboard
that has all these little tiny diamonds
| | 00:25 | enclosed inside these three-
dimensional looking letters.
| | 00:28 | I also have opened that particular
file, the file of that billboard.
| | 00:33 | Here is the original file that
was used to create that billboard.
| | 00:36 | So here, we can start to see where all
those little diamonds are, so we are going
| | 00:40 | to re-create this effect here.
| | 00:43 | In this file here, right now it's blank.
| | 00:46 | I've created a path for the letter L.
That's the letter is going to contain
| | 00:51 | our little diamonds.
| | 00:52 | Right now, let's just create the
background the way it was in that billboard.
| | 00:56 | So I am going to pick some colors here.
| | 00:58 | I am going to get a nice deep red
like this, so you've got a red like that. And for
| | 01:02 | the background color, I will just pick
the same red and make it a little darker.
| | 01:06 | And I will throw a little radial
gradient right into the sign, like so, and we
| | 01:12 | want a little more definition.
| | 01:13 | We will make that red a little darker
and try that again, so we have little more
| | 01:16 | definition there, we get that feel.
| | 01:18 | I am going to give that a little
texture by applying a filter of Texturizer in
| | 01:23 | Sandstone mode just to give that a
little texture. Make it big, bring that
| | 01:27 | Relief down just so we have a
little texture in the background, there.
| | 01:31 | So on top of this, I'm now going to
form my letter. So I have my path.
| | 01:35 | Here is the path and I've got my layers.
| | 01:38 | So I am going to create a layer on top
of this, which is going to have the letter.
| | 01:41 | Right, so there is the letter.
| | 01:44 | Now I am going to move this
path over just a little bit,
| | 01:47 | just about like that. There we go.
| | 01:50 | I am going to get a color for that
letter to have. So I am going to get a kind
| | 01:54 | of a golden tone somewhere around this
color here, and in that layer, I am going
| | 01:58 | to fill that path, so there it is.
| | 02:01 | Now this is going to have a little depth to it.
| | 02:04 | So I am going to take that path,
| | 02:05 | I am going to duplicate it and bring
it right over here to decide like that.
| | 02:10 | Now that it has a little depth here,
| | 02:13 | I am going to select this point and
drag that point right over to that edge and
| | 02:17 | drag this point right over to this edge.
| | 02:20 | So this becomes a side to my letters right there.
| | 02:23 | So in the layer behind this letter
right there, I am going to call it depth.
| | 02:31 | Now we start to have a little shape to this.
| | 02:33 | So I am going to get a darker tone of
that gold and I am going to fill that path
| | 02:38 | in that layer, like that.
| | 02:40 | So now you see that the letter
has a little dimension to it.
| | 02:42 | Now I am going to go in here, and
let's select this little shape right
| | 02:47 | through here, right there.
| | 02:52 | I've got this little shape selected.
| | 02:54 | So I am going to go in here and just do
a little darkening right to this edge.
| | 02:56 | Now I am going to get my Burn tool and
I am just going to kind of darken that
| | 03:00 | edge a little bit and darken it up
there, just to give a little depth.
| | 03:03 | All right, so there we have a little
more dimension to this. And then I am going
| | 03:06 | to give that layer a layer style.
| | 03:08 | So I go to that layer and to the depth layer,
I will just give it a little drop shadow,
| | 03:13 | make the light come from this
direction, give a little more size, a little
| | 03:17 | more distance, and now we could see
that the letter is now separating
| | 03:20 | from the background.
| | 03:22 | Now right here on top here,
I've got that original path.
| | 03:26 | It's this path right here.
| | 03:27 | Let's select that path.
| | 03:29 | Let's get to path set up and that outer path.
| | 03:32 | I am going to give this letter a little
bit of a shape to it, kind of like a border.
| | 03:36 | So I am going to get
another color, a lighter yellow.
| | 03:40 | Let's pick this yellow and then go a
little lighter than that, and in the layer
| | 03:44 | on top of the letter, I am going to call
this one border. And I am going to get a
| | 03:52 | paintbrush, a nice hard-
edged brush, which I'll make bigger.
| | 03:55 | Now I am going kind of figuring the
size based on the half of that brush tip.
| | 04:00 | That's how deep my border is going to be.
| | 04:01 | So just about there, maybe a
little bigger. That's a good size.
| | 04:05 | So I am going to go ahead and stroke
that path with that brush right there.
| | 04:10 | So now that's a separate layer, so what
I am going to do is I am going to clip
| | 04:13 | that layer with the basic shape right there.
| | 04:16 | So now this has to have a little depth.
| | 04:19 | I have a layer style I can give to this,
a little Bevel and Emboss. And I am going
| | 04:25 | to put that on the outside, maybe, or
just make this smaller and leave the way
| | 04:29 | it is, just to give it that little
bit of an edge. That looks good.
| | 04:33 | Now this has to have a little more depth to it.
| | 04:35 | So I have the paths.
| | 04:37 | So I am going to select this path right there.
| | 04:40 | I am going to copy it, turn off that,
create a new path, and say paste, which
| | 04:46 | pastes right on top.
| | 04:47 | I am going to take this new one and
I am going to move it over so that it
| | 04:51 | matches the back letter right there, see?
| | 04:54 | So what I am going to do with that is
I am going to go in there and darken
| | 04:58 | this tone back here.
| | 04:59 | I'm going to go in here with a much
darker version of this yellow, about like
| | 05:04 | that, and I am going to go in
there and fill that area back there.
| | 05:08 | So we will go in here and right on
top of the letter create a new layer. I am
| | 05:12 | going to fill that path inside there with that.
| | 05:16 | So now we've got some depth to our letters.
| | 05:18 | There is a hole, which is where
the diamonds are going to be.
| | 05:21 | So I am going to go to the file that has
the diamond, go down here, and I'm going
| | 05:26 | to select that little diamond. There it is.
| | 05:28 | Let's make sure we are in the right layer. Yup!
| | 05:29 | So I am going to just say Copy and go
back to my file with the sign right here.
| | 05:37 | And in a layer right on top, way
up here, I am going to say Paste.
| | 05:41 | Now it's going to automatically paste into
its own layer, but I just want to make
| | 05:44 | sure that it's there. There we go.
| | 05:45 | So there is my little diamond.
| | 05:47 | Now, I will need to make this little
smaller because I am going to have two rows
| | 05:50 | of diamonds in there,
| | 05:51 | so I am going to go in there
and shrink it just a little bit.
| | 05:53 | I'm going to shrink it down so that I
can fit two rows right in there.
| | 06:00 | Now, you notice that if I duplicate this
diamond, it will look exactly like the other.
| | 06:05 | So what I am going to do is I am going
to select it and duplicate it next to
| | 06:08 | it. But the duplicate, I'm
going to do a little flip on it.
| | 06:12 | Let's do a little 180 on it.
| | 06:14 | So now it starts to look different.
| | 06:16 | So I am going to select both of these
and duplicate them straight above, just
| | 06:20 | like that and these, I am going to
do a little Flip Horizontal on those.
| | 06:25 | So you see, they are starting to look different.
| | 06:27 | In fact, I am going to select that one
right there and just do another flip on it.
| | 06:31 | Let's say 90 degrees. There we go.
| | 06:33 | I put it right back in position.
| | 06:36 | So now they are starting to look different.
| | 06:37 | So I am going to go in there and do
that quite a few of them, so that I have about
| | 06:41 | say five or six different styles that I can
then duplicate. But to save time, we're just
| | 06:45 | kind of just use these same four.
| | 06:48 | So I am going to go in there and let's
grab them, put them up into this area here.
| | 06:51 | I am going to duplicate them straight
down, have another bunch right there, and
| | 06:55 | come down some more and some more, right there.
| | 06:59 | Let's move that over just a
little end down. So, there.
| | 07:04 | So now I am going to enlarge the whole
batch just so that they fill out this
| | 07:08 | area a little better,
| | 07:09 | about like that. And then I am going to move
them down, because they are inside this
| | 07:14 | whole thing here. And then I am going to
grab these four down here and duplicate
| | 07:19 | them straight across to form
the ones that go down this way.
| | 07:23 | Now it helps the plan just ahead of
time, so that you know your sizes are going to
| | 07:26 | be just right, but that's okay.
| | 07:29 | We can kind of make
believe for the purposes of the demo.
| | 07:31 | So there's our little diamonds.
| | 07:32 | Now that's going to go behind a
border so they are inside that area.
| | 07:36 | Now I can give these guys a little
drop shadow inside, increase that distance
| | 07:41 | so that they are inside that place right inside
there. And now we will add the little sparkles.
| | 07:46 | To the border, I am
going to add little sparkles.
| | 07:49 | So I got that border.
| | 07:50 | I am going to go in there and I am
going to lock the transparency,
| | 07:53 | so I could throw a couple of tones in there.
| | 07:54 | So I can go in there and maybe take
a little white, a little white there.
| | 07:57 | I am going to bring down the hardness
on it and just add a little tone right
| | 08:02 | through there like that.
| | 08:03 | It might be a little strong, so I will
just bring down the opacity of the brush.
| | 08:06 | I am just going to give a little
highlight through there, a little highlight
| | 08:08 | there, and maybe with a
little dodging and burning.
| | 08:11 | I will go in there and just
add a couple of other tones.
| | 08:14 | So I am just going to go
in there and darken that.
| | 08:16 | Let's set this to Shadows so we get some
nice golden tones right there, and we will
| | 08:21 | add a little tone right here and maybe
a little right here at the edge, make it
| | 08:25 | a smaller brush, and we'll just add a
little hard tone right through there,
| | 08:29 | darkening it a little more like that,
| | 08:31 | right. So now we have some tones in there,
and the last thing we need is those sparkles.
| | 08:36 | So on layer right above this whole bunch,
I am going to get a white color and I
| | 08:41 | am going to get my paint brush, which I
am going to really soften it up, really
| | 08:45 | soft edge, and I am going to
bring down the size a bit.
| | 08:48 | So right now, I've got that, right?
| | 08:50 | I am going to bring the Opacity
up to about 80, which gives me that.
| | 08:54 | I am going to go into my Brush engine
where I am going to set up a Transfer
| | 08:59 | mode, and I am going to say I want the
Opacity to Fade. And I want it to fade
| | 09:03 | at say, maybe 75 steps, so I can test that.
| | 09:07 | Well, that's going to be,
well, it's a little too much.
| | 09:09 | So let's go down here and
make it 35, and that looks better.
| | 09:14 | In fact, we will make it even smaller;
| | 09:16 | we will make it 25.
| | 09:17 | We know that's going to be perfect.
| | 09:18 | So now I am going to go and click
right here and come up into this direction,
| | 09:22 | hold down my Shift key to constrain it
from click the click, and click. And you
| | 09:26 | could see that it's running out
of paint when it gets to 25 steps.
| | 09:30 | I am going to start the original spot
right there, click again, come down in
| | 09:33 | this direction in a straight line from
the previous point, hold on my Shift
| | 09:37 | key again, and click.
| | 09:39 | Now I am going to go and reduce
that distance just a little bit.
| | 09:43 | I am going to bring this down to say maybe 19.
| | 09:46 | I am going to start at that same
point click, come in this direction
| | 09:51 | perpendicular to it, hold down the
Shift key and click, click there again, come
| | 09:56 | in this direction, Shift+Click.
| | 09:58 | I might want to add just a
little bit more sprays there.
| | 10:02 | So I will go into my brush and this time,
I will bring it down to about, say, 12
| | 10:06 | and I will click here, Shift+Click,
close this, click here, come over here,
| | 10:13 | Shift+Click, there, click, there, and click.
| | 10:18 | For the final touch, I will just add
a much bigger brush and just give it a
| | 10:22 | little touch right there in the center, which
gives it that extra little sparkle.
| | 10:25 | Now that is a separate layer, so I can
move that into any position that I want or
| | 10:30 | if I want, I can hold down my Option
key and duplicate that, bring one of these
| | 10:34 | up here, which I can make a little
smaller, and I have a second sparkle up at the
| | 10:43 | top. And you could see how simple it
was go in there and create a nice little
| | 10:46 | letter, filled with diamonds. And of
course, if you take your time and really
| | 10:50 | think it out, you'll have everything
fit perfectly and it will look beautiful.
| | Collapse this transcript |
| Creating a skateboard| 00:00 | There are many details throughout the
painting of Times Square, and every one of
| | 00:03 | them requires its own little
attention to its own little detail.
| | 00:07 | No matter how small, that detail has
to be put in there so that the overall
| | 00:10 | image will look good.
| | 00:12 | So let's go in here and get real
close to this little area right here.
| | 00:15 | We'll see a storefront right there with
some skateboards hanging on the window.
| | 00:19 | This is an element store
and they sell skateboards.
| | 00:23 | So we're going to go in there and see
how these little skateboards were created.
| | 00:26 | Here is the actual file for the
four skateboards that we see there.
| | 00:32 | Now creating them was fairly simple.
| | 00:36 | I did rely on some resources for the
actual designs that were on them, so when
| | 00:41 | we look at the paths, we see here the
paths for the main ones, and then I created
| | 00:45 | that last one separate. And you can see
that all the individual paths are there.
| | 00:49 | Let's just see the background by itself,
and you see all the different paths for
| | 00:53 | the designs and such are there.
| | 00:55 | Now those basic shapes we'll fill with
the color, as you can see right there.
| | 01:00 | Let's turn the paths for a second.
And there is a little indentation right in
| | 01:04 | there, so in those skateboards there is
that little indentation and wood tones.
| | 01:11 | Now, let's just unclip the wood tones
layer right here, and let's set this to a
| | 01:16 | very different mode.
| | 01:17 | Let's set it to Normal mode.
| | 01:18 | Now how I created these wood textures,
which are very similar to the actual
| | 01:22 | skateboards, is covered in
the tutorial on creating wood.
| | 01:26 | This is the one where I used the
Fibers filter to create the wood texture.
| | 01:30 | And there you can see I've just
selected these certain blocks, like this.
| | 01:34 | And I went into my Adjustments of
Hue/Saturation and I set Colorize.
| | 01:40 | Let's bring down the Saturation. I changed
the colors to whatever I wanted to fit
| | 01:44 | the different types of boards that were there.
| | 01:46 | So I've set that to a Hard Light
and then clipped it with the boards.
| | 01:53 | I want to concentrate at
little tiny notch right there.
| | 01:57 | That's the little part that's different.
| | 01:59 | I'm going to take that off for now,
and I'm going to re-create that effect right now.
| | 02:03 | So I'm going to go in here and just
get a little tone and we--look at that
| | 02:06 | little box right there.
| | 02:07 | There's that little box just set the
normal. And if we wanted to look at that by
| | 02:10 | itself, let's unclip it and we'll look at it.
| | 02:13 | And we see that what is just a
tone right there of lights and darks.
| | 02:17 | So what we're going to do is create that effect.
| | 02:20 | Let's just make that disappear,
and there is the wood. It's still on top
| | 02:24 | there. And we'll go ahead and clip
these, so that wood texture is in there.
| | 02:29 | Now the texture is in a mode, Hard Light,
so anything underneath it will be just
| | 02:34 | affected by the values of
that in a Hard Light mode.
| | 02:37 | So in a layer on top right here, you
could see that I have my paths, and the
| | 02:42 | paths have that little indentation.
| | 02:44 | So I'm going to select that little
indent right here and here. I am going to
| | 02:49 | make it a selection.
| | 02:52 | And then I come over here and look at
my layers. There is that layer. And what
| | 02:55 | I'm going to do is I'm just going to
make a gradient inside there. Right now I've
| | 02:59 | got a light to dark.
| | 03:00 | So that's what I'm going to use.
| | 03:01 | I'm going to use a light-to-dark
gradient in a linear fashion, and I'll go from the
| | 03:05 | bottom, which is the light, up to the dark
right there, like that. And there you can
| | 03:08 | see that I have got this little
indentation inside that thing.
| | 03:12 | It's trapped inside the shape of my
skateboard and it's just created a light and a
| | 03:17 | dark that's creating that indent in there.
| | 03:20 | If you want it to be a little softer, you
can apply a little bit of a blur to it,
| | 03:24 | a little Gaussian Blur, just a short one.
| | 03:26 | Let's say we do a two, just to soften
that edge, just a little bit, creating that
| | 03:32 | little slight indent into the wood.
| | 03:34 | Now that little slight techniques
there can be use as so many different
| | 03:38 | instances to create that sense of a
notch in the piece of wood, or a little dent
| | 03:43 | in the piece of metal, whatever.
But all you're doing is creating this little
| | 03:47 | indent into the shape, creating the
illusion by adding some darks and some lights
| | 03:52 | to give it a sense of depth.
| | Collapse this transcript |
| Creating a button| 00:00 | There are many buttons throughout
the image of Times Square, all kinds of
| | 00:03 | buttons--not just the ones that you push, but
the ones that you hold your clothes up with.
| | 00:08 | Now some are simple, like these two
right here, or these five. Some are complex,
| | 00:12 | like this one right here. Those are complex.
| | 00:16 | They have little designs on them.
And then some are just kind of middle-of-the-
| | 00:19 | road, like these here.
| | 00:21 | I'm going to create this one right here.
| | 00:24 | We will go in here, and I've got an
Untitled file, and we are going to just create
| | 00:28 | this whole thing from scratch right here.
| | 00:30 | Now I am going to start off by
creating a little oval for myself.
| | 00:33 | I am going to go in here and use the
Elliptical tool and is set to Paths, and I'm going to
| | 00:39 | create a nice big oval, like so, which
I am then going to duplicate. I'm going to duplicate
| | 00:45 | that oval straight back like that.
| | 00:48 | Now that duplicate, I am going to select
that center point right there and delete it,
| | 00:53 | so that I can now take my Pen tool and
start from this guy right here and come
| | 00:57 | straight over to this edge here,
down to this edge, and close it off.
| | 01:03 | Now I am going to get in close to make
sure that I'm matching my little edge
| | 01:06 | there that I need, and I'm not, so
let's go in there and look at this.
| | 01:10 | I am going to grab that little point
and drag it down and just pull this point
| | 01:14 | back so it's nice and straight. And there
we see that it's right against the edge
| | 01:18 | of that top of that button, and we come
down here to the bottom, and we will grab
| | 01:23 | this point, pull in that handle, and
then drag it up so it's matching the bottom
| | 01:28 | of that button right there.
| | 01:29 | Okay, so now, that's going
to be the side of our button.
| | 01:34 | Then in here I want this little
indent where I am going to have my threads.
| | 01:38 | So I am going to create a little shape
in there, and this time I am going to use
| | 01:41 | a rounded-corner rectangle, also set to
Paths. And I see this shape that it has,
| | 01:47 | so I'm going to undo that, and I want
to give myself a little more radius, so
| | 01:50 | I am going to go in there and say a
50-pixel radius. This is not a formula.
| | 01:54 | This depends basically on the
resolution of the file you're working on.
| | 01:58 | So this just gives me more of a rounded
edge like that. That's going to be a
| | 02:03 | little area where my thread is.
| | 02:05 | So now that I have this,
I will start creating my button.
| | 02:09 | Let's pick a color for our button.
| | 02:11 | So I will go in there and I'll pick a
nice beige, kind of like the button that
| | 02:15 | we saw in the scene there a second
ago. Look at this color right there.
| | 02:18 | I am going to select this first path.
| | 02:20 | This is the face of the button.
| | 02:22 | So I am going to go onto my Layers
and I create a layer called Face.
| | 02:27 | Now I am going to fill that path with that
color, and here is the side of the button.
| | 02:34 | Now the side of the button is in the
darkness, so I am going to just choose a
| | 02:38 | darker version of that color right there,
and I am going to go in there and fill
| | 02:42 | that in a new layer, which I'll
put behind the face layer.
| | 02:46 | We will call it side edge, and I'll go
in there and then fill that path in that
| | 02:53 | layer with that color.
| | 02:55 | Then we have this little indent guy.
| | 02:58 | Let's pick that original color again,
and we will just fill that with that color
| | 03:01 | right in there, just so it keeps into
that same shade. And then I'll go in there
| | 03:06 | on top of the face and create new layer
that we will call indent and fill that
| | 03:14 | path with that color.
| | 03:16 | So now we have all the basic tones that we want.
| | 03:19 | So now we are going to go in here
and start giving this a little dimension.
| | 03:22 | So we are going to go into the
layers and in the side edge here, what I am
| | 03:27 | going to do to that, I am going to take my Burn
tool, which I get a really big brush, and I am just
| | 03:32 | going to go in here and start darkening
this bottom part, and darken the top just
| | 03:36 | a little, just a little darkening
right in there. And with my Dodge tool, I am
| | 03:41 | going to just make it small and throw
a little highlight right through there,
| | 03:44 | just like that, a little
highlight on the edge of the button.
| | 03:46 | Then on the face, I am going to do some stuff,
but first let's do something with the indent.
| | 03:52 | I am going to go into the
indent, give it a layer style.
| | 03:54 | Let's move to side here so we could see it.
| | 03:56 | Now we have this light coming from
over here somewhere, from up here, right?
| | 03:59 | So on that indent I am going to give
it a Bevel and Emboss, which I have the
| | 04:03 | light coming from that direction right there.
| | 04:06 | Now we see that the highlight's up here.
We want to create the illusion that it's
| | 04:09 | over here because this is indented,
not coming out, so I am going to make
| | 04:13 | believe it's coming from that side.
| | 04:15 | I am going to increase the size, so I get
this nice light edge like that, and I am
| | 04:20 | going to lighten up the dark.
| | 04:22 | I don't want that shadow to be so dark.
| | 04:24 | I want to lighten that up quite a bit.
| | 04:26 | I do want the highlight to be a little stronger.
| | 04:28 | So there, now I have that sense of the
indent in there being what it is. Click OK.
| | 04:33 | It also should be soft, so what I am
going to do now is I am going to go in
| | 04:37 | there and give it a little Gaussian
Blur, just to soften that little indent up.
| | 04:41 | So I am going to go in
there and make a little bigger.
| | 04:43 | So there we have this little soft indent.
| | 04:45 | Now because we have that, let's look at
the face--the face of the button. It's not
| | 04:50 | quite flat, so since it's not quite flat,
let's take that indent and move it over
| | 04:56 | this way just a little bit off center,
so it starts to give the button a more
| | 05:01 | rounded kind of a face, which we now
have to go in there and have it react to
| | 05:05 | the light the way we are doing it.
| | 05:07 | So I am going to get a nice big light
tone like this, the Dodge tool, and I am
| | 05:11 | going to go in here just add a little
highlight right through here. And then with
| | 05:14 | the Burn tool, I am going to darken this
side, just darken this like that, and
| | 05:19 | maybe add a couple of little small
reflections from somewhere where it just
| | 05:23 | got a little darker on that side.
| | 05:24 | So we just add a little tone.
| | 05:26 | Now this is very sharp, so what I am
going to do is I am going to go in here.
| | 05:30 | I am going to give this a
little bit of a Feather, just a 2.
| | 05:32 | I am going to select this side of my
face, just this side right there, and I'm
| | 05:41 | going to say blur that.
| | 05:42 | So go and give it a Gaussian Blur
just to soften that edge right there like
| | 05:47 | that. Click OK and there is my
button that's starting to look right.
| | 05:51 | Now this is an edge, so what I am
going to do here is add a little highlight.
| | 05:56 | Now when you stroke a path, it strokes
in the direction in which it was created.
| | 05:59 | So what I am going to do is I am going
to create a little path that follows this
| | 06:04 | guy right there like that, make
it a little longer, right there.
| | 06:09 | Then I will create another path
| | 06:10 | that goes this way. And we have it really
follow that edge just like that and put
| | 06:17 | them real close together. Not one
path, two totally separate paths.
| | 06:22 | Let's get in closer so we could see
how our paths are lining up, and this one
| | 06:26 | needs to be moved over just a little.
And let's curve it and bring it over just
| | 06:31 | so it lines up with that other path,
which is right there, and make those lines
| | 06:35 | kind of match up. There.
| | 06:36 | So now that we have that new path, which
we are going to say there is that path,
| | 06:41 | I am going to get white, and I am
going to get a brush, a soft brush which I
| | 06:46 | am going to soften up.
| | 06:47 | Right now, it gives me this. And what
I am going to is I am going to set up a
| | 06:52 | fade for that brush, Transfer, Fade.
| | 06:56 | It's going to fade in opacity.
25, steps I could test that.
| | 06:59 | That's a little short.
| | 07:00 | So let's go with 55, and we test that.
| | 07:03 | That's good right there.
| | 07:05 | So now that I have this brush that's
going to be fading off in that direction, I
| | 07:09 | am going to take the brush and in a new
layer, which we'll call sheen, I am going
| | 07:15 | to take that path that I just created
and with the brush I am going to say
| | 07:19 | stroke it. And you could see it's going
in both directions and fading, giving me
| | 07:23 | that nice little sheen on the edge.
| | 07:26 | So the final touch is going be the
strings, all the little strings that I have
| | 07:31 | to create inside here.
| | 07:32 | So what I am going to do is I am going to
take a brush, a hard-edged brush, fairly small--
| | 07:37 | let's make it a 7, that should be small enough--
and let's see what that's going to look like.
| | 07:42 | Let's create a new layer on top of this
whole thing here, and this will be the threads.
| | 07:46 | Let's spell it right. There we go.
| | 07:52 | I am going to go in here and create a
whole bunch of additional paths. I haven't
| | 07:56 | been saving my paths, but its okay.
| | 07:58 | So I am going to go here and
just create a path just like that.
| | 08:03 | This path is going to be for my
threads, right there like that.
| | 08:08 | Now I am going to create
a brush to be my thread.
| | 08:11 | Let's save this one because we
are going to come back to it.
| | 08:14 | Now I am just going to very
quickly create a brush right here.
| | 08:17 | I am going to drop in a bunch of little
dots right here on this edge, a bunch of
| | 08:23 | little dots, just like this. There we go.
| | 08:26 | And these I'm going to
select and turn it into a brush.
| | 08:29 | Throw them away, and then I've got my path.
| | 08:37 | Let's go see that path.
| | 08:39 | There is the path. And I am going to
take that brush that I just created right
| | 08:45 | there and I am going to play with that brush,
by bringing down its spacing all the way down.
| | 08:50 | So now you can see what it's going to look like.
| | 08:53 | It's going to look just like that.
| | 08:54 | So I am going to pick some colors.
So I am going to get a little gray, and in
| | 09:00 | a layer for those threads, I am going to
take that path and stroke it. That created those.
| | 09:07 | Now I am going to take that path
and move it ever so slightly over.
| | 09:11 | I am just going to move it down like
this and close it up just a little, like
| | 09:15 | that, get a darker tone, and stroke it again.
| | 09:20 | I am going to move it again just a
little bit, close it up, and get another gray
| | 09:28 | like that, and stroke it again.
| | 09:30 | So you could see I'm starting to
get all these little threads in between.
| | 09:34 | I get one last one, which I am going to get a
much lighter gray and stroke it one more time.
| | 09:41 | So I've got all these nice
little threads in between.
| | 09:44 | Now once I've got this, I can at some
point go in there and start to darken
| | 09:48 | these, so I will go in there and just
darken these edges right through here, like so.
| | 09:54 | And then I am going to take my layers and I
am going to look at my indent right there.
| | 09:58 | I am going to add a little darkness
underneath the threads where they are
| | 10:01 | casting a little shadow
right on to there, like that.
| | 10:04 | And then if I want to have the little
holes where those threads are going into,
| | 10:09 | I can go into that indent, create a
layer on top and just draw a little circle
| | 10:16 | right inside there, which I could fill
with any color I want, which in this case
| | 10:19 | I am going to pick this really dark tone
from down here. And above the indent, I
| | 10:24 | am just going to fill that with that
color, drag that down below. I have two of
| | 10:28 | them. And I could go in there and very
quickly just turn those into a selection
| | 10:35 | and inverse that selection.
| | 10:37 | So I could take my threads and just
erase that little part that's outside of the
| | 10:44 | area of the little holes. And there we
could see that we have the little threads
| | 10:47 | going into the button, and we have
a very realistic-looking button.
| | Collapse this transcript |
| Creating an M&M'S candy| 00:00 | On billboards there is all kinds of
things going on, all kinds of cartoon
| | 00:03 | characters and photographs and
stars and all kinds of things.
| | 00:07 | I am going to zoom in way down here
at this one screen, way here, which has
| | 00:11 | this little M&M guy.
| | 00:13 | So I am going to create him right now
and let's go and look at the original art
| | 00:17 | for him, which is right here.
| | 00:19 | There's original art, which you can see
is made up of many, many different layers.
| | 00:25 | Now I am going to make something
similar to him, almost exactly like him but
| | 00:28 | with a few variations in there. And keep
in mind that what I'm doing is just an
| | 00:33 | idea so that you can take it a step
further, a little change here in the shape
| | 00:37 | and so on, you can create your
own little cartoon characters.
| | 00:40 | So let's go in here and create a whole
new file. I am going to create this little
| | 00:44 | weird little cartoon guy.
| | 00:45 | So I am going to create a big oval
here, a big ellipse, which is going to be
| | 00:50 | the basic character right there. And he is
going to have these big eyes, big eyes right here.
| | 00:57 | So we are just going to create one oval
there, and I am going to duplicate that
| | 01:00 | oval straight over to have
that second eye right there.
| | 01:03 | Now I want to rotate these guys a
little bit, so I am going to just rotate this
| | 01:07 | path right here, rotate it over that way.
That's good and we will take this one
| | 01:12 | and rotate it the other way.
| | 01:14 | We will just go in there and say Rotate.
| | 01:16 | Now I don't know if you noticed, but
since I was in a path, these things all
| | 01:22 | automatically say path, transform the path.
| | 01:25 | So if you're ever trying to create
something and you have a path open, it is
| | 01:30 | going to automatically do it to the path.
| | 01:31 | So keep in mind that if you have paths
open, turn them off if you don't want
| | 01:35 | to affect the path.
| | 01:36 | All right, so now I am going to go in
here and just create the little smiley
| | 01:39 | face for him, and this is going to be
his little face right here. This is
| | 01:43 | his little mouth, and it is going to be
open like that and close it off. Right there.
| | 01:48 | There is his little smile. And he's
going to have an area right here where
| | 01:52 | these are his lids.
| | 01:53 | I'm going to have these big lids for his
eyes right there and one right there.
| | 02:00 | Okay, so now underneath those
lids is going to be the eyeballs.
| | 02:07 | Let's move this one down just a little.
So I am going to get another oval right
| | 02:10 | here, and this time I am going to draw a
big circle right here, which would be one
| | 02:14 | eye, basically the iris, and the other
one right there, and then a little guy
| | 02:19 | inside, which will be the little pupil.
| | 02:22 | Let's put it the right where we want
it, right there in the middle, and we will
| | 02:25 | duplicate that one across to this side.
| | 02:28 | So there, now we have all the basic paths
that we are going to need to create our
| | 02:31 | little character. And you know what?
I will tell you what. We are going to put a
| | 02:34 | little bottom to that as well.
| | 02:35 | So let's duplicate it right down here
and duplicate that one here, and we will
| | 02:41 | shorten those, just so that we have a
smaller lid at the bottom there down there
| | 02:46 | and make it slightly different, so
that they don't look like the ones above.
| | 02:50 | We'll just kind of close this in like that,
so now it has got some bottom shape there.
| | 02:54 | So that's good.
| | 02:55 | There is our little character.
| | 02:56 | Let's go save our paths.
| | 02:59 | So now we are going to create him.
| | 03:01 | We will select this outer path here, and we are
going to create a layer and call it the body.
| | 03:06 | This is the body of our little M&M.
| | 03:10 | We will make it a blue M&M.
| | 03:13 | So we will get a nice blue color, and
I'm going to go in there and just go ahead
| | 03:17 | and fill that path with that color right there.
| | 03:20 | So now I am going to select these two.
| | 03:24 | These are his lids, right?
| | 03:25 | So in the layer on top of this, we will
call it eyelids, and we will fill them
| | 03:32 | with that same color.
Get the paths and fill them.
| | 03:37 | This is going to be his edges of the lids, right?
| | 03:39 | These are the--what we will call these?
| | 03:42 | I don't know what we will
call them. We just call them things.
| | 03:44 | All right, so we will go
over here and say things.
| | 03:49 | These are the things, which we
will fill with that same blue.
| | 03:55 | So those are all the basic shapes
that are going to be the blue, right?
| | 03:58 | So now I am going to select this.
Those are the eyeballs again, right? And what I
| | 04:04 | am going to do over here is I am going
to create a layer right on top of the
| | 04:08 | eyelids. But underneath the things I am
going to create a layer, and I am going to
| | 04:12 | call this the white.
| | 04:13 | This is the white of the eyeballs, which
I am going to pick a nice white color--
| | 04:19 | not pure white just slightly offwhite.
| | 04:21 | I am going to fill those paths again.
| | 04:26 | Now let's take this area right here and
what kind of eyes should we have?
| | 04:30 | How about blue eyes? Of course.
| | 04:32 | So we will pick this blue up again, and
this time we will just make a little bit
| | 04:36 | darker, a little darker blue. And in the
layer for the iris right above the white,
| | 04:41 | we will call it the iris.
| | 04:45 | That's going to be that little tone
right there filled with blue, and then of
| | 04:49 | course little pupils, which we will
fill with black, and a layer above the iris
| | 04:57 | called pupil. And we will fill it with black.
| | 05:03 | There, all right so now, I am going to
add one more little thing, another little
| | 05:07 | circle right here. We'll just add one
more little set of circles to our paths
| | 05:12 | right here, and we will duplicate that
right over here. And that's going to be
| | 05:17 | that little shine in his eye, which we
will go to white. New layer above the
| | 05:23 | pupils, new layer and we will call it
shine. And we've got the white, so we will fill
| | 05:30 | the path with white.
| | 05:33 | Finally, we have the mouth, so I am
going to select this area, this path of
| | 05:37 | the mouth and use a black, and I am
going to go in there and create one last
| | 05:41 | layer above the body right here, which we will
call the mouth, and fill that path with black.
| | 05:52 | So there is our basic character.
| | 05:53 | So now we are going to go in here
and start to make him come to life.
| | 05:57 | So the whites of the eyes, I am going
to take this whole section right here,
| | 06:02 | right up here, and throw it away.
| | 06:07 | I'll take this section right
down here and throw it away.
| | 06:14 | All right, so now let's start giving
this thing a little dimension. The body,
| | 06:20 | I could do it a couple of different ways.
| | 06:22 | I am going to go in here and just
apply Inner Glow. Or maybe better, I will
| | 06:27 | give it an Inner Shadow.
| | 06:29 | I am going to have this shadow
coming from this direction here.
| | 06:32 | The light is coming from up here, so
that means we are going to fake it and
| | 06:35 | have it come from down here, increase
the size on that. The distance, let's
| | 06:41 | break that distance down so we have this nice
little shape like that, and we will click OK.
| | 06:46 | That's looking good.
| | 06:48 | Now, I might want to add a little
highlight right in here, so I am going to go
| | 06:51 | in here and get a Dodge tool right here
and make it really big. And we are still
| | 06:57 | in the body layer, so I am just going to
throw a little highlight right through here.
| | 07:01 | Now we are not seeing much, so let's go
in there and say the Shadows. And now we
| | 07:06 | are getting this little
highlight right there behind the eye.
| | 07:08 | There we go, a little highlight.
| | 07:10 | So now, we are going to go into those
eyelids, and we will give those a little
| | 07:16 | Bevel and Emboss. And we are going to
turn off Global Light and we do this,
| | 07:20 | you see how everything else changed.
| | 07:22 | We don't want to do that.
| | 07:23 | We want to just affect this one layer.
| | 07:25 | So I am going to turn off the Global
Light and then have that light coming from
| | 07:29 | this direction right there.
| | 07:30 | I am going to increase the size of
that, so we have that nice little effect
| | 07:34 | happening there on the eyes.
Click OK and that's looking pretty good.
| | 07:39 | So I'm going to go in there and soften
those just a little bit by giving them a
| | 07:42 | little bit of a blur, just a little
tiny Gaussian Blur, just to make those
| | 07:46 | little things just like little
soft bubbles coming out of his face.
| | 07:50 | All right then we've got these
eyelid things, the things.
| | 07:54 | So we'll go in there and we are going to
just duplicate this effect right here,
| | 07:58 | holding down my Option key, Alt on the
PC, and dragging that up to there. So I am
| | 08:02 | applying that same effect to those two
guys, right there like that, which I am
| | 08:06 | going to apply one more layer style to.
| | 08:08 | I am going to give it a little drop
shadow, which again I am going to turn off
| | 08:12 | the Global Light and say I want that
drop shadow coming from this direction, so
| | 08:16 | we have a little shadow underneath,
also on top of the whites. Click OK.
| | 08:21 | Now the whites, I'm going to go into
the whites of the eyes right there and I'm
| | 08:25 | not going to do any kind of the effects
on them. I'm just going to go in there
| | 08:28 | and darken those little edges.
| | 08:29 | I'm just going to give it a dark
along this edge right here and say the
| | 08:32 | Highlights, and I am going to go
in there, set that to highlights.
| | 08:36 | I am going to give it a little darkening
right along this edge, right along this
| | 08:39 | edge just like that and a little
lightning right along this edge,
| | 08:45 | just to make a little lighter right
through here, just a little bit like that.
| | 08:50 | So now we are getting that.
| | 08:51 | Now the little irises, we will
give those a little something.
| | 08:55 | We will give them just a little Inner
Glow, which we will set to a darker tone
| | 09:00 | like that. Set that to Multiply so we
will have a little darkness right along
| | 09:05 | the edges of the little
eyes there. There we go.
| | 09:07 | And then we've got the mouth.
| | 09:09 | Let's go do stuff to the mouth.
| | 09:11 | First of all, I am going to blur it,
give it a little Gaussian Blur and set it
| | 09:15 | up the way it was, and we will just
soften that mouth up just like that.
| | 09:19 | And what I am going to do is below it,
I am going to create a little indent.
| | 09:23 | So I am going to go to my Paths and
make sure that path is turned off, and I am
| | 09:27 | going to create the
semblance of a little lip down here.
| | 09:31 | So I am going to go in here and I am
just creating a bunch of paths, a bunch of
| | 09:36 | shapes that I am going to go in there
and manipulate after the fact, so I get
| | 09:39 | this nice sense of just a little lower lip.
| | 09:42 | Let's close this off just like that.
| | 09:47 | Okay, and I got that black, so in a
new layer right on top of the body but
| | 09:54 | underneath the mouth, create a new
layer, and we will call it the lip.
| | 09:57 | I am going to go ahead and fill that path
with the black, which I am now going to blur it.
| | 10:04 | I am going to blur that quite a bit,
like that, and then bring down the
| | 10:09 | Opacity for it considerably, so it just
becomes this little hint of a little lip down there.
| | 10:15 | There we see that we have this cool
little cartoon character that could
| | 10:19 | have been an M&M.
| | 10:20 | It could be anything you want. But the basic
steps in there is something that you can
| | 10:24 | follow to then create a little
cartoon character of your own.
| | Collapse this transcript |
| Applying details to a license plate| 00:00 | To our little license plate here, we're
going to add a red line. So I'm going to
| | 00:03 | pick a red color here and I'm going to
draw a long rectangle right across here
| | 00:08 | just like that, and I'm going
to add a little red line to it.
| | 00:11 | So in the layer right here on top of
everything I'll just fill that with that red
| | 00:16 | line, which I'm then going to
duplicate straight down right there.
| | 00:23 | Now that we have that, I'm going to take
that line and we call it lines and I am
| | 00:27 | going to duplicate that so I have two of
them. And I'm going to drag one over the
| | 00:32 | plate and the other one over the outer plate.
| | 00:35 | I'm going to go ahead and clip them each
with their appropriate part of the plate.
| | 00:41 | Here is where it gets a little complicated.
| | 00:43 | This area here is raised ever so
slightly, so we're looking say down at this
| | 00:48 | license plate. So what I'm going to do
is I'm going to take the ones that go
| | 00:51 | to the inner plate.
| | 00:53 | I am going to move them down just a
little. And I'm going to take the ones for the outer plate
| | 00:58 | and move them up just a little. And now
we can see that theirs is this little
| | 01:01 | indent that's happing that's happing there.
| | 01:02 | So what I'm going to do is I'm going to get in
real close, and I am going to take these lines,
| | 01:06 | the ones that are on top here, and
I'm going to select this little portion
| | 01:10 | right here of the line, extend it quite a bit
so that I can have control on this side only.
| | 01:16 | Let's just go in there and select it
like that. And what I'm going to do is
| | 01:18 | I'm going to select that area, and let's get
a little tighter on it to get better control.
| | 01:23 | Now I'm going to take this
and I'm going to go and warp it.
| | 01:25 | I'm going say Transform > Warp.
So I'm going to grab this end of it and kind
| | 01:31 | of make it line up right up
there with that part of my license.
| | 01:36 | So let's just move these handles so
that they all match up perfectly and move
| | 01:40 | this up right there like that and click OK.
| | 01:42 | You see that it has got that little
rounded feeling to it, so it is matching up
| | 01:46 | to that line. And I could be really
accurate and take my time and do that part.
| | 01:49 | Let's get a little more accurate down here.
| | 01:51 | So I'll just this long portion right
there of the line and go in there and say
| | 01:56 | Warp. And I'll grab this guy and bring
it up, bring it's handle up, so it just
| | 02:02 | matches at top there, and bring this guy
up and take its handle and bring it up
| | 02:06 | until it just matches that edge, and
there we see that we have this little
| | 02:10 | round edge like that.
| | 02:12 | Now let's really complicate this.
| | 02:14 | Let's just say that we want our
license to be at a slight angle.
| | 02:18 | So what I'm going to do is I'm going select
all the layers that make up the license plate.
| | 02:22 | I have them all selected, so I'm going
to go in there and say let's maybe do a
| | 02:26 | little skewing on it or something just to
kind of mess thing up a little bit like that.
| | 02:31 | Okay, we got that.
| | 02:33 | Let's go in there and first
we've got to rasterize our type.
| | 02:36 | Let's go in there and rasterize that type, so
we can really manipulate to see them further.
| | 02:40 | Rasterize the type, so now it is just pixels.
| | 02:44 | So now I can go in there and
distort to see even better.
| | 02:46 | So I'm going to go in there and say
Distort and I'm going to bring this
| | 02:49 | side down like that.
| | 02:51 | So now we're really looking at
this license plate at an angle.
| | 02:56 | So now what happens here in this
particular case is that now layer styles are
| | 03:01 | pretty much equal on all size, which
doesn't quite work the same. So what I
| | 03:06 | need to do now is to go in there and separate
the layer styles from these various elements.
| | 03:12 | I'm going to do it just
from the numbers for now.
| | 03:14 | I got the Bevel and Emboss, so I'm
going to go in there and say Layer > Layer
| | 03:18 | Style > Create Layers.
| | 03:20 | Now that they are separate layers, I
can go in there and take the shadow area
| | 03:25 | and move it in a little bit, move it in
so is not so pronounced. And I can take
| | 03:30 | the highlight area and moved that over,
so now we see more of a highlight
| | 03:34 | area and less of the shadow area, making it
look like it is in fact the plate that we want.
| | 03:39 | The same thing is going to
happen to this plate here.
| | 03:42 | I'm going to go in there and say
Layer > Layer Styles > Create Layers, and there
| | 03:49 | we can take the dark area, the shadow,
| | 03:52 | in this case we are going to move it out.
| | 03:53 | See, I'm pushing. My little cursor is
going to the right, so I'm seeing less of
| | 03:57 | it right in there. And then I'm going
to take the highlight area and move that
| | 04:01 | over as well to the right, giving
me more of that edge visible here.
| | 04:06 | So now you see that the end result
now is that our license is now at an
| | 04:10 | angle with the highlights showing more
predominant on this side, the shadows
| | 04:14 | being less predominant on that side,
giving me that three-dimensional look to
| | 04:17 | my license plate.
| | Collapse this transcript |
| Creating 3D letters | 00:00 | There are various elements in the
scene of Times Square that seem to pop away
| | 00:05 | from their surface, like a 3D kind of an effect.
| | 00:08 | Zoom in right here on this LG sign
and you will see a similar situation, and
| | 00:14 | you can see that the letters LG and the big
logo above are protruding away from the sign.
| | 00:19 | They are picking up little
reflections along the edges, but they
| | 00:21 | are three-dimensional.
| | 00:23 | Making a sign of that type is fairly simple.
| | 00:26 | To show you right here, I have got this
One Way sign, and it is straight on right now.
| | 00:31 | So let's make believe you want to
make it look like it is at an angle.
| | 00:35 | So what I can do is just take that sign
and we will go in there and say Distort.
| | 00:39 | It is in a layer of its own,
| | 00:40 | so I am going to raise this side a
little bit and lower this edge just a tiny
| | 00:45 | bit. And let's just raise this a little
more to really exaggerate the perspective
| | 00:48 | on it, and we have that.
| | 00:50 | All right, so now it has got a 3D
effect, but you notice it is paper thin.
| | 00:54 | It needs a little bit of an edge to it.
| | 00:56 | So what I am going to do here is I am
going to duplicate that layer. And the one
| | 01:00 | in back, I am going to move it over, a
little to the left, as you could see there,
| | 01:05 | and down just a slight bit.
| | 01:06 | There we have this little edge, maybe a
little more, just enough so that we see a
| | 01:10 | little bit of that black
showing through right there.
| | 01:12 | So now what I am going to do with
that one layer is I am going to lock the
| | 01:15 | transparency for it and fill it with a gray.
| | 01:17 | All right, now to make it look
like that is in fact an edge,
| | 01:21 | I am going to go in there, and we'll just
kind of darken this little edge down here,
| | 01:25 | right along there. I am just using my
Burn tool and maybe darken this little top
| | 01:29 | edge right there and throw a couple
of highlights along the center area.
| | 01:33 | So we will throw a little dogging right here.
| | 01:35 | We'll just kind of lighten this up a little
bit right there and maybe throw a little
| | 01:38 | shadow right through the middle here.
| | 01:40 | So we will throw a little dark edge
right there, and there we can see that we
| | 01:42 | have created that three-dimensional effect.
| | 01:45 | But there are cases where
it's a little more complex.
| | 01:48 | So, we are going to go and look over
here again, and this time I am going to zoom
| | 01:51 | in right to this area right here, where
we see we have these three-dimensional
| | 01:56 | letters, like here and here.
| | 01:59 | They're the typical 3D like we did a second ago,
| | 02:02 | but these are little more complex. Why?
| | 02:04 | Because not only are they 3D on the outside,
they are also 3D on the inside. As you can see,
| | 02:08 | there's light bulbs inside.
| | 02:10 | So, there is a whole another
dimension that needs to be added.
| | 02:14 | Let's create that effect right here.
| | 02:16 | Now we don't need to see the One Way sign.
| | 02:18 | We saw how that works.
| | 02:19 | But what I am going to do is I am
going to go in here and I am going to
| | 02:21 | just type in a letter.
| | 02:23 | We will create a whole new layer
right here, and we will type in the letter
| | 02:26 | H. There it is.
| | 02:30 | So we have got this big letter H.
That's going to be our 3D letter.
| | 02:34 | Now, we want to give it
a little bit of an angle.
| | 02:36 | All right, so we are going to do same thing.
| | 02:38 | We are going to go in here and I
am going to rasterize that layer.
| | 02:40 | I am going to take the type and rasterize this.
| | 02:43 | You see Rasterize > Type.
| | 02:44 | So it is no longer type. It is now pixels.
| | 02:46 | So I am going to go in there and give it
that little distortion, just like we did
| | 02:50 | with the sign a second ago.
| | 02:52 | So I am going to go in there and say
Distort, and we will just kind of lift it up
| | 02:55 | a little bit on the side.
| | 02:56 | I am going to hold down my Shift
key to constrain that, not that much.
| | 03:00 | All right, just a little bit
up like that, and there we go.
| | 03:02 | That's going to be our letter right there.
| | 03:04 | Okay, so there is the 3D letter.
| | 03:07 | But right now, just like
the sign before, it is flat.
| | 03:10 | So what I am going to do is I am
going to duplicate that letter. I have a
| | 03:13 | second one back here.
| | 03:14 | Now, I am going to move it over just a
little, about like that. And because it's a
| | 03:19 | little further back, I am going
to shrink it ever so slightly,
| | 03:22 | just a little bit of shrinkage just like that.
| | 03:26 | Okay so now, here is what's going to happen.
| | 03:29 | There is the one in front.
| | 03:30 | I am going to move it in front.
| | 03:31 | I am going to bring down the Opacity for it.
| | 03:32 | So I can see the one in back, right there.
| | 03:35 | Now to make it really easy to see these, I
might even change the color of the one in back.
| | 03:39 | So what I am going to do is I am going
to lock the Transparency and we will fill
| | 03:42 | it with a different color.
| | 03:43 | Let's just say we pick up this
blue, and I will just go ahead and fill it.
| | 03:46 | So now we can really see
where these two are different.
| | 03:50 | So let's move this guy over just a little,
| | 03:52 | so we can see more of that
inside section. There we go.
| | 03:55 | So now this is going to be a 3D
letter that has an outside and an inside.
| | 04:01 | Now I could use some of the 3D features,
but they are not going to work as well as
| | 04:05 | going in there and actually
creating these individual shapes.
| | 04:08 | I am going to use the back one as a
guide and the front one. I am now
| | 04:11 | going to create vectors
| | 04:13 | that are going to simulate
the sides of the letters.
| | 04:16 | So I am going to take my Pen tool.
| | 04:17 | I am going to connect
corner to corner right there.
| | 04:21 | Down to here, back over to here, and now
I am going to go a little further in so
| | 04:26 | there will be no overlap, no
little open gaps right in there.
| | 04:29 | We'll do the same thing here.
| | 04:31 | Corner to corner, still
keep it right into this area.
| | 04:35 | A little gap, there we go.
| | 04:37 | Now, it might help sometimes to get real
close because you could see right there
| | 04:41 | that I am a little off.
| | 04:42 | So let's just get there and make
these perfect and just add a little extra
| | 04:46 | touch, just to make sure you
are getting things just right.
| | 04:49 | Now, here we are going to go corner to
corner, down, up and a little overlap. Close it.
| | 04:58 | Now, the inside part here,
| | 05:01 | corner to corner right there, a little
gap right there. And then the bottoms
| | 05:07 | just get little edges.
| | 05:09 | Now these are going to be the
complete shapes, just like that.
| | 05:12 | All right, so now we have all the
pieces that are going to make up the outside
| | 05:23 | depth of the letter.
| | 05:25 | So, I am going to go in there and in
the layer behind that front part of the
| | 05:29 | letter, I am going to
start filling these shapes.
| | 05:31 | So I am going to select these
individual shapes that make up the sides of the
| | 05:36 | letter and I will fill them with a color.
| | 05:38 | So let's go in there and pick a
darker gray than our whole image.
| | 05:42 | We will just take that path and fill it.
| | 05:45 | There is the sides, right?
| | 05:47 | Then we take this path right there,
and in another layer, a separate layer
| | 05:52 | from this one on top,
| | 05:54 | let's say we are picking up
some light from the street,
| | 05:57 | so we will make this more of a
warmer color, about like that, maybe a little
| | 06:01 | lighter, about like that.
| | 06:02 | So I will go ahead and
fill that path underneath.
| | 06:07 | So there is the letters.
| | 06:08 | As you could see that it has got this
three-dimensional look and of course there
| | 06:11 | is two pieces at the bottom. Can't forget those.
| | 06:14 | Let's get our paths back, and we will
select that one and that one. And we
| | 06:18 | have that same color,
| | 06:19 | so we could put it into
that same layer we just had,
| | 06:22 | which is that one layer there.
So we will go ahead and fill it.
| | 06:25 | All right, so there is
outside part of the letters.
| | 06:28 | We want to see that really clearly.
| | 06:30 | Let's bring this back up to 100%, and
there you could see that now the letter has
| | 06:33 | a three-dimensional look to it.
| | 06:35 | Now, comes the inside of the letters.
| | 06:37 | Same technique we just used a second ago, but
we are going to create these shapes inside.
| | 06:42 | Let's go to our Paths and save that
path that we created before. Turn it off.
| | 06:47 | Now we will create another path for
all those inside parts of the letters.
| | 06:51 | Now here it is going to get a little
trickier because we've got to kind of
| | 06:54 | visualize the way things work.
| | 06:57 | So I am going to go in here and corner
to corner, click there to here, straight
| | 07:04 | down to here, go up to there. And you
don't have to be that perfect here, and
| | 07:10 | you'll see why in a second.
| | 07:11 | I am going to go way out of here and click.
| | 07:15 | I am going to do this little corner here.
| | 07:18 | Go in way out here and close it off.
| | 07:24 | Same thing on this side.
| | 07:25 | We will do that top part,
and then we do this side right here.
| | 07:32 | Now here we are going to go right to
this edge and across. And here we have
| | 07:41 | this little section here. But here is
where we have to kind of visualize, so we
| | 07:44 | are going to click here, go to there,
over to here and out, and then click here
| | 07:54 | to here, down and out. And there we go.
| | 07:59 | Those are all the shapes that we are now
going to need for the inside of our letter.
| | 08:03 | So let's go back to our Layers, bring
this back to 100% view. And above this is
| | 08:09 | where we are going to
create the inside of the letters.
| | 08:11 | I am going to create a new layer, and we
will call this one the sides, just so we
| | 08:15 | start to give our layers name, as we should.
| | 08:17 | Now the inside is going to be lit.
| | 08:19 | There is going to be a light going on in there,
| | 08:22 | so that's a consideration right off the bat.
| | 08:25 | So I am going to select these four paths
that make up the insides of the letters
| | 08:30 | and those, I am going to
give them a nice bright color.
| | 08:32 | We will go with a bright gray like that.
| | 08:35 | Go ahead and fill that path there.
| | 08:38 | Now, it looks they are not inside the letters.
| | 08:40 | That's where the clipping group comes in.
| | 08:42 | I am going to clip that with the
letters themselves. There they are.
| | 08:46 | Now I am going to select the three
paths that make up those under parts of the
| | 08:50 | letter and I will pick a tone for that,
maybe a little darker than that previous
| | 08:55 | one. And in there, again, we will
just take the paths and stroke them.
| | 09:00 | So there we now see that the letter is
now three dimensional outside and inside.
| | 09:05 | So now, inside here we can start
adding other things, like for instance light
| | 09:10 | bulbs like we saw it in the
actual Times Square scene.
| | 09:12 | So I am going to create another layer
on top of here and I am going to draw a
| | 09:16 | couple of little lines here, just use
my Pen tool to draw a couple of paths.
| | 09:21 | Now this is the center of the back
of the letters, see inside there.
| | 09:24 | So I am going to draw a path right
through that center right there and the
| | 09:29 | same thing on this side.
| | 09:30 | I am going to draw a path right through
here, right there like that, and then one
| | 09:34 | right in here in the middle, right
through there going across till there.
| | 09:39 | This should come down just a little bit.
| | 09:41 | So now I have these paths.
| | 09:44 | Each one of these paths
is going to be light bulbs.
| | 09:46 | Now we have a brush that I
made before for the light bulbs,
| | 09:49 | there it is. In the section on
Brushes, there is the little light bulb.
| | 09:52 | So I am going to select this first path
way over here and I am going to stroke
| | 09:56 | it with that light bulb, which
right now is going to do that.
| | 09:59 | So just go in there and pick a
nice color for the light bulb.
| | 10:02 | We want it to be a kind of an orangey
color, and that path that we have right
| | 10:06 | there, I am going to go ahead
and stroke with the light bulbs.
| | 10:10 | Now we have these light bulbs.
| | 10:13 | Now they are a little off,
| | 10:14 | so let's just move them over.
| | 10:17 | Bring them over into this area here like that.
| | 10:19 | All right, there they are.
| | 10:20 | Now that we see that, we can clip
them inside of the letters just like we
| | 10:25 | did the other things.
| | 10:27 | And this path here, we will go
ahead and stroke in another layer.
| | 10:31 | We will stroke it with that same
brushes like we did a second ago.
| | 10:35 | We will say stroke it, and there is
those lights, which will move over.
| | 10:39 | You got to get that right layer selected.
| | 10:41 | Let me make sure I am in the
right layer. Okay, there it is.
| | 10:44 | Let's move it over. There they go, right
about there, and clip them right in there as well.
| | 10:50 | We can do the ones with the center and so on,
but we see that certain things are wrong
| | 10:53 | here, so we will have to eliminate,
say that top light right there.
| | 10:57 | Let's get rid of that one and get rid of the
bottom one, get rid of that top one from
| | 11:03 | this layer and the bottom one.
| | 11:05 | Then we can go in there and start
adding all the nice little effects that we
| | 11:09 | want, like the little outer glow, so it will
have that nice glow in there, see? Click OK.
| | 11:14 | We will assign that to that other one
right there, and now that we did that, we
| | 11:19 | might want to do a little extra light
on the insides of the letters as well.
| | 11:23 | So what I am going to do is I am
going to go back to those sides.
| | 11:26 | There is those sides. So I am going to
take that side and lock Transparency on
| | 11:30 | it, and I am going to get
that light color right there.
| | 11:33 | Right inside of that, I am going to
create another layer on top of that, and in
| | 11:38 | that layer I am going to take a soft edge brush--
| | 11:42 | that's a good size--
| | 11:43 | I am just going to draw a little
highlight going right through here, right
| | 11:46 | through there like that.
| | 11:47 | Now I have some settings here.
| | 11:48 | Yep, let's turn that off.
| | 11:50 | I could just go in there and through a
nice little glow right through that edge
| | 11:54 | and right through this edge.
| | 11:56 | All right, so now that extra glow we
just created in there, that's the glow
| | 12:00 | being caused by the lights.
| | 12:02 | Now I made it a separate layer. Why?
| | 12:03 | So now I can control by bringing down the
Opacity a little bit and then creating a mask.
| | 12:07 | I will turn those into a selection,
give it a mask, and there you can see that
| | 12:12 | now we trapped it along those edges of
our little insides of our letters, and
| | 12:16 | you can see where we have got these
little lights inside the three dimensional letters.
| | Collapse this transcript |
| Creating curtains | 00:00 | In this and the next three movies,
we're going to look at how the curtains and
| | 00:04 | various windows throughout
Times Square were created.
| | 00:07 | In this movie, we're going to look at the
windows right here in the Marriott Hotel.
| | 00:12 | We can see there's quite a few.
| | 00:14 | Now this is a low-res file, so let's
look at the high-res version of this image.
| | 00:18 | There we see the windows.
| | 00:21 | Now this window here, the curtains are
brightly lit because the lamp is right
| | 00:25 | next to them, and it's on.
| | 00:26 | This room down here, the light
is somewhere else in the room,
| | 00:30 | way back here. The linen curtains are
little softer. And in this room here it's dark,
| | 00:36 | so the curtains are just visible as
these little swaths of light tones in there.
| | 00:41 | Let's go in here and create these.
| | 00:45 | There's the room itself without the curtains.
| | 00:48 | And as you can see, each
element is in its own layer.
| | 00:52 | So we're going to create all the
curtains first with the Pen tool.
| | 00:56 | Now the first thing I am going to do is the
curtains that are the heavy dark curtains,
| | 01:01 | the ones that block up the light for the room.
| | 01:02 | So I am going to go in here and create a
shape that just kind of flows like this,
| | 01:07 | and you notice I am not going with
straight lines because these are all curtains,
| | 01:09 | and they're long curtains and
sometimes they fall in certain ways.
| | 01:12 | I am just going to go in here and create
this shape, and I make sure that I go
| | 01:16 | beyond the boundaries of the window,
so it will bleed right out, and I don't
| | 01:20 | have to worry about anything
that's just popping through there.
| | 01:23 | Do the one on this side. And again, I am
going to just kind of fold this one, like so.
| | 01:27 | This one has more of a curve than the other one.
| | 01:29 | And we'll go in there and close it off.
| | 01:32 | So I am going to save that path.
| | 01:34 | I am going to call that path the
dark curtains, and turn it off.
| | 01:42 | Now we're going to create the
shapes that are the linen folds.
| | 01:46 | So I am going to start right here.
| | 01:47 | This one is almost closed off, and I am
going to create this long kind of a shape
| | 01:51 | here. And you'll notice that again
I am not going with straight lines.
| | 01:56 | It's kind of like a cone upside down,
and I am going to go in here and start
| | 01:59 | creating a whole series of other shapes.
| | 02:01 | There's a couple of thin ones here,
| | 02:03 | a couple of thin folds. And I'll do
a little thicker one right here
| | 02:18 | and then another thin one here and
then one that just kind of goes behind the
| | 02:26 | edge of the window right there.
| | 02:29 | And on this side, we'll do the same thing.
| | 02:30 | I am going to create a series of shapes,
which will become the folds. And the one
| | 02:37 | that's just hiding back there, I'm going
to have it curl in there like that.
| | 02:42 | And there we see that we get this
little space, so let's just--there we go, so
| | 02:46 | now we're completely inside there.
| | 02:48 | Now I am going to create one more set,
which is the back part, the big area in
| | 02:54 | back of all these folds--the
main section of the curtains.
| | 02:58 | You notice I am just cutting right
through there to create that shape there.
| | 03:04 | So we'll save that as the linen curtains.
| | 03:11 | Now we have our two paths.
| | 03:12 | So at this point, I suggest you save.
| | 03:15 | Okay, so now I am going to go in
here and start to create these curtains.
| | 03:20 | First, I am going to go with the dark curtains.
| | 03:22 | Now I've picked the red right from
the bedspread here because it will keep the
| | 03:27 | color-coordinated room so we have
the spread of bed match the curtains.
| | 03:31 | So what I am going to here is I am
going to put the dark gray and I am going to
| | 03:35 | make this a little darker, slightly darker gray.
| | 03:38 | These are the heavy
curtains that block out the light.
| | 03:40 | So I am going to take that dark gray and
we're going to create a new layer right
| | 03:44 | on top of this, and this
will be the dark curtains.
| | 03:47 | And I am going to go ahead and fill that
path with that dark gray. There it is.
| | 03:56 | So now I am going to make it a selection.
| | 03:57 | I am going to pick up that red and I am
going to just going to very, lightly along
| | 04:02 | the edges and unevenly, throw in a
little swath of this red, just so we get a
| | 04:06 | little hint of the red going through.
| | 04:09 | Now here I am going to do it unevenly, so
I am going to have a little more at the
| | 04:12 | bottom and a little more at
the top visible like that.
| | 04:15 | Okay, so then we just throw in that
little red, just to give it a hint of that
| | 04:21 | interior of the curtain, and there it is.
| | 04:24 | Now keep in mind that this is
mostly going to be covered with the linen
| | 04:26 | curtains, so we don't have to
worry about it being too perfect.
| | 04:30 | So now we're going to go in
there and do the linen curtains.
| | 04:33 | First, I am going to select
that large piece that I did,
| | 04:36 | the one that's for the back of the
curtains right there, and that's the main
| | 04:39 | section of the curtain.
| | 04:40 | All right, so I am going to create a
layer on top of this, which we'll call linen
| | 04:44 | main, because that's the main
body of the curtains themselves.
| | 04:51 | And I am going to go in there and pick a
slight off-white color right there. There it is.
| | 04:57 | And in that layer I am going to go
ahead and fill that path, just like that.
| | 05:02 | Now I am going to select all
the paths that make up the folds,
| | 05:08 | select every one of those--
| | 05:10 | there they are--and in a new layer
which we'll call the linen folds, I'll go
| | 05:20 | ahead and fill that path
with that same white. There.
| | 05:24 | So now we want to make this thing look real.
| | 05:27 | So I am going to go into my Layers
again and I am going to take the linen main.
| | 05:31 | I am going to bring down the
Opacity so I can see through it, right
| | 05:34 | through there, like that.
| | 05:35 | And then I am going to take the linen
folds and I am not going to bring down
| | 05:39 | the Opacity on those.
| | 05:40 | I am going to bring down the Fill
Opacity, because first I am going to go into
| | 05:43 | Layer Styles, bring down the Fill
Opacity so we can see through it just like we
| | 05:49 | did with the other one, and then I am
going to give these guys an Inner Glow.
| | 05:53 | I don't want it to be a yellow, so I am
going to go with a pure white here, and
| | 05:58 | increase the Size just a little and kind of
choke this so it becomes a little harder.
| | 06:03 | There we go. Bring down the Size, so there we see
these nice little folds in there where
| | 06:07 | we're having the little flow
of the curtains themselves.
| | 06:10 | I am going to bring down that Fill
Opacity a little more, let's say about 35.
| | 06:15 | That looks good, so we could really
see through them like that. Click OK.
| | 06:19 | I am going to have the back linen main
right here, which right now has this hard edge,
| | 06:24 | I am going to give that a blur.
| | 06:26 | We'll go in there and say give it a
Gaussian Blur, and we'll soften up that edge
| | 06:30 | so we get that nice soft fold
right through there, like that.
| | 06:34 | And we'll bring that its Opacity,
bring it down to about 30, so we can really
| | 06:38 | see through it like there like that.
Or maybe that's a little too much.
| | 06:42 | Bring it up a little bit and there you
can see how we have these nice soft linen
| | 06:46 | curtains flowing through.
| | 06:47 | Now if it's a little too bright, we can
always take the linen and bring down the
| | 06:52 | Opacity for the overall layer so it
gets a little softer like that, and there we
| | 06:56 | have these nice soft linen curtains.
| | 06:58 | Now in the case of the one where the
light is real bright in here, what you
| | 07:03 | would do in that particular case is
that we're going to go in and create a
| | 07:07 | big glow right here.
| | 07:08 | So on top of this, I've got pure white and
I take a paintbrush and make sure it's
| | 07:15 | really soft, and I am
going to get a nice big size.
| | 07:18 | I am just going to throw a big blob
of white right here and a blob of white
| | 07:23 | right there, just like that, so we
get this nice bright white right there.
| | 07:28 | And then what I am going to do
is I am going to give that a mask,
| | 07:33 | and in that mask I am going to use my
paths to then fill that mask with the black.
| | 07:37 | I have black, so I am going to take my
linen curtains and I am going to take the
| | 07:41 | main shapes right here, this one and
that one, and in that mask, I am going to go
| | 07:48 | ahead and fill it with black.
| | 07:49 | Okay. Then, I am going to take this outer one
in both cases, and again, I am in that mask,
| | 07:57 | I am going to go ahead and fill it with black.
| | 08:02 | Turn off the path and then go back into
that layer and into that mask and invert it.
| | 08:06 | Just hit Command+I and there you can see
that now we have that nice glow in the curtains.
| | 08:12 | Now I did it in reverse. Why? Because I
had the selections that would allow me to
| | 08:16 | easily fill it with black and then
when I was done, I did an invert so that I
| | 08:20 | can go in there and just apply the mask
so that the center part is hidden and
| | 08:25 | the light tones are shown in the curtain itself.
| | Collapse this transcript |
| Creating curtains with a bottom edge| 00:00 | In the last movie, we saw how curtains
had these nice folds in them and such, but
| | 00:04 | they were completely hidden
behind the frame of a window.
| | 00:07 | In this particular case here--let's zoom in--
| | 00:11 | the curtains are not so hidden.
| | 00:12 | You can see the bottoms of the
curtains, and I have the high-res version
| | 00:16 | here, which we will just look at. And there
we can see that we have these curtains here where
| | 00:21 | we are looking at the back.
| | 00:22 | You can see bottoms, and you
can see the bottoms of this one.
| | 00:24 | There we go, on the inside.
| | 00:26 | First, let's simplify it and just
create these curtains as if we're not looking
| | 00:30 | up at them, but looking down at
them. That's a little easier.
| | 00:34 | So, let's go in and create that effect.
| | 00:37 | Again, I am going to use my Pen tool to
start to create my basic shapes, and it
| | 00:41 | might help to give yourself a little guide,
| | 00:42 | so, I am just going to
draw a straight line across.
| | 00:45 | This line is going to represent the
back part of the curtains, and then I'm
| | 00:48 | going to duplicate it straight down to
represent the front part of the curtains.
| | 00:53 | And this is just a guide for myself.
| | 00:55 | I am now going to go in there and
start to draw the actual curtains.
| | 00:59 | Now, I am going to go in here and this
is going to be the back part, right here,
| | 01:03 | this section of the curtains. And I am
going to kind of now give this a little
| | 01:06 | curve, just like that.
| | 01:08 | Now, I can go up there and close it off.
| | 01:11 | Now, you notice that my path
is going beyond the work area.
| | 01:15 | The way it's going to bleed out.
| | 01:16 | In fact, I might even want to give it a little more room,
| | 01:18 | so we have plenty of room there to play with.
| | 01:21 | Now, overlapping this one, I am
going to create another path right here.
| | 01:24 | This is going to be the front of my
curtain right here, and I am going to go in
| | 01:29 | there and I am going to come down to
here and just below it create a little
| | 01:33 | curve, right there like this.
| | 01:36 | It's a little tiny curve.
| | 01:37 | You will notice that it's not even there.
| | 01:38 | It's got a little curve to it,
because this is fabric that kind of just
| | 01:42 | falls very loosely.
| | 01:45 | Right there, I am going to have
another piece in back, so I draw a little
| | 01:48 | curvature, just like that.
| | 01:49 | Come up and close it off.
| | 01:57 | So now, I got another one here,
and let's just move this, give it some room.
| | 02:01 | So, now another front fold.
Again, it's going to overlap.
| | 02:05 | I come in here and just
create this little shape.
| | 02:08 | I'll just go in there, give it a
little curve and up and close it.
| | 02:17 | Then again, one in back.
| | 02:18 | Now, this one is going to
have a different kind of a fold.
| | 02:27 | I am going to come down here, give it a
little curve, and this one's going to just
| | 02:33 | kind of fold into itself back here, like
that, and in front. So this one is kind
| | 02:41 | of representing the whole shape folding back.
| | 02:44 | So, now I am going to come down
and do a little curve in front.
| | 02:48 | Now keep in mind that if you are really
not sure how these things are working,
| | 02:52 | look at your own curtains.
| | 02:53 | Study and see how do these
folds take place, and so on,
| | 02:56 | so you can kind of re-create
what you're seeing in reality there.
| | 03:00 | There we go, and then we will just
throw out this one big shape back here,
| | 03:04 | which will be the back of the curtain.
| | 03:05 | So, now each one of these is
going to be handled separately.
| | 03:09 | I am now going to eliminate these
two paths, which were my guides.
| | 03:13 | There are my curtains.
| | 03:15 | Now, if I need to, I can go in there
and start to clean these up a little bit,
| | 03:18 | like this is going back a little too far,
so let's just loosen that up a little bit.
| | 03:22 | This is a little too
strong of a curve, right there.
| | 03:24 | That's looking good. And let's just make
this a little bit more of a curve like that.
| | 03:29 | So there are my basic shapes.
| | 03:31 | So now, I'm going to go in there
and start to create the effects.
| | 03:34 | So, I am going to select all the
ones that make up the back, right here.
| | 03:38 | These are the ones that make up the back.
| | 03:41 | I am going to create a layer.
| | 03:43 | We will call this back folds.
And let's pick a color for our curtains.
| | 03:51 | Let's just say this is a theater curtain,
so we will make them a nice deep red,
| | 03:55 | say about like that.
| | 03:56 | So, I am going to take that path
and go ahead and fill it in that area.
| | 04:02 | So now I am going to take these three
and I am going to create a layer called
| | 04:10 | front folds and go ahead
and fill that path with those.
| | 04:17 | Then this one right here is going to go behind
the front folds but in front of the back folds,
| | 04:24 | so I am going to create this one,
and we'll call it mid fold. How's that?
| | 04:29 | And in that layer, I am going to take
that one path and go ahead and fill it.
| | 04:34 | So now we are going to start to add a
little dimension to this to make it look real.
| | 04:40 | Now, there is a lot of
different ways in which we could do this.
| | 04:43 | One way is the good old layer style.
| | 04:45 | So, I am going to go into my Layer
Styles, which I have here for the back folds,
| | 04:49 | and what I am going to do is give them
give them Inner Glow, increase the size on it.
| | 04:55 | There we go, so we have this nice thing,
and I am going to pick a much darker tone.
| | 04:59 | So, I am going to pick that red and
pick a much darker version of it, just like
| | 05:03 | that. Click OK and I am going to say multiply it.
| | 05:05 | So there I have these nice dark tones.
| | 05:08 | Okay, and I might want to just deepen
them a little bit and choke it just a little.
| | 05:12 | So I get a little harder
edge like that. Click OK.
| | 05:16 | Now, I don't particularly like the way
they've fallen in there, so what I am
| | 05:20 | going to do is I am going to
separate the layer style from my layer.
| | 05:24 | So, I'll go over here and
say Create Layer. There we go.
| | 05:28 | And then I get the folds.
| | 05:29 | So, let me pull back a little bit.
| | 05:31 | Now, there are different ways--in fact, I am
going to handle the other ones differently.
| | 05:35 | Now that we have that, I am going to go in
there and I am going to stretch those folds.
| | 05:39 | I am going to kind of go in there and say a
little scale and scale them up and scale it down.
| | 05:45 | So, see what I've done there?
| | 05:48 | Now I have just expanded them, so I don't
get that dark tone along the bottom there.
| | 05:52 | Click OK, and there we have
those nice folds happening.
| | 05:55 | Now this one here, I am going to go in there and
say Auto-Select the layer, so I can click on it.
| | 05:59 | There is the mid fold.
| | 06:01 | I am going to pick that darker tone.
| | 06:03 | Let's go in there and pick that darker red.
| | 06:05 | And with the paintbrush, I am going
to go in there and start to paint that.
| | 06:09 | Now, if you are not really sure how
clean you are going to make it, it might
| | 06:13 | help to put it into its own layer.
| | 06:16 | So I am going to just throw a dark tone
right in there like that. There we go.
| | 06:21 | Now, we can then clip that with that
layer so that it will fall right in
| | 06:25 | there and stay in there.
| | 06:27 | We will do the same thing for the front folds.
| | 06:29 | I am going to create a layer on top them
where I want to start to throw my little folds.
| | 06:33 | At first, I might want to give
it that little edge of the folds.
| | 06:37 | So, I am going to go and give it that
same kind of a layer style that I gave
| | 06:41 | this guy, but not as strong.
| | 06:43 | So, I go into the front folds.
| | 06:45 | I am going to give them a little Inner Glow,
and I will pick that deep red. There we go.
| | 06:52 | Click OK Put it in Multiply mode.
| | 06:55 | And in this case, I will make them just
a little bigger, but really soften it up.
| | 06:59 | I don't want it to be too dark. Just like
that, just a little softening. Click OK.
| | 07:05 | Now, in that blank layer that I
created, I am going to go in there and add
| | 07:08 | few additional folds.
| | 07:09 | So, I am going to go in there and make
my brush a little smaller, and I'm just
| | 07:13 | going to very lightly click up
here and Shift+Click down here.
| | 07:17 | Edit that one little shape right there.
| | 07:19 | I am going to make my brush a little
smaller and do the same thing right here,
| | 07:23 | because you can see that it's
got this little fold down there.
| | 07:27 | And I am going to add one on
this guy as well, just like that.
| | 07:30 | I'm going to go ahead and
clip those with the curtain.
| | 07:33 | That's looking good.
| | 07:35 | This guy needs that little dark tone.
| | 07:37 | Let's add one right there. There we go.
| | 07:41 | That's looking good.
| | 07:42 | Now, we want a little lightning too.
| | 07:44 | So I am going to go in there and select
the curtains themselves, and this time I
| | 07:48 | am going to sue my Dodge tool
and make it a little bigger and just click up
| | 07:52 | here and Shift+Click down here,
just to add a little highlight.
| | 07:56 | I will make it a little smaller and do
it one more time just to add a little
| | 08:00 | more of a highlight in there.
| | 08:01 | I am going to go the same thing in here now.
| | 08:03 | Click up here, Shift+Click
down here, Shift+Click up there.
| | 08:07 | What's happening is we are adding these little
highlights on this front edge of our curtain.
| | 08:12 | We will add one here, click,
Shift+Click, click, Shift+Click, and you can see
| | 08:19 | that I'm just adding a little
highlight right along this edge.
| | 08:22 | I might want to bring these up a little more.
| | 08:24 | Now, I am holding down my Shift key, which
allows me to connect from click to click.
| | 08:28 | Here, click, click, click. And I am
holding my Shift key, so each time I click,
| | 08:33 | it's connecting it and giving me one long
straight line, and there you can see that
| | 08:36 | we've created this nice soft curtain.
| | 08:39 | Now, if you want to add a little
texture to this, well, you can.
| | 08:42 | Let's just say we take those
folds and we give them a filter.
| | 08:44 | Let's just add a little noise,
maybe a 6 would do it, just to give it
| | 08:49 | some texture. Click OK. That looks good.
| | 08:51 | We will do the same to this, give it
that filter and the back folds, give it the
| | 08:55 | filter, and there you see that we have
a nice little set of hanging curtains.
| | Collapse this transcript |
| Creating a view of curtains from below| 00:00 | Now in the last movie, we created these
curtains that we are looking down on, which
| | 00:04 | would work fine if you're creating a
theater stage or just a window treatment.
| | 00:09 | But now we are going to create ones
that are a little more complicated that are
| | 00:12 | more like the ones in this scene, which
we would look at them again right here,
| | 00:16 | and we're looking up at these curtains,
| | 00:18 | so we are seeing the back side of them and
we see a whole different set to the folds.
| | 00:24 | So this is a little more complicated,
and here we see another set of the same
| | 00:27 | curtains going across this way, where we are
seeing the different sides of the curtains.
| | 00:33 | Now in this one, of course, we
are just seeing these shapes.
| | 00:37 | We created those basic shapes, and let's
look at those shapes again, go and look
| | 00:41 | at those paths, and we see that we
just created these individual shapes.
| | 00:45 | Well, now the shapes are going to have
to have a little more definition to them.
| | 00:48 | So let's create these new curtains.
| | 00:51 | Now these are the same red curtains, but
this time we are looking up at them, so
| | 00:55 | we are going to see the bottoms of the curtains.
| | 00:57 | So when I create my basic shape, I
am going to be creating all the folds.
| | 01:02 | Let's start right here, and
here is that bottom curve.
| | 01:06 | But now we don't end it like
we did before, so it gets hidden.
| | 01:09 | No, we have to continue that
curve the way it's going to fold.
| | 01:13 | Now, what is very important here is
that you remember that these are fabrics
| | 01:18 | right, so they have to be
very smooth in the way they fold.
| | 01:21 | We can't have hard edges on these things,
| | 01:24 | so we are going to go in here and just
very loosely create these shapes, which we
| | 01:28 | will adjust later, and these are all the
different folds that are going to be in
| | 01:32 | our fabric. So we could see
that it is happening like this.
| | 01:36 | Now again, if you really want to see how
this thing works, just go over and look
| | 01:40 | at your curtains hanging in your window
right now and see how these folds are
| | 01:44 | working and it will give you an idea
of how you might be able to create this.
| | 01:47 | So here is one that's going to
wrap around just like we did before,
| | 01:52 | it is the one that's just going to wrap around,
and then it is going to go off the screen.
| | 01:56 | Okay, and then we come up here, come
down here and hold down my Option key, so
| | 02:01 | I can get a whole new point
down here, so I can do that.
| | 02:04 | We will give that a little touch
like that, and I am going to just kind of
| | 02:08 | straighten this one up a little bit.
And now we are going to go in there and
| | 02:11 | start to adjust these.
| | 02:13 | I am going to just kind of close this
up a little, just to make it a little
| | 02:17 | tighter, right in there like that, and
soften this one up, make this little
| | 02:21 | tighter, and you want to keep them fairly even.
| | 02:26 | All right, you want to keep it even, so
that it is in the flow of the curtains.
| | 02:29 | So you want to kind of make guides.
I created guides in that first one.
| | 02:33 | You could create guides again, but I am just
doing it by this time, and we will create this.
| | 02:38 | There has to be a nice
curve to it. There it is.
| | 02:40 | There is a better curve.
| | 02:42 | All right, so there is our
basic overall shape of the curtain.
| | 02:44 | Now we are going to have to
create all the folds above.
| | 02:48 | Based on what we see here, this
is going to be in the foreground,
| | 02:52 | this is going to be in the background.
| | 02:54 | So we have to create a whole
new set of paths that follow that.
| | 02:56 | I am going to start right here at this
edge and go up, get this nice flow, come
| | 03:02 | over here, and go down to
this edge and close it off.
| | 03:07 | Then I can just very carefully go in
there and get a new handle and close it off.
| | 03:12 | Now, I am getting that new handle by
holding down my Option key, Alt on a PC, and
| | 03:16 | then clicking on that point
itself and getting a new handle.
| | 03:19 | Now you might want to get a little closer here,
so we can get very precise. Can you see that,
| | 03:23 | how we are little off there? We need to be
right on that edge right there, just like that.
| | 03:28 | We will do the same thing here now.
| | 03:30 | Get right on the edge, click, go up,
over, down right to that edge, Option
| | 03:41 | button so I could pull out a
handle, and Option+Click.
| | 03:44 | There we have it. Close it off.
| | 03:45 | Now here we just have one little fold here,
| | 03:50 | so let's just jump over to this guy first.
| | 03:52 | I am going to click here, go straight up,
around and close it off just like that.
| | 04:00 | The same thing is going to happen here.
| | 04:02 | It is just one going up, behind this
one, come around and here we go, close
| | 04:10 | it off right in there.
| | 04:12 | Now these guys, the way they are
overlapping doesn't matter because that's
| | 04:15 | going to be hidden later.
| | 04:16 | Now comes the trickier part.
| | 04:18 | This back fold going in here, up, and this
can just go very loosely around the sides.
| | 04:28 | Here, up, loosely around sides, because
we are only going to see this little
| | 04:32 | part right in there.
| | 04:33 | So we don't have to worry too much
about this outer part. I've got to do this up,
| | 04:40 | this guy up.
| | 04:42 | So basically the only place where you have to
be really tight is right there on that edge.
| | 04:48 | This guy up, and finally,
let's just get this edge.
| | 04:54 | In fact, let's elongate
this one just a little bit.
| | 04:59 | There we go, and we start right
here, go up, and close it off.
| | 05:05 | So now we have all our basic paths, so let's
see them right off the bat. There they are.
| | 05:10 | So now let's pull back and
see what we are about to do.
| | 05:13 | I am going to use the
same reds as we had before.
| | 05:16 | So what I am going to do is I am
going to start to create my basic shapes.
| | 05:19 | I am going to go in here and I have
the overall shape of the curtains.
| | 05:24 | So what I am going to do is in a
layer, I am going to just say curtain.
| | 05:32 | I am going to fill it with that red.
| | 05:33 | Now I am going to select the front folds.
| | 05:40 | That's this one, and I am
going to select this third one.
| | 05:43 | This one we will do separately, just
like we did in that first curtain. And I
| | 05:47 | am going to go into my Layers and we will call
this front folds and fill it with that color.
| | 05:58 | Now they went over. No problem
because we are going to clip it.
| | 06:01 | Then I am going to take this one, and we are
going to put it in a layer between the two.
| | 06:06 | So just like we did before, we'll call it
the mid fold, and again you want to call
| | 06:11 | it whatever you want.
| | 06:13 | I am just giving it a good name so
that it fits. And I get my path and I
| | 06:16 | say, fill that one.
| | 06:18 | All right, so now, I am going to select
all these little guys and select every
| | 06:24 | one of these paths. And in the layer behind
the curtains, I am going to say back folds.
| | 06:37 | Now, for those, I am
going to use that darker red.
| | 06:40 | See, there is that
darker red that we had before.
| | 06:42 | So I am going to fill
those with that darker red.
| | 06:45 | I am in the layer, put it back
folds and I get my path and say fill it.
| | 06:49 | So there we see those back folds.
| | 06:51 | So now, let's start
giving this that shape again.
| | 06:54 | So I am going to take my front folds
and my mid folds and I am going to clip
| | 06:58 | them all with the curtains.
| | 06:59 | So Option+Click between there and you
can see what just happened and
| | 07:03 | Option+Click there, and now we could see that
we are starting to get those shapes.
| | 07:07 | Now we can add some tonality pretty
much the way we did it the first time.
| | 07:12 | I am going to go into the font
folds here, give it a layer style.
| | 07:16 | I can go in and say give it inner glow,
and I am going to pickup that the deep
| | 07:20 | red there, click OK, and say
Multiply, and it will give us some size,
| | 07:28 | nice size like that. And we will bring down
the Opacity, so it is not so strong. Click OK.
| | 07:33 | Now just as what happens before, we
have that little thing happening at there.
| | 07:37 | We don't like that.
| | 07:38 | So what I am going to do is I am going
to separate that layer style, and then I
| | 07:46 | am going to take that fold right
there, which I'm going to give it a mask
| | 07:50 | based on the folds. I am going to
select the folds and say give this a mask.
| | 07:55 | Now we are only seeing the inside.
| | 07:56 | I am going to unlink the mask, so I can take
that dark tones themselves and enlarge them,
| | 08:02 | so they will go beyond this area.
| | 08:05 | I will just put them
straight up. Let me undo that.
| | 08:09 | So I can now jump out of the screen there.
| | 08:11 | Just bring it up and bring it down.
| | 08:14 | So there you see that they are just on
the edges. Make it happen. There they are.
| | 08:19 | So now, I want to get
these darker tones inside here.
| | 08:23 | So here I am going to paint them this time.
| | 08:25 | So I am going to take my paintbrush.
| | 08:27 | You know what? I am going to reduce the
Opacity for this guy just a little more
| | 08:31 | because I want to really darken
those other folds in back there.
| | 08:34 | So in the Curtains another layer,
that's automatically linked to it.
| | 08:39 | I am going to darken those areas back there.
| | 08:41 | So I am going to just give it a nice
big paintbrush and just kind of add some
| | 08:45 | darkness right back there and in there
and there. I'm getting these dark tones in
| | 08:54 | here. I just will deal with
that one in a few minutes.
| | 08:57 | So I am going to go in here to the mid
fold, which I am going to have to mask.
| | 09:02 | I am going to just add a little dark
tone right in there like so and a little
| | 09:06 | bit right at that edge, and I am going to
say make that into a selection and mask
| | 09:10 | that layer, so I see those tones only
inside there, right. And I might want to
| | 09:14 | get a darker right in there like that.
| | 09:16 | So now these dark folds in the back,
I might want to make those a little
| | 09:21 | darker in certain areas.
| | 09:22 | So I go to my back folds, and I am
going to use my Burn tool and the Burn tool,
| | 09:28 | I am just going to darken certain parts
even more. And let's just use the shadows
| | 09:32 | so we get really dark tones in there,
| | 09:35 | there right at that edge.
| | 09:37 | So I am doing the edges basically.
| | 09:39 | I am going to get a smaller brush and
just do this little edge back here, so I
| | 09:43 | am getting that little darker tone
right at the back, and there you can see how
| | 09:46 | this is starting to work.
| | 09:47 | You might want to get a
little darker in there as well.
| | 09:50 | So I am going to go in there to my
main curtain and just give it a little dab
| | 09:54 | right back here, just to darken that
little area just a little bit right in
| | 09:58 | there, right in there, and in there,
| | 10:02 | so just where that fold is happening.
And like before we might want to add a
| | 10:06 | little additional tones,
| | 10:08 | so I will go in here and just kind of
give that a little darkening, a little
| | 10:11 | darkening right through there.
And let's switch to highlights,
| | 10:14 | so we don't get that saturation of color.
| | 10:16 | We'll just add a little darkening right in
there and a little lightning right in to
| | 10:21 | that area, a little
highlight right in certain spots.
| | 10:25 | Now it looks like it's a really thin curtain.
| | 10:28 | If these were theater curtains,
they would be really heavy.
| | 10:31 | So what I am going to do right on top of the
whole thing here, we'll call this one the edge.
| | 10:35 | This is the edge of the curtains.
| | 10:37 | So I am going to take my
original path, this one,
| | 10:41 | the one that has the bottom shape of my
curtains right there, and I am going to
| | 10:46 | say let's stick in that.
| | 10:47 | So I am going to get a lighter color.
| | 10:49 | Let's use this light color
and make it even lighter, about like that.
| | 10:53 | That looks good.
| | 10:54 | I am going to get my paintbrush and
make it hard edge and make it really small,
| | 10:59 | just about the size that I want the edge to be.
| | 11:02 | That's a little light right now,
and that's a little too thick. So let's make it smaller.
| | 11:08 | That's a good size right there, and
what I am going to do is I am going to go
| | 11:11 | ahead and take that path and stroke it.
| | 11:14 | So in that layer, let's make sure I
got the layer for the edge. There it is.
| | 11:18 | So I am going to take my path and
stroke it. And I am going to erase this part
| | 11:25 | here because we don't want an edge on
that side of the curtain, and there you
| | 11:28 | could see that now our
curtain has this nice little edge.
| | 11:31 | So now we are through with the edges.
| | 11:33 | Let's just take our
background--lost our Layers here.
| | 11:36 | There they are, back here.
| | 11:38 | Let's get our Layers and we will just
take the background and invert it, so we
| | 11:41 | could see how there is our little
edge to the bottom of the curtains.
| | Collapse this transcript |
| Creating curtain shadows| 00:00 | Let's look at it right here, and
we see that there is a series of shadows
| | 00:04 | that are being cast by
this part of the frame here.
| | 00:06 | So let's go in here and create that effect.
| | 00:08 | Here are the curtains we just
created in the last movie, and now all of a
| | 00:12 | sudden there is a frame going across
it, which means it will cast a shadow
| | 00:15 | onto those curtains.
| | 00:17 | So let's create that shadow.
| | 00:19 | I'm going to turn off my background so
we can see what's going to be happening
| | 00:21 | here, because what's going to happen is
I'm going to take my path, the one path
| | 00:26 | that's for the overall shadows.
| | 00:28 | That's this one here, which
is following all those folds;
| | 00:32 | it basically created the folds.
| | 00:34 | So I'm going to turn that into a selection.
| | 00:37 | Turn off my paths so I don't see them
anymore, and I'm going to create one more
| | 00:40 | layer here, which we'll call the shadows.
| | 00:42 | So I'm going to put it behind the frame, right?
| | 00:44 | So right here, on the edge, I'm
going to say shadow. And I'm going to
| | 00:50 | inverse that selection
| | 00:52 | so everything else is selected,
rather than the curtain area.
| | 00:55 | So I'm going to say Select > Inverse
and I'm going to go ahead and fill that
| | 00:59 | with the black. I'm going to deselect it now.
| | 01:03 | That is the basic shadow
that I'm going to be using.
| | 01:06 | Now I'm going to move that
layer, so that it's right here.
| | 01:10 | I'm going to hold down my
Shift key to constrain it
| | 01:11 | so it's moving right above
where my little curtains are.
| | 01:15 | Now it's just about following those folds.
| | 01:17 | It's a little off in some places, because
of the fact the folds weren't perfectly
| | 01:21 | even, but that's no problem.
| | 01:23 | We can adjust that later.
| | 01:24 | Move it up a little bit more. There we go.
| | 01:28 | Then I'm going to go in here and
duplicate that. I have a second one.
| | 01:33 | This one I'm going to more
here further up, like that.
| | 01:36 | Now the reason for that is because
there are two different shadows here.
| | 01:40 | This first one, the one that I
just created which is higher up,
| | 01:43 | I'm going to put way down here
right by the curtains. There it is.
| | 01:48 | See, it's right in there.
| | 01:49 | I'm going to blur it. I'm going to give it a
little Gaussian Blur just to soften it up. There we go.
| | 01:56 | Click OK. I'm going to set it up to Multiply.
| | 01:59 | We're going to leave the
Opacity just where it is.
| | 02:01 | Okay, now I might want to bring it up a little
more like that, because this is further back,
| | 02:06 | so it's casting a longer shadow.
And I'm going to erase the parts that I
| | 02:10 | don't want, like right in there,
all these little pieces that are just
| | 02:14 | sticking out there like that.
| | 02:15 | I'm going to erase those. And then I'm
going to take that second one, and I'm
| | 02:20 | going to put that one in
front of the folds right there.
| | 02:25 | Now this one I would need to extend.
| | 02:27 | What's going to happen is I
want to keep it inside the folds,
| | 02:30 | so what I'm going to do is take the
folds and make them a selection and in that
| | 02:34 | shadow, let's say, give it a mask.
| | 02:35 | So now we're seeing them only inside there,
and I can go in there and continue to paint.
| | 02:41 | Right here we'll just getting another
paintbrush and I'm going to just paint with black.
| | 02:44 | Let me undo that, because I
was painting with the red.
| | 02:47 | I want to paint in the shadow right there.
| | 02:49 | I'm going to paint that
with black to fill that up.
| | 02:54 | When you notice, see how it's following
that nice little curvature, and we have
| | 02:57 | this other one we have to do.
| | 02:59 | Now that we have that, I'm going to blur
that one but not as much as the first one.
| | 03:03 | Why? Because of the fact that
these are closer to the frame.
| | 03:07 | So I'll go in to my Gaussian Blur and give
it less of a blur. About 2.2, that looks good.
| | 03:11 | But I'm going to bring down the
Opacity just a little and set it to Multiply.
| | 03:16 | Now I'm going to select this whole
bottom part right there, and dump it.
| | 03:22 | Same thing for the one in back.
| | 03:24 | I'm going to go here to this shadow and
dump it, and there you can see how we're
| | 03:28 | starting to get that little
shadow on top of our curtains.
| | 03:31 | Now this one needs that same effect,
| | 03:33 | so what I'm going to do is I'm going to
duplicate the shadow one more time here,
| | 03:37 | just duplicate this one more time,
and this one, we're going to put in front of
| | 03:41 | that one fold right there.
| | 03:43 | Now I'm going to dump its mask, because we
want it to have its own little effect there.
| | 03:49 | So this one we're going to
have to really play around with,
| | 03:52 | so I'm going to move it up a little more.
| | 03:53 | Let's go in there and move that one up,
because we want it to have this nice
| | 03:58 | little sweep back here, and I'm going
to increase that sweep by just going in
| | 04:02 | there and just painting into that,
adding a little more tone in there just like
| | 04:06 | that, and creating a mass for it by
making that guy a selection, and saying take
| | 04:13 | that and give it a mask.
| | 04:14 | So now we're seeing that only inside
there, and we'll give that the filter as
| | 04:17 | well, just to soften that, and not the
mass, we will do it to the layer right there.
| | 04:23 | We'll give it a little softening.
| | 04:25 | So we'll soften just a little more, and
there you can see that now we have little
| | 04:28 | shadows being cast on the curtains.
| | 04:31 | If it's little too much, you could
take say this one right here and bring
| | 04:35 | it down a little bit. Make it little closer to beam.
And there you can get the feel of how these little
| | 04:40 | shadows are being cast onto the curtains.
| | Collapse this transcript |
| Adding a fabric texture to curtains| 00:00 | This last tutorial on curtains is going
to deal with curtains that aren't just
| | 00:04 | plain, like this red one
we see on the screen now.
| | 00:06 | We're going to have a curtain with
patterns on it, so you can have all kinds of
| | 00:10 | little boats, or whatever it is that
you want your curtains to have; the
| | 00:13 | technique will be the same.
| | 00:14 | I am going to use something a little
more intricate and that is the actual
| | 00:18 | weave of the fabric.
| | 00:20 | It is a pattern that we created.
| | 00:21 | The tutorial for that
exists elsewhere in this set.
| | 00:25 | Right now, what we're going to do is
open up the file that we have for our
| | 00:30 | texture, and there's the
weave of the fabric right there.
| | 00:34 | It's in its own layer, a transparent layer.
| | 00:36 | So I am going to go in there
and select this whole thing.
| | 00:38 | Now I've made it quite large;
| | 00:40 | this file is much larger than all the
other files I am working on because it
| | 00:44 | gave me the ability to create a nice
intricate-looking fabric as you could see right there.
| | 00:49 | But when I bring it into the other files,
if it's the same size, then the weave
| | 00:52 | is going to be really big.
| | 00:54 | It's not going to really look like a fabric;
| | 00:56 | it's going to look more like a cane or
something that you wouldn't have on a curtain.
| | 01:00 | So I created a very large file
that I filled with the pattern.
| | 01:04 | So I am going to select all
and I am going to copy that.
| | 01:07 | And I am going to go back
to my little curtain file--
| | 01:09 | here's my little curtains--and I am
going to paste it right off the top there.
| | 01:13 | I am going to say Paste and
it's going to paste it in.
| | 01:16 | Now you can see how large
it is. It's quite large.
| | 01:18 | So I am going to pull back and
then shrink it down to the size of the
| | 01:23 | curtains themselves.
| | 01:24 | That should be enough of a scaling so that
I can really get the texture that I want.
| | 01:29 | So I am going to bring it way
down about like that. Click OK.
| | 01:33 | Let's zoom in on it just to see
how it looks, and that's pretty good.
| | 01:37 | Now you notice how we've lost a
lot of that detail? It's okay.
| | 01:41 | All we need is just
defense of it being a fabric.
| | 01:44 | When it's just far away you don't
really see those little differences in
| | 01:48 | the threads and so on;
| | 01:48 | you're just going to see the basic weave.
| | 01:50 | So I am going to set some modes for
this, so it's going to give me the
| | 01:53 | effect that I want.
| | 01:54 | So let's see what Multiply will do.
| | 01:56 | That gives me a nice little effect right there.
| | 01:58 | So I kind of see the fabric.
| | 01:59 | I could try out a little
Overlay, which kind of lightens it up.
| | 02:03 | But I tell you what, Multiply
is going to be good, so there.
| | 02:06 | There is the basic shape, right?
| | 02:08 | Now I am going to cover three areas right here.
| | 02:12 | So what I am going to I do is I am
going to cut this down so that I only see
| | 02:15 | the part that I want.
| | 02:16 | I want to just get rid of this little
piece right here, of that fabric layer,
| | 02:20 | and cut this little piece right there like that.
| | 02:23 | And then I am going to duplicate it.
| | 02:24 | I am going to take this and
duplicate it over the other two sections.
| | 02:29 | So I'll bring it over here, right there.
And you know what? I am only going to do
| | 02:35 | the two so we can just
see what's going to happen here.
| | 02:38 | So now I am going to go in
there and give this a mask.
| | 02:41 | So let's bring it down right here below this
so that the edge doesn't have the fabric there.
| | 02:46 | And I have a mask here for those folds,
so what I am going to do is I am going
| | 02:49 | to Option+Click and drag the mask
right over this guy, and there we see the
| | 02:53 | weave only inside that area.
| | 02:56 | That is exactly the way we want it.
| | 02:57 | So now I have to go in there and
distort this weave so it's not straight across,
| | 03:02 | because the fabric itself
has got a little curve to it.
| | 03:05 | So I need to distort the weave so
it's going to do the same thing.
| | 03:08 | I want to work on each side separately,
so I am going to actually select this
| | 03:12 | side of my fabric right there.
| | 03:14 | Now I am going to get a little closer to
it, so I could see what I am going to be
| | 03:18 | doing, and I am going to go
in there and give that a Warp.
| | 03:24 | Now Puppet Warp can work if there are
other little bends in the fabric, as you'll
| | 03:29 | see in another tutorial when
we talk about actual fabrics.
| | 03:32 | But in this particular case, the
curtains are just flowing straight down,
| | 03:35 | so Warp is going to do a much better job.
| | 03:38 | The one thing I want to do first is to go
in there and tighten up these sides here.
| | 03:43 | So I am going to go in there and just
pull this in. I have a nice little effect
| | 03:47 | there, and I am playing
with the mask. You see that?
| | 03:49 | So let's undo that and
make sure we're in that layer.
| | 03:53 | Now this happens a lot when you create
a mask and you're in that mask, and then
| | 03:56 | you go to do something, you
realize that you're doing it to the mask.
| | 03:59 | You don't want to do it to the mask;
| | 04:00 | you want to do just to the object itself.
| | 04:02 | And you quickly will see when you're
doing something wrong because, like we saw
| | 04:05 | there, the fabric was left back here
and things got distorted in a weird way.
| | 04:10 | So now I am going to go in there and say Warp.
| | 04:12 | So I am going to bring this side in,
and I am going to take this guy over.
| | 04:19 | I don't want to see those marching ants,
so let's get rid of that right off the bat.
| | 04:23 | I don't want to see those things.
| | 04:24 | Now by doing this, I am
tightening the side right there.
| | 04:27 | I'll do the same thing over here.
| | 04:28 | I am going to bring this over and bring these
guys in. I am going to push this guy back out.
| | 04:34 | Now what's happening here is that I am
making the size get a little tighter, and
| | 04:38 | that's going to make it look
like this fabric is moving around,
| | 04:41 | it's folding around.
| | 04:42 | The same thing is going to happen on this side.
| | 04:44 | I am going to pull this in, pull this
guy back out, tighten this in. And you can
| | 04:49 | kind of see it almost in the
preview that it's starting to happen.
| | 04:52 | I am going to pull this in, tighten
this up, and then pull this guy back out.
| | 04:57 | And you could see how it's
tightening up in that area. There we go.
| | 05:00 | That's the way I want it.
| | 05:01 | I am going to click OK and have that happen.
| | 05:04 | There you can see how
it's starting to wrap around.
| | 05:06 | Now I am going to apply another warp.
| | 05:09 | I want these as individual warps, so I am
just going to grab this edge right here
| | 05:14 | again and go in and say Warp it again.
| | 05:17 | Now I am going to kind of follow the
shape of my fabric here by grabbing this
| | 05:23 | handle and just kind of
pulling it down, just like that.
| | 05:26 | And there we could see and again, those
guys will appear, so let's just turn them off.
| | 05:31 | There we go.
| | 05:32 | And I am going to just kind of bring
this down and then bring it up so that we
| | 05:36 | get outside of that area.
| | 05:38 | There we go, just in there.
| | 05:40 | And now we can see how the fabric is
starting to get this little bow in there like that.
| | 05:44 | And there we could see how the fabric
has now started to follow that flow.
| | 05:48 | It needs a little curvature on this side.
I am going to go beyond the area and I am
| | 05:53 | just going to kind of
slowly bring this area down.
| | 05:56 | So again, another warp in which I will
just bring this up just a little bit,
| | 06:04 | bring this down so I just start to
get this little curve on that side, and I
| | 06:09 | am starting to get this nice little bow to it.
| | 06:13 | Now when I am done with all this, I
would create a second layer which I would
| | 06:16 | then put into the back areas
and then do it the opposite way.
| | 06:20 | They are bowing this way, and so I've
started to create this little weave to my fabric.
| | 06:24 | As you could see, it's just following
this little curvature of my fabric and
| | 06:28 | creating the effect that you want
instead of straight across, so it starts to
| | 06:31 | conform to the shape of the folds in the fabric.
| | 06:36 | Any kind of little boats or whatever
would take on that same shape when it's
| | 06:40 | just starting to follow the folds.
| | 06:41 | So it's question of warping it and
getting the effect that you want.
| | Collapse this transcript |
| Creating a 3D object with an inset space| 00:00 | Signs take on all kinds of different forms.
| | 00:03 | It could be just billboards or neon
signs or screens that are constantly
| | 00:07 | showing a moving animation.
| | 00:09 | Sometimes they are just some kind of an object,
| | 00:12 | like for instance right here. I am
going to come over here to this corner store
| | 00:15 | at the far end of the painting and
zoom in on this S right here, and we see
| | 00:19 | that it is just as big piece of metal shaped
into a letter S, with a little inside area, and so on.
| | 00:26 | This is what we are going
to create here is this 3D S.
| | 00:28 | So I have a new file here, and here
I am going to use a regular font.
| | 00:35 | I've chosen Futura Condensed 500
points, and I am going to just type in the
| | 00:39 | letter S right there. CAP S. That's good.
| | 00:43 | So now it is straight on and I'm not
really going to work with this S. It is
| | 00:48 | the basic shape that I want, but what I
am going to do is to I am going to take
| | 00:52 | this type right here.
| | 00:53 | There is the type, I got it selected.
| | 00:55 | So what I am going to do is I am going
to come over here and say, Layer > Type >
| | 01:00 | Create Work Path, and that's going to give me a
path, which we will see right here in our Paths.
| | 01:06 | There is our Work Path, which I am going
to go ahead save it by giving it a name,
| | 01:09 | and we will call it the
letter S. So there is our font.
| | 01:12 | So what I am going to do is go over
to my Layers and throw it out of way.
| | 01:16 | We don't need that anymore because we are
going to create it all based on this path here.
| | 01:21 | Now it is straight on, and we are down
a street and we are looking up at the
| | 01:25 | sign which is above the entrance.
| | 01:27 | So what I am going to do is I am going to
distort this path, so it has that look of 3D.
| | 01:31 | Now if you have a perspective grid, then
you should use that at that point, but I
| | 01:35 | am just going to do it pretty much by eye.
| | 01:37 | I am going to choose Distort, and I am
going to kind of bend this guy up like
| | 01:41 | this and then bend down like that.
| | 01:45 | So now we are kind of looking up
at this big giant S up above us.
| | 01:50 | It's going to be a three-dimensional S.
| | 01:52 | So what I am going to do is I am
going to copy the path and just move it
| | 01:57 | straight over like that. So now I
have got this side of the S right there.
| | 02:03 | So now I am going to have to go in
there and create certain parts which are
| | 02:06 | somewhat lost, like right here.
| | 02:08 | See how it's breaking up there?
| | 02:10 | So let's zoom in on that little area
right there, and what I am going to do is I
| | 02:13 | am simply going to take, with my Direct
Selection tool, I am going to take this
| | 02:16 | last point and drag it right up to
that edge and kind of open it up a little.
| | 02:21 | There we go, so now it is just meeting
right at the edge. And if it's not quite
| | 02:25 | right, it won't be perfect, so we have
to go in there and make sure we match it
| | 02:28 | right up to that point right there.
| | 02:30 | Now, we can pull back and see how that looks.
| | 02:33 | Let's just pull back, and that bottom
looks fairly good, though it doesn't
| | 02:36 | have enough of a curve,
| | 02:37 | so we will just go and bring
this out just a little bit.
| | 02:40 | There we have a nice match.
| | 02:42 | Now up here, it is a little different,
because this is a hard edge right here.
| | 02:46 | So what we need to do is to create
that little shape as a separate path.
| | 02:52 | So I am going to go in there, and let's get
real close. So we don't mess it up at all,
| | 02:56 | we are going to click from this point
right there down to this point, come up
| | 03:01 | here and click, and close.
| | 03:05 | Now I want a little overlap here, so I am
just going to go a little beyond and come back.
| | 03:09 | That way, it just leads into that area and
I will get a neat space that it is showing up.
| | 03:13 | So let's go over here and make sure
that these corners match up perfectly just
| | 03:18 | get it right in there and let's come
down here and that corner, let's bring it
| | 03:22 | down right in there like
that, so it is looking good.
| | 03:26 | All right, so we have all the paths we
need to now create our letter,
| | 03:30 | so here is what we are going to do.
| | 03:31 | We are going to start to colorize this.
| | 03:34 | Now the first thing I am going to do is
I am going to take the basic path right
| | 03:38 | here, which is my S, and I am
going to fill it with a gray color.
| | 03:42 | Go in there and fill with a nice kind
of mid-gray like that in a layer. And I am
| | 03:47 | actually going to call this 'frame
edge' and go ahead and fill that path.
| | 03:57 | So now I have got the path still selected.
| | 04:01 | So what I am going to do is I am
going to pick a different color here.
| | 04:03 | Let's go with a lighter gray, let's say
that one right there. And I am going to
| | 04:07 | pick up a paintbrush and I am going to
get a hard-edge brush like this and I see
| | 04:11 | the size I've got. Let's make it a little smaller.
| | 04:13 | Let's see what a 15 is going to look
like, and I will just test it out right here.
| | 04:16 | There is this size.
| | 04:18 | That looks pretty good but still a little thick,
| | 04:21 | so let's bring it down to say maybe 12.
| | 04:24 | I always like to test by doing a
little stroke next to things just to see how
| | 04:27 | it is going to look. That looks good.
| | 04:29 | So let's undo that.
| | 04:30 | Now that we have that, I am going to
create a layer and call it front face,
| | 04:38 | because that's going to be the
edge of our letter right around there.
| | 04:42 | So now I am going to go in here and
stroke that layer with the paintbrush that path.
| | 04:48 | So there's the paintbrush.
| | 04:50 | That path is selected and I click Stroke.
| | 04:53 | So there we have this little stroke.
| | 04:55 | Now it looks a little light, and I just
realize because our Opacity is reduced, so
| | 05:00 | let's bring that back up to 100%
and stroke it again. There you go.
| | 05:05 | Now we have that nice solid line.
| | 05:07 | Now that we've done that, we see that
our edges are going to be a little off.
| | 05:11 | So when we look at that path
again--let's go see that path--
| | 05:14 | now we see that the edges are a little off.
| | 05:15 | So we are going to have to go in there
and modify those right before we start
| | 05:18 | to do our outer edge,
but first let's do the backend.
| | 05:22 | So this has to be pretty much that
same size going all the way around.
| | 05:26 | That's going to look good.
| | 05:27 | So I am going to go in there and make
up a layer, and we are going to call this
| | 05:31 | the frame side. And I am
going to pick a much darker gray.
| | 05:38 | Let's say we pick something like that.
| | 05:41 | In that layer, we will
take that path and fill it.
| | 05:44 | Now it is going right up into the edges.
| | 05:46 | That's looking good.
| | 05:47 | Everything's looking really good there.
| | 05:50 | Now here is that little space, so we are
going to have to go in there and modify this.
| | 05:53 | So let's go up here to this box, right
up in here and get close, and then we
| | 05:57 | are going to take this one path and
just kind of bring it right up to that edge
| | 06:02 | and down to this edge.
| | 06:03 | That's going to be that side, and
that also added a little shortening.
| | 06:07 | See, it is going to be a little taller
here than it is in the back, giving us that
| | 06:11 | sense of depth that we are missing
everywhere else where we don't really see it
| | 06:15 | because everything else is curved.
| | 06:16 | Here we have a hard edge, so there
we would see that foreshortening.
| | 06:20 | And so now we have this dark gray.
| | 06:22 | Let's go with a slightly lighter gray.
And in the layer, we will put it right here.
| | 06:28 | We will put it the frame top.
In fact, we'll call it top edge.
| | 06:35 | There we go. And we will go ahead
and fill that path with that color.
| | 06:39 | So there, now we have all the
basic shapes for our letter, right?
| | 06:45 | Now we are going to start adding
the real third dimension and making it
| | 06:48 | look like a real sign.
| | 06:50 | We have this layer right here, which
is our basic letter, the frame edge,
| | 06:54 | that's this guy right there.
| | 06:55 | What I am going to do, the reason I
call that 'frame edge' is because I am going
| | 06:59 | to create another layer, I am going to
copy this one, and I could either stroke
| | 07:03 | the path again and so on, or I
can do what I am about to do.
| | 07:06 | I am going to just call this the letter face.
| | 07:09 | And I am going to lock the
transparency, and I am going to fill it with black.
| | 07:15 | So I will go in there say
fill with the foreground color.
| | 07:19 | Do it. There is the black.
| | 07:21 | Now this letter here I am
going to clip with the frame edge.
| | 07:27 | Now you are going to see why
I called this the frame edge.
| | 07:29 | I am now going to take that letter and
using my Move tool and my cursor keys, I
| | 07:33 | am going to move it a little bit
to the right and down a little bit.
| | 07:35 | There is that edge of the frame that
we are seeing where the letter is just
| | 07:41 | coming, and then I am going
to move it down a little more
| | 07:43 | so it is further recessed, just like that.
| | 07:46 | So now what we have to do is start
adding the light that's going to make this
| | 07:49 | look three-dimensional.
| | 07:50 | Now the street lights, they are down here.
| | 07:53 | There is where all the lights are down below.
| | 07:55 | So the light is going up.
| | 07:56 | So all our highlights are going to be up
in here, and then the dark tones will be
| | 08:02 | the parts that are facing up there.
| | 08:04 | So using my Burn tool, which is going
to give me my dark tones, I am going to
| | 08:08 | take my frame edge and just add a little
darkness right into this area right in there.
| | 08:12 | Let us set this up to Midtones, and
we get a little dark tones right in
| | 08:15 | there, right in that area.
| | 08:17 | Same thing right here.
| | 08:18 | We are going to kind of darken this
just a little bit. And we are going to get a
| | 08:22 | much smaller brush and just going to
really darken that little edge because it
| | 08:25 | is picking up the shadow of
the frame itself right in there.
| | 08:28 | Make it a little bigger, and we will
just kind of darken this just a little bit
| | 08:33 | right in there to pick up that little tonality.
| | 08:35 | All right, that's looking good. And maybe we will
just darken a little more right in there.
| | 08:41 | So now, we've got the highlights to do.
| | 08:44 | So I am going to go in there and select
the Dodge tool and I am going to add a
| | 08:48 | little highlight right up in here.
Let's set this up to our Midtones again,
| | 08:52 | and we will add a little highlight
right up in there, little highlight right in
| | 08:56 | there, just into that area just
like that, and that looks good.
| | 09:00 | Now we are going to go to our frame
side, where I am going to add a little
| | 09:03 | highlight right up into that area right
in there and little highlight under here,
| | 09:10 | because that's picking up all
that street light down below.
| | 09:12 | I get my Burn tool and we are
going to add some shadow to that.
| | 09:17 | And again, I am following
pretty much the directions of my light.
| | 09:20 | I am imagining how this light is working.
| | 09:23 | I am going to add a little dark tones
right in there because it is just picking
| | 09:25 | up that shadow right in there.
| | 09:27 | It is the darkness of the sign itself.
Then that little top face, we might want
| | 09:31 | to go in there and just darken that.
Wrong guy--we want that frame top edge
| | 09:36 | right there. We will just darken that a bit.
| | 09:38 | There we go, so it is
nice and dark in the shadows.
| | 09:41 | So now the front face, that's that edge
right there. I am going to do stuff to
| | 09:45 | that, but I want to do a lot of
different things to it, so I am going to do it
| | 09:48 | in a separate layer, which I
am going to clip right there.
| | 09:52 | I will clip it with the front face,
and this is going to be reflections.
| | 09:56 | These are all these little highlights
and stuff coming from the street, cars
| | 09:59 | passing by, and all that kind of thing.
| | 10:01 | So I am going to go in
there and just paint them in,
| | 10:03 | so I am going to draw in some dark tones.
| | 10:05 | So, I have got a nice fairly soft brush.
I am going to soften it up a little bit,
| | 10:09 | and I am just going to
add a streak right across.
| | 10:12 | Click here and Shift+Click down here.
| | 10:14 | I've got that strong tone going right across.
| | 10:16 | That could bring down the Opacity, so let's just
soften it up a little bit. And I might
| | 10:20 | want to go in there and maybe add a
smaller one right here, which I will
| | 10:25 | soften up even more.
| | 10:26 | This one I will soften up, and I
will just do it right through there.
| | 10:29 | We have got another little highlight
going through there or rather, a shadow or a
| | 10:33 | reflection. And now with white I am
going to add a couple of highlights.
| | 10:37 | So let me just click right
here, right through there.
| | 10:40 | Let's go into a totally new layer,
and we will just add a little highlight
| | 10:45 | right from through there,
| | 10:46 | nice and strong, a little bit bigger.
And we'll throw one right across here, make
| | 10:50 | that brush much smaller, and we will
just throw one right across that area there,
| | 10:54 | which we will clip with the sign as well,
bring down its Opacity, just to soften
| | 10:59 | those, and we will soften this one as well.
| | 11:01 | And there we can see
| | 11:02 | now we have all these nice little
highlights going through the front face of our
| | 11:06 | metal letter, and when you look at it
closely you see that we have all this nice
| | 11:10 | 3D effects going through
there that we made up ourselves.
| | 11:14 | Let's just take that little frame edge
and I am going to darken this a little more.
| | 11:17 | Now that I see it, I just want to have
a little more shadow in there and so on,
| | 11:21 | just a little more shadow on the sides as well.
| | 11:23 | So it starts to have that
three-dimensional look, and there you can see that we
| | 11:26 | have our 3D metal letter that started
from a real font and we just manipulated it
| | 11:32 | to the point where we have
the effect that we wanted.
| | Collapse this transcript |
| Creating a filmstrip| 00:00 | There are certain elements that find
their way into so many things that we
| | 00:04 | see today--posters and ads, all kinds
of places--and that is a simple thing
| | 00:09 | called the filmstrip.
| | 00:11 | It's used especially with the Academy Awards.
| | 00:13 | It's all over the place. And here
in Times Square is no exception.
| | 00:16 | We are going to zoom in to a
little area right here where we see a
| | 00:19 | filmstrip, right there.
| | 00:21 | These little Game Boy boxes have a
filmstrip as part of their decoration.
| | 00:26 | Let's look at that filmstrip by itself.
| | 00:28 | Here is one of the boxes for the Sharks Tale,
and you can see that it has a filmstrip.
| | 00:33 | If you look at the layers for this, we
see that that filmstrip does appear at
| | 00:37 | a very specific spot.
| | 00:39 | So, we will click on here,
and there it is, filmstrips.
| | 00:42 | Now we will look at it,
and that's what it looks like.
| | 00:44 | On top of that, there is little size
and there is the pieces inside and so on.
| | 00:48 | Here it's kind of broken up.
| | 00:49 | But what we are going to do is we are
going to look at a couple of other places
| | 00:52 | where I've had to use filmstrips.
| | 00:54 | For instance, there are a
couple of ads that I did.
| | 00:56 | This one here was a billboard. It had to be done.
| | 00:59 | There you can see filmstrips pouring
out of this element here. And then a really
| | 01:03 | old thing that did I for the Monkees, a
book about the rock group the Monkees.
| | 01:06 | And I had the filmstrip right
there, a very simple little filmstrip.
| | 01:10 | What we are going to do now is we
are going to create a filmstrip.
| | 01:14 | Now, creating the filmstrip is just a
question of going in there and using your
| | 01:18 | Pen tool to create the basic shapes.
| | 01:20 | Now, I am going to use the Primitive
tool right here, which creates paths.
| | 01:24 | Use the rounded rectangle and make
sure it's set to Paths, which is right
| | 01:28 | there, that second one.
| | 01:29 | This will create a shape layer.
| | 01:30 | This will create a fills shape.
| | 01:32 | This is what we want the path,
so we can manipulate those.
| | 01:35 | Now, I've got the rounded corners.
| | 01:37 | I am going to just create one right
here, and I see that this is pretty
| | 01:40 | big rounded corners.
| | 01:41 | So, what I am going to do is
I am going to bring this down.
| | 01:43 | Let's bring this down to say maybe 10.
| | 01:45 | Let's see what that's going to look like.
| | 01:46 | That's better, because
that's the shape that I want.
| | 01:49 | So, I am going to go in here and create
one right there, and this is that little
| | 01:54 | area along the top, the little thing
that holds onto the little ridges that
| | 01:58 | rotate the film in the camera.
| | 02:00 | Right, so now I am going to duplicate this.
| | 02:02 | I'll select it with this tool and
hold down my Option key, Alt on a PC.
| | 02:06 | I am going to drag it over and hold
down my Shift key to constrain it after the
| | 02:10 | fact and just drag it over
right there to create that second one.
| | 02:13 | Then I am going to go in there.
| | 02:14 | I am releasing the Shift key for a
second. Click and drag and pull it over
| | 02:19 | to create another one.
| | 02:20 | I am going to continue that same step
quite a few times until I've got the entire
| | 02:25 | top section filled with those little guys.
| | 02:27 | Now, I am trying to get as equidistant
as possible. And frankly, this is one of
| | 02:32 | those places where
Illustrator does a much better job.
| | 02:35 | Once I am done with this, let me just
go in here and do all these guys and the
| | 02:41 | last one right there.
| | 02:42 | Now, why Illustrator?
| | 02:44 | Well, let's go look and look at Illustrator.
| | 02:45 | The beauty of doing it in Illustrator
is that in Illustrator I can create one
| | 02:49 | shape right there and then I when I do
that copy--again, Option key and Shift,
| | 02:54 | the same two keys--and I drag it over
where I want, right there like that,
| | 02:58 | then all I have to do is go over to my
Transform again, Command+D, and it does
| | 03:03 | it, does it, does it.
| | 03:05 | See, it does a whole bunch of them.
| | 03:07 | I only had to copy one
| | 03:09 | and then Transform again
created all the ones in between.
| | 03:12 | We don't have that function working
the same way in Photoshop, so I had to go
| | 03:16 | and create all those individual pieces,
which I can now grab them all, Option
| | 03:22 | drag them down, Shift after the fact,
and then there is the ones at the bottom.
| | 03:27 | Put them right about there. That's good.
| | 03:30 | So, now I am going to get my little
rounded-corner guy again, and I am going to
| | 03:33 | draw the actual strips.
| | 03:35 | Now, here, I would like to have
a little more of a round edge,
| | 03:38 | so I am going to increase this down.
| | 03:40 | Break this up to maybe 20.
| | 03:41 | Let's see what that's going
to look like. That's better.
| | 03:44 | See, so I got this bigger shape right in there.
| | 03:46 | I am going to drag that right about
there and copy that over, so I have three of
| | 03:51 | them: one there and another one there.
| | 03:56 | So, there are all my basic shapes.
| | 03:57 | I am going to center these a little bit.
| | 03:59 | I'm just going to drag them over a little bit--
| | 04:01 | there we go--so that they are centered
above all our little guys, right there.
| | 04:05 | Now, the final thing I want to do is
create the actual piece of plastic, right,
| | 04:09 | the celluloid. So I am going to go in
here and get my regular Rectangle tool.
| | 04:12 | I am going to just draw a big
shape right across here like that.
| | 04:15 | Now there are all my basic shapes
which are going to make up my filmstrip.
| | 04:21 | So, go to our paths and make sure we save
that, because right now it's a work path.
| | 04:25 | Let's save it.
| | 04:26 | Now, we are going to go in here
and start to create our filmstrip.
| | 04:30 | So, I am going to go in here and I have
a picture which I am going to use as the
| | 04:34 | elements inside that little filmstrip.
| | 04:36 | We will get to that one later.
| | 04:37 | Now, I will create a layer on
top here, which I'll call strip.
| | 04:40 | I am going to select this outer box,
| | 04:43 | the main one way out there, and I am
going to bring my colors to black and white.
| | 04:48 | And in that layer called strip I am
going to go ahead and fill that path
| | 04:51 | with black like that.
| | 04:54 | Now, I am going to select all these little guys.
| | 04:56 | Now, if you want to make this fast, you
can just draw a marquee across it like
| | 05:00 | that and then Shift the
marquee across them like that.
| | 05:04 | Now, you will notice that
we have also selected one.
| | 05:06 | So, with the Shift key still pressed, I
am going to click on that outside one,
| | 05:09 | which will deselect it.
| | 05:10 | So, now only all those little guys are
selected, which I am going to take that
| | 05:14 | selected paths and say make them a selection.
| | 05:17 | And I am going to deselect the
paths, no more paths selected.
| | 05:21 | And in that layer, that strip, I am
going to hit my Delete key, Backspace on a
| | 05:25 | PC, and it's going to delete all those little
guys right from the filmstrip. There we go.
| | 05:32 | So now, I can deselect it.
| | 05:34 | In a new layer, I am going
to call it cells. Get my paths.
| | 05:41 | I am going to select those three paths that
make up the cells right there, like that.
| | 05:46 | And in that new layer--that's that layer
with the cells--I am going to go and fill those.
| | 05:51 | Now it doesn't matter what color I'm using;
I got black right now, so it doesn't matter.
| | 05:55 | So, I'm just going to go in there and fill them.
| | 05:57 | Now, we look it up.
Layers, there it is, right in there.
| | 06:00 | So, now here is the picture.
| | 06:02 | So what I'm going to do
is just turn off the paths.
| | 06:04 | I am going to take that picture and
I am going to rotate it 90 degrees
| | 06:09 | clockwise, right there.
| | 06:11 | Bring it over into this area right here.
| | 06:13 | Let's turn off the thing in back.
| | 06:15 | I am going to clip it with
the cells, just like that.
| | 06:20 | So, now I can see where it is and I
can just kind of center it right inside
| | 06:23 | there like that, which I'm now going to
duplicate it, straight across, so I have
| | 06:28 | a second one and a third one.
| | 06:31 | Turn these guys back on, and there we see
that we now have the filmstrip that has
| | 06:35 | all the elements in place.
| | 06:37 | Now, in case I ever want to change this,
what I want to do is I want to go in
| | 06:41 | there and merge all these layers
together so I can start to give this a little
| | 06:45 | more dimension, and maybe
even distort it if I want to.
| | 06:49 | So what I want to do now is I am going
to turn off my background layer, and with
| | 06:53 | all of these guys visible, I am going
to hold down my Option key, Alt on a PC,
| | 06:57 | and say Merge Visible, which is going
to merge them all into a single layer, as
| | 07:03 | you see right there.
| | 07:04 | So now, I am going to turn these guys off.
| | 07:07 | I don't need to see those.
| | 07:08 | I'm going to put my background back on.
| | 07:09 | And now I have my filmstrip,
which I can now start to manipulate.
| | 07:13 | So one thing I could do is
let's give it a little depth.
| | 07:16 | So, I am going to go in
there and duplicate that layer.
| | 07:19 | And the one in back, I am going
to lock the transparency for it.
| | 07:23 | I am going to pick a different color.
| | 07:25 | Let's pick a light gray like this and
with that layer locked, I am going to say Fill
| | 07:31 | with the Foreground Color.
| | 07:34 | And now that it's filled, I am going to
go in there and with my Move tool, I am
| | 07:37 | going to move it over to the
left a little bit and down.
| | 07:40 | Now, you can see that we have now
established a little edge to our film there.
| | 07:45 | Now, these little corners here, you
might want to be a perfectionist and make
| | 07:49 | sure that those little corners are closed off.
| | 07:52 | To do that, I am going to unlock the
transparency, get real close to this,
| | 07:56 | and then just create a little
section right there. And you can do it with
| | 07:59 | many different ways.
| | 08:00 | I am going to take my Lasso tool,
make sure it has no feather.
| | 08:04 | I am just going to connect from here to
there and fill it with that same gray color.
| | 08:10 | Now that you can see that now we've
established that nice little edge.
| | 08:13 | Do it to the other corners and so on,
and it will be just the way you want it.
| | 08:16 | So, now I am going to take this and merge down.
| | 08:21 | So now they are one piece, which I can
now start to manipulate this even further.
| | 08:26 | So I am going to go in there and do a little
distortion on this thing by warping it a bit.
| | 08:31 | So I am going to go in there. I am
going to just kind of drag this guy
| | 08:34 | over, this guy down.
| | 08:36 | Now, you notice how it's
starting to stretch out?
| | 08:39 | That's because this became real narrow here.
| | 08:40 | So I want to make sure that these
things pretty much stay fairly equidistant to
| | 08:45 | each other, so that they
bend the way they should.
| | 08:48 | I am going to grab this guy and bring
him up and this guy way up here like this.
| | 08:52 | And again, I am going to manipulate
these handles, so that I am going to
| | 08:55 | maintain the integrity of the
basic shape of my filmstrip.
| | 09:00 | So, I am grabbing these points, and I
am just kind of moving this guy around
| | 09:04 | just like so, until I have just
the shape that I want, just like that.
| | 09:10 | It could be a little off the
image if you want. It doesn't matter.
| | 09:12 | There is our filmstrip.
| | 09:14 | It's nice and bent and twisted and so on.
| | 09:16 | Then to add a little more drama to
this, I can go in there and give it a
| | 09:19 | little drop shadow.
| | 09:20 | So now it has got a drop shadow.
| | 09:21 | We can increase the distance if we want, and so
on, but I am going to take that a step further.
| | 09:26 | Now that I got that drop shadow, I am
going to say Layers > Layer Style > Create
| | 09:31 | Layer so that my drop
shadow is a separate layer.
| | 09:35 | So, I can now take that drop
shadow and let's pull back a little bit.
| | 09:38 | You can see everything we are doing here.
| | 09:40 | Now take that drop shadow layer and I
am going to go in there and just say give
| | 09:44 | it a little regular distort.
| | 09:46 | I am going to drag it down here, like so,
drag this over, this guy in, just like that.
| | 09:56 | And I am going to blur it a little bit.
| | 09:57 | I am going to go in there and say give
it a little Gaussian blur just to soften
| | 10:00 | it up and bring down the Opacity just a tad.
| | 10:05 | Now, we have this shadow down there.
| | 10:08 | We see that we have this really cool
little filmstrip that we have created by
| | 10:11 | just adding a couple of little paths
and then manipulating those paths to give
| | 10:15 | this our final effect.
| | Collapse this transcript |
| Creating a sign with many lights| 00:00 | In this tutorial, we are going to look
at the intricate little sign up here on
| | 00:03 | the upper-right where all these little
bulbs that are constantly running and
| | 00:07 | creating new words and how they were
created is what we are going to discuss.
| | 00:12 | So right here, in this file right here,
I am going to create the little bulbs.
| | 00:17 | It's going to be basically a pattern.
So using the Elliptical Marquee tool, I am
| | 00:21 | going to go in here and make this little
selection right there, a little circle.
| | 00:24 | Now I am going to fill it in a layer.
| | 00:27 | Make sure I am in layer.
I am going to fill it with black.
| | 00:28 | So I will go in there and say
Fill, Foreground Color and fill it.
| | 00:36 | So, now I am going to go in real close
and select it so I can make my pattern.
| | 00:42 | So I am going to go in there and select
it so that I have an equal distance on
| | 00:46 | all sides, which is just about two
pixels there and on the other sides.
| | 00:51 | So that means that those two pixels
plus these two pixels means that this circle
| | 00:56 | will be four pixels away from its
neighbors to the top and bottom and four pixels
| | 01:00 | away from its neighbors on the left and right.
| | 01:02 | So, I turn off my background to
ensure that have transparency in between my
| | 01:07 | circles, and I will just go in
there and say Define Pattern.
| | 01:10 | So, now that I have that, I can
throw it away. I don't need it anymore.
| | 01:15 | I pull back and I will fill
his layer with that pattern.
| | 01:21 | Fill with the pattern, and the
pattern will appear at the end.
| | 01:25 | There it is, so I click
OK and there's my pattern.
| | 01:28 | Now, just to kind of even this out,
I am going to go in here and I am going
| | 01:31 | to take the top two rows up here and I am
just going to dump those. I don't want them.
| | 01:36 | And I am going to do the
same thing for the bottom.
| | 01:38 | I'm going to take the bottom two down
here and eliminate those, there.
| | 01:44 | Now, we just center this whole thing.
| | 01:46 | We'll just move it up a little bit, so
that they are centered, right in there like
| | 01:50 | that, and we will look at our background.
| | 01:51 | Now, I will create a layer behind this.
| | 01:54 | And this layer here is going to be the
actual area in which the sign is encased.
| | 01:59 | So right there in that area, I am
going to fill that with a nice gray color,
| | 02:04 | say something about like that.
| | 02:06 | I've got that area selected. I am going to
go ahead and fill that with that gray.
| | 02:10 | So, use Foreground Color and Fill.
| | 02:13 | So, there is the basic shape of
where our sign is going to be.
| | 02:17 | So, let's deselect that.
| | 02:19 | So, now let's start making the
bulbs look like real bulbs.
| | 02:23 | Now, these bulbs are out, so what I am going
to do I am just going to turn some of them on.
| | 02:28 | Now, to do that, I am going to go and
say we pick a nice bright green for the
| | 02:33 | lit bulbs, and I am going to get a font.
And I'm just going to type in say the letters
| | 02:38 | A, B, and C. That's going to be the
letters that we are going to use.
| | 02:43 | Now, I am going to enlarge these.
| | 02:44 | I am going to scale them up,
so I see them nice and large
| | 02:48 | so they just fill up all the way down
to the bottom down here. Let's go down to
| | 02:53 | that about that wide.
| | 02:55 | Okay, and we will bring them out,
bring them way over so that they fill up
| | 02:59 | this whole screen like that, and we
just kind of put them in position where we
| | 03:02 | want them. And we click OK.
| | 03:05 | Now, basically these are guide for us.
| | 03:07 | So, what I am going to do is I am
going to go in here and I am just going to
| | 03:10 | clip these with those circles.
| | 03:13 | So, now I have a guide as to where
these things are going to appear,
| | 03:17 | how they are going to look.
| | 03:19 | So, what I am going to do is I am going
to go in there and rasterize that type.
| | 03:23 | I don't want it to be type anymore, so I
am going to say Layer > Rasterize > Type.
| | 03:26 | So now, what I want to do is start forming the
letters based on what I have here as a guide.
| | 03:32 | So, I am going to go in there and
start to paint in the areas that I want.
| | 03:37 | So, let's just say I
want it to be two bulbs thick.
| | 03:40 | So, I will just kind of fill in certain
ones, and I want them to go down to here,
| | 03:44 | and so on, and start filling them in
and forming the letters, and then erasing
| | 03:48 | the parts that I don't want so I
can start to get my little shape going.
| | 03:52 | And I just go in there and start to figure
out how I am going to start forming these letters.
| | 03:56 | I was like kind of make them equal
on both sides, so that I have the same
| | 04:00 | number going up on both sides and so
on, so that it's pretty equal and the
| | 04:04 | letters look uniform.
| | 04:05 | So, it goes like that, and I
am going to erase these here.
| | 04:10 | And if you really need a guide as to
how these letters fall, there is plenty of
| | 04:15 | signs out there that you can use as a
reference point to study how these signs
| | 04:18 | are made up, and you can kind of make up
your own letters just figuring out how
| | 04:22 | it looks. How well are they
legible as far as a letter is concerned?
| | 04:26 | So, you just go in there and fill up
certain bulbs and erase other ones, the
| | 04:30 | ones that you don't want to be in there,
and you start to form the letters.
| | 04:33 | Now, I have got a file here where I
have already done that to save some time.
| | 04:36 | So, we got this one right here, where
we have already gone in there and set
| | 04:40 | up the letters so we see the A, B, and C. So,
now we are going to give this some life.
| | 04:45 | So, the first thing I am going to do is
actually make these bulbs look like bulbs.
| | 04:50 | So, I am going to go into the layer
that has the pattern, which is this one
| | 04:53 | right here, and I am going
to go into Layer Styles.
| | 04:56 | And in the Layer Styles, I am going
to give those bulbs a little Inner
| | 04:59 | Glow, just like that.
| | 05:01 | I am going to bring down the Opacity a little
bit, and I am going to change that to a gray.
| | 05:06 | I want it to be a gray tone like that,
and maybe a little bit bigger, but bring
| | 05:10 | down that Opacity to just a little hint of a
glow around the edge, maybe just a little bigger.
| | 05:16 | There we go.
| | 05:16 | I am going to give it a
little drop shadow as well.
| | 05:19 | Increase the distance, so that we can
see that the bulbs are now raised from
| | 05:22 | the surface of that.
| | 05:23 | We want to put a little hint
of a filament inside as well.
| | 05:26 | So, I am going to give it a little Satin.
And in that Satin, I am going to use
| | 05:29 | a light tone like that. And we will
use a more complex thing, like let's say
| | 05:36 | we will try this one.
| | 05:37 | Now, we will try a couple of different
contours until we get exactly what we want.
| | 05:40 | Let's set this to Screen so we can see it,
and there we can see where we are getting there.
| | 05:44 | So, let's just play around with this
size and distance until we get something that
| | 05:48 | kind of approximates little bulbs
unlit like that. That looks good.
| | 05:52 | All right, so click OK and those bulbs are done.
| | 05:56 | Now comes the little letters.
| | 05:58 | Now, you will notice that these are
not clipped anymore, because once I had
| | 06:01 | the letters formed,
| | 06:02 | I brought them into their own layer unclipped,
so I can do a lot of things to these guys.
| | 06:08 | Now, I am going to take these and
make look like they are in fact lit.
| | 06:11 | So, I am going to go into Layer Styles
for them and I am going to give them a
| | 06:16 | little Inner Glow as well, which is
going to be a darker green, just so it
| | 06:19 | starts to look like the sides of the
bulbs, which are slightly not as bright as
| | 06:24 | the center where the
hotspot is, where the filament is.
| | 06:27 | So, I am going to set this to Multiply,
so I get a little darkening along the
| | 06:30 | edges and choke it a little, so we
will just get that little hard edge right
| | 06:35 | in the center there.
| | 06:36 | Let's make this a little darker. There we go.
| | 06:38 | There we see that now we've got this
nice little lit bulb, which will give it
| | 06:42 | the Outer Glow as well.
| | 06:43 | There is the Outer Glow, which
I am going to change to a green.
| | 06:46 | We want to keep in the greens. And we
will make that just a little bit bigger
| | 06:50 | but bring down the Opacity, with
just a little glow around those bulbs.
| | 06:55 | That's looking good. Click OK.
| | 06:57 | Now, these bulbs are glass, which
means they are reflective. And since these
| | 07:03 | bulbs right next to them are
right there, they should cast a little
| | 07:07 | reflection inside these bulbs.
| | 07:09 | So what I am going to do is I am going
to duplicate this guy right here. And the
| | 07:12 | one in back--that's this one here--
| | 07:14 | I am going to go in there and go to
that Outer Glow and increase the size of
| | 07:19 | that Outer Glow, so that it
starts to encroach into the others.
| | 07:22 | I am going to increase the Spread,
so it becomes a little sharper.
| | 07:26 | See? It's just getting a little sharper
there, and bring that size so it's just kind
| | 07:30 | of touching into that area, and make
them a little more green into the green
| | 07:33 | tones like that. And maybe we will
set this up they will set this up to a
| | 07:36 | Normal, just so it becomes a
really strong green, and we see that it's
| | 07:40 | overlapping into those bulbs.
| | 07:41 | So, now that that one is overlapping
into those bulbs, I am going to clip that
| | 07:45 | one with the layer of the bulbs.
Option+Click right between them, and there we
| | 07:50 | see that now we are getting this
little reflection on these neighboring bulbs
| | 07:54 | that's picking up the glow of the
bulbs that are next to them that are lit.
| | 07:58 | And when you start to look at this, it
starts to look like a little sign that's all lit up.
| | 08:02 | I might even want to bring that
Opacity down just a tad and maybe even go in
| | 08:06 | there and choke that just a little more.
| | 08:08 | Get that Spread and bring the size down,
just so it's a little hint of a little
| | 08:12 | reflection right on the
edges of the bulbs right there.
| | 08:14 | Now, we've got it just right.
| | 08:16 | Now, that we see it together, click OK.
| | 08:18 | We are seeing that just a little
reflection of the bulbs inside the bulbs that
| | 08:21 | are not lit next to them.
| | 08:22 | And there you see that we have these
nice sign made up of all these little bulbs
| | 08:27 | that can say anything you want it to say.
| | Collapse this transcript |
|
|
13. Techniques for Creating Lights Creating a neon sign| 00:00 | Time Square is a tremendous
melody of lights all over the place.
| | 00:03 | Now when I was a kid, I remember
there were neons all over the place, but
| | 00:07 | they've been replaced through years by
moving screens, gigantic screens where
| | 00:11 | the pictures are just like giant televisions.
| | 00:14 | But there are still a few neons laying
around, like a little Open sign in a window,
| | 00:18 | and things like that.
| | 00:19 | I'm going to zoom in on one such neon,
which strangely enough a very small part
| | 00:25 | of it is visible, because after I
started placing people I decided to put Thomas
| | 00:29 | Knoll here and he hid the rest of the
neon sign, and all we see is the little R
| | 00:34 | right there, a little piece of a neon.
| | 00:36 | But we're going to go in here
and create an entire neon sign.
| | 00:39 | Now that original neon sign looked like this.
| | 00:43 | There is your original neon sign.
| | 00:45 | So all you see now is this little R.
| | 00:48 | Now look at this neon and you'll
see that it's a lot like real neons.
| | 00:51 | A neon tube is one continuous tube,
and the areas where they are connected
| | 00:56 | or overlapping, those areas are
usually painted black to hide the light
| | 01:01 | going through that area,
| | 01:02 | so all you see is the actual letter lid up.
| | 01:05 | So now we're going to go in
there and create our own neon.
| | 01:09 | So it is, like I said, one continuous tube.
| | 01:12 | So what we're going to do is we're going
to create a little neon for the word 'ART'.
| | 01:16 | Now you can go in there and get real tricky
and smart and create your own letters,
| | 01:21 | but sometimes it's a lot easier
to just give yourself a guide.
| | 01:25 | So what I'm going to do is
I'm going to first type in 'ART'.
| | 01:28 | I'm going to select it, make sure
it's so that I could see it, like a black.
| | 01:32 | There it is. And I want a font
that's just a nice simple font,
| | 01:36 | so I want to go with this Helvetica
Neue. And let's see if we got something
| | 01:39 | really light there, and we do. We have a Light.
| | 01:41 | That's a good size, because I'm
going to enlarge it now this way.
| | 01:44 | I'm going to go in here
and transform it this way.
| | 01:47 | I'm going to scale it up and
bring it out just like that.
| | 01:53 | Now this is my area of the letters that
I'm going to use to trace, because now
| | 01:58 | with my Pen tool, I'm going to go
in there and create these letters.
| | 02:02 | Now, remember that this is a bent tube of glass,
| | 02:06 | so it does have a way of going in there
and having these curled edges and such.
| | 02:11 | So right here, I'm going to have this
little piece that's just sticking out and
| | 02:16 | coming in and curving up.
| | 02:17 | This is the area where it's connected to the sign.
| | 02:20 | Then right here, it's going to start to go up.
| | 02:22 | So I'm going to just draw little
lines, straight up, over to here, and there
| | 02:26 | it curls around this top, and I'm going along
the centers of the letters if you'll notice.
| | 02:31 | I am going to come down here, and here
it's going to curve into this little area
| | 02:35 | here and come into the R, which is
going to go up here straight up, curl around
| | 02:41 | this little edge. And it helps to master this tool.
| | 02:44 | I'm just going to move these guys over just
a little, so I have more of a curve there.
| | 02:48 | I'm going to come straight across this way,
go to the edge here, around that curve,
| | 02:53 | come around here and around this curve,
and then come right over here. And here
| | 02:59 | I'm going to kind of double-back on
itself, right under there like that, and
| | 03:03 | come straight out here and curve around here.
| | 03:07 | Come down and here is this little
curve that's going to connect to the T.
| | 03:13 | Bring it out. And then there is
another curve going up to the top, where its
| | 03:19 | going to now curve on itself, come over
here, double-back on itself, and finish
| | 03:25 | off the letter here. And then here it's
going to curve out just a little and
| | 03:30 | connect to the sign in back.
| | 03:32 | So now, I'm going to go back here and
just kind of really clean this up a bit, so
| | 03:36 | I have some nice smooth lines.
| | 03:38 | Let's bring this guy out just a
little bit more, and I want this to be a
| | 03:42 | smoother curve here.
| | 03:43 | So I'm just going to give this guy a
little twist here, just to give it more of
| | 03:47 | a curve like that. And right up here,
we're just kind of smoothing this out a little.
| | 03:52 | So I'm just kind of finessing my
paths. And then right here we're going to
| | 03:56 | create a whole another
little path with my Pen tool.
| | 04:00 | I'm just going to go in here and just
create a little--it's connecting to last path.
| | 04:04 | Let's turn off the path. And I just
going to go in here, a little curl just like
| | 04:09 | that, going straight across,
and a little curl like that.
| | 04:15 | Now this is where it's
going to connect into the sign.
| | 04:18 | We'll do that part last.
| | 04:19 | For now, let's just keep looking at our
paths, making sure they are all nice and
| | 04:23 | smooth and so on. And I would like
this one to be a little straighter,
| | 04:26 | so I'm just going to select those two
points, and holding down my cursor keys,
| | 04:29 | I'm going to just click down until
I have a nice straight line across.
| | 04:33 | That's looking good.
| | 04:34 | This guy could use a
little more of a curve to it,
| | 04:36 | so let's just soften that up a little.
| | 04:38 | That's looking good.
| | 04:40 | Everybody is in place, and that's great.
| | 04:43 | So now, let's pull back
so we see the whole thing.
| | 04:46 | At this point, we don't need
to see the letters anymore,
| | 04:48 | so we'll turn that one off.
| | 04:50 | Take our path and save it.
| | 04:54 | So I'm going to take my background
and I'm going to invert it to black.
| | 04:59 | So there it is. And then layer on top of this,
| | 05:03 | I'm going to call it tube. And I
want to take that path that I created, and
| | 05:10 | I'm going to get a brush.
| | 05:11 | I want the brush to be a hard edge.
| | 05:13 | So I'm going to bring the Hardness
up to 100% and the Size, let's bring it
| | 05:17 | down to something that's about the
size of the tube that we want, which is
| | 05:20 | maybe a little smaller.
| | 05:21 | Let's go down to about a 25.
| | 05:23 | That's a good size, and we could test it
right there just to see. That's good.
| | 05:26 | So now I'm going to get a
color for my sign to be.
| | 05:29 | We want it to be nice bright-red neon.
| | 05:32 | So I'm going to go in there and pick a nice
bright red like, let's say that red right there.
| | 05:37 | Click OK, so we've get this nice bright-red
color right there, and we can test it again.
| | 05:42 | There it is.
Now the Opacity is brought down,
| | 05:44 | so let's bring this up to 100%. And there,
now we can see how nice and rich it is.
| | 05:48 | I'm going to make sure that
my brush is a solid brush.
| | 05:51 | So I'm going to go in here, bring the
Spacing down to 1%, which is the smallest
| | 05:55 | so I have a nice solid line.
| | 05:57 | So now that I have that,
I'm going to stroke that path.
| | 06:00 | Now I have multiple paths going here,
| | 06:02 | so what I'm going to do is I'm going to
select this path separate from the other one.
| | 06:07 | So I'm going to go in here and
give this a nice little stroke, and I
| | 06:12 | didn't select the brush.
| | 06:13 | I am in the brush. Stroke
it, and there we have that.
| | 06:19 | So that's the tube.
| | 06:21 | Now I'm going to put another layer right here.
| | 06:24 | I'm going to put it behind the
tube. I'm going to call this crossbar.
| | 06:30 | That's this little guy right
here, because he is separate.
| | 06:33 | Now that I see him and we see how he
is overlapping, I'm going to bring this
| | 06:37 | part in just a little bit.
| | 06:38 | I'm going to grab these two points and
bring them in just a little, and grab
| | 06:42 | these two and bring them in just a
little, and there we have that guy selected.
| | 06:47 | In crossbar, I'm going to
say, with the brush, stroke it.
| | 06:51 | So there, now we have all our
basic lines that we need, right?
| | 06:56 | So now I want to give this a little bit of
a glow, just a little, tiny glow in the center.
| | 07:00 | So I'm going to get a yellow.
| | 07:01 | Let me get a nice bright yellow.
| | 07:04 | I'm going to get my paintbrush. I'm going to
soften it and I'll make it much smaller.
| | 07:08 | So I have really small, little brush
right in there, which I'm going to go in
| | 07:12 | in a layer on top of all this,
| | 07:15 | tight on top here, I'm
going to call it electricity.
| | 07:17 | So it's just like a little charge going
through it. We can test it out to see
| | 07:23 | what it's going to look like. All right!
| | 07:24 | So that's good. Let's make it a little smaller, and
we're going to take the paths, all of them,
| | 07:30 | and stroke them with that brush.
| | 07:32 | So I go in there and stroke it.
| | 07:34 | So now I'm going to blur this part.
| | 07:36 | I want to get it really nice and soft.
| | 07:38 | We will give it a Gaussian Blur and
soften that up about like that.
| | 07:43 | That's looking good, nice and soft.
| | 07:46 | So now we are starting to
get our little neon going there.
| | 07:48 | So now, I've got to give it a little glow.
| | 07:52 | So what I'm going to do is I'm going
to take the tube layer right here and
| | 07:54 | double-click on it and say
give it a little Outer Glow.
| | 07:57 | I'm going to spread it out a little
bit, and we're going to pick something a
| | 08:01 | little more towards the reds, because
I want to keep it in that same style.
| | 08:05 | So just go in there and give it a nice red
color like that, and we'll set this to Normal.
| | 08:10 | So we just get this nice even red up
there, right through there. Click OK,
| | 08:15 | and that looks good, and we'll duplicate
that right onto the crossbar layer right there.
| | 08:19 | So now we're getting all that.
| | 08:21 | The final thing we got to do here is right
on top of the tubes, I'm going to create
| | 08:25 | another layer, which we're going to call paint.
| | 08:29 | This is the area where the
tubes had been painted over.
| | 08:33 | So I've got black for my background.
| | 08:36 | Let's take a gray for my
foreground color, and I'm going to get a
| | 08:39 | brush like this one here.
| | 08:40 | I'm going to take this grunge brush right
here, the splatter brush, which I'm going to go
| | 08:44 | in there and modify, give it a little spacing.
| | 08:46 | I'm going to my Shape Dynamics, turn
this off and set up a Size Jitter and an
| | 08:51 | Angle Jitter and a little Color
Dynamics between Foreground and Background.
| | 08:55 | Then in that layer, I'm going
to go in here and set it 100%.
| | 08:58 | Let's make it a smaller brush.
| | 09:00 | I'm going to start to
paint right in there like that.
| | 09:04 | These are the areas where the letters
are painted over, so that you can only see
| | 09:09 | the letters themselves right
there and finally, right there.
| | 09:15 | Now we're going to see more of this
paint in another spot in a second.
| | 09:19 | So now let's go up here,
| | 09:20 | real close, and we have
this whole section right here.
| | 09:25 | So I'm creating a selection right across
here, so that I can then paint right in
| | 09:32 | here as well, because we're going to
have to hide that part of the tube.
| | 09:36 | And let's just deselect this part right here.
| | 09:41 | Okay, so now I can paint right in there.
| | 09:44 | The same thing with this bottom part of
the R. So I want to go in here and just
| | 09:49 | select this little bottom part right
here of my R right through there, which is
| | 09:54 | where we're going to add this paint.
| | 09:56 | This is the paint that's
segregating those parts of the letters
| | 10:00 | so we see only a part that we want
to be seen, just like that. All right!
| | 10:04 | Now that we have that paint--
let's pull back a little bit--
| | 10:09 | we can go there and clip that
layer with the tubes. There it is.
| | 10:14 | We've got the paint inside there.
| | 10:16 | We're going to go to the electricity
and we're going to give it a mask, and in
| | 10:21 | the mask, we're going to paint out
those areas where we have the paint.
| | 10:25 | So I'm going to go in there
and just get a regular brush.
| | 10:27 | Everything is set up.
| | 10:28 | Good, we're going to set this to a
little below, and I'm going to just erase
| | 10:31 | the electricity there, erase the
electricity right through there, and let's make
| | 10:35 | sure that brush has no
weird settings. There we go.
| | 10:39 | So I'm going to paint out that
electricity right through there, and I'm going to
| | 10:42 | paint out the electricity right in
this area here, right there like that, and
| | 10:47 | right in here, and right
through this little bottom area.
| | 10:50 | Let's just go in there and just make
sure we have this little section selected,
| | 10:54 | and we're going to erase
that electricity right in there.
| | 10:57 | We don't want to see it there, and we don't
want to see it right through this area here.
| | 11:02 | Let's just paint it out right in that
area, and with a soft brush this time
| | 11:06 | we're just going to go and very
lightly soften that right through there.
| | 11:10 | So there now we're starting to get
all this nice little painted areas of
| | 11:13 | our tubes and so on.
| | 11:14 | Now we have to do one more thing here.
| | 11:17 | We have to go to that layer right here
and get the effects taken out of there.
| | 11:22 | So we're going to say Layer > Style >
Create Layer, and the reason for that is
| | 11:27 | because this glow has to be
eliminated from these areas.
| | 11:30 | So I'm going to go in there and erase those.
| | 11:33 | I'm just going to erase them at this point.
| | 11:34 | We'll get a nice big soft eraser, make
sure it's a soft edge, and I'm going to
| | 11:39 | erase that area of the glow.
| | 11:41 | So we just get it right out of there
and take it out of this area here, and
| | 11:47 | we'll take it right from this here and
from the ends of our neon right there,
| | 11:54 | down here, and right in there. Just get
rid of those little areas of the neon.
| | 12:01 | Now the final thing that we're going to
need here is, what is this thing attached to?
| | 12:05 | So we're going to create a
little series of shapes here.
| | 12:08 | We're going to create a little circle
like this, and right on top of this, we're
| | 12:12 | going to create a layer, and this will
be the connector. And I'm going to fill
| | 12:17 | that with that gray; that gray is fine.
| | 12:19 | So that's good, and we'll fill it with that gray.
| | 12:23 | Then I'm going to contract that selection.
| | 12:25 | I'm going to go in there
and say Modify > Contract.
| | 12:29 | We'll contract it by let's say eight pixels.
| | 12:31 | Let's go in there and contract it some more.
| | 12:34 | We'll contract in nine more.
| | 12:36 | Okay, there we go, and that
we're going to fill with the black.
| | 12:39 | So there is a connector of our little neon.
| | 12:42 | So I'm going to give that a little
layer style right here, just give it a
| | 12:47 | little Bevel and Emboss, just so it's
got a little light coming from somewhere.
| | 12:51 | And we'll just have a little light
coming from this direction like that.
| | 12:55 | Click OK, and I'm going to take that guy.
| | 12:57 | I'm going to duplicate him, and then
this duplicate I'm going to drag over
| | 13:02 | here and put him there.
| | 13:04 | It could be a little bit
outside of the scene. No problem.
| | 13:07 | Okay, we'll go into its layer style,
go to the Bevel and Emboss, turn off the
| | 13:11 | Global Light, and then have the light
coming from this direction like that.
| | 13:16 | Then we can duplicate him again,
and this last one, we'll just go in here and
| | 13:22 | we'll put that one right here and
duplicate it straight across there like that.
| | 13:29 | So now we have all these little
connectors for our neon, and the last thing we
| | 13:33 | want to do is what is it actually connected to?
| | 13:35 | So I'm going to create this long sheet
right here and in the layer in back of
| | 13:40 | everything, I'm going to create a layer
right here, and we'll just call this the
| | 13:45 | base. And I'm going to fill this with,
we'll go with the nice gray like that, and
| | 13:52 | I'm going to go in there and just fill that.
| | 13:55 | There is this tone, right, which
I'm going to bring down to Opacity.
| | 13:57 | So it's just this piece of plastic back
there, which I can go in there and add
| | 14:01 | all kinds of tones to give it some dimension.
| | 14:03 | But what I am going to do is I am
going to reflect this light onto it.
| | 14:08 | Now the first thing I need to do is I'm
going to make my neons a selection, and
| | 14:14 | I'm going to expand it little bit.
| | 14:15 | So I go in there and say Expand.
| | 14:18 | We'll expand it by say 15 pixels,
and I'm going to pick up this red right here.
| | 14:24 | And on top of the base, I'm going to
go ahead and fill that with that color,
| | 14:29 | which I'm then going to blur it considerably.
| | 14:32 | Give it a real big blur, like so.
| | 14:37 | Bring down the Opacity a little bit, and
there you can see that now we have this
| | 14:40 | neon sign that's attached to a wall
| | 14:42 | that looks like it should.
| | Collapse this transcript |
| Creating a framed neon sign| 00:00 | Not all neon tubes are freestanding;
some are encased inside of a frame.
| | 00:05 | I have one right here.
| | 00:06 | Come and zoom in to this little area
right here, and we see we have the Planet
| | 00:10 | Hollywood right there.
| | 00:12 | Now it's not as detailed as you would
imagine, because this is really tiny, very
| | 00:17 | tiny in the scope of the entire image.
But I always work at a higher resolution
| | 00:21 | and much larger than I need,
| | 00:22 | so I can get as much detail as possible.
| | 00:24 | So when it rasterizes down to the final
size, it's going to look fairly sharp.
| | 00:29 | Here is the actual sign that was
created, right here, and you see that there
| | 00:33 | is a lot more detail.
| | 00:34 | You could see little wires
and such all through this neon.
| | 00:37 | These neons are encased
inside of these big forms.
| | 00:41 | So let's create that effect right now.
| | 00:43 | I'm going to go in here and create the
letter I encased inside of a metal frame.
| | 00:48 | I'm going to start off with my
Rectangle tool right here, which I have set to
| | 00:53 | Paths, and I'm going to
create a letter I just like that.
| | 00:58 | Now we're on the ground
looking up at this thing.
| | 01:01 | So I'm going to go in and distort it to
give us the illusion that we're looking
| | 01:04 | up at this thing from just below.
| | 01:06 | We'll make this a little narrower towards the top.
| | 01:09 | So now, we want to go in there to
make this look three dimensional,
| | 01:12 | so what I'm going to do is I'm going
to duplicate this right back here like
| | 01:17 | that. Now this one that's further back,
I'm going to shrink just a little bit.
| | 01:22 | I'm going to scale it just a
tad like that, very little.
| | 01:27 | It's not a mile back,
it's just a few inches back.
| | 01:29 | So now I'm going to go in here and I'm
going to create the pieces that we're not
| | 01:33 | seeing right here, this bottom portion
right there. I'll make a little bigger like
| | 01:41 | that, and then I'm going to create
this piece right here to connect there.
| | 01:49 | Now I notice I have this little overlap,
so I don't have the little gap there.
| | 01:52 | Now I can get it real close here, just
to make sure that all my lines are where
| | 01:55 | they belong, which right now they're not.
| | 01:57 | So I'm going to go in here and just
match this up to the corner right there
| | 02:01 | and match this up there, and let's
match this guy there, and let's just take
| | 02:06 | this whole piece and match it right into
that corner, and this into that corner,
| | 02:10 | right there like that.
| | 02:11 | Come up to the top and we'll match these up.
| | 02:14 | We'll match this to this corner
here and match that up there.
| | 02:18 | So now we're good; all our vectors are in place.
| | 02:21 | So now we're going to start
to create this metal frame.
| | 02:24 | So I'm going to start off with this
side right here, and so we'll get a color
| | 02:29 | for it. And I'm going to go in here
and just pick kind of a dark gray for my
| | 02:34 | foreground color, and for the
background color, a darker gray. All right!
| | 02:37 | Let's make this a little lighter. There we go.
| | 02:40 | We've got this color there.
| | 02:41 | So I'm going to turn that layer into a
selection, because I want it to be a gradient.
| | 02:44 | So I'm going to go in there and say,
make that a selection, and then in a layer,
| | 02:48 | which we'll call it frame side here, frame side,
| | 02:53 | I will fill that with a gradient. I've got a
linear gradient going from the light to
| | 02:57 | the dark just like that. All right!
| | 03:00 | So now I'm going to do the bottom.
| | 03:01 | So I'm going to create a layer behind
this one, and we'll call it frame bottom.
| | 03:08 | And I'm going to take that path--that's for
the bottom--and let's save the path right now.
| | 03:14 | I'm going to take this frame down
here and I'm going to turn that into a
| | 03:18 | selection, and create a little
gradient down there, right below, like that.
| | 03:25 | Now this one is below,
| | 03:26 | so after I've done that what I'm going to
do is I'm going to lighten it up a little.
| | 03:30 | Let's just do with Hue/
Saturation, a little brute force here.
| | 03:33 | We'll just lighten it up like this.
| | 03:34 | This is the bottom of the sign.
| | 03:35 | Or maybe since the light is coming
from above somewhere, let's darken that side.
| | 03:39 | There we go. We made it darker.
| | 03:41 | Click OK. So now we got the outside part of our frame.
| | 03:45 | We have the basic shape
of our letter right here.
| | 03:49 | This is the outside part of our metal
frame, right, the cavity you might say.
| | 03:54 | So what I'm going to do is I'm going to
go in here and pick a lighter tone, but
| | 03:58 | it's going to be red.
| | 04:00 | So what I'm going to do is I'm
going to pick a light shade of this red,
| | 04:03 | somewhere around here.
| | 04:05 | It's kind of a mix with the tone,
because what's happening is that the neon is
| | 04:09 | lighting up this dark gray
inside, this dark gray metal.
| | 04:12 | I'm going to go in there and just
pick something like that. All right!
| | 04:15 | Now that I have that, so I'm going to go
ahead and fill that path in a layer for
| | 04:19 | the inside, or the cavity, of our letter.
| | 04:23 | I'm going to take the path and fill it.
| | 04:28 | Now we have the inside of the letter.
| | 04:30 | This is the back face of our cavity.
| | 04:33 | So I'm going to get a much lighter
version of that tone, and on top of the
| | 04:40 | cavity, we'll call it back face.
And I'm going to take that path and fill it.
| | 04:49 | Then what I'm going to do is I'm
going to clip it with the cavity.
| | 04:52 | So now we're seeing it inside.
| | 04:55 | So now I'm going to go in
here and do a little adjusting.
| | 04:57 | Let me make sure that there is no Feather.
Let's set that to 0.
| | 05:00 | I'm just going to select this little
corner right here of my inside part right
| | 05:06 | there, and there is my cavity.
| | 05:08 | I'm going to darken it, because it's underneath it.
| | 05:09 | It's not picking up any tones, and I am
just not going to go in there and darken
| | 05:13 | that just a little bit.
| | 05:14 | It starts to add a little more
dimension to our cavity. See, there it is.
| | 05:18 | So now, we're going to create the neon tube.
| | 05:21 | It's the letter I. So I'm going to go
in here and just click here, come out,
| | 05:27 | give it a little curl, come
straight down here, a little curl, and down.
| | 05:33 | Now we're not seeing where
it's being connected to the sign.
| | 05:36 | It's somewhere in there.
| | 05:37 | But this is where our neon is,
and let's brings this down just a tad.
| | 05:41 | So there is our letter inside.
| | 05:43 | So we're going to get a bright red,
because that's what this neon is going to
| | 05:47 | be, a bright red, because we see that it's
creating a red glow inside of this whole thing here.
| | 05:52 | So I'm going to get this color, and I'm
going to get a nice hard-edge brush and
| | 05:57 | we will make it a good size for our neon.
| | 05:58 | That's good right there.
| | 05:59 | I save the path, and inside this
cavity here, in front of the back face, I'm
| | 06:05 | going to create a new layer and call
it neon. And I'm going to go ahead and
| | 06:11 | stroke it with the brush.
| | 06:14 | There is our neon, which I'm just going
to very quickly do a simple thing to it,
| | 06:19 | and my Opacity was lowered a little. It's okay.
| | 06:21 | We can leave it that way.
| | 06:22 | I'm just going to give this a little
color by just adding some red to it.
| | 06:26 | So I'm just going to do it as a layer style.
| | 06:28 | So I'm going to go in there and go
to here and we'll add a little Inner
| | 06:31 | Glow just like that.
| | 06:33 | So we have a little kind of an effect there.
| | 06:34 | So that's good enough right there.
| | 06:36 | I click OK and I clip that with the
rest, and see how now it's automatically
| | 06:41 | encased inside of our whole thing there.
| | 06:45 | Now the frame itself, right now it's real thin.
| | 06:47 | It needs to be a little thicker.
| | 06:49 | Let's get our paintbrush, and we're
going to get a much lighter color, because
| | 06:53 | this is a metal sign there.
| | 06:54 | I'm going to get a very light color
like that, and we'll make the size very
| | 06:57 | small, about like that. And then on
top of this whole thing, I'm going to say
| | 07:03 | make this the outer edge, and I'm going
to take my path, and I'm going to take
| | 07:09 | that outer path right there, and with
the brush, I'm going to stroke it right
| | 07:15 | there. And again, I've got that Opacity lowered.
| | 07:18 | Let's bring that back up. Okay.
| | 07:20 | So I'm going to go in there and select
that outer path and stroke it, and then
| | 07:25 | I'm going to take my layers and make
sure that one is clipped inside there as
| | 07:28 | well. And there we see that we have this
nice little neon encased inside of this shape.
| | 07:33 | You can also then put the connectors back
here where it's connected into the sign.
| | 07:36 | You'll see a little piece of it down here.
| | 07:38 | But there we see that we have a
neon encased inside of an actual frame.
| | Collapse this transcript |
| Breaking down the neon lights| 00:00 | In the previous movie, we saw how the neon
was created to be encased inside these shapes.
| | 00:05 | Well, here we are going to go back to
the original art where I created that
| | 00:09 | effect and look at the breakdown of all
the layers that make up the final image.
| | 00:14 | At the top here of course we see
currently turned off is the neon comp.
| | 00:18 | That's the composite of all the
layers beneath, with the exception of the
| | 00:23 | background--we'll turn it on right there.
| | 00:24 | That's the composite layer that got brought
over to the overall image, where was placed
| | 00:29 | in position in the art, as we see
back here, right there, in position.
| | 00:35 | So let's look at the
layers that make this thing up.
| | 00:38 | We have all the paths, so let's just look at
just the background, which usually is just a color,
| | 00:43 | in this case black, making it easy to
see all the elements on top as I create
| | 00:47 | them. So the background
usually has nothing but a color.
| | 00:50 | So the paths are here.
| | 00:52 | We see there is the overall paths.
| | 00:54 | There is paths for the sides of the
letters and then there's just the Work Path for
| | 00:58 | little bottom of the letters.
| | 01:00 | So there we see all the individual paths
for the neons and the actual letter shapes.
| | 01:05 | So using those paths, each
of the layers were created.
| | 01:09 | So here we see letter sides.
| | 01:10 | There's the sides of letters.
| | 01:12 | Without the letters on top,
they don't look like much.
| | 01:15 | We added a little dirt to those.
| | 01:16 | There is a little dirt that got added in
certain spots, and here come the letter shapes.
| | 01:21 | Now they start to have that three-
dimensional look, like they're little block
| | 01:23 | of letters and so on.
| | 01:25 | Now inside, we have a bunch of
layers that are being clipped.
| | 01:29 | All the balance of the
layers are clipped inside of here.
| | 01:32 | Just as in the previous movie, all the
elements that were inside the cases were
| | 01:36 | clipped by the basic letter shape.
| | 01:38 | So here we see the inside of the letter shapes.
| | 01:42 | There we see the inside edge.
| | 01:44 | There we see some dirt. You've got to have a lot
of dirt. This Time Square and all kinds of
| | 01:49 | things happen there. There is the clips.
| | 01:51 | Now since these letters here, or these
particular neons, are much longer than the
| | 01:55 | one we created in a previous movie,
they require little clips that are going to
| | 01:59 | hold neons in place.
| | 02:01 | There is the neon tubes; they are all in place.
| | 02:04 | Now these little clips are holding the
neon with little wires, and there's the
| | 02:09 | little tiny wires that we see right in there.
| | 02:11 | Let's get in close so we can see them.
| | 02:13 | There is the little wires that
are holding the neons in place.
| | 02:15 | So there you can see all the different
layers that go into making the overall
| | 02:20 | neon sign for Planet Hollywood. And again,
I'm only creating the part that's going
| | 02:24 | to be visible, as you can see in the
final scene. That is the other part.
| | 02:28 | The rest is being hidden by this pole
that we can see here right in there.
| | Collapse this transcript |
| Creating spotlights on a billboard| 00:00 | Nowadays most of the signs in Times
Square are these giant screens that are
| | 00:04 | constantly changing to attract attention,
| | 00:06 | but there are still some of the old
signs that are illuminated with the good
| | 00:09 | old-fashioned spotlight.
| | 00:10 | We can see a few of the spotlights
right there, and if we zoom in closer, we see
| | 00:14 | that there's all kinds of spotlights
throughout this. There's some spotlights there and
| | 00:17 | some spotlight here, spotlights
up here on the Iron Man poster.
| | 00:21 | What I'm going to do in this movie is
show you how these spotlights are created,
| | 00:25 | the sense of the light being
cast onto these giant billboards.
| | 00:30 | Now the billboard I'm going to be
creating you won't even recognize if you look
| | 00:33 | at the painting because it's right here,
it's this totally distorted billboard
| | 00:37 | right there with some lights on top of it.
| | 00:39 | So when you see it, it's not going to
like anything else in the scene you seen
| | 00:42 | before because it's so distorted you
don't really make it out, but here is that
| | 00:46 | particular billboard.
| | 00:48 | So what I'm going to do is I'm going
to distort this into the third dimension
| | 00:51 | and add all the spotlights to it.
| | 00:54 | So I have a layer here where I've
already created the actual little spotlights.
| | 00:58 | So what I'm going to do is I'm going
to take the billboard itself--let's
| | 01:02 | close out our Layers panel there,
and I'm going to distort it into that shape
| | 01:06 | in the third dimension like this.
| | 01:08 | I'm going to use Distort. I'm going to
grab this handle and just drag it over
| | 01:11 | to here, about like that.
| | 01:12 | I am going to drag this handle and drag
it down to this area right about there,
| | 01:17 | and I'm going to grab this corner,
bring it in, about like that. And then finally, this
| | 01:24 | corner, we drag over, and there is
our billboard in the third dimension.
| | 01:29 | Let's just drag this corner up, so that it's right
at the edge of lights there, just like that.
| | 01:34 | Hit Enter and there it happens.
| | 01:36 | So now I'm going to take the layer
with the lights and put it behind the
| | 01:39 | billboard, so now it looks like the lights
are coming up from behind that billboard.
| | 01:44 | Now I'm going to create the illusion of
these lights illuminating the billboard.
| | 01:47 | Now it's got a lot of highlights here
already, but we're really going to see the
| | 01:52 | effects over her face and in
these purple areas back here.
| | 01:55 | Now the lights are going to effect the
upper portion of the billboard, so there
| | 01:59 | should be some shading
going down towards the bottom.
| | 02:02 | So in layer right above the billboard
right here, which I am going to call
| | 02:06 | Shadows, we'll create those dark tones.
| | 02:10 | So what I'm going to do is I'm going to
take my paintbrush, and I have it lower
| | 02:13 | down in Opacity, or I could bring it up
to save to the 50%, so we can really see
| | 02:16 | what I'm going to do here.
| | 02:17 | And I make the brush a little larger.
And in that layer, I'm just going to throw
| | 02:21 | some black right along the bottom down
here, right through there, like that,
| | 02:24 | just throwing some black into that area
along the bottom and little darker areas
| | 02:29 | real close to the bottom and such.
| | 02:31 | Now that area is extending beyond, so
what I'm going to do is I'm going to clip
| | 02:35 | it with the billboard like that. I am
going to put that into Multiply mode and
| | 02:41 | bring down the opacity so it just
becomes this little shadow down towards the
| | 02:44 | bottom there, which is darkening
some of those areas. So that's good.
| | 02:48 | So there is a beginning of our billboard.
| | 02:49 | Now we need to highlights
created by each of these spots.
| | 02:53 | Let's turn these off right now, and I'm
going to create a new layer on top of it all.
| | 02:57 | And I'm going to get white for my
foreground color and I'm going to get my
| | 03:00 | Gradient tool, which right now is set
to foreground to transparent and I got my
| | 03:04 | radial gradient happening.
| | 03:05 | So I am going to throw a little
spotlight right here like that.
| | 03:08 | Now that I have it, and it is
right to transparent, as you could see,
| | 03:11 | I'm going to distort it, so it makes
it look like it's pointing downward.
| | 03:15 | I'm going to grab the tops and kind of pull
them in. And you could see right off the
| | 03:19 | bat it's starting look harder towards
the top and kind of fading towards the
| | 03:22 | bottom, which I'm going to kind
of stretch out at the bottom.
| | 03:26 | And let's tighten this up a little more
towards the top here, and there we start
| | 03:30 | to get the sense of this spotlight coming down.
| | 03:32 | Hit Enter to make that happen, and I'll
see the other pieces. There they are.
| | 03:36 | So now I'm going to take this and put
it in position right below that light.
| | 03:41 | So now what I'm going to do this light on,
I'm going to put it in Screen mode and I'm
| | 03:46 | going to bring down the
opacity a little bit to about 90%.
| | 03:49 | So what I'm going to do now is I'm going
to duplicate it, right over to the next
| | 03:53 | spotlight right there.
| | 03:55 | Now here we see that it's getting a
little strong because it's really covering
| | 03:58 | her face a bit, so I'm going to bring
this opacity down a little more to say
| | 04:01 | maybe at 70, so it's not so strong on her face.
| | 04:05 | Once I've got that, I am going
to duplicate that one across.
| | 04:09 | Now it's trying to get further away,
so I might want to shrink this one.
| | 04:12 | And each time I make a copy it's making
another layer, so I can handle each layer
| | 04:16 | separate from the others.
| | 04:17 | So I'm going to shrink this guy down
just a little bit, around like that. Bring it
| | 04:22 | over, make sure its in position where it
belongs right there, bring another copy
| | 04:27 | over to the side there, and a final
one right back there at the end, which I'm
| | 04:32 | going to shrink that one down as well.
| | 04:34 | So go I will go in there and say Scale.
All right, let's grab it from here, and
| | 04:38 | let's just scale it down a little bit
there we go, make it happen, put it back
| | 04:42 | in position right up top there, and there it is.
| | 04:44 | So now what I'm going to do is clip
all of those as well, so I'll Option+Click
| | 04:48 | between them, so they'll be encased
inside of our billboard. And there we see
| | 04:52 | that our billboard without all the
light switches, look like that, and now with
| | 04:56 | the lights in the shadows starts to give
it that look that it's really being lit
| | 05:00 | by the spotlights and glowing on Broadway.
| | Collapse this transcript |
| Creating a traffic sign| 00:00 | It's the tiny details that make up
the overall scene and make it look real,
| | 00:04 | tiny details that most
people just take for granted.
| | 00:06 | Even when you're just walking down on a
street, like Time Square, you notice all
| | 00:10 | this stuff, but something like a
traffic light you just take for granted.
| | 00:13 | But when you're re-creating a scene,
a traffic light can be very crucial to make it
| | 00:17 | look right, like right there,
that little stop-and-go thing.
| | 00:20 | There's a lot of things going on there.
| | 00:23 | Let's go in there and see
what's actually happening.
| | 00:24 | So right here, we've got a blank file
to which I have just imported the paths
| | 00:29 | that make up those two little symbols.
| | 00:32 | So what I am going to do is I am going
to pick the background and fill it with
| | 00:35 | a dark tone, let's just say a deep gray
like this, and I'll just go ahead and fill
| | 00:39 | it with that color.
| | 00:40 | So we'll fill it with the
foreground color, and there it is.
| | 00:44 | So now in a layer on top of this, I am
going to start to create those symbols.
| | 00:49 | Now there is two of them. You can see them.
| | 00:51 | There is two of them right.
| | 00:52 | There is the stop and the go.
| | 00:55 | They both have different colors.
| | 00:57 | They are going to be handled separately.
| | 00:59 | Again, each one is going to have a
different set of styles that are going to
| | 01:02 | make it come to life.
| | 01:04 | So what we're going to do is in that
first layer we're going to call the stop.
| | 01:07 | So what I am going to do is I am going to
select those particular paths right there.
| | 01:12 | I'm just use my Path Selection tool, and I
just did a little marquee right across
| | 01:15 | them to select all of those paths.
| | 01:17 | I am going to pick a color that's
going to give me the look that I want.
| | 01:22 | I want to pick a nice kind of an orange
color, like say that one right there. Click OK.
| | 01:27 | And in that layer, I am going to take
that path and fill it. There we go.
| | 01:31 | So now these are off in this
particular situation, so we're going to select
| | 01:36 | those and we're going to find a
different color, kind of a light grayish tone
| | 01:41 | like that, because these are going to be
little tubes that are unlit. And click OK.
| | 01:46 | And in a second layer on
top of this, we'll call go.
| | 01:49 | There we go, got to be in a layer, and then
we just go ahead and fill those with that gray.
| | 01:55 | So there we have two basic shapes
which make up the stop-and-go sign.
| | 02:00 | Now let's make them come to life. So I
am going to go in there, and the ones on
| | 02:04 | the left, the stop sign is lit up.
| | 02:07 | So what I am going to do is I am going
to go into the stop sign and double-click
| | 02:10 | on it to bring up the Layer Styles, which
is going to allow me to go in there and
| | 02:14 | make these things look
like they are in fact lit.
| | 02:17 | So we need to have a little dimension
to them. So what I am going to do is give
| | 02:20 | them a little Inner Glow, and the
Inner Glow right there you see it's go that
| | 02:23 | nice little yellow, but I am going to
change that. I am going to it to that same
| | 02:26 | orange, but a different version
of it, a little darker like that.
| | 02:30 | Now, we're not seeing anything there
because being a glow it's set to Screen.
| | 02:34 | Its darker tone, so I am
going to change it to Multiply.
| | 02:37 | So now I get this little edge right in
there, see? So I am going to bring up the
| | 02:40 | Opacity a little so I get this little
tiny edge, which I can make a little
| | 02:43 | bigger, right inside the bulbs.
| | 02:46 | Then I am going to give them a little
Outer Glow. The Outer Glow is going to
| | 02:49 | make them like they are lit.
| | 02:50 | I am going to make that a little bigger.
| | 02:52 | There we go. And I am going to change
that color change, change it to an orange,
| | 02:56 | say about like that, and click OK, and
that's the stop portion of our sign.
| | 03:01 | Now, the bulbs that are unlit, that's these over here.
| | 03:05 | All right, so let's go in there
and work on those. That's the Go.
| | 03:08 | Now the Go sign is not going to have
any kind of a glow to it, but it is going
| | 03:13 | to reflect the tones that are on
this side, the ones that are lit.
| | 03:16 | It's also going to
reflect some of the street light.
| | 03:20 | So right now we can see that that gray
is a little too light, so I might want
| | 03:24 | to go in and darken a little bit. So I'm
am going to go into my adjustments and I'll go
| | 03:27 | into something like Hue/Saturation and
just kind of darken them a little bit.
| | 03:31 | That looks about right.
| | 03:32 | It's nighttime, and they're just
unlit, about like that. That looks good.
| | 03:37 | I am going to go into my Layers Styles
for that layer, and what I am going to do
| | 03:40 | here is I want to give it a little
Bevel & Emboss. And I want the light to be
| | 03:44 | coming from this direction, so I
am going to bring it right there.
| | 03:48 | There is my highlight, right there.
| | 03:50 | Now what I am going to do is I am
going to make this a little bit bigger, so
| | 03:52 | that they're a little more
pronounced, and soften them up a little.
| | 03:55 | Now the Highlight, it's
really reflecting these tones here,
| | 03:59 | so what I am going to do is I am going
to select the white and pick that orangey
| | 04:03 | tone right there. You see it?
| | 04:04 | It just picked up that nice little
orange tone right in there. Click OK.
| | 04:09 | Now the dark tone on this side
is actually picking up some of the
| | 04:11 | street light, so instead of the
black, I am going to pick another tone.
| | 04:15 | Let's just say we pick more of a
yellowish tone, like this, right here, which
| | 04:19 | disappeared because being a shadow,
it's set to Multiply, so I am going to set
| | 04:22 | that to Screen as well.
| | 04:24 | So there we've got those lights being
picked up from that side, which I am going to
| | 04:27 | bring down the Opacity on that, just a
little, right there, like that. Okay, so now
| | 04:32 | the highlights, let's push them up a little bit.
| | 04:34 | That's those orangey tones on that one
side. So I click OK and we have that.
| | 04:39 | Now the this thing is that, you see these?
| | 04:42 | They shouldn't be seeing that same
highlight as much as these guys right here.
| | 04:46 | So what we need to do is to eliminate the
orange highlight on these edges of our little sign.
| | 04:52 | So what I am going to do is I am going
to take that Bevel & Emboss and separate
| | 04:55 | them from the layer by coming up to
Layer > Layer Styles as they Create Layer.
| | 05:01 | And now you could see that the inner glow
and the inner shadow have been separated.
| | 05:05 | So there is that orange.
| | 05:07 | So what I am going to do with the orange
one is I am going to give it a mask and
| | 05:11 | in the mask I am going to start
to hide the ones that I don't want.
| | 05:14 | Let's bring up the Opacity on the brush a
little bit, and we can make it a little smaller.
| | 05:18 | I am just going to go in here and you
can see how I am eliminating those tones
| | 05:21 | in certain areas where I don't want them.
| | 05:24 | I am going to bring down the Opacity
so I could just lighten, slightly, some of
| | 05:27 | these other ones on this side here.
| | 05:29 | So I just now have just the highlights
exactly on the side that I want them,
| | 05:34 | where they're picking up this light
here, and then on this side they are just
| | 05:37 | picking up the streetlight, and there
you can see that we have the stop and go sign.
| | Collapse this transcript |
|
|
14. Techniques in IllustratorCreating the Polo Sport logo| 00:00 | Now one of the important parts of
Illustrator over Photoshop is its ability to
| | 00:04 | do things very precisely, and to be able
to repeat the actions very efficiently.
| | 00:10 | I am going to zoom in right here and
look at this little area right here, that
| | 00:14 | logo right there. And the letters,
| | 00:16 | they have the same kind of an effect.
| | 00:18 | I am going to show you how this
was created using Illustrator.
| | 00:21 | You see that I've created a series of guides
for myself and to get guides, you simply
| | 00:26 | display the rulers and you just pull out a
guide right from the ruler like that.
| | 00:30 | We don't need that one.
| | 00:31 | This is my center point right here where I
am going to rotate that shape from that point.
| | 00:36 | So what I am going to do is I am
going to drag from this corner here, I am
| | 00:39 | going to drag the crosshairs down to
that center point right there, so that
| | 00:43 | that's now my 0 mark. See it?
| | 00:44 | And then I've made some other guides
that are going to be the actual shape, and I
| | 00:49 | am basically concentrating
on one side of the shape.
| | 00:52 | As you'll see, I can easily go in
there and create the other side.
| | 00:55 | That's the beauty here is that I can go
in there and create multiple shapes and
| | 01:00 | do things to them and connect
them in ways that I can't do in Photoshop.
| | 01:04 | So what I am going to do is using my guide
here, this is where one shape is going to be.
| | 01:08 | This is where it's going to be rotated from.
| | 01:10 | So let's go in here and
start to create the one side.
| | 01:12 | So I am going to start
right here at this corner.
| | 01:14 | I am going to click and drag and
it's snapping to the guide right there.
| | 01:18 | I am going to click and drag this
little handle that comes out like that, and
| | 01:21 | then I will come right off to this side
here and click and drag. And it is going
| | 01:25 | to be pointing down towards this point here.
| | 01:28 | Just before it, I am going to click and
drag right here and have it follow that
| | 01:33 | same angle and then come over
here and click and drag like that.
| | 01:37 | I am going to hold down my Shift key
to constrain it to straight across.
| | 01:40 | There is one side of this shape.
| | 01:42 | Now I can easily modify it after the fact.
| | 01:44 | So we'll go in there and we'll just give
it a little thing. And just so we could
| | 01:47 | see, we'll give it a black outline.
| | 01:49 | So there, now we can see it. So it's a black.
| | 01:52 | I can control the size. 1 point is good.
| | 01:54 | All right, so we have that.
| | 01:56 | So there's my shape.
| | 01:57 | That's what it looks like, and I
can get a little more precise.
| | 02:00 | Let's get in there and
get really precise on this.
| | 02:02 | So I see that I am a little off from
the thing here, so let's just make that
| | 02:05 | snap right there, right to that point.
| | 02:07 | And let's snap this one right to
this edge, right there. That's good.
| | 02:12 | Now that's looking good, and this
little curve here is because this guy is not
| | 02:15 | following with that line, so let's just
move this so that is in fact following a
| | 02:19 | straight line to the one below. There we go.
| | 02:22 | So now we'll pull back.
| | 02:23 | So now I have that one side of my
triangle. I am going to select all little
| | 02:28 | points and see how I selected my guides?
| | 02:31 | Let's lock those guides.
| | 02:33 | Let's go over here into our view and
we come down here to the Guides and
| | 02:36 | say lock the guides.
| | 02:38 | I don't want to affect them at all
because if I can select them to move them--and
| | 02:42 | that's what I am going to be doing here.
| | 02:43 | So when I did that selection
I notice those became dark.
| | 02:46 | It meant they were selected. So in
order to not affect them, I locked them.
| | 02:50 | So now my object is selected, so now I
can go over here and I am going to choose
| | 02:55 | my Reflect tool. I am going to place
the cursor right here at the dead center,
| | 03:00 | and I am going to hold down my Option
key, which allows me to there when I click,
| | 03:04 | it brings up this little control window.
| | 03:06 | I am going to say on the Vertical axis,
which is kind of giving you a little icon
| | 03:10 | here, I want to make a copy.
| | 03:12 | See how it made a copy in the other side?
| | 03:14 | I don't have to worry about matching it.
| | 03:15 | I just made a copy of it,
and it's a perfect duplicate.
| | 03:18 | I am now going to, taking the Hollow
tool which is your Direct Selection tool
| | 03:22 | which allows me to go in there
and select individual points,
| | 03:25 | let's just draw a little marquee that
selects the two outer points there. And I
| | 03:29 | am going to go in there and join them.
| | 03:32 | Now you can do it through here.
Say Path > Join, and it automatically joined them.
| | 03:37 | So there's a little feature
that doesn't exist in Photoshop.
| | 03:39 | Now select the two at the
bottom and join those as well.
| | 03:43 | Now I am going to pull up here; in fact
I'll pull back just a little bit, so we
| | 03:49 | could see what's going to happen next.
| | 03:50 | So now I am going to select all the
points, and I switch to this particular tool
| | 03:55 | here, which allows me to go in
there and select all the points.
| | 03:58 | Now with all the points selected, I am
going to switch to my Rotation tool, which
| | 04:03 | I am going to place right here,
at the center of the rotation,
| | 04:06 | that little corner. And again, I am going to
hold down my Option key and click, Alt on a PC.
| | 04:11 | Now I am going to rotate this.
I pretty much that I want, but you to do it
| | 04:15 | visually if you want.
| | 04:16 | But I know that 60 degrees is what I want.
| | 04:19 | I know that's what I want because I just
tested it out, which is why it remembers 60 degrees.
| | 04:23 | So it's going to rotate this from that
point 60 degrees, and I want it to make a copy
| | 04:29 | because I want to make a second one. Copy.
| | 04:32 | So there's that second one.
| | 04:33 | So now that I have that, I can go in
there and say do it again, do it again, do
| | 04:37 | it again, and do it again.
| | 04:39 | It created all the ones before, and
what I was doing is I was just hitting
| | 04:42 | Command+D, which is repeat the last action.
| | 04:46 | So there, now that I have all those
paths, I am going to do a Select > All. I am
| | 04:50 | going to just copy them.
| | 04:52 | Then I am going to switch to Photoshop
and here in Photoshop we can see what
| | 04:58 | the logo looks like. So let's just say
that we have a little reference of our
| | 05:01 | logo there, a photograph of it, or whatever.
| | 05:04 | So what I am going to is I
am going to create a new file.
| | 05:07 | It knows the size of what's in the
clipboard, so I am just going to go in here,
| | 05:10 | and let's reset this.
| | 05:11 | We'll say we wanted 500 pixels by 500 pixels,
and I'll click OK, and it creates this file.
| | 05:17 | So now I am going to do a paste.
| | 05:20 | I want to paste it as paths, not as pixels
because I didn't assign any color in Illustrator.
| | 05:26 | I am going to do all that here in Photoshop.
| | 05:28 | So I am bringing it as a path.
| | 05:30 | There is the Paths, which I am now going to save.
| | 05:33 | They come as your paths, so I am going to
save them so I have them for future use.
| | 05:37 | So now I am going to create a layer,
which is where I am going to put my logo,
| | 05:41 | so we'll call it logo.
| | 05:45 | Now I am going to pick the
colors that I want for that logo.
| | 05:48 | So I am going to the original art here
and I am going to say I want that red
| | 05:51 | right there going to that
white in the background.
| | 05:54 | So I am going to Option+Click on the white, which
you could see it just picked it up right there.
| | 05:59 | Option picks up the background color with
the color picker, and that's Alt on a PC.
| | 06:05 | So now I switch back to
that other file. There it is.
| | 06:08 | So now that I know I have my colors, I
am going to go in there and take that
| | 06:12 | path and say make it a selection.
| | 06:15 | And with that as a selection, I am going
to take my Gradient tool, set to Linear
| | 06:18 | Gradient going from that red to that
white, and I am just going to click down
| | 06:21 | here and create a little gradient
that goes right up there, like that.
| | 06:26 | Now looking at that other image, I see
that there is a white outline and a black
| | 06:31 | outline, so now I am going to create those.
| | 06:34 | So I go back over to my art and I have that.
| | 06:38 | Let's deselect it at this point.
| | 06:40 | I still have my path.
| | 06:41 | So in a separate layer I am going to
go in here and I am going to create the
| | 06:45 | white line. And let's
spell that right. There we go.
| | 06:54 | So I am going to choose white, and I
am going to get a paintbrush. And I'm going to make
| | 06:59 | sure it is solid, hard edge.
| | 07:01 | I'm going to make it a little thicker
there. I am going to make bigger.
| | 07:03 | Now keep in mind that the width is going
to be half the diameter of my brush, so
| | 07:08 | when I am looking at it up here, I
see how wide that's going to be.
| | 07:12 | Make it a little bigger.
| | 07:13 | Now I'll go in there and just make it
let's say 21, and that looks fairly big--
| | 07:17 | in fact, might be too big.
| | 07:18 | So let's make it an 18.
| | 07:19 | So that's a good size right there. There we go.
| | 07:24 | So in this white line I am going
to take that path and stroke it.
| | 07:29 | So now, I'm going to get the black and I
am going to make this much thinner now.
| | 07:33 | I am going to go down and make it 8,
and I can see the thickness of it right there.
| | 07:37 | So in another layer, which we'll call the
black line, I will go ahead and stroke it.
| | 07:47 | I've got the brush,
| | 07:47 | I've got the color, and I'll
take the path and stroke it.
| | 07:51 | So now I've got all
these little shapes in there.
| | 07:54 | I go back to my Layers panel, and I
am going to lock these two inside.
| | 07:58 | I am going to clip them right inside of
the main logo. So there's the white and
| | 08:02 | there's the black, and there we see that
now we have the basic shape that becomes
| | 08:07 | the logo that we see up in there.
| | Collapse this transcript |
| Establishing perspective| 00:00 | Now what you see on the screen
right now, we are in Illustrator.
| | 00:03 | Now, Illustrator is where I created
all the perspective for the image.
| | 00:07 | Now what you're seeing on the
screen right now is a photomerge of the
| | 00:11 | four original photographs that I compiled
to make up the overall scene of Times Square.
| | 00:18 | Now, being Photomerge, it does tend to
distort and bend things, so that they will fit.
| | 00:24 | In fact, you can see it right here
along this edge that the edge of this
| | 00:28 | building is slightly curved, because it does
go in there and distort things to make them fit.
| | 00:33 | Now, when we are looking at these
things in real life, when we are standing
| | 00:37 | in Times Square, we don't see those
kind of curves or distortions that the
| | 00:40 | camera will create.
| | 00:42 | So, I created my perspective the
mechanical way, the way I was taught way back
| | 00:47 | in school a long time ago, and I used
that principle to create my imagery.
| | 00:51 | This photograph was put into
Illustrator as a backdrop to give me an idea of
| | 00:56 | positioning of the different elements. So then,
I am going to turn this off and turn on this.
| | 01:03 | Now, this is your work area. That's the
actual document there, but it doesn't
| | 01:06 | matter because I'm not confining myself
to an 8 1/2 x 11 page, and I am not going
| | 01:10 | to make a document that's 25 feet or whatever.
| | 01:13 | I'm working at a particular
scale that you will see right here.
| | 01:16 | I will explain that one in a second.
| | 01:17 | Now, this one here is space.
| | 01:19 | It's just a large rectangle, which is showing
me the actual dimensions of the finished art.
| | 01:24 | I set up a little scale here, so I can
see that I can see that I am working at a
| | 01:27 | quarter of the size, so that way I
remind myself that I have to scale it up when
| | 01:32 | I am going to use the particular paths.
| | 01:34 | Now, in here I have my little
horizon and some basic lines.
| | 01:38 | Now the thing about the vanishing
points, when you look at the panorama
| | 01:42 | here, just the panorama,
| | 01:44 | there are places here where the vanishing
points are converging down in this area here.
| | 01:49 | But then there is also this area,
where the vanishing points are converging
| | 01:53 | somewhere way out beyond the edges of
the image, which is why I had to do it in
| | 01:58 | Illustrator, because Illustrator gives
me this large workspace that I can use
| | 02:03 | that is fairly memory efficient.
Whereas Photoshop, I would have to create this
| | 02:07 | massive file to
accommodate all those other areas.
| | 02:11 | So, we go in here and we look at the
space. There's the scale, and there is the horizon
| | 02:17 | right there. We see that one of my
vanishing points is way out there, and
| | 02:21 | when we turn on all the rest of the
vanishing points and turn off the panel,
| | 02:25 | you see that all these vanishing
points are way beyond the edges of the image,
| | 02:30 | and they're coming from
different angles all over place,
| | 02:33 | all these different lines that make up
the final perspective. And they're all
| | 02:37 | in their own layer.
| | 02:39 | So you can see each one of
them has its own layer,
| | 02:41 | Mr. Softee truck, which is right here,
and the Wacom ad, which is right in there.
| | 02:45 | The LionKing Facade, the Horizon,
Cindy posters, all these different things are
| | 02:50 | all in their own individual layer.
| | 02:53 | So, now let's talk about this
perspective. How exactly does that work?
| | 02:58 | Right here, I have a box and we
want to make it look like 3D.
| | 03:03 | So, I am going to take that box and
duplicate it right next to it like that.
| | 03:07 | And I am going to connect the sides,
so it's going to look like it's got
| | 03:11 | the sides of a box.
| | 03:12 | We'll just connect this like that, come down
to here, come back up there, and like that.
| | 03:18 | Then we will connect this, which is
the top, and go across to there, back to
| | 03:24 | there, and over to there.
| | 03:26 | So, now what I am going to do is I am
going to select that box, this box, and
| | 03:29 | this box, and I am going to
fill that area with say a blue.
| | 03:33 | Let's take this guy right here and
let's make it a little darker blue, and
| | 03:39 | this guy a lighter blue.
| | 03:41 | So, there is our box.
| | 03:44 | If you really look at it carefully,
you'll see that it looks like the
| | 03:48 | back side is larger.
| | 03:49 | If we were to look at this
sideways, it would look like this.
| | 03:52 | Here is the front, and then the
back is actually more like this.
| | 03:58 | Look how long that line looks compared to this.
| | 04:02 | It's an optical illusion that we're seeing right.
| | 04:04 | This line looks longer.
| | 04:06 | You know it's the exact same length,
but visually it looks like it's longer
| | 04:11 | because of the third dimension.
| | 04:13 | The third dimension tells us that that line
should be smaller because it's further back.
| | 04:17 | If I was to take these three boxes
and we will copy them down to here.
| | 04:23 | Those are the boxes, and though I
didn't make a copy, but it doesn't matter.
| | 04:28 | I am just going to take this side right here.
| | 04:30 | I am going to move it in just a little,
take this side right here and move it up
| | 04:36 | just a little, like that.
| | 04:38 | And now, all of a sudden it starts to
look more like a real three-dimensional
| | 04:42 | box, because that line back there is
in fact shorter than the one in front.
| | 04:47 | In the next movie, we are going to get
into an actual explanation of how these
| | 04:51 | vanishing lines and horizons work.
| | Collapse this transcript |
| Perspective lines| 00:00 | So now, let's look at what exactly is
perspective. How is it done, mechanically?
| | 00:05 | Well, for one thing, you start off
with creating the horizon, so I am going
| | 00:09 | to create a long straight line right
across here, like so, which is going
| | 00:13 | to be my horizon line. There it is.
| | 00:15 | Now, even though the earth is curved,
the horizon line is always depicted as a
| | 00:20 | straight line like that.
| | 00:22 | Now we can play around with this horizon.
| | 00:24 | Right now I have it pretty much centered in there.
| | 00:26 | If I put my horizon line below our eye
view down here, you'll get what's called
| | 00:31 | a bird's-eye view. The perspective will make
it look like everything is way down below you.
| | 00:36 | If you put the horizon line above your
eye level, you'll get what's called an
| | 00:40 | ant's-eye view. Everything will
look really humongous around you and
| | 00:44 | exaggerate the size of things.
But we're going to put it at normal levels,
| | 00:47 | just slightly higher than center.
| | 00:50 | So now, I'm going to have a box, looking
at the corner of that box, and that box
| | 00:54 | is going to be like right here,
and it's going to end about there.
| | 00:59 | So there is my line or
the front edge of the box.
| | 01:03 | Now, before I draw the sides, I want to
go in there and figure out the perspective.
| | 01:08 | I could go ahead and finish it.
| | 01:09 | Let's just go in there and create
this shape right there like that, and I'll
| | 01:13 | draw the other side.
| | 01:14 | Here's the other side of the box. I'll just
connect it right over to there, and
| | 01:18 | sometimes it good to overlap a little
bit, so we'll just do this, and I come over
| | 01:22 | here and then connect that. And we'll
kind of straighten that out a little
| | 01:26 | bit, just like that.
| | 01:27 | What we'll do is we'll take this one and bring
it into the front, so we just put it in front there.
| | 01:31 | So there is our box, but the
perspective isn't exact, based on our horizon line,
| | 01:36 | so we're going to have to go in there
and figure out what that perspective is.
| | 01:40 | So we first establish our vanishing points
on the horizon, where we want those to be.
| | 01:45 | I am going to start out here
somewhere, and I am going to just click, and the
| | 01:49 | second click is going to be on the
horizon where I want the vanishing point to
| | 01:53 | be, which is going to be right there.
And then I am going to come down here and
| | 01:58 | just click another one.
| | 01:59 | Let's give this no fill, so we just
have the lines themselves. And I am going to
| | 02:03 | make sure that point is
right on the horizon itself.
| | 02:07 | Now, I am going to do the
same thing for the other side.
| | 02:09 | I am just going to click here, come
down and establish the point on the horizon,
| | 02:14 | right about there, and come
over here and create another line.
| | 02:18 | Now these two sets of lines I just
created are not part of my artwork.
| | 02:23 | These are going to be guides.
| | 02:25 | These are my vanishing lines as they are
called. So let's just select both of those.
| | 02:30 | Now what I am going to do is I am going
to change their color from my black to a
| | 02:33 | red, so we'll be able to tell
the difference between them.
| | 02:36 | So now what I am going to do is
establish the perspective on this side by
| | 02:40 | grabbing this handle up here
and putting it right at the corner of my box. I am
| | 02:44 | going to grab this bottom one and put it
right at the bottom corner right there.
| | 02:48 | I am going to likewise take these two
and put them at the exact same spot, there
| | 02:53 | and there, so they are just
overlapping right in that area there.
| | 02:58 | So now, I have guides for
where my perspective should be.
| | 03:02 | So I am going to grab this point right
here of my box, I am going to drag it
| | 03:05 | down to match that angle and grab this
one and drag it up to match that angle.
| | 03:13 | Bring this one down and this one over.
| | 03:19 | Now had I put these guides in separate
layers, I could do that right now. I am
| | 03:23 | going to take my two vanishing lines
and I am going to cut them, and I am going
| | 03:28 | to create a new layer in which I am
going to say Paste in Front, right there.
| | 03:32 | I am going to put it back,
and these are going to be my vanishing lines.
| | 03:40 | That way it makes it really easy to turn
them off when I don't want to look at them.
| | 03:43 | There we see that we have the perspective
for this particular box sitting in this scenario.
| | 03:49 | So I will tell you what we are going to
do now is we are going to take this box
| | 03:52 | and give it a little
neighbor, a little guy down here.
| | 03:55 | Here is another little box that we're
going to paint right here. I will put
| | 03:58 | on top of this one.
| | 03:59 | I am going to I draw a little box.
| | 04:00 | Here is the front, and here's
the side, and I'll do this side.
| | 04:14 | Now, because this box is below, we should
also see the top, so I am going to go in
| | 04:19 | here and create the top for this little
box. And I am just going to give myself
| | 04:24 | a big overlap here and
make sure it's pasted in back.
| | 04:28 | Now this box isn't quite following the
perspective here, so bring up our vanishing lines.
| | 04:34 | Let's see them again.
| | 04:35 | And now we're going to match those
corners, so I am going to come in here and say
| | 04:39 | match that--which is fairly close already--
and grab this guy and bring him in.
| | 04:44 | That's pretty accurate because I was
kind of visualizing this box when I did
| | 04:47 | it. I am going to grab this guy and
put it over here, and we grab this guy and
| | 04:53 | put him right there.
| | 04:56 | Now that we have our guides, we can then
move this over, bring it down just a tad
| | 05:01 | till it matches there.
| | 05:02 | This side looks pretty good.
| | 05:03 | Now comes the top.
| | 05:05 | So we just grab this guy and put it there.
| | 05:08 | This side we know is okay.
| | 05:09 | Now we grab this guy and put it there.
| | 05:13 | So we know we have to move this
little handle right here so that it matches
| | 05:16 | those two lines like this, and now when
we get rid of our vanishing lines, we see
| | 05:22 | that we have the two little boxes
sitting in the exact same space, and they're
| | 05:27 | following the proper perspective,
| | 05:28 | so it looks like they are in fact in
3D. And you can see that this line is
| | 05:34 | shorter than the one closer to us,
in both cases, all of the same.
| | 05:39 | And there you see how we have
established perspective by creating a horizon and
| | 05:44 | vanishing lines that meet on that
horizon at what's called a vanishing point.
| | 05:50 | And those vanishing lines are used as
guides that not part of the art; they're just
| | 05:54 | guides to tell us what the
shape of the boxes should be.
| | Collapse this transcript |
| Perspective of Times Square| 00:00 | So here we see the Illustrator file
where all the individual buildings and other
| | 00:05 | shapes like the lines on the street and
so on the sidewalk, all the prospective
| | 00:09 | lines have been drawn that will
serve as guides for the final image.
| | 00:14 | Now each one is in its own
individual layer. In some cases, they're very
| | 00:19 | intricate, like if we
get in real close over here,
| | 00:21 | you'll see that there
are very closely-nit lines.
| | 00:25 | This is the little Mr. Softee ice cream truck.
| | 00:28 | In other cases, you'll see where we have
a bunch of windows that have been set up,
| | 00:32 | like right in here. You see that these
windows are very crucial to get it just
| | 00:36 | right, and there is all the
individual little windows.
| | 00:39 | Now every one of these elements is in
its own layer, making it easier to go in
| | 00:44 | there and separate them when the time
comes. So let's look at how they work.
| | 00:49 | I do have a guide here for myself
that tells me what size I'm working at in
| | 00:53 | this particular file.
| | 00:54 | So what I'm going to do is I'm going to
go here to the building on the left, I'm
| | 00:57 | going to unlock that one, and I'm going
to select these particular lines right
| | 01:01 | there, and I'm going to copy those.
| | 01:04 | And I'm going to go into a new file,
where I'm going to go ahead and paste them.
| | 01:09 | There they are, so I can pull back.
| | 01:13 | I don't want these guys here on the right.
| | 01:14 | These guys I don't want. I don't need
them for this particular element. And these
| | 01:18 | extra lines here, I'm
going to use the Scissor tool.
| | 01:21 | Now this is something that doesn't
exist in Photoshop, the ability to go in
| | 01:25 | there and cut paths. So using the
Scissor tool, I'll go in there and cut each
| | 01:28 | one of these little elements, and when
I cut it, I can delete the part that I
| | 01:32 | don't want and cut that.
| | 01:33 | So I'm cutting these lines
right through here and the last one.
| | 01:39 | So now once I have these elements, I'm
going to select them all and I'm going to
| | 01:43 | blow it up. I'm going to make it really big.
| | 01:46 | So in this case I'm going to go up 200%,
and there are the lines that I'm going
| | 01:52 | to then copy and paste back over to Photoshop.
| | 01:56 | And let's go look at Photoshop.
| | 01:57 | We'll look at the exact same shape right there.
| | 02:00 | Now it's just so--look at our background.
| | 02:02 | Here is the background itself,
and there is the paths right there.
| | 02:06 | There is the path that I just
brought over from Illustrator.
| | 02:09 | Now, I didn't bring it in here.
| | 02:11 | Now, this was done before.
| | 02:12 | But there you could see that these are
the paths, and they are still editable.
| | 02:15 | I brought it in as paths. So if I use
to copy this--and in fact let's just see
| | 02:20 | that effect. I'm going to go over
here and say Copy. Then I go back over to
| | 02:24 | Photoshop and here I would say Paste,
and I get this little window that's asking
| | 02:29 | me how do I want to bring it in: Smart
Object, pixels, path, or shape layer?
| | 02:34 | Now I'm going to use it as path,
because these paths are going to have multiple
| | 02:37 | functions once they are here in
Photoshop, so I bring it in as paths.
| | 02:42 | Had I assigned some color or some
attributes in illustrator, I would've brought
| | 02:46 | it in as pixels or as Smart Objects,
so I can go in there and modify them
| | 02:50 | after the fact--or a shape layer. But no,
paths is what I want, so I'll bring them
| | 02:56 | in as paths, which is what you see here.
All the individual paths are all here.
| | 03:00 | There are some other paths like little
sign up there and the little warp path, which
| | 03:05 | is the bottom of that sign,
| | 03:06 | but there you see the paths.
| | 03:08 | Now I am going to turn those off and
look at the layers. Let me bring this so
| | 03:12 | we can open this whole thing up.
| | 03:14 | You can see that on top here I have the comp.
| | 03:17 | That's the layer where I've composed
everything into a single layer, so it could
| | 03:20 | be brought over to another file
where I'm assembling the building.
| | 03:24 | But here we could see that I have a
layer called Guides, and there I've taken
| | 03:28 | the paths and stroked them with a red.
| | 03:31 | Now I could have brought in these
pixels and they would have had the red, but
| | 03:35 | no. When I stroke things in
Illustrator I'm not mindful of the size of these
| | 03:40 | little lines; I'm just making
lines in different colors so I could
| | 03:44 | differentiate one from the other.
| | 03:45 | Now I'm going to stroke it here with
a size that just sees it as a guide.
| | 03:50 | It's not going to serve any
purpose. It's just a guide.
| | 03:53 | I have two other guides here, which is
this one--this is roughly drawn--where
| | 03:56 | other elements going to fall.
| | 03:58 | So I know what parts I don't have
the draw in detail, like way up here.
| | 04:01 | Why spend a lot of time drawing details
here when you are not even going to see it,
| | 04:06 | and then down here which is just the
basic shape of my image. So there's the guides.
| | 04:12 | I then also will use those for
other things, like here is the wall.
| | 04:15 | Here is the vertical sign.
| | 04:16 | Let's turn off the vertical sign.
| | 04:18 | In the wall, we will just pull these
guides down for a second and we see that
| | 04:21 | there is the wall itself.
| | 04:22 | When I come in closely, you could
see that there is all these details.
| | 04:25 | Now there is the separations of the
bricks to little seams right there.
| | 04:29 | Let's look at just that by itself.
| | 04:32 | Let's turn this off, and there is those lines.
| | 04:34 | These are lines that were stroked
using the paintbrush and using those same
| | 04:40 | paths as guides for my paintbrush, so
it can create all these little irregular
| | 04:45 | lines which were given a Bevel and
Emboss to make them look like little
| | 04:48 | separations there in the bricks.
| | 04:50 | Then you can see with the paths were
used to first stroke them with a paintbrush
| | 04:55 | in just red to be the guides, and then
there was one where they were actually
| | 05:00 | part of the art, where they were used
to guide my brush to create the little
| | 05:04 | lines that separate bricks.
| | 05:06 | So there you can see how those
perspective lines gave me bricks that were
| | 05:09 | accurate, following the perspective of
the rest of the scene, and serve multiple
| | 05:14 | purposes matches, not just as guides but as
actual vehicles through which I created the image.
| | Collapse this transcript |
| Blending in Illustrator| 00:00 | In creating my little lines for
perspective, sometimes I need a strong
| | 00:04 | concentration of lines.
| | 00:05 | Like for instance, way over here we've
got this little Mister Softee truck right
| | 00:09 | there. And I'm going to go
and look at the actual file.
| | 00:13 | Now well here is the actual file of
the Mister Softee truck. And as we get in
| | 00:16 | closer, you see that there is a
lot of little lines going on here.
| | 00:19 | All these lines have to follow that perspective.
| | 00:22 | You can see how this one is slightly up,
and up here, they are pointing down.
| | 00:26 | So it is very important to have all
those lines follow the same perspective as
| | 00:31 | the rest of the scene.
| | 00:32 | When we look at those perspective
lines in Illustrator, here they are right in
| | 00:36 | there, and you can see that they are in
fact a pretty tight little group of lines.
| | 00:41 | That's where the Blend
tool comes in in Illustrator.
| | 00:45 | The Blend tool does an
interpolation between two different paths.
| | 00:49 | Let's look and see what exactly does that mean.
| | 00:52 | I'm going to create here a couple of
shapes. So I'm going to make this one
| | 00:57 | pretty complex, which is going to be
just like this little amoeba-looking thing,
| | 01:01 | whatever, okay some weird
part of a nightmare somewhere.
| | 01:05 | All right so there is this shape, and
we're going to fill it with a bright
| | 01:09 | red color. And the stroke, we will make it a
green, which will be a really thick stroke.
| | 01:17 | Let's see what 20 points is going to look like.
| | 01:18 | There we go. That's pretty thick.
| | 01:20 | All right, so that's our one shape.
| | 01:23 | Now down here I am going to create another
shape, just kind of little teardrop shape.
| | 01:28 | That's all it's going to be. But this
stroke is only going to be about 2 points,
| | 01:32 | a really thin stroke, and this stroke
is going to be an orange color, and the
| | 01:37 | inside this time will be a blue.
| | 01:41 | So there are two totally different shapes.
| | 01:43 | This one is made up of many points.
| | 01:45 | This one is made of two.
| | 01:47 | This one has a thick green
outline and a red interior.
| | 01:51 | This has an orange outline and a blue interior.
| | 01:54 | So what I'm going to do is I'm going to
Select All, and I am going to come over
| | 01:57 | here and say Object > Blend > Make.
| | 02:00 | Now the default is that it makes this
transition like this, which is really
| | 02:03 | nice colors, but after the fact, I'm going
to go in here and say Blend > Blend Options.
| | 02:07 | Now here I can control what I want to
do here, and what I want is not Smooth
| | 02:12 | Color, I want Specified Steps.
| | 02:15 | I want this to happen over three steps.
| | 02:18 | Do it. And there you can see that it has
created three steps in between where the
| | 02:23 | objects are changing in shape,
changing in color, changing in the stroke.
| | 02:27 | So it is creating a
transition from one object to another,
| | 02:31 | kind a like a morph.
| | 02:32 | This is great for say animation steps
or whatever, but this comes in really
| | 02:37 | handy in the use of those perspective
lines, especially in the case of Mister
| | 02:41 | Softee, where I go in there, and let's
just exaggerate this. And I would say this
| | 02:45 | is my top line of perspective, right, and
I have no stroke in between, and then down
| | 02:50 | here I want to create the second
line of my perspective right there.
| | 02:55 | So I need a bunch of lines in between
for all those little vents and stuff.
| | 02:59 | So what I'm going to do is I'm going to
select all and I'll say Blend > Make, and
| | 03:05 | I'm going to go into my Blend
Options and say I want a lot more steps.
| | 03:09 | Let's say I want 28 steps altogether.
| | 03:12 | I can preview this to see
what it is going to look like.
| | 03:14 | So if I say that's maybe not enough or
too many, let's bring it down to a 25
| | 03:18 | steps. 25 and I'm previewing it, I can
see what it looks like. Click OK and there
| | 03:23 | it creates all the steps in between.
| | 03:25 | Now if you're in Illustrator and you
want to individually go in there and move
| | 03:28 | some of these, you need to expand it first.
| | 03:31 | You expand it, click OK, and now you can
see that they are in fact individual lines.
| | 03:37 | So if I want to take this one and move
it over like that or just eliminate it, I can.
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| Using advanced blend techniques| 00:00 | The Blend tool in Illustrator comes in
really handy for a lot of uses in the
| | 00:04 | creation of Times Square.
| | 00:05 | We are going to come in here and just
zoom in on this hotel right here, and you
| | 00:09 | see all these windows, and you can see that
there is perspective involved in all those windows.
| | 00:14 | Now, instead of creating guides for
all those windows, I actually created the
| | 00:18 | shapes for the windows in Illustrator.
| | 00:21 | So we will go to Illustrator and
see how that works. Getting close,
| | 00:25 | we see that the windows are right
there, the basic shapes for my windows.
| | 00:30 | So the way they were created is just like this.
| | 00:32 | So, I have my top perspective.
| | 00:35 | There is my top line right there.
And I have my bottom line down here.
| | 00:42 | So these are our guides and if you
want to make them guides, I can just do a
| | 00:45 | select-all here, and turn them into a guide.
| | 00:48 | I'll come over here and say Guides > Make Guides.
| | 00:51 | So those are our guides, so they won't be
printed, and they won't be affected in any way.
| | 00:55 | So now I am going to come up here real
close and I am going to create a window.
| | 01:00 | So I am going to go in here and create
a little shape like this, go across like
| | 01:05 | this and up and close it off.
| | 01:07 | Now, I need to just kind of move this
guy up, and visually, I could have created
| | 01:11 | a second guide for this guy, but I
will just go in there and just create this
| | 01:15 | little shape right there and move it like that.
| | 01:17 | All right, so there.
There is my one little window.
| | 01:20 | I might even want to put the little
panes inside too. So I'll go in there and
| | 01:23 | create this little shape like this,
put it in there and close it off.
| | 01:28 | I am going to kind of kind of do it
really rough, so we can get the general idea
| | 01:31 | of how this is going to look.
All right, so there are these little windows.
| | 01:35 | I'll duplicate them down, and there we can see
how rough they really are, but that's okay.
| | 01:40 | It's this cool little window.
So now I am going to pull back.
| | 01:43 | So, that window has now
followed its perspective down below.
| | 01:48 | So what I am going to do is I am
going to select all of those guys.
| | 01:51 | I am going to turn them into a little
group there and I'm going to just say group them.
| | 01:53 | Now, I am going to copy it down here,
straight down to this level down here and
| | 01:59 | then down here, I have to modify it
to follow this perspective, right?
| | 02:03 | So, I am going to go in there and distort it.
| | 02:05 | We will do a little sheer
right from this angle here.
| | 02:08 | I just kind of move it down so that
it follows that perspective down below.
| | 02:12 | So now, there are the two different windows.
| | 02:14 | They are following this different angles,
so what I am going to do is I am going
| | 02:17 | to do a select-all, and I'll go in
there and say Object > Blend > Make, and it
| | 02:23 | creates a little steps in between.
| | 02:25 | I want more of those windows, so I am
going to go to Blend > Blend Options and
| | 02:29 | say we want one, two, three, four,
five, six, seven, eight, nine, ten more
| | 02:34 | windows, so I'll say ten, which gives
us a total of twelve different windows.
| | 02:39 | I preview in case if I really want to
see what that looks like. There they are.
| | 02:42 | Click OK and you can see how they are
changing in angle to fit the perspective
| | 02:47 | as I go down, this entire set of paths.
| | 02:51 | So I am going to go in there and say copy.
| | 02:55 | Go into Photoshop, where I can paste them.
| | 02:58 | I won't paste them into this file; it's pretty big.
| | 03:00 | So, I will just create a new file.
| | 03:02 | It remembers what's in the clipboards,
so I am going to go in there and say we
| | 03:04 | will make it a 100 x 1000.
| | 03:07 | Click OK and I'll paste as paths.
| | 03:13 | And there are my little windows. So I
can go in here, and then I can select
| | 03:17 | these individual shapes.
| | 03:18 | Let's just go in there and just modify a
few of them, just the ones in the middle here.
| | 03:22 | So, I will go in there and say I want
to select the outside frame right there,
| | 03:27 | and in a layer which I'll call frame,
I will fill that with a nice brown
| | 03:35 | color, something like that. And I will go ahead
and fill that with that little color right there.
| | 03:41 | Then I'll select my little windows.
| | 03:43 | I will select all the little windows.
| | 03:45 | Get a different color.
| | 03:50 | Let's say we picked that color right
there, and in a layer for the windows,
| | 04:00 | wundows, but that's okay, get the idea.
| | 04:02 | And I will take that path and say fill it.
| | 04:05 | Now, keeping in mind all the other
things you could do, once I have that, I can
| | 04:10 | create a layer on top of
this, which I will call interior.
| | 04:16 | I can do things in there, like for
instance, let's just go in there and say we
| | 04:19 | are going to draw this little lamp here,
I'll just draw this little lamp and
| | 04:22 | there's a little base for a plant.
| | 04:25 | We will make it a little smaller.
| | 04:25 | We will turn it into a little tree here.
| | 04:26 | There is a little tree.
| | 04:28 | And that tree is inside the window,
so what I will do is I will clip it with
| | 04:31 | the layer of the windows and you can see
that now the interior is in there, so I
| | 04:35 | could draw other things to the interior.
| | 04:36 | So, let's just say down here
| | 04:38 | we are going to have a little yellow
curtain or something, so let's just some
| | 04:41 | curtains down there.
| | 04:42 | And you can see that they're filling
inside that area of the windows, so I am
| | 04:45 | creating all the individual little
elements that make up a whole row of
| | 04:49 | windows in a building.
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| Creating 3D M&M'S| 00:00 | We're going to look closely at one
of the details of Times Square and see
| | 00:03 | how Illustrator was instrumental in creating
the elements, the little M&Ms sign right there.
| | 00:09 | Now in the actual Times Square, that is a
giant screen that's constantly animated.
| | 00:14 | So here is the actual art,
the way it was created.
| | 00:17 | When we look at the layers, you'll
see that there are multiple layers.
| | 00:21 | Here is the Placement, the finals, and
all that, and here are all the different
| | 00:25 | pieces. The top one,
of course, is the composite.
| | 00:27 | And now we can start to take away some
of these pieces, and you see they start to
| | 00:30 | disappear, different parts showing.
There you could see little shadows and
| | 00:35 | there is the little red copy,
and there is little shadows on top of those.
| | 00:38 | So each layer starts forming the
overall image. Because this is supposed to be
| | 00:43 | an animation, certain things were applied.
| | 00:46 | Motion blur to make them
look like they are falling down.
| | 00:48 | But as I said, this was done in Illustrator.
| | 00:50 | So let's go and see how
it was done in Illustrator.
| | 00:53 | In Illustrator, I'm going to create a
new file here, and it is a blank file.
| | 00:57 | Let's get in real close.
And I'm going to give myself a guide.
| | 01:01 | I want to have a guide here, because of the
fact that I really need this to be accurate.
| | 01:04 | So I'm just going to pull out a little
guide for myself right here like that.
| | 01:08 | I'm going to go in here and create a little arc.
| | 01:13 | Starting right there from the guide,
I'm going to pull out a little handle, and
| | 01:17 | I'm going to go over here and just
click and drag little handle like that.
| | 01:21 | So it is basically a quarter of an
overall lozenge of M&M's. Now I want to be
| | 01:28 | perfectly symmetrical,
| | 01:29 | so instead of just trying to complete
that circle, I'm just going to select
| | 01:32 | this, I'm going to reflect it on itself.
| | 01:35 | I'm going to say Reflect from right there.
| | 01:37 | At that point, I'm going to say
on the horizontal, give me a copy.
| | 01:41 | So there is that copy, which I'm now
going to select these two points right
| | 01:44 | here and join them: Path > Join.
| | 01:47 | So now I'm going to select the entire
thing, and once again make a reflection
| | 01:53 | but this time right here from the
center on a vertical axis, make a copy.
| | 01:58 | And there you could see we have our little
lozenge, which I'm going to now join it up there.
| | 02:03 | I'm going to use the keyboard
command and join it right there.
| | 02:06 | Now it seems to be a little off,
| | 02:08 | so I'm just going to kind of stretch
this out a little bit here like that, just
| | 02:12 | to make it a little more round on the
top and bottom, just a little more round
| | 02:16 | right there, pulling out these handles, so
that it becomes this nice round edge. There.
| | 02:21 | That's what I want.
| | 02:22 | Now do I need all that?
| | 02:23 | No, I don't even need this side at all.
| | 02:25 | What I need is that half of it right there.
| | 02:29 | So what I'm going to do is I'm going
to give it no fill, but I'm going to
| | 02:31 | give that stroke a color.
| | 02:33 | I'm going to make this a green M&M,
so I gave it a green stroke.
| | 02:38 | So now I have got all the points
selected right there, and that half is going to
| | 02:42 | become one entire M&M. I'll come over
here to my Effects, and there you see I
| | 02:48 | have 3D, and the second
choice we have here is Revolve.
| | 02:53 | Now Photoshop did introduce 3D
into CS5 and really advanced it.
| | 02:58 | It actually had 3D features in
earlier versions, but it lacks something
| | 03:02 | like this one here: the ability to
go in there and turn that little shape
| | 03:05 | into a complete disk.
| | 03:08 | So I'm going to go in here and say
Revolve, which will bring me into this little
| | 03:11 | 3D panel right there.
| | 03:13 | Now I can preview what it's going to do.
| | 03:17 | Here I can move it around, and
you'll see all that in a second.
| | 03:20 | But I can preview this.
| | 03:21 | So I'm going to click Preview, and we
see what it's created, this weird shape.
| | 03:25 | But that's because right now it's doing an
offset from the left edge. That's this side.
| | 03:31 | So what I want to do is just simply
change this to from the Right Edge, and
| | 03:35 | there is my little M&M, which I
can view from any angle that I want.
| | 03:40 | See? I can twirl it around, and I have
this cool little M&M that I am seeing from
| | 03:45 | different angles, and I have more options.
| | 03:48 | So I can go in here and specify where
the lights coming from, and you could see
| | 03:51 | the light moving on the scene.
| | 03:53 | So right there I want this little
light that comes from say right up here.
| | 03:56 | So there is little light right up on top.
| | 03:59 | So I'm going to go in there and say
click OK and I have my little M&M. Now I want
| | 04:03 | a bunch of little M&Ms. So I want them all in
the same file, all the green M&Ms to be together.
| | 04:09 | So what I'm going to do is I'm going
to simply copy this guy right down here.
| | 04:13 | Now you'll notice that I'm still
seeing only the arc when it's selected.
| | 04:17 | But I'm seeing an entire M&M, but I'm
actually seeing that it's only an arc.
| | 04:22 | Now this next point I am
about to make is important.
| | 04:24 | I want to now rotate this guy.
| | 04:26 | I want to rotate him a little more.
| | 04:28 | If I come up here and go to my
3D > Revolve, see this window?
| | 04:33 | This will apply another
instance of this effect. Cancel.
| | 04:39 | In other words, it's
going to start from scratch.
| | 04:42 | Now I've established a light direction.
| | 04:44 | I've established everything
when I created the original.
| | 04:47 | I simply want to move this guy with
all those other parameters in place.
| | 04:52 | So the reason we see this arc here is
because we don't really have this little bead here.
| | 04:57 | What we have is the appearance of that bead.
| | 05:01 | That's the shape and we've turned it
into this because of the effects we applied.
| | 05:05 | When it prints, it's going to look like that.
| | 05:07 | We see it like that on the screen.
| | 05:09 | But basically that's just
information that's there.
| | 05:12 | So I have here the Appearance panel.
| | 05:15 | In the Appearance panel,
you'll see there is a 3D Revolve.
| | 05:19 | If I click on it here, it
brings me into the actual settings.
| | 05:24 | See? It looks like exactly
the way I left it originally.
| | 05:27 | So I can see the actual settings and I
can still preview it, and now I can move
| | 05:31 | this one to a different angle like
that, and you see that all the settings
| | 05:37 | pertain to the original settings that I
had here, because I'm playing with the
| | 05:41 | appearance off that arc.
| | 05:43 | I already applied my 3D effects,
| | 05:46 | so I am simply changing parts of them.
| | 05:48 | So I did it in the Appearance window,
rather than going back up the Effects
| | 05:52 | and applying another instance, which meant I
would've had to start completely from scratch.
| | 05:58 | Clicking OK, and there we see that
that we now have two different beads.
| | 06:02 | Now in this particular case, let's just
select this one for now and I would copy him.
| | 06:07 | Go back over to Photoshop,
and we'll create a new file.
| | 06:11 | Now watch what happens here.
| | 06:13 | I'm going to make this a little bigger.
| | 06:14 | Let's say we make this 400 x 400, because
it knows what's in the clipboard right now.
| | 06:20 | Now paste.
| | 06:21 | If I pasted as paths, look what comes in.
| | 06:24 | It's this weird bunch of shapes here,
which I can then manipulate if I want to,
| | 06:29 | but I don't want to do that.
| | 06:30 | I'm going to paste it and here I
paste as pixels, because I assigned the
| | 06:37 | color in Illustrator.
| | 06:39 | So I bring him in as pixels, and when I
click OK, you could see that I'm going
| | 06:43 | to have the actual little
bead the way I wanted to have it--
| | 06:47 | place it--the way it was done in
Illustrator, and we see it as this little 3D bead.
| | 06:51 | So I could then manipulate it further
to create the overall bunch of little
| | 06:56 | M&Ms that we see there.
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| Creating 3D letters| 00:00 | Another 3D feature that exists in
Illustrator, which is much better than the one
| | 00:04 | that exists in Photoshop,
is the ability to extrude.
| | 00:08 | I'm going to zoom in on this little
area here, and I have the high-res version
| | 00:12 | open in background, so let's look at that.
| | 00:15 | And you'll see here that we have
these large letters that are extruded.
| | 00:18 | See, they have a little side to them.
| | 00:20 | Likewise, down here, there's the smaller ones.
They have this extrusion that's been applied to them.
| | 00:25 | Let's go see how that was done.
| | 00:26 | So here we come into Illustrator
where we see we have some type.
| | 00:30 | It is lynda.com, and what we're going
to do is extrude this type so it has a
| | 00:34 | little dimension to it.
| | 00:35 | I am going to select it and it
doesn't have to be rasterized or anything.
| | 00:38 | We can use it as straight type, and I'm going
to come up here to my 3D Effects and we
| | 00:43 | see that we have Extrude
and Bevel, the first choice.
| | 00:47 | I'm going to click on that one, and
we'll preview it right of the bat.
| | 00:51 | There you can see that we've already
added some dimension to the letters.
| | 00:55 | Now in playing with this window
here, we can do a lot of things to it.
| | 00:58 | For one thing, I could
bring down my Extrusion Depth.
| | 01:01 | I could bring it down, so
maybe it's just a little bit.
| | 01:03 | Let's just say we want to do it about 10.
| | 01:06 | That sounds about right.
| | 01:08 | So there, it's just a little bit of an
extrusion, which was the case in the letters
| | 01:11 | that we just saw in Times Square.
| | 01:13 | Let's give it a little more,
just so we can exaggerate this.
| | 01:15 | Let's just go to 40.
| | 01:17 | Now, you'll notice there are other
controls here, like for instance I can play
| | 01:21 | with the perspective.
| | 01:22 | So I can bring up this little slider
here, and as I move it, you can see that I'm
| | 01:25 | actually shifting the perspective of this view.
| | 01:28 | Let's do it even more.
| | 01:30 | Let's go way and exaggerate it quite
a bit. So you can see I've this great
| | 01:34 | perspective happening here, and I could
play around with my lighting, set up my
| | 01:38 | lighting so I have lightning coming
from another side so we get the nice
| | 01:41 | highlights where we want them, but we
have the ability to go in there and create
| | 01:44 | these nice three-dimensional shapes.
| | 01:46 | Now in the case of the Times Square,
I didn't play with the perspective.
| | 01:49 | I used the perspective of the scene
itself to go in there and create the letters.
| | 01:53 | And now we need to shift that light
around so that we can see the letters from
| | 01:56 | the front and get a much better view
of what this thing is going to look like.
| | 02:00 | And let's give it just a little perspective
just for the fun of it, right there.
| | 02:04 | We click OK and we see that we're
going to have these nice three-dimensional
| | 02:08 | letters that have some depth to them.
And if necessary, we can add additional
| | 02:13 | textures and stuff once we
bring this into Photoshop.
| | Collapse this transcript |
| Creating a 3D logo| 00:00 | The Extrude command that we find in
the 3D functions of Illustrator is very
| | 00:04 | helpful in so many cases.
| | 00:06 | Let's look at another one here, this
little area right here of the Toys "R" Us building.
| | 00:10 | Now I happen to have in the background
the high-res version of that open so we
| | 00:14 | can really see how that looks, and
there we see that we have these letters.
| | 00:19 | And they are in fact three-dimensional letters.
| | 00:22 | They do extrude from the facade on two
different sides of this triangular metal
| | 00:27 | thing here that they have
on the side of the building.
| | 00:30 | See? It's this little sign that wraps around.
| | 00:33 | So, these three letters were created in
Illustrator, so let's go see how those were done.
| | 00:40 | Here in Illustrator we see the letters.
| | 00:42 | They were just drawn up as paths.
| | 00:44 | They are individual little paths, as
you could see right here. There you go.
| | 00:49 | It's a path created in Illustrator.
| | 00:52 | Now what I'm going to do is I'm going
to select all of these shapes here, except
| | 00:55 | for the ones inside the R. I don't
need those, so I can go in there and just
| | 00:59 | deselect these little shapes inside
that R, because those I will not need. I just
| | 01:04 | want these other shapes that we see there.
| | 01:06 | So now I'm going go in to my extrusion,
which right now is set to black here.
| | 01:10 | We can set it to a gray and perhaps just
bring down the black there right there
| | 01:15 | like that. That's good enough.
And I'm going to go into my 3D > Extrude.
| | 01:21 | So in my preview, right off the bat,
we'll see that they became extruded.
| | 01:25 | So I can go in there and see it from
different angles, and we see that we have this
| | 01:29 | little extrusion to them.
| | 01:30 | Now I'm going to just cancel this
because I have other files here where I've
| | 01:34 | already done that. And you can see the
layers here in the Illustrator. Let's turn
| | 01:37 | this one off, and we see that we have one
here where we have them straight on and
| | 01:41 | then this one where I just rotated them
slightly, so we can see the sides of the
| | 01:45 | letters. Those are ones are
on the other side of the sign.
| | 01:49 | Now when I imported these into
Photoshop, I imported two different sets.
| | 01:54 | I imported this plus I
imported this. Why did I do that?
| | 02:00 | Let's go see that. If you look at the
letters here, you see that they have that
| | 02:04 | edge and then the front face, there is
the R with little quotation marks, so you
| | 02:09 | can see that all the letters have
different colors inside of them.
| | 02:11 | So when we go look at that actual
file--there it is--we see that we have
| | 02:16 | quite a few layers.
| | 02:17 | We see that we have the path. There is
the path of the actual letter shapes,
| | 02:22 | so that allowed me go in there and
select individual letters and colorize them
| | 02:26 | the way I wanted to. And when you look
at the different layers, of course the
| | 02:30 | background is just black.
| | 02:32 | There is the outside depth.
| | 02:33 | There is the 3D layer. That's the one that
was imported after I created the 3D file.
| | 02:39 | Let's get in close and look at it.
| | 02:40 | It was lit properly in the Illustrator
file. And in here I added some additional
| | 02:46 | shadows in darkening areas, just using
dodging and burning to going there and
| | 02:50 | highlight certain parts to make an
even brighter than they were in the 3D just to
| | 02:54 | enhance it a little more, because there
are lights next to these letters which
| | 02:58 | will cause reflections.
| | 03:00 | On top of that, I have an inside depth.
That's just a little gray edge, which is
| | 03:04 | just going to give me the impression
that this is a little gray inside these
| | 03:08 | letters. Then I've got a layer on top of
that, which is the actual colored letters.
| | 03:12 | Now you notice that they have some
layers styles. It as an inner shadow and inner
| | 03:15 | glow, which is dark, and then a stroke.
| | 03:19 | So all these additional tones were
added inside, and here you can see the R is
| | 03:24 | very well pronounced now.
| | 03:25 | And there we have this other layer
here where we've added some more tones
| | 03:29 | that create more of an effect around
these letters to make them look like they're
| | 03:33 | being lit from behind.
| | 03:34 | There is the star's edge because the
star has a white to it right in there, and
| | 03:39 | there is something clipped inside there
which is this little shadow to give it
| | 03:42 | that little depth inside the letter.
And there is the rims, the little edge to the
| | 03:48 | outside of the letters that we see right there.
| | 03:50 | Let's pull around and we
see there is little edges.
| | 03:53 | Let's turn that rim off.
| | 03:55 | This is just a little stroked line
that has little Bevel and Emboss, little
| | 03:59 | highlights added here and there. And of
course once all these things were put
| | 04:03 | together, they were all combined into a
single layer called the Logo comp, which
| | 04:08 | is the one that was then imported
over to the file that has all the other
| | 04:13 | elements to make up the Toys "R" Us facade.
| | Collapse this transcript |
| Using Transform for a car tire| 00:00 | An important part about using Illustrator
is that Illustrator is vector-based, so
| | 00:04 | it's a lot more efficient in the use of
RAM than say Photoshop. Especially with
| | 00:09 | the size of these Photoshop files,
it gets really prohibitive to work on little
| | 00:13 | tiny details all in Photoshop,
| | 00:16 | so Illustrator makes it lot easier.
| | 00:18 | And one particular function, the
Transform Again function, makes certain
| | 00:22 | details a lot easier.
| | 00:23 | Like right here we have this car tire,
and I have the high-res file opened in
| | 00:28 | background, so let's go to look at it,
and we see that the tire has all of these
| | 00:31 | little treads at the edges, all of
these little edges all going around, all
| | 00:36 | these little shapes.
| | 00:38 | That's real easy to do in illustrator.
| | 00:40 | The first what I am going to do is I'm going
to pull out a little guide for myself.
| | 00:44 | So I'm going to bring up my rulers and
pull out a guide for the vertical and a
| | 00:50 | guide for the horizontal. And we can
bring this one all the way down here.
| | 00:54 | So now I'm going to create
one of those little treads.
| | 00:57 | It could be any size. That's the other
beauty of Illustrator is its resolution
| | 01:01 | independent, so I could work at any size
and reduce it and not lose detail or
| | 01:05 | enlarge it and not lose detail.
| | 01:07 | So I'm going to go in here and just
create this little shape, maybe like this,
| | 01:10 | and it's going to come up and I have
this little curve like this. And then right
| | 01:15 | here it's going to kind of branch out
into these weird little shapes like this.
| | 01:20 | So it's just going to be
kind of a funky little thing.
| | 01:24 | It's just doesn't matter because this
is just for the purposes of this little
| | 01:27 | demo, so we could just
make it look however we want.
| | 01:29 | There it is, this little tread.
| | 01:32 | So now, the beauty of it is I am going
to bring it up here as I can make
| | 01:35 | it really small, and I'm going to scale
it right from that point. I'm going to
| | 01:39 | bring it down, make it
really small, about like that.
| | 01:42 | There is the size that I want.
| | 01:44 | And what I'm going to do is I'm going
to center it right on that vertical line.
| | 01:48 | Now this is the outer edge of my
tire here, okay. This is the width of it.
| | 01:54 | Now if you want to see what
the tire actually looks like,
| | 01:58 | here is the file of all the basic paths
for that SUV. And there we see the tire,
| | 02:04 | but this tire already has been
distorted to follow the angle, but there you can
| | 02:08 | see the basic treads all going around
this tire and there's all the little
| | 02:12 | pieces that make it up.
| | 02:13 | Let's go back here and make it
as a straight-on kind of a tire.
| | 02:17 | Now what I'm going to do is I'm going to
rotate it from the central point right there.
| | 02:20 | So I'm going to place my cursor there
and holding down my Option key, Alt on the
| | 02:24 | PC, I'm going to click right the end of
center. And now I want to rotate this,
| | 02:28 | and I want to do it at a degree that's
the visible by 360. So I don't want to
| | 02:33 | do 12.1 or something like that. I want
to do something that's going to be
| | 02:37 | divisible by 360 so that when it goes all
the way around it comes right back, it's
| | 02:40 | going to be evenly spaced for all of
different little shapes. Let's try 15 degrees.
| | 02:45 | Let's see what that's going
to look like. I'll say Copy.
| | 02:49 | Well, that's pretty far, so let's go in
there and try it again and we'll make it
| | 02:53 | say 5 degrees and make a copy.
| | 02:57 | That's a good space right there.
| | 02:59 | Now that I've done that,
I have to go over to Transform
| | 03:04 | Again, which you can see is Command+D,
Ctrl+D on the PC. And I'll say Command+D,
| | 03:10 | and I'll hit it many times. And each
time I hit it, you can see it's going round
| | 03:15 | and round this tire, going all the way
around, coming back around, here it comes.
| | 03:23 | I got all these little shapes going
all the way around till we see it right
| | 03:27 | there, and if we want to really see
that it's just Select All. And let's fill
| | 03:32 | the whole thing with the black.
| | 03:33 | There we can see we have all the
little threads going all the way around a
| | 03:37 | nice big giant circle.
| | 03:38 | So that made it really easy to go in
there and create the basic shape, which I
| | 03:42 | can now distort to get into the angle
that I need, but it made it really easy to
| | 03:46 | create that entire shape by just
doing a Transform Again once the initial
| | 03:51 | rotation was done for the first piece.
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| Using Live Trace| 00:00 | There is a feature in Illustrator that could
be really handy for getting certain effects.
| | 00:04 | Now right up here above the MTV
store, there are some portraits.
| | 00:10 | I'm going to zoom in to the high-res
version of it, and there you see these portraits.
| | 00:15 | Now these portraits were created
entirely in Illustrator and Photoshop.
| | 00:20 | But if you don't want to take the
time to re-create all these little shapes,
| | 00:23 | there is a feature that allows you to take a
photograph and get this exact kind of a look.
| | 00:28 | Let's go see what that is.
| | 00:29 | I've got here a photograph of Lynda.
| | 00:32 | I want to go in there and make it
look more like that kind of a stylized
| | 00:36 | black-and-white drawing.
| | 00:38 | So what I'm going to do is I
want to get rid of this background.
| | 00:39 | So I'm going to go in there and select her.
| | 00:42 | So let's just go in there and with my
lasso, I'm just going to go in there and
| | 00:46 | select this area here and just go around.
| | 00:49 | It could be loose, because in fact that we
are going to heavily contrast this thing, right?
| | 00:53 | We're going to totally change it so it
doesn't look like what it is currently.
| | 00:58 | So I'm going to do that. And let's
just add to the Selection by pressing my
| | 01:02 | Shift key and surrounding this
whole area here, and there it is.
| | 01:06 | So now what I'm going to do is I'm
going to send this to a new layer via cut.
| | 01:09 | I'm going to pick up this
background color right here and put it in my
| | 01:15 | background, and then I'm going to go
to my Layers and take the background, and
| | 01:19 | I'm just going to fill the
background with that color. All right!
| | 01:21 | So there, we've got that background taken away.
| | 01:28 | So now I'm going to flatten this, and I do
want to add a little more contrast to her.
| | 01:32 | I'm going to add some more contrast, so
I'm going to get some nice details when I
| | 01:36 | convert it to that black and white.
| | 01:37 | So I'm going to go into my Levels.
| | 01:39 | Go to Adjustments and go to Levels,
and right here in Levels, we're going to go
| | 01:43 | in there and start lightening up
certain tones and darkening others, just to get
| | 01:47 | some nice contrast happening inside her face.
| | 01:50 | So I'm going to go in there and start
doing this kind of a thing, and I get some
| | 01:53 | nice contrast and some details
happening, especially in the necklace.
| | 01:57 | Let's go in there and
brighten that up a little bit. There.
| | 01:59 | We're going to click OK.
| | 02:00 | I'm going to save this, and we'll call it lynda_contrast.
| | 02:06 | And we'll save it right here at the top
level and now we'll go into Illustrator.
| | 02:14 | In Illustrator, I'm going to place that picture.
| | 02:17 | File > Place, and there
is lynda_contrast. Place.
| | 02:21 | Now when the picture came in, did you
notice that everything here changed?
| | 02:25 | It became these buttons.
| | 02:27 | I'm going to enlarge her a little bit, just
so we have some more to work with right there.
| | 02:32 | There she is.
| | 02:33 | Now that I have her in place, I'm going
to say Live Trace. And right off the bat,
| | 02:40 | we see that we have this black-and-
white drawing. But you know what,
| | 02:43 | I want to have a little more detail.
| | 02:45 | So once I've done that, this little
button here is going to bring me into
| | 02:48 | the Tracing Options.
| | 02:50 | So I can go in there and
refine this little drawing.
| | 02:53 | I'm going to turn on my preview, so I
could see exactly what I'm going to be doing.
| | 02:57 | I'm going to take my Threshold here and
I'm going to raise it up a bit. And you
| | 03:01 | can see it's started to get a little
darker in areas, maybe you lighten it up
| | 03:04 | a little bit, and I'd simplify it little more.
| | 03:07 | So let's keep it right about this area
here where we start to get some tones.
| | 03:11 | Now keep in mind that these are the
vectors that can be modified at any time.
| | 03:15 | So I can go in there and let's say
we make this grayscale, and these are
| | 03:19 | individual vectors that I can play with,
eliminate, recolorize, do whatever.
| | 03:24 | I can increase the amount of
colors, so it starts to look even more
| | 03:27 | photographic. Or we can even go to
color, and there we see we have some color.
| | 03:33 | I can increase the number of colors,
so it almost starts to look like the
| | 03:37 | original photograph except these are vectors.
| | 03:40 | They are not pixels, so they
can't be modified individually.
| | 03:43 | So I'll come way down to say about nine colors,
and we get these nice individual shapes here.
| | 03:48 | Now we're going to go back to our
original choice, which is the Black and White,
| | 03:53 | and there we see that we have that.
| | 03:54 | So I'm going to say Trace it,
and there is the effect that I want.
| | 03:58 | Now I want to modify this.
| | 04:00 | I want to affect the couple of
the little vectors separately.
| | 04:02 | So after it's done, I'm going to come over
here and I'm going to say Object > Expand.
| | 04:09 | Click OK and there you see that now
we have individual shapes that I can
| | 04:13 | manipulate at any time. So I can grab
this little thing here and just give it
| | 04:16 | this big bump over there.
| | 04:17 | Now we don't want to do that to Lynda,
| | 04:18 | so we'll just go in there and just
kind of round this out a little more.
| | 04:22 | Do all kinds of things.
| | 04:23 | Maybe we could take little part of her
lip and just kind of bring it up a little.
| | 04:26 | Bring it down so we get this little
smile happening there, and you could see how
| | 04:29 | we can manipulate any of these
vectors in anyway we want and we turn that
| | 04:34 | photograph into this nice
black-and-white rendering.
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| Creating patterns| 00:00 | Illustrator is a regular little
treasure chest of things, things that you
| | 00:04 | wouldn't even imagine are there, which will make your
life a lot easier when working in Photoshop.
| | 00:09 | Way over here, we have
this billboard of some boots.
| | 00:12 | I am going to come in close on the high-res
version of one of those boots, right here.
| | 00:17 | Now when we are looking at this boot, we see
that there's this snakeskin right here.
| | 00:22 | When we look at the layers for the
snakeskin--and let's go down here to just
| | 00:27 | look at the basic orange shape of that
part of the boot, which has a bunch of
| | 00:31 | things clipped into it.
| | 00:33 | We start looking at them.
| | 00:33 | There's this little yellow hazel on
the edge there and there's one snakeskin
| | 00:38 | which has a mask, so that it blends easily
into the other snakeskin right on top of it.
| | 00:43 | There's some little highlights on top
of that, and there's this stitching in
| | 00:47 | place, and there's the little
shadows that make it all look real.
| | 00:52 | Now, that snakeskin
you can actually find in Illustrator.
| | 00:56 | So let's go to
Illustrator and see where that is.
| | 00:59 | Okay, so we have a Swatches palette over here.
| | 01:02 | I am going to just create a little box.
| | 01:03 | We'll just set this up so that there's no
fill, but I'll give it a little black line.
| | 01:08 | There we go.
So we have a little black line.
| | 01:09 | But we're going to give it a little fill.
| | 01:11 | We're going to select the
little fill swatch here.
| | 01:14 | I am going to go to my color swatches,
and here I have this little folder which
| | 01:17 | opens up and has all these
additional kind of swatches that I can import.
| | 01:22 | And we have here a little thing called
Nature, and we have Neutral, and we have
| | 01:26 | Patterns, all kinds of things.
| | 01:28 | Like even in Patterns, we have right
there, in Nature > Nature_Animal Skins.
| | 01:33 | So I am going to click on that,
which brings up a whole set of skins.
| | 01:37 | And right there, there is the
snakeskin that we found in the file.
| | 01:41 | Here's another snakeskin.
| | 01:43 | There's the two
snakeskins that I used right there.
| | 01:47 | So they automatically fill in to
the palette as it's being used.
| | 01:51 | So what I am going to do is I am going
to take this guy and put it up here, make
| | 01:53 | it a little smaller, and I am
going to create another box down here.
| | 01:59 | And this one I am going to
fill with that other snakeskin.
| | 02:01 | So what happened is that these two
skins were then imported into the
| | 02:05 | Photoshop file where they were
re-colorized and put in position to create the
| | 02:10 | snakeskin that you see there.
| | 02:11 | Now there are so many other things
that we can find here in Illustrator.
| | 02:15 | Like for instance, you must have
splattered paint or something like that.
| | 02:19 | Well, under your Symbols you have
another little set right here, and one of them
| | 02:23 | is already visible there. But we can
come down here and look at all these
| | 02:26 | different elements that you can
pick up and throw into your images.
| | 02:30 | So like for instance, we have some
Nature stuff here as well and we have some
| | 02:34 | Retro and Sushi, and I would suggest
you just go and look at some of these
| | 02:38 | things to see what's available.
| | 02:39 | So there's a little Grime
Vector Pack, and there you go.
| | 02:43 | There's a little splatter like
that one, which is right here.
| | 02:45 | So I can go in there and say pick
this one and pick that one as well.
| | 02:50 | So now I can go in here and I could
just take this and drag it out here, and
| | 02:54 | there's my little splatter, and
there's another little splatter, and there's
| | 02:57 | another little splatter.
| | 02:58 | So we have these little splatters
that we can just use in any way we want.
| | 03:02 | In fact, let's go use those in a particular way.
| | 03:05 | I am going to open up a file, this
file and this file. So here they are.
| | 03:13 | I have two different files here.
| | 03:15 | So in this file I have this Public
Enemy sign, and what I want to do is I just
| | 03:20 | want to duplicate this, and the one on top,
I am going to get a nice bright red color.
| | 03:26 | So I'll just get a bright red color like that.
| | 03:29 | Now that I have that color, I am going
to go in here and fill this layer.
| | 03:33 | I'll say Fill, Foreground Color in
Darken mode. So I have that.
| | 03:39 | So now I am going to go to that other
file that I opened a second go, which is
| | 03:43 | this one, and it's a layer by itself.
| | 03:45 | So in that layer I am going to do
a select-all, and I am going to copy.
| | 03:48 | I am going to go back to that other
file, right here. And in that layer above
| | 03:55 | this I am going to paste. There they are.
| | 03:59 | So now what I am going to do is I am
going to clip the top one with that bottom
| | 04:04 | one, and there we see that we have our
little splotches, which can be moved at any time.
| | 04:08 | So I can take that layer--let's grab
the right layer, this one here--and I can
| | 04:13 | move those splotches around, and wherever
they go they're going to have that same
| | 04:17 | effect on the layer below it,
giving me that effect there.
| | 04:22 | But these were all shapes that came
out of Illustrator, and Illustrator is
| | 04:25 | filled with hundreds of them,
and they are vector shapes,
| | 04:28 | so they don't take up a tremendous
amount of room on your machine, and they can
| | 04:32 | easily be manipulated once
you bring them into Photoshop.
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| Creating a bottle| 00:00 | The 3D features in Illustrator were
instrumental in the creation of a lot of the
| | 00:03 | elements here in Times Square.
| | 00:05 | I am going to zoom in on
this little area right in here.
| | 00:08 | This is the low-res version, so I do
have that section of the high-res version
| | 00:12 | opened in the background,
and we see it right here.
| | 00:15 | And there we see that there's this
little Snapple bottle, which in reality is a
| | 00:19 | giant Snapple bottle, but in the
context of the painting it's very small.
| | 00:23 | If I bring up my rulers,
you'll see that here is an inch.
| | 00:27 | So this bottle is basically about a
quarter of an inch in size in the context of
| | 00:32 | the overall painting. Like I
said, it was done in Illustrator.
| | 00:35 | Now the first thing I have to do
is I am going to import the label.
| | 00:39 | I created the label in Photoshop.
| | 00:41 | Now I didn't get into a tremendous
amount of detail because again, it's so tiny,
| | 00:45 | you're not going to see a lot of detail.
| | 00:47 | So I am going to go in here and I am
going to place that label. So right here in
| | 00:52 | my Working Files, in Up Broadway, and
I've got the Snapple building, and there's the
| | 00:57 | label right there on top.
| | 00:58 | So I am going to say Place it.
| | 01:00 | And right off the bat, I am going to
make it a little smaller. Click OK.
| | 01:05 | And what I need to do now is that this
is a linked object, so I am going to go in
| | 01:10 | here and I am going to say rasterize it.
| | 01:12 | And that way I have my Symbols panel
open here, I can now drag it into my
| | 01:17 | Symbols panel, and we'll call it label,
and I want it to be a graphic. Click
| | 01:25 | OK, and there it is.
| | 01:27 | Now back in the image, I could throw it away.
| | 01:29 | Now I am going to pull out a guide for
myself right here, and I want to make sure
| | 01:33 | that my guides are locked.
| | 01:34 | Yes they are; they are locked.
| | 01:37 | So now I am going to create the bottle.
| | 01:39 | So I am going to go in here and start
right up at the top here and click right
| | 01:42 | on the guide and pull out a little area there
| | 01:45 | that's going to be the cap, and I'll come
down here and create the whole little cap
| | 01:50 | area just like that. And then there's
this little part where the bottle juts
| | 01:54 | out just a little bit a little lip on it.
| | 01:56 | And then I've got this curve right
here that kind of looks like that,
| | 02:01 | and then it curves around this way.
| | 02:04 | It comes down here.
| | 02:06 | Make a little curve right there and
end it back on the guide right there.
| | 02:11 | So there's my basic shape for my bottle,
which I am now going to give it a color.
| | 02:16 | So I'll get my stroke selected, and
I'll say give it a nice brown color.
| | 02:20 | That's the color I want it to be.
| | 02:22 | Now that I've got this, I am going to
select all the points and I am going to
| | 02:26 | come up to my Effects and say 3D > Revolve.
| | 02:29 | In 3D Revolve, I can kind of preview
this right off the bat, and you could see
| | 02:33 | that it's doing it from the
left edge, which is the default.
| | 02:35 | So I am going to say do it from the right edge.
| | 02:38 | There's my little Snapple bottle.
| | 02:40 | So now if it's not quite right, I can
easily go in there and make adjustments at
| | 02:44 | any time, but it's not necessary.
| | 02:46 | We'll just leave it the way it is.
| | 02:47 | It's a little thin. It's okay.
| | 02:49 | It's a new bottle we will say.
| | 02:50 | Now that I have this, I can go in there
and play with it, get it to any angle
| | 02:54 | that I want, and so on, and it's
going to go in there and refresh it.
| | 02:57 | And here I have a button called Map Art.
| | 02:59 | I am going to click on Map Art.
| | 03:02 | Now this is going to show me various
parts of my bottle, which right now it's
| | 03:06 | taking up 13 different parts to make my bottle.
| | 03:09 | And the part that gets displayed will be
displayed in the image by a little red area.
| | 03:14 | If I move over there, you could see there is
that little lip on top and I come over again.
| | 03:17 | There's a top and there's the upper
portion of the bottle. Keep going down.
| | 03:21 | There's this little area there,
and then there is the inside.
| | 03:25 | I think that's the inside of the
bottle based on its positioning.
| | 03:28 | There's the bottom portion and go back.
There's the little top again, and there's the
| | 03:33 | outside of the bottle. So yeah,
I can tell it's much wider.
| | 03:37 | So in the outside part of the bottle I
am going to grab the label right there.
| | 03:43 | I click on the label and the little
symbols up there and there's the position,
| | 03:47 | and we could see the label just appeared.
| | 03:49 | I am going to move the position right
over to about here, and we'll just make
| | 03:53 | it a little bigger.
| | 03:54 | We can resize it right withinside this
window here. I am just going to make it
| | 03:58 | much wider, so it takes up that entire area.
| | 04:01 | There you could see that
it's filling up the bottle now.
| | 04:03 | And when I click OK, we see that the
bottle now has the label wrapped around it.
| | 04:08 | So if I was to view this from say
another side like this, we'll see that we will
| | 04:12 | have our little label right there in front.
| | 04:14 | So when I click OK, we have a Snapple
bottle that I then imported into Photoshop
| | 04:20 | and put it in position as we
see it back here right there.
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ConclusionParting words| 00:00 | Now that I've taught you a whole arsenal
of techniques that you can employ in your
| | 00:04 | daily workflow, what we're going to
look at in the next installment is a whole
| | 00:07 | new set of techniques,
| | 00:09 | techniques that deal with organic
material: people. And there's hundreds of
| | 00:14 | people that populate the streets of
Times Square, of which 150 of them are recognizable.
| | 00:20 | So what you're going to learn is how to
make people look like real people, how
| | 00:24 | to create their hair and their features
and the thing that make them look what
| | 00:28 | they are, give them the personality.
| | 00:31 | This is a whole new set of techniques,
| | 00:33 | techniques that are a little more
specialized than what we have seen.
| | 00:36 | This not a lamp post.
| | 00:37 | This is a live person, and it
has to look like that person.
| | 00:40 | So in the next installment we're
going to see some serious people-making.
| | 00:44 | Let's go meet the people.
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