IntroductionWelcome to the tools used to create "Times Square"| 00:04 | In this installment I am going to
show you all the tools that I employed
| | 00:07 | to create my painting, Times Square, and I
pretty much used all the tools in Photoshop.
| | 00:12 | And we talked about filters and
brushes and channels and layers.
| | 00:16 | There are so many tools in Photoshop
that allow you to do anything that your
| | 00:19 | mind can conjure up.
| | 00:21 | Now what's really important in this
installment is that you really look at not
| | 00:25 | necessarily what I'm doing but how I'm
doing it, because I am going to create
| | 00:29 | things like a cowboy boot . And you might
never have to create a cowboy boot, but
| | 00:32 | it's the steps that I took to create
that cowboy boot that might be just the
| | 00:36 | answer for something that you
are faced with at the moment.
| | 00:39 | Sometimes just a slight change in
color or the mode or some little change in
| | 00:45 | the layer style is going to have dramatic
difference in how that end result is going to be.
| | 00:49 | I want you to really pay attention
to how things are being done so that you
| | 00:53 | can create your own magic using
this wonderful tool of Photoshop.
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| What is "Times Square?"| 00:03 | Times Square, the culmination of four
years of my life to create this image that
| | 00:09 | measures 5 feet high by 25 feet wide;
| | 00:13 | a total of over 5000 images with
a cumulative total of over 500,000
| | 00:18 | layers utilizing every feature of
Photoshop. In fact, four different
| | 00:24 | versions of Photoshop.
| | 00:27 | It went through the alpha and beta
stages of two of the different versions.
| | 00:31 | During the process I
learned a lot of techniques.
| | 00:35 | Now people ask me, "Why
don't you just take a photograph?"
| | 00:39 | "Why you spend all that
time to create this thing?"
| | 00:41 | Well, for one thing, I am not a photographer.
| | 00:44 | And secondly, it's not the
image itself that's important to me.
| | 00:48 | It's not the destination; it's the journey.
| | 00:51 | It's the challenge of creating this piece.
| | 00:55 | Of how to make that glass look like glass;
| | 00:57 | how to make that metal look like metal,
how to make that asphalt look like asphalt.
| | 01:01 | That's the challenge.
| | 01:02 | Having a picture of it, okay, so it's done.
| | 01:05 | But how do I create that?
| | 01:06 | That's what motivates me to create my pieces.
| | 01:10 | In that process I learned all these
techniques which I pass on to you.
| | 01:14 | Now it's that challenge
that's so important to me.
| | 01:17 | That's what you see in all
of my different paintings.
| | 01:20 | It's the challenge that I
was faced with at a time.
| | 01:23 | Another reason why not take a photograph?
| | 01:25 | Well, for one thing any photograph
you've ever seen of Times Square,
| | 01:29 | the buildings way off in the background are
basically silhouettes with little pins
| | 01:33 | of light for their windows.
| | 01:35 | Even with HDR you wouldn't be able to
get the kind of detail that I've gotten in
| | 01:39 | this image, because this
is more like being there.
| | 01:42 | Whatever your eye looks,
it's going to come into focus.
| | 01:45 | So whether you're looking into this
person right here crossing the street or
| | 01:50 | this guy standing right here in front
of you, or you look into that window there,
| | 01:53 | you could see the
paintings that are hanging on the wall.
| | 01:56 | Even more so, you go all the way down
to the end of Seventh Avenue you can
| | 02:00 | actually see the leaves on the trees in
Central Park way back there. It's all in focus.
| | 02:05 | Every single element in here was created
from scratch, using only the tools in Photoshop.
| | 02:12 | All the people here are all friends and family.
| | 02:16 | My son, my daughter, my wife,
myself, they're all friends and family
| | 02:21 | throughout this whole thing, where
I've captured everybody's soul as best I could,
| | 02:24 | by having them pose in certain
situations and putting them in certain
| | 02:28 | situations that tells a story.
| | 02:30 | The story might be personal to me but
it tells a story and it gives life to
| | 02:35 | the scene, rather than just people standing
there or people who are faceless and meaningless.
| | 02:40 | No, all these people mean something.
| | 02:43 | All the steps that I went though in this,
| | 02:45 | all that learning process,
it's important for me.
| | 02:49 | It's important for you because
I then pass on all these skills.
| | 02:52 | All this knowledge that I've
gotten from this, I pass it on to you,
| | 02:56 | in the hopes that you will be inspired
to then go out there and take these tools
| | 03:01 | and take what's ever in your imagination
and create a fantastic piece that other
| | 03:05 | people will enjoy looking at.
| | 03:06 | There's one thing something that
happens to me as a teacher, is that I do send
| | 03:10 | out all these skills to people and I
get all these emails of people saying,
| | 03:14 | "Look what I did with what I learned from you."
| | 03:16 | And that's a very tremendous reward for me.
| | 03:19 | They know that I spent a lot of time
trying to figure something out and then
| | 03:23 | somebody else was able to take that and
take a lot of time to create something
| | 03:26 | on their own, and take it a step
further, which is even more important.
| | 03:31 | Throughout this whole series I am going to
say to you, look at what I've done, all right.
| | 03:36 | What's important is not what I did
but how I did it, because it's those
| | 03:41 | techniques that are important.
| | 03:43 | It's not the end result, my end
result, but how I got to that end result.
| | 03:47 | Because a slight change here and there,
| | 03:49 | a slight change in color or mode, will
give you a totally different effect.
| | 03:53 | This is where you come in. To take that
inspiration that I've given you and then
| | 03:57 | challenge yourself to come up with some
incredible image, whether you're the only
| | 04:02 | one who is going to see it or
the world is going to see it.
| | 04:04 | But I am hoping that it's going to
inspire you to take that initiative to go
| | 04:08 | in there, explore the program, go in
the there and find all those little
| | 04:11 | details because Photoshop has so many
tools, so many filters, so many things
| | 04:15 | that are available to you.
| | 04:16 | And why are they there?
| | 04:18 | They're not there just to fill up space,
though most people only use a small
| | 04:22 | fraction of what Photoshop has to offer.
| | 04:24 | But there is a lot there.
| | 04:25 | So now I am hoping to inspire you with,
with these piece, is that you're going to
| | 04:29 | go in there and look at all those tools.
| | 04:31 | Push that button and see what it does.
| | 04:33 | You face with the dialog box, enter 5, 10, -50,
| | 04:37 | whatever, and see what it does.
| | 04:39 | You would be surprised with some of those
happy accidents that are come through from that.
| | 04:43 | And it allows you to get creative.
| | 04:46 | So this was a labor of
love for me. This isn't work.
| | 04:50 | To me, this was a labor of love.
| | 04:53 | I spent 14 to 16 hours a day,
seven days a week, for four years.
| | 04:57 | Of course, not all the time,
I did have to make a living.
| | 05:01 | Once in a while I had to go places.
| | 05:03 | But still it was a tremendous amount of
time, which I enjoyed because this wasn't work.
| | 05:07 | This was playing.
| | 05:08 | And you should look at your work the same way.
| | 05:10 | Look at it as play.
| | 05:12 | If you look at this as play, then
you'll wake up in the morning, you can't wait
| | 05:15 | to get to work, because it's
something you enjoy doing.
| | 05:18 | And Photoshop gives you this tremendous
palette of tools that allow you to take
| | 05:24 | anything you can imagine and bring it to life.
| | 05:27 | So let's get into this program.
| | 05:28 | Let's see what it can do.
| | 05:29 | Let's see what it can offer you so that
you can take your imagination and go way
| | 05:34 | beyond anything you ever imagined.
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1. Using Brushes to Create ObjectsUsing a Cintiq to control the brushes in Photoshop| 00:00 | Brushes are very powerful tools in
Photoshop and even more powerful when you
| | 00:05 | take into account that a lot other features
utilize things like pen pressure and pen tilt.
| | 00:11 | And these are two things
that the mouse cannot give you.
| | 00:14 | You can't press down on the mouse to make a
difference and you certainly can't tilt it.
| | 00:18 | In fact it won't even work if you tilt it.
| | 00:20 | That's where the stylus that's
attached to tablets and this Cintiq really
| | 00:25 | comes in handy, because there is a pen pressure
and pen tilt attached to these particular tools.
| | 00:32 | It's also better the way you hold it.
Rather than hold it as a bar of soap,
| | 00:36 | you hold it like
how you were taught to hold the crayon
| | 00:39 | back in kindergarten.
| | 00:41 | You're holding this the same way
which is a lot easier on your hand.
| | 00:44 | And the beauty of this is that
pen tilt and that pen pressure.
| | 00:48 | A lot of those tools will utilize that.
| | 00:51 | Now in the movies on brushes you'll
see that there is a one where I create
| | 00:55 | this little fur ball.
| | 00:56 | Now that fur ball is totally
dependent on the tilt of my stylus.
| | 01:01 | Let's go here and look at this.
| | 01:03 | I am using one of the bristle brushes
that come with CS5 and I am going to go to
| | 01:07 | my Brushes engine here where I am
going to modify it a little bit.
| | 01:10 | I am going to increase the number of Bristles.
| | 01:12 | I am going to increase their Length a
bit and I am going to bring down the
| | 01:15 | Thickness and the Stiffness.
| | 01:17 | I am going to bring that way down.
| | 01:19 | Okay, now I am going to go into my
Shape Dynamics where I am going to set
| | 01:22 | the Angle to Direction.
| | 01:24 | That's looking good.
| | 01:25 | I am going to do a
little Color Dynamics as well.
| | 01:27 | Now that I have all these features set
up then let's just go in here and get
| | 01:30 | that Thickness down.
| | 01:32 | Number of Bristles. Okay, I like that.
| | 01:35 | There you go.
That's looking good.
| | 01:37 | So now what happens here is that I
want go now and I am going to twirl.
| | 01:41 | I am going to twirl this
to get this little fur ball.
| | 01:44 | So as I twirl my little stylus
around you could see that I am creating
| | 01:48 | this little fur ball.
| | 01:50 | Domething that you can 'tdo
very easily with the mouse.
| | 01:52 | But because I can go in here and just
twirl this around like that, it makes that
| | 01:56 | difference to create this
little fur shapes that I want.
| | 01:59 | So now talked about pressure sensitivity.
| | 02:04 | Now that's really crucial, because you
could set pressure sensitivity for so
| | 02:08 | many different things,
| | 02:09 | the flow, the opacity, so many things
can be controlled by it, even the size.
| | 02:14 | And that will make a difference.
| | 02:16 | Now you have full control over the
amount of pressure that you're going to
| | 02:19 | place ,so if you have a heavy hand
you're going to have a different setting and
| | 02:22 | then say your seven year old son who
comes over to play with your computer who
| | 02:26 | won't have as heavy a hand.
| | 02:27 | You have control over these settings.
| | 02:30 | So what I am going to do is I am
going to pick one of the other brushes.
| | 02:31 | So I just picked a soft edge brush, right
here, which is going to go to just do that,
| | 02:36 | just a stroke.
| | 02:37 | But if I go in there and start applying
some functions to this, I'll go over to
| | 02:42 | my Burhs engine again, and I got the,
my Transfer mode set and I have Opacity
| | 02:46 | set to Pen Pressure.
| | 02:48 | I have the Flow set to Pen Pressure.
| | 02:51 | And I can even go in there and say in
Shape Dynamics set the Size to Pen Pressure.
| | 02:56 | So now I have everything set to Pen Pressure.
| | 02:58 | So when I start to paint with that same
brush, but with these new settings, if I
| | 03:03 | press very lightly I get a very thin line.
| | 03:06 | If I press heavier it starts to thick in.
| | 03:08 | So I can go in there and have full
control over these kinds of strokes that I
| | 03:11 | am going to get, which I didn't have
before. So I can get really thin strokes,
| | 03:15 | very light strokes, or very heavy strokes
where I am getting a lot of ink being applied.
| | 03:20 | So you could see where things like pen
tilt and pen pressure are so crucial.
| | 03:24 | A lot of the effects that you were
trying to get sometimes would be a lot easier
| | 03:28 | by simply using a stylus over that mouse.
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| Making the chain brush| 00:00 | Brushes could be the answer to a lot
of the problems you might be faced with.
| | 00:03 | In this particular case, a brush was
the answer to this little chain that
| | 00:07 | you see right here.
| | 00:09 | This is my niece-in-law.
| | 00:11 | Now in close inspection you start to
see that the chain is made up of multiple
| | 00:15 | loops here, what looks like one
large hoop and a bunch of little loops.
| | 00:18 | Well, I don't have to be that exact
with it because of the fact that within the
| | 00:22 | context of the painting she
is going to be quite small.
| | 00:24 | In fact, her face is only
going to be about an inch high.
| | 00:27 | So the chain is almost going to be
negligible, but it does need to be as clear
| | 00:32 | as possible or at least give the
idea of being a multi-link chain.
| | 00:37 | The brush is the answer.
| | 00:39 | So I am going to go in here to my
untitled file that I set up a second ago and
| | 00:43 | I am going to create a brush tip that's
going to simulate the chain that she is wearing.
| | 00:47 | Now it was made up of one large
link and multiple small links.
| | 00:51 | So basically I have to
create those individual links.
| | 00:54 | I am going to go to my Ellipse Primitive
tool here which creates little ellipses.
| | 00:58 | And I have it set to Paths, so it's
going to create paths when I use it.
| | 01:02 | I am going to create a larger ellipse.
| | 01:04 | It looks like that.
| | 01:05 | Now that's going to represent
the large link on the chain.
| | 01:09 | I am now going to create a smaller one
right here and this smaller one is going
| | 01:13 | to be the smaller link.
| | 01:15 | Now I want to get this just right, so
I am going to go in there and kind of
| | 01:18 | center it to get it just where I
want it, right there like that.
| | 01:21 | Now I am going to duplicate it straight over.
| | 01:24 | Once and one more, right across like that.
| | 01:29 | So there I have what looks like
one large link and three small links.
| | 01:34 | Now these paths are going to guide my
brush, the brush that's going to create
| | 01:39 | the brush tip, which I will then
use later on to create the chain.
| | 01:42 | Now I am going to go in here and
choose my paintbrush and I am going to use a
| | 01:46 | hard-edged brush like this and I am
going to bring the size down to something
| | 01:50 | that kind of matches the size that I have here.
| | 01:52 | Let's see what 20 pixels is going to look like.
| | 01:54 | It's going to look like that.
| | 01:56 | That's pretty good, but let's
make this just a little bit thicker.
| | 01:59 | Let's say about maybe 25.
| | 02:01 | That's got a nice feel to it.
| | 02:03 | So now that I created that little test
for myself I am going to go in here and
| | 02:07 | I am going to select that particular path
because that's the one I want to be effected,
| | 02:11 | not these.
| | 02:12 | I am going to go in there and take
my path and I am going to stroke it.
| | 02:16 | Now, when it stroked it, it stroked it with
the default of the Pencil. Let me undo that.
| | 02:21 | I could go in here and say stroke the path.
| | 02:23 | It gives me a choice.
| | 02:26 | Now you see the default is the Pencil.
| | 02:28 | Now I could choose the Brush, which is what I
want to use, but I want to show you something.
| | 02:32 | Let me cancel this.
| | 02:34 | If you're in the tool itself, you have
a better chance because if I had chosen
| | 02:38 | Brushes without knowing what the brush
is set to, it would have used the brush
| | 02:42 | in whatever settings I had
the last time I used that brush.
| | 02:46 | So by actually being in the brush I
see the settings that I have, I see the
| | 02:49 | code that I am using.
| | 02:51 | So now when I go in here and say take
that path and stroke it, it's using the
| | 02:55 | brush in its current settings.
| | 02:57 | What I am going to do now is I am
going to take the size of that brush and
| | 03:00 | reduce it down to about maybe
19 to see what that looks like.
| | 03:04 | There is the size for my smaller links.
| | 03:07 | So I am going to go in there
and choose the three other paths,
| | 03:11 | the ones that I represent the small
links. Again choose my brush and then go in
| | 03:15 | there and say stroke them.
| | 03:17 | So there we have the three small links.
| | 03:20 | So what I am going to do is I am
going to select the entire shape.
| | 03:22 | I am going to go in there and say
Define Brush Preset, which gives me a
| | 03:27 | chance to then name it.
| | 03:28 | So I am going to call it chain.
| | 03:33 | So now, I can throw it away.
| | 03:34 | I don't need to see this anymore
and I am going to create a layer.
| | 03:37 | I am going to create it in a layer
because I am going to have to apply some
| | 03:41 | layer styles to it to give it
dimension and color and so on.
| | 03:45 | So I am going to go in there
and do the chain in a layer.
| | 03:48 | Going to my Pen tool I am going to create the
path that's going to represent the actual chain.
| | 03:53 | So I am going to come down like this, go
around her collarbone right there, and
| | 03:58 | come around, go up and around another
bone like that and up and over like that.
| | 04:05 | All right, so I can always adjust it at
any time to get them exactly the way I
| | 04:08 | want them, like so.
| | 04:10 | That is the shape that I want, so I am
going to save that path. There it is.
| | 04:15 | So now I am going to take my paintbrush.
| | 04:17 | I am going to select that brush that
I just created which will appear at
| | 04:20 | the bottom of the list.
| | 04:21 | There it is, which right now
does that. Let me undo that.
| | 04:25 | I am going to reduce the size.
| | 04:27 | This is size that I want for my
necklace and again it does that.
| | 04:32 | So what I am going to do is I am going
to go into my Brushes panel where I am
| | 04:36 | going to modify that tip so it will
behave exactly the way I wanted to represent
| | 04:41 | the chain-linked necklace.
| | 04:42 | So I am going to go in there and first
off I am going to increase the distance
| | 04:47 | between those little tips
by increasing the Spacing.
| | 04:50 | If I go in there and you can see that I am
getting them kind of far apart from each other.
| | 04:53 | Now, I can't really see how they are linking.
| | 04:55 | So I am going to go into my Shape
Dynamics where the Angle Jitter is set
| | 05:01 | to Direction and that allows the tips to
now follow the direction of my brus stroke.
| | 05:08 | Now what I see that I need to close
them in just a tiny bit so that they look
| | 05:12 | like they're joined together.
| | 05:14 | But that's looking good.
| | 05:16 | Now the next thing I am going to do is
I am going to go down to Color Dynamics,
| | 05:19 | and in Color Dynamics, which
unfortunately we can't preview, I am going to have
| | 05:23 | it go between my foreground and
background color at 100%, right up there.
| | 05:27 | And I have set the Saturation
and Brightness Jitters slightly.
| | 05:30 | Now I am going to move these around
and I will demonstrate this in a second
| | 05:34 | what's going to happen there.
| | 05:35 | In fact, let's bring it down to
0 for now and I will click OK.
| | 05:37 | I am going to pick the colors
for my foreground and background.
| | 05:41 | I am going to pick a nice golden color
like say this one right here, a little
| | 05:46 | deeper right there for my foreground
and for my background color we will start
| | 05:50 | with that same color and just pick a
darker version of it about like that.
| | 05:54 | So right now you can see that it is
going through the different colors.
| | 05:59 | So I am going to go back to my Brush engine.
| | 06:01 | I am going to introduce a
little bit of Saturation.
| | 06:03 | Now this is affecting each tip individually.
| | 06:06 | So each tip will have a
different saturation than its neighbors,
| | 06:09 | the left and right.
| | 06:10 | Same thing with the Brightness.
| | 06:11 | It will change their
brightness from tip-to-tip randomly.
| | 06:16 | Now Hue I am going to leave alone.
| | 06:18 | If I push it all the way over, you see
that it's going to introduce a bunch of
| | 06:21 | colors I don't want.
| | 06:22 | So I am not going to mess around with Hue.
| | 06:23 | Leave Hue at 0 and we will play
with the Saturation and Brightness.
| | 06:27 | So now that we have all the settings,
we have our angle set up, our color set up,
| | 06:32 | I can now go in there and make sure
I'm in the right layer. There it is.
| | 06:36 | I'm in the layer. I'm in
the brush, in the size that I want.
| | 06:39 | I go in ahead and say
take that path and stroke it.
| | 06:43 | So there we have the
beginnings of our little chain.
| | 06:45 | Let me turn off the Path now.
| | 06:47 | Now it has got a little variations
in color because of variations in the
| | 06:51 | lighting as it hits the
chains as they move over the body.
| | 06:54 | So what I am going to do is
add some more dimension to this.
| | 06:57 | I'm going to go into the layers and I'm
going to go into layer Styles for that
| | 07:00 | layer and give it a little Drop
Shadow so the chain is raised off the body,
| | 07:04 | bring down the Opacity just a little
bit, and increase the distance slightly.
| | 07:09 | And then to give it real dimension and
the metallic look, I am going to give
| | 07:12 | it a Bevel and Emboss.
| | 07:14 | Now, something happened right off the bat.
| | 07:16 | It doesn't look that good.
| | 07:17 | But as because the actual links are
very thin and the default size is 5 pixels,
| | 07:23 | much wider than the actual chains themselves.
| | 07:26 | So what I am going to do is I am
going to reduce that to about 1,
| | 07:29 | which right off the bat we could see it
started adding a little shimmer to our chain.
| | 07:33 | So what I am going to do is I am going
to increase the depth so I get a really
| | 07:36 | strong definition between those tones in there.
| | 07:38 | I am going to go into my Highlight.
| | 07:40 | I am going to increase that so I get a
really strong highlight, and this black,
| | 07:43 | I am going to change that black to
something a little more kind of like in the
| | 07:47 | warm browns, like that, and you could
see how it's happening in the background.
| | 07:51 | Click OK and I will increase the Opacity
on that right there like that, and when
| | 07:55 | I click OK we see that we have this
nice little gold chain made of all these
| | 08:00 | different sizef links.
| | 08:01 | Now it wasn't necessary to get into
that much detail because of the fact that
| | 08:05 | she appears quite small.
| | 08:07 | Here is the reference we saw
before and here is the actual art.
| | 08:11 | Pull back so you can see the whole
face and when we look in closely at the chain,
| | 08:15 | you can see that it looks
just like what we just created.
| | 08:18 | However, when it gets reduced down
to the actual size that I need for the
| | 08:22 | painting we are going to
lose a lot of that detail.
| | 08:25 | But the printer will hold up some of it.
| | 08:28 | So as long as there is that definition of
the sizes I will pick up the reality of it.
| | 08:34 | So when I go in here and show her in the
actual size of the painting and we zoom in
| | 08:39 | and we see that there is a slight in
those little links that the printer will
| | 08:43 | pick up and it will look as
realistic as the original photograph.
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| Making the single loop chain| 00:00 | Another gold chain in the painting
is this one, worn by my wife Zosia.
| | 00:04 | Now getting in close on this one we
see that this one is slightly different
| | 00:07 | than the one before.
| | 00:08 | This is made up of links that seem to be
solid with a slight separation between them.
| | 00:14 | Creating this one is similar, but
with a slight variation here and there.
| | 00:18 | So let's go to a blank file here where
we're going to create the basic shape for
| | 00:23 | this particular link.
| | 00:25 | We won't use link there. We just
choose one of these guys and make it really
| | 00:28 | small and I could just
make a little loop like that.
| | 00:32 | Now if you want it to be perfect then
it helps sometimes to just use a path.
| | 00:36 | So I'll create a little path where I
create a little loop like so, then I know
| | 00:41 | that my loop is exactly where I want it.
| | 00:43 | It is the shape that I want. Maybe I might
want to curve it just a little bit like that.
| | 00:47 | Now that I have the shape that I
need, I could make the size a little
| | 00:51 | smaller about like that, then I take
that path and using that brush, I go
| | 00:57 | ahead and stroke it.
| | 00:58 | So now I have the basis for my brush tip.
| | 01:00 | I turn off the path and then select that
shape and we'll turn that into a brush tip.
| | 01:06 | I say Brush preset and we'll call this chain2.
| | 01:13 | Now we could throw it away.
| | 01:15 | Now back here in our canvas, I am
going to create a path that's going to
| | 01:19 | represent that chain.
| | 01:21 | Now in this particular case,
I am not going to follow the chain.
| | 01:24 | I am just going to create a big
loop, like so. There is the loop.
| | 01:27 | That's going to be the path
of our chain. Let's save that.
| | 01:31 | There it is.
| | 01:31 | So now I am going to go
in there and get my brush.
| | 01:34 | I am going to choose the brush which
will up here at the bottom down there,
| | 01:38 | right there next to our previous chain.
Click on that and it does that, which
| | 01:43 | is kind of good for calligraphy, but in the
case of our chain, it's not going to quite work.
| | 01:47 | So I go to my Brushes panel right here.
| | 01:49 | I am going to increase the
Spacing between those little tips.
| | 01:54 | I am going to increase it quite a bit,
because now these are not the links;
| | 01:57 | these are the spaces between the links.
| | 02:00 | So I am going to increase it about like that.
| | 02:01 | That's giving me a nice space, just like that.
| | 02:05 | Now I am going to go into my Shape Dynamics
where I am going to turn off the Pen Pressure.
| | 02:10 | It's on by default.
| | 02:10 | I am going to set the Angle Jitter to Direction.
| | 02:14 | So now it's going to follow as you
can see the direction of my stroke.
| | 02:20 | So now that I have that, I am going
to make the size a little smaller.
| | 02:23 | Let's bring the size down to say some
like about 35, maybe 35 will be good.
| | 02:28 | That's a good size for our brush.
| | 02:30 | So now I am going to go in here and I
have all my settings and I am going to
| | 02:34 | pick a color that I want.
| | 02:35 | So I am going to get a dark brown color.
| | 02:37 | These are the spaces between the links,
so I'll pick a nice deep brown like that
| | 02:41 | and I make sure I am in the layer.
| | 02:44 | Right there. I am going to call
this layer spaces.There we are.
| | 02:50 | So, now I'm in the layer, I take the path.
| | 02:53 | I am in the brush that has
the settings that I just set up.
| | 02:56 | I could go ahead and stroke it with that.
| | 02:59 | Now those are the spaces between the links.
| | 03:02 | Now to create the actual links, I am
going to choose a color that's got more of
| | 03:06 | a golden tone, so let's go back into
the oranges here and we'll pick a color
| | 03:10 | like say that one right there. And I am
going to choose a hard edge brush, like
| | 03:15 | this one. It's set at 35 which right now
is going to give us that. That looks good.
| | 03:21 | So I am going to go to my Layers panel.
| | 03:24 | Right now, I got my spaces selected.
| | 03:26 | If I create a new layer, it
creates a layer automatically on top.
| | 03:30 | I want to create a layer behind it.
| | 03:32 | So I am going to hold down my Command
key, which Ctrl on a PC, and I am going to
| | 03:35 | click on that and now you can see
that it created the layer beneath the
| | 03:39 | currently selected layer.
| | 03:41 | This one I am going to call links.
| | 03:44 | These are the actual gold
links in between these spaces.
| | 03:49 | So now in that layer behind the spaces,
I go to my Paths. Here is the path.
| | 03:54 | I am in the brush, selected with a hard
edged brush with the gold, and I say stroke it.
| | 04:01 | So there we see that we now
have the links in between.
| | 04:04 | Now to make this start to look real, I
am going to go into the layers panel and
| | 04:09 | double-click on the spaces and give
them a little Bevel and Emboss, and that
| | 04:15 | Bevel and Emboss is going
to give a little tone there.
| | 04:17 | I am going to bring the size down to about one.
| | 04:19 | I am going to push up that Depth way up
so we get really strong lights and darks,
| | 04:23 | as you could see right inside there.
| | 04:24 | Here you can see them happening.
| | 04:26 | I am going to move the light
right about to this area here.
| | 04:29 | So now we could see we're getting these
nice little highlights inside of our spaces.
| | 04:34 | So now I'm going to go in there and
click OK and now for the links themselves
| | 04:39 | I'm going to Layer Styles for that.
| | 04:40 | I am going to give that little Drop
Shadow, because it's the shadow that the
| | 04:44 | chain is casting. Increase the Depth a
little bit and increase the Size, so it
| | 04:48 | softens it up a little bit, just like that.
| | 04:50 | I am going to give this a Bevel and
Emboss as well, and the light is still
| | 04:54 | from the same direction.
| | 04:55 | I am going to push up the Depth on this one,
so I get the really strong lights and darks.
| | 04:59 | So I want those lights to be really bright.
| | 05:01 | I am going to lighten that up a bit
there and this black, that's not good.
| | 05:05 | So I am going to just change that to a
nice deep brown, so it gives it more of
| | 05:08 | the golden color that I want right there.
| | 05:10 | I am going to soften it up a little bit,
just a little bit of a softening just like that.
| | 05:14 | Now to add a little more tonality
to that, little reflections in there,
| | 05:17 | I am going to go to Satin and with Satin,
| | 05:20 | I am going to change the color from a
black to a nice deep brown like that.
| | 05:24 | I am going to choose one of the
Contours that are little more complex like this one
| | 05:27 | here, and I am going to play around
with the Size until I start getting some
| | 05:32 | nice little reflections,
maybe the Angle a little bit.
| | 05:34 | I start getting some weird little
reflections going on in there and maybe I
| | 05:38 | will invert it and there we can see now we get
just nice little reflections inside the metal.
| | 05:43 | I am going to click OK on
that, the way it is right now.
| | 05:46 | Now I am going to add some additional
tonalities to this by going into my Burn tool
| | 05:51 | and on the links I am just going
to go in there and burn certain areas,
| | 05:54 | like right in there.
| | 05:55 | I am going to set this up to my
Shadows, which is going to really darken those
| | 05:59 | tones, go into Highlights, which is
going to kind of really make them darker.
| | 06:03 | So I just going to darken certain parts,
which is bringing out those little links
| | 06:08 | in between, and maybe we'll darken a
little area right here, maybe a little
| | 06:12 | tone right in there.
| | 06:13 | Then I'll go with my Dodge tool and I'll
add a couple of highlights in certain places.
| | 06:18 | I get it small and just throw a little
highlight right through this little area,
| | 06:22 | right in there like that.
| | 06:23 | Adding these nice little reflections of
light all through my little chain so the
| | 06:28 | end result starts to become this nice
little kind of metallic golden chain that
| | 06:33 | takes on any shape that you wanted to.
| | 06:35 | Now keep in mind that a slight
variation on any of these shapes and you can
| | 06:39 | create an entirely
different looking kind of a chain.
| | 06:42 | It could also be a snake.
| | 06:43 | It could be just about anything you want.
| | 06:45 | Just remember that it's not
what I did, but how I did it.
| | 06:48 | With a little variation here, you will
solve the kind of problems that you might
| | 06:51 | be faced with in your daily work.
| | Collapse this transcript |
| Creating a brush to make furry text| 00:00 | CS5 saw the introduction of
a whole new set of brushes.
| | 00:03 | They are called the bristle brushes.
| | 00:05 | These brushes exist in your panel right there.
| | 00:10 | It's the first set of brushes that
appear underneath the basic brushes, is all
| | 00:15 | these strange little icon brushes.
| | 00:17 | Now choosing any of the brushes and
going into the Brushes panel, you see
| | 00:22 | that the Brush Tip Shape is where you first
come into and you can see the controls there.
| | 00:27 | Go in to any of the other brushes, you see
that the controls remained the same as such.
| | 00:33 | But when you access any of the new
bristle brushes, that Brush Tip Shape
| | 00:38 | panel changes completely to give you a whole new
set of controls to work with these new brushes.
| | 00:44 | These brushes emulate real-world brushes,
giving you the ability to control the
| | 00:49 | number of bristles, the length of those
bristles, the thickness, the stiffness
| | 00:53 | and the angle of those particular brushes.
| | 00:56 | You also get this additional
little animated preview up here.
| | 00:59 | So that as I'm working with the brush,
you could see that it's moving around
| | 01:03 | based on the shape of the
brush and how I'm holding it.
| | 01:06 | Now if you're using a mouse, this window
will appear but it will not be animated.
| | 01:11 | The little brush will be straight
up and down, pretty much like that.
| | 01:16 | So that brings the point, the fact
that I am using a tablet and the tablet has
| | 01:21 | pressure sensitivity and it has a tilt.
| | 01:24 | As you can see the brush is tilting around.
| | 01:27 | A mouse does not have pressure sensitivity.
| | 01:30 | It doesn't have a tilt.
| | 01:32 | So you can use these brushes but you
would be limited on some of the effects
| | 01:36 | that you would be able to get where
you really need a tablet to maximize
| | 01:40 | their effectiveness.
| | 01:41 | Now I am going to go in here
and I am going to use this brush.
| | 01:45 | To go in there and start to create some
nice little effects, as you can see and
| | 01:48 | so on, but what I am going to do is
not actually paint with this brush.
| | 01:52 | What I am going to do is create a brush
tip using this brush which can then be
| | 01:57 | used with any of the other tools.
| | 01:59 | Let's switch over to say this guy here,
the Round Curve Brush, or this guy,
| | 02:04 | the Flat Curve Brush.
| | 02:05 | It doesn't matter because I am going to
manipulate this so strongly, it's going to
| | 02:09 | do all kinds of weird stuff.
| | 02:10 | So anyway, we will go back to that Round Curve.
| | 02:13 | So now what I am going to do is I am going
to reduce the number of bristles way down.
| | 02:16 | I am going to bring down their Thickness and I
am going to go there and bring up their Spacing.
| | 02:21 | In fact, let's use one of this
little more of a fan kind of a thing.
| | 02:23 | In fact we will use the Fan
Brush, right, the Round Fan.
| | 02:27 | So I am going to bring down the number of
bristles, cut their Length down, the Thickness.
| | 02:31 | I am going to bring the Stiffness way down.
| | 02:32 | I don't want it to be stiff at all.
| | 02:34 | I am going to play around with this Angle.
| | 02:36 | I'm also going to go in
there and increase their Spacing.
| | 02:38 | So I start to get more
of this kind of an effect.
| | 02:40 | You can see what it's starting to create now.
| | 02:42 | I might go ahead and increase
their length again. There we go.
| | 02:44 | Getting that nice
length going there. All right!
| | 02:48 | So now with that in mind, I got in my
Shape Dynamics where I have the Angle and
| | 02:52 | I set the Angle to Direction.
| | 02:54 | So it's going to actually follow my brush
the way I am going to manipulate it around.
| | 02:58 | So I will just close this down.
| | 03:00 | And let's just go in here and just kind
of doodle around until I get this kind
| | 03:03 | of a weird little shape like that. There it is.
| | 03:07 | That is my brush tip.
| | 03:10 | That's what I want it to be.
| | 03:11 | So what I am going to do is I am going
to select that and go over and say Define
| | 03:17 | Brush preset and we are going to call this fur.
| | 03:22 | So now I could just dump these guys.
I don't want to see them. There we go.
| | 03:27 | And I am going to get some text.
| | 03:28 | I am going to type in right here Furry Friends.
| | 03:35 | Now I have chosen a font that's fairly thin.
| | 03:38 | I got Helvetica Neue, Light.
| | 03:41 | I made it a nice large size.
| | 03:43 | I am going to increase this
spacing just a little bit.
| | 03:45 | I am going to go in there and just get
all these letters together here and I'm
| | 03:49 | going to go into my character.
| | 03:50 | I am going to increase the space
between the letters there, Kerning.
| | 03:54 | I am going to bring up about +25 just to give
them a little more room like that. That looks good.
| | 04:00 | So now that I see.
| | 04:01 | I am going to put in position right
about there and may go in there and just
| | 04:04 | make them a little longer, do a little Scale to
make it a little taller, bring them up like that,
| | 04:10 | bring it down, just so that we
kind of fill up the screen like that.
| | 04:13 | That looks good, right
there like that. All right!
| | 04:15 | So now what I have here is not
exactly what I am going to use.
| | 04:21 | The text itself is of no use for me.
| | 04:24 | So I want to go up to my layers here and
I am going to say Type > Create Work Path.
| | 04:30 | That created a path, which I
now see here. There is my path.
| | 04:34 | So in my layers I can dump the text.
| | 04:36 | I really don't need the
text, because I have a path.
| | 04:39 | Now I might want to go in there
and modify this path, which I can.
| | 04:42 | Let's select this whole set of the paths
right there and bring it down a little
| | 04:46 | bit closer to the rest of the stuff
here, and take the bottom of the F right
| | 04:50 | here and kind of extend it out a little bit.
| | 04:52 | Since it is a path I can do that.
| | 04:55 | Just take that one and we will extend
this one down just a little, just like that.
| | 04:59 | So we have a little more character to our text.
| | 05:02 | So now we are going to go in
there and modify this with our brush.
| | 05:06 | Let's save that path and turn it off for now.
| | 05:09 | In my layers, I am going to take my
background and I am going to invert it.
| | 05:12 | Now I am going to create a new layer
right on top of it and this is where I am
| | 05:16 | going to create my new text. I got my path.
| | 05:20 | There is the path, so I could see it again.
| | 05:23 | I am going to go and pick
some colors for myself here.
| | 05:24 | I am going to get a nice kind of an
orangy nice color like that for my
| | 05:29 | foreground and for my
background I have the default of white.
| | 05:33 | Now I am going to go to my Paintbrush
tool and I am going to choose that tip
| | 05:37 | that I just created right there.
| | 05:39 | It appears at the end.
| | 05:40 | Nice and big like that.
| | 05:41 | This right now is going to
create that kind of an effect.
| | 05:44 | So what I am going to do is I am
going to go into my Brushes panel.
| | 05:46 | We are now going to modify this, so
it's going to make a big difference in
| | 05:50 | the way it appears.
| | 05:51 | Let's make the size a little
smaller and we could see stroke that is
| | 05:54 | creating now right?
| | 05:56 | So I am going to randomizes this.
| | 05:57 | I am going to go into my Shape Dynamics
where I'm going to give it an Angle Jitter.
| | 06:02 | Now you see that it's
affecting each tip individually.
| | 06:06 | So I am going to go all the way to
100% so that each tip is following a
| | 06:08 | different direction than its
neighbors to the left and right.
| | 06:11 | Same thing with the Size Jitter.
| | 06:13 | I am going to increase it just about
52% so that each tip is a different size
| | 06:18 | than its neighbors on either side.
| | 06:19 | Give it a little spacing as well.
| | 06:21 | Go there and just give it a little
spacing just so that we can see the
| | 06:24 | distinct tips like that.
| | 06:25 | Now I am going to go down here to my
Color Dynamics where I am going to say
| | 06:29 | between the foreground and background,
which right now are the orange and the white,
| | 06:32 | I am going to go in there and say
jitter between those two. 100%.
| | 06:38 | I am going to bring my Hue slider down to 0.
| | 06:40 | I don't want to affect the Hue at all,
but I do want to affect the Saturation
| | 06:44 | just a little and the Brightness a little.
| | 06:47 | Again, each tip is going to be affected
independently of the ones to either side of it.
| | 06:52 | So now that I have all these settings
for my brush, I could turn this off, make
| | 06:56 | sure I am into layer for
my text. and I take the path.
| | 07:01 | I have the brush selected as a current
tool, so I say stroke it and I get my nice
| | 07:06 | little Furry Friends.
| | 07:07 | Now it looks a little chaotic. No
problem. Undo that and make that brush much
| | 07:11 | smaller, right there.
| | 07:13 | Now it's about the size of the strokes
themselves, maybe a tiny bit smaller. Do it
| | 07:18 | again and there we see we have these
nice little furry text saying Furry
| | 07:23 | Friends and it's a little more
descriptive because we have a brush tip that
| | 07:27 | kind of has that furry look to it.
| | 07:29 | Now this is a technique that I used to
create one of the many billboards that
| | 07:33 | are in Times Square.
| | 07:35 | That actual billboard we will see right here.
| | 07:38 | There's the billboard.
| | 07:40 | Furball the Musical.
| | 07:41 | Now this of course doesn't exist.
| | 07:42 | It's just a little tribute to all my
cats that I have had throughout my life.
| | 07:46 | And to see it in the actual painting,
we will look at the painting here and
| | 07:50 | that particular billboard is way up in here.
| | 07:54 | We'll kind of zoom into
this little area right there.
| | 07:56 | As we zoom in closer, you will
see that there is a little Furball the
| | 08:01 | Musical right there.
| | 08:02 | It's really tiny, but it's
effective and it's pretty legible.
| | 08:06 | So in the overall painting, which
expands 25 feet, it's just a little thing
| | 08:10 | way down in there.
| | Collapse this transcript |
| Creating the look of stitching on cloth| 00:00 | There is another brush that made an
appearance several times throughout the
| | 00:03 | entire painting of Times Square and that
is a brush to create stitching, because
| | 00:07 | stitching appears in many places.
| | 00:10 | I will show you a couple.
| | 00:11 | Here is my friend John.
| | 00:13 | We will get in real close.
| | 00:14 | You will see some of the
stitching in this piece.
| | 00:16 | So we are getting close here on his arm.
| | 00:17 | We see the stitching on his shirt
there, and we see the stitching on the
| | 00:20 | wrist-band, and you come over here and see John.
| | 00:23 | If we are getting close down here,
you will see that there is stitching on
| | 00:26 | his shirt, stitching on his jeans, all over
the place there. And my wife on her jacket.
| | 00:31 | And so on her jacket, you will see
there's stitching all through it, in all
| | 00:35 | different parts. And even some of the billboards.
| | 00:38 | Like friends as we look here, way back
here in the central area you see there is
| | 00:42 | a billboard right there, this little billboard.
| | 00:45 | If you go and look at the billboard
itself, the billboard looks like this, and
| | 00:50 | if we look at one of these boots.
| | 00:51 | I'll open up one of the boots themselves.
| | 00:53 | There is boot number 2 and we will
get in close in that you will see that there
| | 00:57 | is stitching all through that as well.
| | 00:59 | Even though in the actual painting
this doesn't even show up as anything,
| | 01:03 | I created it so it will be as
close to the real thing as possible.
| | 01:07 | So let's go ahead and create a stitch.
| | 01:08 | Now, to create a stitch like in any brush shape
that I've created, I am going to use black.
| | 01:14 | But what I am going to do is I am
going to start off by creating a little
| | 01:17 | elliptical selection, right there like
that, and let's zoom in on it so we could
| | 01:21 | see how it is going to look.
| | 01:23 | I am going to go ahead and fill that with black.
| | 01:25 | So I just go in there and say Fill, with
the Foreground Color at 100% normal, and Fill.
| | 01:30 | I am now going to duplicate it straight across.
| | 01:33 | I am holding down my Shift key to constrain
that and go straight across and I can deselect it.
| | 01:37 | So now I've got two circles.
| | 01:39 | Using the Rectangular Marquee tool,
I am going to connect the two circles by
| | 01:43 | selecting an area right between the two
of them like that and filling that with
| | 01:47 | black as well. And there you can see
that I have this long shape, a little
| | 01:51 | lozenge kind of a thing right there.
| | 01:54 | Pulling back there we see that little lozenge.
| | 01:56 | So what I am going to do is I am going to
select that and say Define Brush Preset.
| | 02:04 | I can now throw it away.
| | 02:06 | Let's fill it with the background
color, which is white, and we are done.
| | 02:10 | I am going to create a path for myself here.
| | 02:12 | This is a path that the
stitching is going to travel along.
| | 02:16 | So it goes like that. Here is my stitch.
| | 02:19 | So we'll go to Path and
we'll save that path for later.
| | 02:23 | Now, in my Background I will just throw
a color in here, just throw any kind of
| | 02:27 | a color, kind of light beige in there, like so.
| | 02:30 | I will just fill that in there.
| | 02:31 | And in the layer on top of this is
where we are going to create our stitch.
| | 02:35 | So we'll call it stitch.
| | 02:39 | So now, I get my Paintbrush and I pick
up that brush right there, which is at
| | 02:43 | the end of our little stack.
| | 02:45 | We recently created it.
| | 02:46 | I am going to go in here and
I am going to pick a deeper color.
| | 02:49 | That's going to be the actual stitching.
| | 02:50 | So we'll go with say about like that.
| | 02:52 | Here's a nice color right there.
| | 02:54 | So now the brush does that.
| | 02:57 | So by going into the Brush panel we
will be able to go in there to modify it,
| | 03:01 | so it looks like an actual stitch.
| | 03:03 | I am going to go in there and
let's bring the size down considerably.
| | 03:07 | That's good size for our stitch.
| | 03:08 | I think it's a little bigger so you
are going to see the difference in what
| | 03:11 | we're going to do now, and I am
going to increase the Spacing on it.
| | 03:14 | So it has enough spacing between so it
looks like it's gone into the fabric and
| | 03:18 | out of the fabric, into the
fabric, like a regular stitch.
| | 03:21 | You're not sure what it looks like?
Look down at the shirt you are wearing.
| | 03:24 | There's probably stitching on there somewhere.
| | 03:26 | It's always good to refer to
reality to know how to re-create it.
| | 03:29 | Look at how things work and then you can
figure it out how to do it in Photoshop.
| | 03:32 | Now, we have that the brush is doing that,
so the last thing we have to do is we
| | 03:37 | have done in the previous brushes is
going to Shape Dynamics, turn off the
| | 03:41 | control for Size Jitter and set the
Angle Jitter control to Direction.
| | 03:47 | Don't change any size on it, no
size, no angles, no roundness.
| | 03:51 | You could change your Roundness if
you wanted your stitching to be a little
| | 03:54 | squattier. See, I can go in there and
do that, but you see how it's doing it
| | 03:59 | to individual strands?
| | 04:00 | Here is a case, where I will control
the roundness globally by going back over
| | 04:04 | here and dragging this guy over.
| | 04:06 | So I can make really thin
strips or wider strips and so on.
| | 04:10 | So now that I have all that, that's the
only changes I am going to make, because
| | 04:14 | now you can see that it's
starting to take on the right form.
| | 04:17 | So what I am going to do here.
| | 04:18 | I am going to go to my Path.
| | 04:20 | I am going to take that.
Make sure I am in the layer.
| | 04:22 | I am in the layer stitch. Yeah take that path.
| | 04:24 | I am in the brush and I go ahead
and stroke it. Turn off the path.
| | 04:29 | Now there, now we've got the
basic stitch going into the fabric.
| | 04:33 | We want to go in there and give the
illusion that this stitching has caused a
| | 04:36 | dent into the fabric.
| | 04:38 | So I am going to go into my layer
styles and I need to have a nice even dark
| | 04:43 | color along the entire edge.
| | 04:45 | So I am going to give it an Outer Glow,
because that's the only way it's going
| | 04:48 | to give me a color around the entire edge.
| | 04:51 | I am going to increase the Size a bit like that.
| | 04:54 | I am going to change that from that
color to a deep version of this color here.
| | 04:58 | So I am going to go to a really deep
version like that, way down here, like
| | 05:02 | that and change the mode from Screen
to Multiply, which is giving me that
| | 05:07 | dark tone that I want.
| | 05:08 | So I am going to go in there and
increase the Size a little bit and maybe lower
| | 05:11 | the Opacity just a little bit.
| | 05:13 | Then we will go to the actual stitches
and say give it a Bevel and Emboss, which
| | 05:17 | is going to give you that nice little
raised section right there, and that white
| | 05:21 | is a little too strong so I am going
to pick up this color here and lighten it
| | 05:24 | up just a little bit, just so I get a
little bit of a highlight there. Bring the
| | 05:28 | Size down just a little so
it becomes just a little edge.
| | 05:31 | Bring that to about say 2, so I get
just a little edge on the string, and click
| | 05:35 | OK and you see that we have this nice
kind of a stitch by creating a single
| | 05:40 | tip that was just two-rounded edges
with a straight edge in between and it
| | 05:44 | gave us our stitch.
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| Creating a rough brushstroke look for the Tarzan sign| 00:00 | The new bristle brushes has made it
easy to do a lot of special effects that
| | 00:04 | require the look of traditional brushes.
| | 00:07 | In Times Square there is billboard
right up here for the play Tarzan and you
| | 00:13 | can see that it's made up
of rough kind of letters.
| | 00:16 | Now I have the actual file in back.
This is a low-res version so let's open
| | 00:20 | up the actual file.
| | 00:21 | Here we see that as we get closer
you will see that there is a lot more
| | 00:24 | detail and you can start to see that
the letters are in fact very rough looking
| | 00:29 | brushstrokes and you can see little
hairs and stuff sticking out all over the place,
| | 00:36 | all of the things that make them
look like they are rough brushstrokes.
| | 00:39 | So let's go see how those were done.
| | 00:41 | So right here, I'm going to get my
Paintbrush and I am going to choose one of
| | 00:46 | the bristle brushes.
| | 00:47 | I am going to use the softest one, this
little round-bristle one here which is
| | 00:51 | one of my favorites.
| | 00:52 | The Round Fan. It allows you to go in
there and be very loose with this thing.
| | 00:56 | I am going to modify it.
| | 00:57 | I am going to reduce the number of
bristles that are there now and you can see
| | 01:01 | the effect it's going to have.
I am painting with black.
| | 01:04 | Let's go in here and see what it's
doing right there, and I am going to go in
| | 01:08 | there and start increasing Length of
the bristles so it'll be a little longer.
| | 01:12 | And you can see that right now it's
starting to create a whole different effect.
| | 01:15 | I am going to give it a little Spacing.
| | 01:16 | I like to test each mark as I do it.
| | 01:20 | I like to do a little test there just
to see and I am going to bring down the
| | 01:23 | Stiffness as well so that they are not so stiff.
| | 01:25 | Now you can see we are starting to
get a nice little feel to this brush.
| | 01:29 | Let me give it a little more Spacing, so
there is even more air around it. There.
| | 01:33 | So now I am going to go down
here to the Shape Dynamics.
| | 01:36 | In the Shape Dynamics I am going to
set the Angle Jitter to Direction.
| | 01:40 | That's going to completely change the
way this brush is going to start to behave.
| | 01:44 | So let's go back in there and make a
few more modifications. Like increase the
| | 01:47 | Length again, bring that up a little more.
| | 01:49 | There we go, and let's play
around with this angle here.
| | 01:53 | So now when I start to just play with it you
see that it's a much rougher kind of a stroke.
| | 01:57 | So what I am going to do is I am
going to do my background here.
| | 01:59 | I am going to invert it and in a layer
on top of that, which is where I am going
| | 02:03 | to create my letters. I am
going to create them with white.
| | 02:04 | I am going to go in here and just going
to create the nice letter that I want.
| | 02:08 | So I am going to kind of fill it in, in
certain spots I am going to fill it in
| | 02:12 | just as I get it its basic shape.
| | 02:15 | I am just going to go and I am
just dabbing over the filled area.
| | 02:19 | I'll go in there and clean some of those
rough areas later and I am going to go
| | 02:22 | in there and just kind of paint this
whole thing right through here, like so.
| | 02:26 | There is the basics of the letter
A right through there, like that.
| | 02:31 | And we can go in there and just kind
of roughen those guys up a little bit,
| | 02:34 | and then we'll just throw a little
connector right in the middle here, just like so.
| | 02:38 | And I am just constantly
changing the angle of my brush.
| | 02:41 | I am going to get a little hairs showing up
in different spots all through there like that.
| | 02:46 | And there you can see that I've get
this kind of a rough looking kind of a
| | 02:49 | letter made out of some really rough
brushstrokes by just going in there
| | 02:54 | modifying one of the existing bristle
brushes to make it behave just the way I
| | 02:58 | wanted it and give me my
rough brushstroked letters.
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| Creating a crochet look brush| 00:00 | In this tutorial we're going to modify
an existing brush in Photoshop, one that
| | 00:04 | comes with the program, in order to
make it do what we want it to do.
| | 00:09 | One of the things is going to be a
somewhat complex and another one simple.
| | 00:12 | Let's zoom in and look at the complex one first.
| | 00:14 | Way up here we see this one bllboard
and when I zoom in you'll see that the
| | 00:19 | shirt is made up of intricate crochet pattern.
| | 00:26 | Pulling back, we're going to zoom in
on this simpler one, which is way down
| | 00:29 | here, which is the strings of lights
that adorned this little enclosed eating
| | 00:35 | area of the Novotel Hotel.
| | 00:37 | Those are the two we're going to do right now.
| | 00:39 | Like I said it's an existing brush, and
that brush is going to be a solid circle.
| | 00:47 | Let's switch to a white
and what it does is that.
| | 00:51 | It just creates a streak.
| | 00:53 | Well, that's perfect.
| | 00:54 | That's exactly what we want.
| | 00:55 | We're going to modify it though
to do what we've need it to do.
| | 00:59 | In this particular case it's to crochet.
| | 01:01 | So in the Background layer I've added
a nice little gradient of colors kind
| | 01:05 | of like a flesh tone.
| | 01:07 | And on top of that is a series of paths,
| | 01:10 | all these paths that make up the
shape or the pattern for the crochet.
| | 01:15 | And this is covered in more
detail in another episode dealing with
| | 01:19 | Illustrator Connection.
| | 01:20 | But that's what's going to guide our
brush, but first we have to go in there
| | 01:24 | and create that brush.
| | 01:25 | So we have the brush.
| | 01:27 | We've picked the Size, hard edge.
| | 01:30 | So we go into our Brushes panel.
| | 01:32 | In the Brushes panel we're going to
modify the brush to do what we want it to do.
| | 01:35 | We're going to turn off the Transfer
modes and make sure that those aren't on
| | 01:38 | because you want to it to be hard edge.
| | 01:40 | In Brush Tip Shape I am going to bring the
Spacing down to 1 % so it is a solid line.
| | 01:45 | The Size should be smaller.
| | 01:48 | So I am going to go in there and I
place the cursor over the image so I can
| | 01:51 | kind of gauge the size.
| | 01:53 | I am going to reduce the Size of the
brush to size that is just about what I
| | 01:57 | want, which is a 10.
| | 01:58 | Then I kind of test it out,
see what it looks like.
| | 02:01 | And maybe I can make it a
little smaller. Just go down to 8.
| | 02:04 | And an 8 looks good. I'll do that.
| | 02:07 | So now we see that it's going to
give us the right size that we want, but
| | 02:10 | instead of having a straight line like
that what we want it to do is to look
| | 02:14 | more like the little stitching.
| | 02:16 | So in that Brushes panel again, I am
going to increase the Spacing between them
| | 02:20 | just enough so that they're just touching.
| | 02:23 | See, I don't want to have a dotted line.
| | 02:25 | I want it to just touch.
| | 02:26 | At 100%, they are distinct dots,
| | 02:30 | one next to another.
| | 02:31 | But by making it less than 100 % they
start to encroach on each other, making
| | 02:35 | them look like they're attached.
| | 02:36 | And about there, about 74, that looks good.
| | 02:39 | So now we're getting that kind of a look.
| | 02:42 | So now I make sure I am in the
layer right here which we'll call the
| | 02:46 | crochet and I have my path.
| | 02:52 | I am in the brush with the parameters
set for it so I can take the path and say
| | 02:57 | stroke it, which is going to create
that whole effect that we see there.
| | 03:00 | We can deselect the path and we have
the crochet, which now we want it to give
| | 03:05 | that dimension to make it look
like it is in fact the stitching.
| | 03:08 | So I want to go into the layer styles
for it, give it a little drop shadow so it
| | 03:12 | is separated from the skin below,
and we give it a Bevel and Emboss.
| | 03:16 | Now the Bevel and Emboss I
am going to decrease the Size.
| | 03:19 | My brush size is less than 10
so 5 is just halfway across.
| | 03:24 | I don't want that much so I am going to
say let's make it about 3 and I am going
| | 03:27 | to increase the dark side.
| | 03:29 | And this light side,
| | 03:30 | well, we don't really see the light
side because it's white against white.
| | 03:32 | So I am going to change the white to a
gray and change the mode to that of Normal.
| | 03:38 | So we're just picking up that little
gray edge right along the sides there.
| | 03:41 | So now that gave the threads
a nice dimension. Click OK.
| | 03:44 | And the other thing that would be
needed at this point would be to wrap
| | 03:47 | this around the skin.
| | 03:49 | So depending on the complexity we could
do something simple like say just Warp it.
| | 03:53 | And we'll grab the center part and bring it up.
| | 03:56 | And we'll just kind of
bring these edges in, like so.
| | 04:00 | So it starts to wrap around the skin the
way we want it to, right about like that.
| | 04:05 | And there you could see that it is now
this crochet pattern wrapped around the skin.
| | 04:12 | Now the little lights that we saw before,
that's even simpler because of the fact
| | 04:18 | that in that particular case we
were just doing straight lines, right.
| | 04:21 | I have my background here which I am
going to go ahead and invert to black.
| | 04:25 | Then in the layer on top of that I
am going to say this is the lights,
| | 04:29 | little strings of lights.
| | 04:31 | And I've got some paths that I
created for those strings of lights.
| | 04:34 | Now we're going to use the same
exact brush we used a second ago for the
| | 04:39 | crochet, but in this particular
case we're going to increase the
| | 04:42 | distance between them.
| | 04:43 | So I am going to go in there to Spacing and
make them more of a dotted line like that.
| | 04:49 | Once I have that, I am in the brush.
| | 04:51 | I take a path and say stroke it.
| | 04:55 | Take off the path and there we
have these nice little strokes.
| | 04:57 | Now these are lights in the night sky
so what I am going to do is I am going
| | 05:01 | to go into that layer that we put the
lights into, and I am going to give them
| | 05:06 | a little Outer Glow. Yellow is fine.
| | 05:09 | I'll just make it a little bit bigger
and spread it out a little bit so they get
| | 05:13 | that nice little kind of a harder edge to them.
| | 05:15 | That's all that was necessary.
| | 05:17 | And there you could see we have
these nice little strings of lights which
| | 05:19 | could be strings of lights around a
Christmas tree or whatever it is that you want to do.
| | 05:24 | But it is that simple to simply take a
existing brush that comes with Photoshop
| | 05:29 | and alter it to do what you want it to do.
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| Creating dirt and grime| 00:00 | Dirt and grime, a product of all big
cities throughout the entire world.
| | 00:04 | Times Square is no exception. No matter
how many times a day you might clean it,
| | 00:07 | there is still that dirt and grime
from just normal wear and tear in the
| | 00:10 | elements, and so on.
| | 00:11 | Looking throughout this scene, we'll
see a lot of places where we see some dirt
| | 00:15 | and grime, like right here in this lamppost.
| | 00:18 | Go ingthere a real close so can you see
there is a little dirt built up coming
| | 00:21 | down from the edges of the sign there.
| | 00:22 | The sidewalk, like right here, we'll
get in real close right into this sidewalk area.
| | 00:27 | There you see some dirt and grime,
some litter, little rough spots up here.
| | 00:32 | I mean you can go way up on top here,
like we'll look just like right up in here,
| | 00:35 | and we'll get real close into this
area here, and you see that there are some
| | 00:38 | dirt and grime, little drips coming
down from that pole, dirt everywhere.
| | 00:43 | Clean as much as you want, but
it will always get dirty again.
| | 00:45 | Creating dirt and grime is
really easy in Photoshop.
| | 00:49 | I know there are people out there who
will say dirt and grime is really easy
| | 00:52 | to create normally, but when you're
trying to paint this stuff, it gets a
| | 00:55 | little more complicated.
| | 00:57 | So what I am going to do is I'm
going to use an existing brush.
| | 00:59 | I am not going to create a brush.
| | 01:01 | I am going to use one of your brushes
that come with Photoshop, which is right here,
| | 01:04 | these spatter brushes.
| | 01:05 | All these brushes right here is
perfect for dirt and grime, as well as rust,
| | 01:09 | another damage of wear and tear.
| | 01:12 | I am going to choose the largest one right
now, so you can see how it's going to work.
| | 01:15 | I am going to set this up to black and
there you can see that it just creates a
| | 01:19 | streak just like that.
| | 01:21 | Let me undo that and go over to my
Brushes panel where I am going to modify this
| | 01:25 | brush so that it's going to give me the
effect of the dirt and grime that I want.
| | 01:29 | First thing I am going to do is I
am going to increase the Spacing.
| | 01:31 | I am going to push that up so that we
can see the individual tips and you can
| | 01:36 | see that there are all the
individual tips. There they are.
| | 01:38 | Just close them up a little bit.
| | 01:41 | And it does have a bit of a pattern in it.
| | 01:43 | It almost looks like a little
caterpillar, and that's what it's creating.
| | 01:46 | See it's kind of grimy, but it's
very patterned like. It's too perfect!
| | 01:51 | That's because all the tips are
pointing in the exact same direction.
| | 01:55 | So the next thing we have to do is
change that by going down into our Shape
| | 01:58 | Dynamics here where it's got some presets.
| | 02:01 | Let's turn these off for
now and the Size Jitter.
| | 02:05 | I am going to generate a Size Jitter
going all the way to 100% and set up a
| | 02:09 | minimum, so they don't get too small.
| | 02:11 | So now you can see that each tip is
a different size and the Angle Jitter
| | 02:14 | is also set to 100%.
| | 02:16 | Right now, I brought it back to 0 where
they all face the same direction, but by
| | 02:20 | moving the Angle Jitter, they are all
going into different angles so that each
| | 02:24 | tip is different in size and angle
from its neighbors on either side, which
| | 02:29 | starts to give us the randomness that
you see here, which is much better for
| | 02:33 | creating the dirt effect that we want to have.
| | 02:36 | Now right there by itself is enough.
| | 02:38 | You could go in there and scatter,
but that starts getting a little too
| | 02:41 | uncontrollable, so we won't
use scattering in this case.
| | 02:44 | Now in a layer I'll start to create my dirt.
| | 02:47 | Now I usually work with a
brush with a low opacity.
| | 02:51 | I am going to bring it down to about
30%, so I can slowly start to build up the
| | 02:54 | dirt and make a little darker if I want
as I'm working. Okay, just like that and
| | 02:59 | I start to add it in layers as I go.
| | 03:02 | Sometimes I'll get a really big brush
and bring the Opacity way down so I can
| | 03:07 | just kind of throw a couple of little
edges along the sides like that which
| | 03:10 | start to add a little
extra dirt along the edges.
| | 03:13 | Now I can go in there and let's say it's
not just soot. Maybe its a little grime,
| | 03:19 | some other sources.
| | 03:20 | So I am going to introduce a second color.
| | 03:22 | I am going to get a light gray
about like that, right there.
| | 03:26 | So now I have this black with the gray.
| | 03:28 | So going to my brush engine, I am going
to go in here and say give me the Color
| | 03:32 | Dynamics, where I have the Foreground
and Background pushed all the way to 100%
| | 03:37 | and I am going to bring the Hue back to 0.
| | 03:40 | I don't want anything one these others
and now that I have introduced this other
| | 03:43 | color, let's bring it back down and go
back to that 30%, and I start to draw--
| | 03:48 | In fact, let's go to 100% so we
can really see the difference.
| | 03:51 | Now you can see that as I apply these strokes,
| | 03:54 | you can see that there is a little
variation going on there of the gray and
| | 03:58 | the black, giving me a much deeper
type of dirt than this plain sooty looking
| | 04:04 | dirt that we have here.
| | 04:05 | Now when it comes to things like rust,
I am going to create another layer for
| | 04:09 | our rust and here I can use this same
brush that I used here but it's just a
| | 04:14 | question of the colors.
| | 04:16 | I am going to choose for my foreground color
| | 04:18 | a very nice orange about like that,
kind of a bright orange, and there for
| | 04:23 | my background color,
I'll pick a deep brown about like that.
| | 04:29 | Right there those two are going
to give me the rust that I want.
| | 04:33 | Let's make sure that all settings are okay.
| | 04:35 | We've got the Size Jitter set and in
the Color Dynamics, we have the foreground
| | 04:39 | and background, so that's all the way we want it.
| | 04:41 | So now I start to draw in here and
you can see as this is going back and forth
| | 04:45 | between the two colors I am
getting a nice rusty effect.
| | 04:48 | So let's just draw a couple
of little pieces right here.
| | 04:50 | It's getting some rust, and so on.
| | 04:53 | After we've done this, we can do a few
other things to make it look even more
| | 04:56 | rusty by going in there and
perhaps giving it a filter.
| | 04:59 | So I will go in there and it could be
Noise depending on resolution you're
| | 05:03 | working at, a much lower amount of noise,
just enough noise right there like that.
| | 05:07 | Or maybe we want to give
it a little rougher texture.
| | 05:10 | So we'll go in there and do something
like say Texturizer, set to Sandstone mode,
| | 05:15 | and we'll bring down the Scaling a
bit, and push up that Relief a little,
| | 05:19 | just like that and there you can see that
our rust starts to have a more realistic look.
| | 05:24 | Now let's just make believe that this
rust is underneath this white paint here
| | 05:29 | that's got dirt on it and it's
underneath because it's even away at the
| | 05:33 | surface paint here.
| | 05:34 | So to get that effect, I am just
going to into my layer styles for that
| | 05:38 | layer with the rust and I am going to give
that an Inner Shadow, which I am going to Choke it.
| | 05:43 | So it gets really tight.
Bring down the Size a bit.
| | 05:46 | Let's just make it a 1 and a Distance
just a little bit more, right there like that,
| | 05:52 | and we'll push this up a bit and
click OK and there we can see that now
| | 05:55 | we start to have this little edge
along there which starts to give it the
| | 05:59 | feeling that this rust has eaten away at the
white paint, exposing this rust metal down below.
| | 06:07 | So there we can see that we have this
very damaged whit ewall that has soot,
| | 06:12 | grime, and rust eating away through it.
| | Collapse this transcript |
| Using brushes to create trees in Central Park| 00:00 | Brushes make it so easy to create
so many different things, even trees.
| | 00:05 | Let's get a real close to the
center part of the painting right here.
| | 00:09 | We're going to zoom in and look at the
trees way down on 59th Street in Central Park,
| | 00:14 | way back there.
| | 00:17 | Once it gets brought down to this low
resolution here, they kind of lose some of
| | 00:21 | the detail, but you can see that there
is some detailed to be seen in there and
| | 00:25 | the printer will pick up most of that to
make it look like the little trees that are
| | 00:29 | way back there down the street.
| | 00:31 | Now creating those trees, well it's just
a question of playing around with brushes.
| | 00:35 | Now here I am going to create some trees.
| | 00:40 | Now I am going to do it in a layer
because I create everything in layers, then
| | 00:44 | I'm going to basically do the
trees like the ones in Central Park.
| | 00:47 | Now keep in mind that in the daytime
the colors might be a little different and
| | 00:51 | so on, but here is the ones in Central Park.
| | 00:53 | So I am going to take a hard edged
brush, nice hard edged brush like this.
| | 00:57 | I am going to make it a little bigger,
and I am just going to draw a couple
| | 01:00 | of strokes like this.
| | 01:01 | These are basically your trunks.
| | 01:04 | I got some thinner ones going on here
and you are not seeing the change to the
| | 01:07 | size of my brush, and that's because I
have a pressure-sensitive tablet I am
| | 01:10 | using which is why I get
the different thicknesses.
| | 01:13 | So there. They don't have to be that
perfect because of the fact that I am going
| | 01:16 | to cover most of the stuff with leaves.
| | 01:18 | Let's just throw a couple more
little branches in there like that.
| | 01:21 | So there is a basic trunk of our tree.
| | 01:24 | Now if you were going to do this as a
real tree, I would say make it brown
| | 01:28 | instead of black and give it a little
filter like Craquelure, which will give it
| | 01:31 | a nice little texture, or
whatever you might want to play with.
| | 01:34 | But right now we're going to just do
those trees like the ones in Central Park.
| | 01:38 | Now I am going to create the leaves.
| | 01:39 | To create the leaves, I am going
to basically create a single leaf.
| | 01:44 | So I am going to go in here and on
the side I am jut going to draw a
| | 01:46 | little shape, like so.
| | 01:47 | I am going to fill it in with black, kind of a
heart shape right there like that. That's a leaf.
| | 01:54 | You might want to consult a botanical book
and create something that looks more realistic.
| | 01:59 | It doesn't matter.
| | 01:59 | There leaves are so tiny and so far away
| | 02:01 | you don't have to get that
perfect with it, but there's my leaf.
| | 02:05 | So what I am going to do is I am going
to select that and define it as a brush.
| | 02:09 | So we'll call it leaf.
| | 02:13 | Now we can throw it away.
Don't need to see it anymore.
| | 02:15 | I am going to create another layer
where I am going to start adding my leaves,
| | 02:18 | and I am going to call it dark leaves.
| | 02:21 | Now these trees are silhouettes, in
the night sky, way back there so that's
| | 02:28 | why we used black for the trunk and I am
going to use black for the leaves themselves.
| | 02:31 | So I am going to take my Paintbrush
tool and I am going to select that
| | 02:34 | brush, right there.
| | 02:35 | It appears as the last brush,
which right now it does that.
| | 02:39 | So let's undo that and look at our
Brush Engine, right here where I am going to
| | 02:43 | increase the Spacing of that brush.
| | 02:46 | So now they are individual tips. You can see.
| | 02:48 | There you go.
| | 02:49 | And now they start to look more like that.
| | 02:50 | I am going to bring down the Size
considerably because I want them to be little
| | 02:54 | tiny leaves on the tree like that.
| | 02:57 | There you go, maybe you are going to do it a
little bit smaller, just bring it to about 9.
| | 03:00 | That's a good size right there.
| | 03:01 | So now, they are all
going in the same direction.
| | 03:04 | We can make them dance like little
Rockettes here and have them all dancing here, but
| | 03:08 | I want to affect every tip individually.
| | 03:10 | So I am going to go into my Shape
Dynamics right here, where I'm going to have
| | 03:15 | Pen Pressure turned off, because I don't
want the pressure to be controlling it,
| | 03:18 | and if you have a mouse you don't have
pen pressure, but I am going to do a Size
| | 03:21 | Jitter. That means that each tip is
going to be a different size than its
| | 03:25 | neighbor as you could see there.
| | 03:27 | I am going to set up a Minimum Diameter.
| | 03:29 | So I don't get too small.
| | 03:30 | I am going to set it to about 14%.
| | 03:32 | So that way they don't become
little tiny dots and right off the bat,
| | 03:35 | we could see that we're starting to
have a little variety in our stroke.
| | 03:38 | I am now going to play around with the
angle as well, push it at all the way
| | 03:42 | over to 100% so that every leaf is
going in a different direction and then
| | 03:46 | finally, Scattering.
| | 03:47 | I am going to scatter it on both axes so that
they kind of spread away from the actual stroke.
| | 03:53 | So now I am ready to start applying my leaves.
| | 03:55 | So I come over here and I start
applying little leaves all through this area,
| | 03:59 | just covering up stuff, making sure
some of the trunks are visible, so I get
| | 04:03 | this nice little tree
starting to happen like this.
| | 04:06 | Let's start to really fill up the
areas, so I started getting these nice
| | 04:11 | little bushes of leaves.
| | 04:14 | Right through there, all through there.
| | 04:16 | Now in Times Square, there are
streetlights which are lighting our tree here.
| | 04:23 | So I need to have those little highlights
and I am just continuing to fill it up there.
| | 04:27 | I need those little highlights that
reflect that light that's coming through.
| | 04:31 | So I am going to go in here and I am
going to pick a couple of colors that I want.
| | 04:35 | So they are street lights,
so something kind of a warm glow.
| | 04:38 | So I am going to pick a deep orange
like this one right here for my foreground
| | 04:42 | color, maybe a little lighter like that.
| | 04:44 | Now for my background color, I am going to
pick that same color but darken it a bit.
| | 04:49 | Just go down to about like that, nice.
| | 04:51 | So now I have those two colors.
| | 04:53 | I am going to choose one more choice in
my Brushes panel and that is the Color
| | 04:57 | Dynamics where I am going to have it
go from Foreground and Background 100%.
| | 05:01 | Now to keep the others down to 0 so I
don't introduce any other tones in there.
| | 05:05 | I just want to deal with those
two particular colors right there.
| | 05:08 | So now I'll create another layer,
which I'll call my highlights.
| | 05:13 | These are little tones that are being
picked up by the streetlights and I'll
| | 05:16 | just go in there and start
drawing in a couple of little spots.
| | 05:19 | I'll just draw in a couple little
areas like that where you can see that the
| | 05:23 | leaves they are just starting to
lighten up a little bit, just picking up the
| | 05:26 | highlights onto my tree, just like that.
| | 05:28 | Come a little closer so you can see the effects.
| | 05:31 | There you can see what's happening.
| | 05:32 | Now very simple, if I was to pick
bright green here and this dark green, say
| | 05:39 | like that, and we just draw some leaves here,
| | 05:42 | you can see that we have a tree
in the daytime. It's that simple.
| | 05:46 | But that's the basic technique to
create all the leaves in the trees.
| | 05:50 | I did this once a long time ago and that
particular brush made it into the program.
| | 05:56 | It's this brush right here.
| | 05:58 | I made the leaf brush right there.
| | 06:00 | If you study how this brush is
set up, it's the same functionality.
| | 06:05 | There is the Scattering.
| | 06:06 | There is the Shape Dynamics, Color Dynamics,
and I also have a Transfer mode in this one.
| | 06:10 | So there you can see all the different
effects that have been applied and there
| | 06:13 | is that particular leaf and if you go in
there and play with the Color Dynamics
| | 06:19 | and push this all the way up,
| | 06:21 | here you can see now we got all
these nice little tones happening.
| | 06:25 | But that's basically it.
| | 06:26 | I just created a basic shape of the
brush, modified it so it did what I wanted
| | 06:30 | and there it created the trees that we
then see way in the back in Central Park.
| | Collapse this transcript |
| Using a brush to create the look of embroidery| 00:00 | Another brush similar to the one that
we did for the chain was going to be
| | 00:04 | employed here but with some slight
modifications to it, and that is right here
| | 00:08 | way up on this billboard.
| | 00:09 | We see some embroidery.
| | 00:11 | Right here on this little cloth
placed over a dress or somewhere.
| | 00:14 | It is little embroidery here
is what we going to cover now.
| | 00:17 | And basically this is being
done with a specialized brush.
| | 00:21 | I'm going to go in here and create that
brush. Very similar to what we did for
| | 00:26 | the chain, except this time it's
going to be a little bit rougher.
| | 00:28 | I'm going to go in there and use a very
simple brush, hard-edged brush, nice and
| | 00:33 | small, good size like that, and even smaller.
| | 00:38 | Here we go and make sure that
there are no settings for it.
| | 00:40 | Actually we could even add a little bit
of a setting too, just a tiny bit, just
| | 00:45 | to roughen up the edge, just a little.
I'm going to just give it a slight Size
| | 00:49 | Jitter, so it's not such a solid line.
| | 00:51 | I'm going to go there and create this
little shape, like so. And there it is.
| | 00:55 | It is that simple.
| | 00:56 | We can even maybe just make it
even less pronounced, more like that.
| | 01:00 | That's even better.
| | 01:01 | Okay, so it starts to look like a single stitch.
| | 01:04 | Now the fact that it's so irregular there
could hurt us in a way but it would be okay.
| | 01:08 | We just kind of clean it up a little bit.
| | 01:10 | Just make it a little bit even, and so on.
| | 01:12 | Let's get rid of that last one. That's not good.
| | 01:15 | There we go. So that's good, right there.
| | 01:17 | I'm going to select that and turn
that into a brush preset and we will
| | 01:22 | call this Embroidery.
| | 01:23 | All right, so now, we can throw it away
and we're going to get a nice little
| | 01:31 | pattern here that we're going to
create for that embroidery to follow.
| | 01:34 | So it's going to take this little shape
that goes like so and then it's going
| | 01:38 | to loop around like that, and then it
would be another one inside here, which
| | 01:44 | will look like that, and then maybe
another one that comes in this way. So we are
| | 01:49 | just going to create bunch of
shapes inside here and then another one.
| | 01:53 | It's going to come round and engulf this
whole thing this way like that, just some design.
| | 01:59 | Now I'm going to set up a layer right
there and I am going to get that brush
| | 02:04 | and pick that brush we just
created, which appears at the end here.
| | 02:07 | Now right now it's doing that. So
we're going to go in there and in the Brush
| | 02:12 | panel we're going to give a little
more spacing, so there. We have a little
| | 02:16 | separations seen in the individual stitches.
| | 02:18 | We are going to go in to Shape Dynamics,
where we're not going to set up a Size Jitter.
| | 02:22 | A very slight one.
Let's just bring this back down.
| | 02:25 | And we're going to do a very slight Size
Jitter, just a little bit, so that they
| | 02:29 | are slightly different, and then the
Angle, I'm going to choose give that a
| | 02:33 | little bit of touch, 2%, just so that
they start to angle off and I'm going to
| | 02:37 | set this to Direction, so they are
going to follow all my little stitching
| | 02:41 | angles that I've set up there.
| | 02:43 | And now that we have that, I'm going
to go in there and reduce the size of my
| | 02:47 | brush a little bit to the size that I
want and I can take those paths and now
| | 02:51 | go ahead and stroke them and we
see that we have this embroidery.
| | 02:54 | And anything I do on top of this is
going to follow that same kind of a feel.
| | 02:58 | So we could see that we are getting
some pretty cool little stitching that
| | 03:01 | looks like that.
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| Creating the stars on the wall of the Toys"R"Us image| 00:00 | In this tutorial, we're going to look at
some patterns on walls created with brushes.
| | 00:05 | Now they are kind of irregular looking patterns.
| | 00:07 | Let us zoom in here into the interior
of the Toys R Us in Times Square and we
| | 00:11 | see this one wall back here.
| | 00:13 | This one wall has all these
little stars in a blue field there.
| | 00:18 | Moving over across to this side, we see
another set of walls that has stars and
| | 00:24 | dots right there and here and back in here.
| | 00:29 | We are going to look at
those and how they were created.
| | 00:32 | Now I have here the actual
files that made these things up.
| | 00:35 | Here is that wall where we saw the Photo
Pickup and there are various layers in here.
| | 00:40 | So let's study those layers so we
could see how this was built up.
| | 00:44 | Of course, there are the paths that make it up.
| | 00:46 | There is the path that made up
the actual sign and so on.
| | 00:49 | There is little stars.
| | 00:50 | Now let's go look at the layers.
| | 00:52 | Look at the background layer.
| | 00:53 | The background layer is simply the
gradient, going from this lilac down to this
| | 00:57 | kind of a teal blue.
| | 00:59 | Then there is a layer here that has
little blobs or little shapes that makes
| | 01:03 | up all those weird little designs on
the wall, and there is the layer with the
| | 01:06 | dots, bunch of irregular dots,
and there are some stars.
| | 01:11 | Then we have the horizontal stripes,
which have been given an Inner Shadow right
| | 01:16 | in there to giving that feeling of
being indented into the wall, and then we
| | 01:19 | have three layers that make up the
sign, which are those three here.
| | 01:24 | We have the backing, which has some
tones just to add a little shape to it.
| | 01:29 | On top of that, we have the green backing.
| | 01:32 | There we go, and then on top of that we
have the actual letters, which have been
| | 01:36 | given layer style of Stroke and Bevel
and Emboss to make them look like they are
| | 01:41 | doing the actual sign.
| | 01:42 | Let's look at the starry wall, which is
made up of quite a few different layers.
| | 01:48 | The top layer is just a composite
where I bring things in, then there are
| | 01:52 | various layers with different colors of stars.
| | 01:56 | So now let's go in there and create this effect.
| | 01:59 | Using my primitive tool right here,
the one that allows me to create some
| | 02:03 | bizarre shapes. That's the Custom Shape tool.
| | 02:06 | I am going to go in here and look
at the shapes that are available.
| | 02:09 | Now there are those shapes right
there, but there are additional shapes
| | 02:13 | that's ship with Photoshop that you can
access, and right down here is one called Shapes.
| | 02:18 | I am going to say Append, in other
words don't get rid of these, just add the
| | 02:22 | new batch to that, and there we could
see that in Shapes we have some stars.
| | 02:26 | So I am going to select that star
right there and I am going to go in here
| | 02:30 | and create the star.
| | 02:31 | I am holding down my Shift key to make
sure it's nice and even and I have it set
| | 02:35 | as a path and I'm going to go
ahead and fill that path with a black.
| | 02:38 | So I am going to go in there and say Fill.
| | 02:42 | Now I select it and I'm going to
make that my brush. Define Brush Preset
| | 02:48 | and we'll call it star.
| | 02:51 | Now I can throw it away.
Don't need to see it anymore.
| | 02:54 | And I have a layer that I have set up
here that's a blue layer and I am going to
| | 02:59 | work in this layer right here.
| | 03:01 | Now I got that little star so I am
going to get my brush and I am going to pick
| | 03:04 | that star that I just
created, which right now does that.
| | 03:07 | So I am going to go in there and
start making it smaller, about that size
| | 03:11 | right there, and in my Brush panel I am going
to go in and start giving it a lot of Spacing.
| | 03:16 | So now it starts to look more like that.
| | 03:19 | I'm also going to go into my Shape
Dynamics where I am going to do a Size
| | 03:22 | Jitter, set up a Minimum so they don't
get too small, and an Angle Jitter so they
| | 03:29 | are all going in different directions.
| | 03:31 | I am going to turn that off right there.
| | 03:33 | So now it's starting to look more like
this, and I am going to go in there and
| | 03:38 | do a little color dynamics.
| | 03:40 | So that I can go between foregrounds and
backgrounds like that and I am going to
| | 03:44 | push the Hue Jitter all the way up.
| | 03:47 | I am going to then Scatter them as well,
so they are going to go all different
| | 03:50 | directions. See just like that.
| | 03:51 | So now when I go in there and
start to draw, you see I have that one.
| | 03:54 | I am going to add some colors in here.
| | 03:56 | Let's add a little red.
| | 03:57 | Say a bright red like that and for
this background here we'll add a light blue.
| | 04:02 | Let's go with a softer, like
that, and I start to draw in there.
| | 04:07 | You can see that I am getting all these
additional colors because I have the Hue
| | 04:10 | pushed all the way up.
| | 04:11 | Now I wanted a little more control so
what I did is I lessen the amount of
| | 04:15 | stars that we're done and I
segregated them to single colors in separate
| | 04:20 | layers, but here just reducing the
number of the count and pushing that Hue all
| | 04:26 | the over you could see that I got a
nice little range of multiple different
| | 04:29 | colors right there.
| | 04:31 | Now in the case of the other
stars that were slightly bigger,
| | 04:35 | let's go in here and let's turn off
this background and let's just add a
| | 04:39 | different color to this background here.
| | 04:40 | We'll throw in this blue from
our background. There we go.
| | 04:45 | So now here we are going to
just create some white stars.
| | 04:49 | So we got the little brush, make it nice
and big, right there like that, and I am
| | 04:53 | going to go to my Brushes panel
where I'm going to bring this down.
| | 04:57 | I am going to leave the Scatter, but I
am going to increase the Spacing between
| | 05:00 | them so there is even more
space between them, a lot of space.
| | 05:04 | Let's go back to the Color Dynamics.
Turn all that off, everything off.
| | 05:09 | There we go, no Color Dynamics at
all. Just turn them off completely.
| | 05:11 | All right, so now I am going to go
in here and I am going to just draw a
| | 05:14 | couple little stars.
| | 05:16 | Now those stars that were in the
image had a little black line around them.
| | 05:21 | Now since they're in a layer, I
don't have to go in there and draw the
| | 05:25 | black line around them.
| | 05:26 | I could just go in there and go into my
layer styles and say give them a Stroke.
| | 05:31 | There is the little line right
around them which I can control the size,
| | 05:34 | where the line has been drawn and so on, but
that's how those little lines were created.
| | 05:40 | Now the dot was the same kind of a thing.
| | 05:42 | Let's go in there and create another
layer for little dots, but the dots require
| | 05:46 | very little modification.
| | 05:48 | All I do is take a brush, take the little
round brush that's hard right there like that.
| | 05:54 | Make sure that I have a
lot of Spacing between them.
| | 05:57 | Go into my Shape Dynamics so they
have different sizes and such and the
| | 06:00 | Scattering and I go in there and draw
all my little dots right around them and
| | 06:05 | that's all it takes.
| | 06:06 | Now the dots right now are in front of
the brushes, but it is a layer so I just
| | 06:09 | put them behind the stars and I can
add a few more dots wherever I want and
| | 06:14 | there you could see how those particular
brushes were modified or created in the
| | 06:19 | case of stars to create the effect
that we saw in the walls in Toys R Us.
| | Collapse this transcript |
| Creating a fabric design | 00:00 | Sometimes a stitch is a part of the
design in which is not just a thread going
| | 00:05 | through the fabric, but it's
woven into the fabric itself.
| | 00:09 | In the Times Square I am in the center
of the painting here, taking a picture of
| | 00:13 | my wife right there. That's me.
| | 00:15 | I am going to go to the actual high res
version where we could see the detail of
| | 00:20 | the stitching here and I am
going to come in real close.
| | 00:22 | So we see that the fabric has a design made
up of these little stitches that you see there.
| | 00:28 | So I am going to create that
kind of a thing for you right now.
| | 00:32 | Now let me pull back first and we'll
see that there are various paths for all
| | 00:36 | those different lines
that we see throughout here.
| | 00:39 | Let's get a little closer and in our
layers we just turn on the Background here
| | 00:43 | and just see that by itself.
| | 00:45 | Now we'll look at the paths.
| | 00:47 | There's is the paths for the shirt;
| | 00:48 | there's pants down below.
| | 00:50 | Here's the lines on the collar
which you see right up there.
| | 00:53 | Here's the lines on the
yolk of the shirt, right there.
| | 00:57 | And here's the lines on the back.
| | 00:59 | All the lines that make up the
pattern on the back of the shirt.
| | 01:03 | There's lines on the front of
the shirt, lines on the arm.
| | 01:07 | Quite a few lines there.
| | 01:08 | Now these paths are all going to serve as
guides to make our brush do what we want it to do.
| | 01:14 | So now I am going to go
in here and create a new file.
| | 01:16 | We're going to create that particular brush
that made those little designs in the fabric.
| | 01:22 | And what it is is just a
little rectangular shape like that.
| | 01:25 | Let's make it a little thicker. I like that.
| | 01:29 | And I am going to make it back. There it is.
| | 01:32 | So now I can select that and
turn that into a brush preset.
| | 01:37 | We'll call this design stitch.
| | 01:42 | So now I'll throw it away and we're going
to make that brush behave the way we want it to.
| | 01:50 | So I go in here and pick up that little
stitch right there, which right now is doing this.
| | 01:55 | So what we're going to do is we're going to
go into the panel and give it some Spacing.
| | 02:00 | Here's that Spacing just like we do
with the embroidery and some of the others.
| | 02:04 | But here we're going to globally now.
| | 02:07 | I am not going to go into Shape
Dynamics and play around the angles. No.
| | 02:10 | Here I am going to set this to Direction.
| | 02:12 | I am going to bring the Size and the
Angles down, but I am going to set the
| | 02:16 | Angle to Direction and I am going to
go back to Brush Tip Shape where I am a
| | 02:21 | going to play with this Angle here.
| | 02:23 | And I am going to move those
guys so that they are at an angle.
| | 02:27 | See they are all working globally,
because I am working with this control rather
| | 02:29 | than the individual tips that
you find under Shape Dynamics,
| | 02:33 | here under Brush Tip Shape it's
working with all of the strokes together.
| | 02:37 | So you could see that they're all
moving in that same direction. There we go.
| | 02:42 | Bring that back down to 0.
| | 02:43 | I thought that a couple were
touching. They shouldn't.
| | 02:45 | So there we go; that's down to 0.
| | 02:47 | So now that we have that we can go in
there and create the shapes that are
| | 02:51 | going to be our pattern.
| | 02:52 | Now the way it was done on the
shirt is I have these shapes, like so.
| | 02:56 | So what I am going to do here is I am
going to modify these just to make it look
| | 03:01 | like what I had in the shirt.
| | 03:02 | So I am going to take three,
right there like that.
| | 03:06 | Now I am going to select the
two outer ones and this one here,
| | 03:11 | those three, and I am going to
pick kind of a grayish tone like this.
| | 03:15 | And I got the brush which I
am going to reset its Size.
| | 03:18 | Make it a little smaller. About like that.
| | 03:21 | And in a layer I'll go
ahead and stroke that path.
| | 03:26 | There it creates that shape.
| | 03:28 | Then I am going to get kind of a beige tone
| | 03:30 | like this and select that last
path and go ahead and stroke that one.
| | 03:36 | And there you can see that we have the
pattern that was woven into the fabric
| | 03:40 | made up of all these little stitches.
| | Collapse this transcript |
| Creating the look of brick| 00:00 | In this tutorial I'm going to show
another existing brush in Photoshop that's
| | 00:03 | manipulated to perform a
task needed to solve a problem.
| | 00:07 | Zooming into this area of the stone wall
here we see the separations of the bricks.
| | 00:13 | See how there is a slight rough edge
to those bricks all through there?
| | 00:17 | That's what we're going to
create in this particular tutorial.
| | 00:19 | I'll create a new file here and this
file we'll just fill it with a regular
| | 00:24 | color, let's say this dark tone here.
| | 00:27 | Let's make it a darker tone, a dark
brown like that, and for the foreground color
| | 00:33 | we'll pick kind of a much
lighter version of that.
| | 00:35 | Let's say about like that.
| | 00:37 | That's good enough.
| | 00:38 | Now I'll just go and throw a gradient, radial
gradient, into the scene right here like that.
| | 00:43 | Now I'm going to give this a little
texture just to make it look kind of like a stone,
| | 00:47 | so I'm going to give this
Filter > Texture > Texturizer, and we'll use
| | 00:52 | the sandstone and bring the Scaling up
a bit and Relief just a tad higher, and
| | 01:00 | now we have the stone
texture. Zoom in to 100%.
| | 01:04 | So now this is a wall made up of
many tiles of the stone, so I want to do
| | 01:10 | is create those tiles.
| | 01:12 | First, I'm going to create the actual shape.
| | 01:14 | I am going to go in there and I'm going
to draw a series of paths that are going
| | 01:19 | to signify the different
separations of the bricks.
| | 01:23 | Now, I'm not really using a perspective
guide here, so I'm kind of doing it by eye,
| | 01:27 | just to get a good feeling of
what this is going to look like. About like
| | 01:32 | that and so another one here,
so I am kind of doing this by eye.
| | 01:37 | If you really need this to be perfect,
I'll suggest that you make yourself
| | 01:41 | some nice perspective guides and so on.
But there, those are basic shapes of my bricks.
| | 01:46 | So in a new layer we'll call it seps,
for separations, the separations of the
| | 01:53 | different stone slabs.
| | 01:54 | I'm going to use a much darker version of
this, not quite black, but a very dark gray.
| | 02:01 | About like that.
| | 02:02 | So now I'm going to use an existing
brush, as I said. So I have this hard-edged
| | 02:08 | brush right now, size 8, which gives me
that right now based on the lights that
| | 02:12 | we had created earlier.
| | 02:14 | So I'm going to go in there, that's a good
size, but I'm going to soften a little bit.
| | 02:18 | I'm going to give a little
bit of softening on the edge.
| | 02:21 | I don't want it to be too soft, so I am
just going to go down to about 80%, just
| | 02:25 | to give me a nice soft edge of my brush.
| | 02:28 | And I'm going to go into my brushes
here and I'm going to say bring that
| | 02:32 | spacing down so that they are just about
touching, not quite touching, just about. There.
| | 02:38 | And in my Shape Dynamics, I'm going to
go in there and set up a Size Jitter so
| | 02:44 | that they change in size.
You see that, all the way to 100%.
| | 02:48 | And I'm going to setup a Minimum Diameter
so they don't get too small, about like that.
| | 02:52 | Okay, and now the angle doesn't matter
because they are all circles, direction
| | 02:56 | doesn't matter because they're all
going in straight lines, but there you can
| | 02:59 | see that we have this nice jagged
kind of a line that's developed.
| | 03:03 | So what happens here is
that in my separations layer,
| | 03:06 | I'm going to take that
path, and I'm in the brush,
| | 03:09 | I'm going to go ahead and stroke it,
and there you can see that we have these
| | 03:12 | nice irregular type lines.
| | 03:15 | Now what happens in this particular
case is that I'm going to go in nice and
| | 03:19 | close and give that layer a layer style.
| | 03:23 | Now we see that we have these lights
coming in from somewhere up here, so what
| | 03:26 | I'm going to do is lights from up above.
So I'm going to say give it a Bevel and
| | 03:29 | Emboss, and since the light is coming
from above, I'm going to create that
| | 03:33 | illusion by putting the direction
of the light right now from below.
| | 03:37 | That gives me my highlights at the
bottom, giving the illusion that the lights
| | 03:41 | coming from above and we're looking at these
indents going into the stone as you see there.
| | 03:46 | Now I might want to take that light
tone and warm it up a little bit, so I jusy
| | 03:50 | give it more of a yellowish tone like that.
| | 03:52 | I'm going to beef up the Opacity.
| | 03:54 | I'm also going to bring up the Depth.
| | 03:55 | So I get a stronger definition of
those tones as you see in there, like so.
| | 04:00 | The darkness I could just bring that up
a bit as well, and maybe the Size,
| | 04:04 | the Size could be just a little bit smaller.
| | 04:06 | So we'll bring that down to about
maybe a three so we get just this little
| | 04:09 | tone inside the bricks.
| | 04:12 | Click OK and you'll see that now all our
individual slabs are not that even anymore.
| | 04:17 | They are kind of rough.
| | 04:18 | Now, had I made it closer in the spacing,
they wouldn't be as rough, but I want
| | 04:22 | it to be fairly rough for
this particular episode.
| | Collapse this transcript |
| Weathering bricks| 00:00 | Those bricks we just created, we will
take a step further in this tutorial.
| | 00:04 | We are going to weather them.
| | 00:05 | We are going to turn them into dirty
and mossy, all the kind of stuff that would
| | 00:08 | happen to these things when
exposed to the environment.
| | 00:11 | We are going to use again one of the
existing brushes that we're going to modify
| | 00:15 | to do what we want it to do and of course we
are going to put all that into a separate layer.
| | 00:20 | So I am going to go in there and get
my Paintbrush and this time we are going
| | 00:23 | to use one of the Spatter Brushes that
come with Photoshop. That's this group right here.
| | 00:28 | So the ones that come after the bristle
brushes. We use the largest one, 59 right
| | 00:33 | there, which right now is going to do that.
| | 00:34 | It just does a streak.
| | 00:37 | So we are going to go in
there and modify that brush.
| | 00:40 | In our Brushes panel, we are going to
give it a lot of separation so we that we
| | 00:44 | see the distinct tips, just like that.
| | 00:47 | Now we are going to go into our Shape
Dynamics where we have the Size Jitter set up,
| | 00:52 | Minimum, so we have set it up and
we are going to set up the Angle so that
| | 00:55 | they are all going in different
directions and let's just turn that off.
| | 00:59 | So it's just kind of messy like that.
| | 01:01 | We are also going to give it a
Color Dynamics, between foreground and
| | 01:04 | background I am going to bring down
everything else to zero. We just want the
| | 01:08 | foreground and background.
| | 01:10 | So now that we have this information
going on here. We got this gray. Let's make
| | 01:14 | it a slightly lighter gray and for the
background we will make that a really
| | 01:18 | dark gray like that.
| | 01:19 | So there is the foreground
and background established.
| | 01:22 | So now that we have that, I am
going to go in here and I want to attack
| | 01:25 | certain bricks separately.
| | 01:26 | I want them to not look
like as one continuous smear.
| | 01:29 | So I have got to go in there.
| | 01:30 | I am going to select just
as one brick right here.
| | 01:33 | so I am going in there and I am
selecting just that brick like that and I'm in
| | 01:39 | that layer which we'll call grime and
I am going to take that brush and we'll
| | 01:44 | make it a little larger.
| | 01:45 | I am going to bring down the Opacity
to about 30% and I am going to start to
| | 01:49 | draw right into that area.
| | 01:51 | You can see that I am drawing these kind of
dirty areas. As I keep going over the same area,
| | 01:55 | it will start to get a little darker
because of the fact that I have an Opacity set.
| | 01:59 | I can make it even bigger and just
cover larger areas, like so. There you go.
| | 02:04 | I can now go in there and select this next
brick right here and I'll do the same to that one.
| | 02:15 | So here I will just concentrate more
on this side wall like that and I'm just
| | 02:20 | adding all these grime,
soot and dirt to it like so.
| | 02:25 | I can do this to each individual
brick until I have every one of them as
| | 02:28 | dirty as I want it to be.
| | 02:29 | Let's go to this one and there we'll
just kind of randomly throw some dirt in
| | 02:37 | here, and it's going between the two colors.
| | 02:40 | It's just very subtle because the
Opacity has been lowered like so and
| | 02:44 | we will do this last one.
| | 02:44 | Then we are going to do something
totally different with the same brush.
| | 02:47 | I'm going to come in right there
and we will throw the dirt in here.
| | 02:57 | There, that's good enough.
| | 02:58 | Now let's get a little closer, right here.
| | 03:00 | I am going to put the grime behind the
separations, because the separations are
| | 03:03 | being going to covered up by those gray
tones, and so there they came back out.
| | 03:06 | So now here is what's going to happen.
| | 03:08 | I am going to have the same brush, but
this time I am going to go in here and
| | 03:12 | really damage the stone.
| | 03:14 | I am going to go in there and
start gouging chunks out of it.
| | 03:17 | So on layer on top of all of them,
right here, and I am going to take that brush,
| | 03:20 | I am going to bring the Opacity back
up to 100%, and I am just going to draw a
| | 03:24 | couple of tones right in here, like so.
| | 03:26 | All right, then I can make sure that
I am only going to go get this section here.
| | 03:33 | So let's just select this one
brick, because I want the whole side of it
| | 03:38 | on this side here to be effected.
| | 03:40 | I am going to just kind of paint right
in here like that and a little tones in
| | 03:44 | there and just a little hole right in there.
| | 03:48 | So now this particular layer, these
are going to be damages in that stone, so
| | 03:52 | what I am going to do is I am going
to double-click that layer to bring up
| | 03:56 | the layer styles and right off the bat I
take the Fill Opacity and reduce it to zero.
| | 04:01 | Now the Fill Opacity made those gray
tones disappear, but since the Opacity
| | 04:06 | is still set on 100,
| | 04:08 | when I apply some layer styles to these
layer, those new pixels that get generated
| | 04:12 | for layer styles would remain 100%
visible, but the original gray tones will
| | 04:17 | have been taken away by the Fill Opacity.
| | 04:20 | I am going to give it a Bevel &
Emboss and right off the bat, you can see
| | 04:23 | what's starting happen.
| | 04:24 | I am going to increase the Depth so we
got strong lights and darks, and there
| | 04:28 | you could see that we have
now these gouges in the stone.
| | 04:31 | Now we can play around with the light source.
| | 04:33 | Let's turn off the global.
| | 04:35 | There you can see where it looks like. There
are bumps in the stone based on the lighting.
| | 04:39 | The direction of the light, we
want the light to come from this way.
| | 04:41 | Now they are going into the stone, as
you see there. Click OK and I could take this
| | 04:46 | a step further by just taking a hard
edged brush like this one, make it really
| | 04:52 | small, even smaller here, which I will
just do a little crack in this brick
| | 04:56 | right through here and going down this
way, and you could see that now we have
| | 05:01 | damages in the stone.
| | 05:03 | Now we can take this yet one step further.
| | 05:05 | Let's get rid of the grime.
| | 05:07 | Let's get rid of the damages. And these steps?
| | 05:11 | Let's change those a little bit.
| | 05:13 | I am going to select all and get rid of that.
| | 05:15 | I am going to get a hard edged brush.
| | 05:17 | Like the one I have now,
which does that. Okay that's good.
| | 05:20 | I am going to go into my original
paths and stroke them. That's good.
| | 05:26 | Now I am going to take the background
layer, right here. It is the background
| | 05:29 | layer which I am going to totally
desaturate, bring down its color.
| | 05:34 | There we go and then we will
give it a little Noise, give it a lot of noise,
| | 05:40 | Monochromatic, and I
will give it a little Motion Blur.
| | 05:47 | Nice long Distance and an Angle, like so.
| | 05:51 | Now that's kind of
like a brush metal all right.
| | 05:55 | We might even want to make it a little
lighter, so we will go in there and just
| | 05:59 | kind of lighten it up a little.
| | 06:01 | What we are going to do to this now is add
rust, using that same brush that we used before.
| | 06:07 | Here is the same big brush.
| | 06:09 | There it is, all right.
| | 06:11 | I am going to go into the brush
engine, make those modifications again.
| | 06:14 | I am going to increase the Spacing so
we see the individual tips, go into Shape
| | 06:19 | Dynamics where we have the Size and the
Angle, and then we are going to go into
| | 06:24 | Color Dynamics, which we didn't have before.
| | 06:26 | I have foreground and background
100%. The rest of it down to zero.
| | 06:30 | So now with that set up that way I am
going to go in there and create a new
| | 06:34 | layer, which I am going to call rust, and in
this rusty layer I have some colors to pick.
| | 06:40 | I am going to get a nice orange
color, say about like that, and for the
| | 06:45 | background color I will get a really dark brown
like that and now I can start to draw some rust.
| | 06:51 | If I wanted to keep it inside those
particular areas again, I can go in there
| | 06:55 | and segregate the area that I want to
work in, like so, and this is the one I
| | 07:00 | want to work in, just this one brick right there.
| | 07:02 | So I am going to go in there
and start to draw some rust.
| | 07:05 | And as you can see, I will make my
brush a little bit smaller, that I am getting
| | 07:08 | this nice little rusty kind of an
edge to my little piece right there.
| | 07:12 | We will draw some more little rust into
these areas here and along these edge up
| | 07:17 | on the top like so and some more.
| | 07:23 | Now, this rust is eating into the metal,
so I can go in there and just get a few
| | 07:28 | more damages going through here.
| | 07:30 | It's eating through the metal, which is
causing an effect on the metal on top so
| | 07:34 | it's kind of flaking it away.
| | 07:36 | So what I am going to do is in that
layer I am going to give it a Bevel &
| | 07:40 | Emboss, just like before, except this
time I am going to make the size really
| | 07:43 | small, like about a one.
| | 07:44 | Okay, I am going to increase the depth
so I get this really strong nice little
| | 07:49 | lights in there, just so I am going to
get a little highlights and stuff so it
| | 07:52 | looks it's eating into the metal.
Bring that down, click OK, and you see that now
| | 07:57 | our rust has eaten into the metal,
creating the effect that we want.
| | 08:01 | Basically what we did is we
took existing brushes in Photoshop,
| | 08:05 | modified them to solve the problems that
we faced with, which was rust and dirt
| | 08:10 | and damages, all the kind of things that
could've happened to these materials when
| | 08:14 | exposed to the elements.
| | 08:16 | It's just a question of understanding
what the brushes can do and then modifying
| | 08:20 | them to make them do what you want.
| | Collapse this transcript |
| Creating light bulbs| 00:00 | In a scene like Times Square or just
regular theater marquees, one thing you are
| | 00:03 | going to come across is a lot of light bulbs.
| | 00:06 | Now creating all those light bulbs can
be pretty tedious unless you use a brush.
| | 00:11 | Yes, brushes can actually create lightbulbs.
| | 00:14 | Let's go in here and see such a situation.
| | 00:17 | Right here, I zoom in right to this
little area here and you see that there is
| | 00:20 | all these lightbulbs that
make up just some of the signs.
| | 00:23 | Let's go in here and create lightbulbs.
| | 00:28 | Now I am going to create
the basic shape using paths.
| | 00:32 | These are the basic shapes that's going to
make up our brush tip which will be a lightbulb.
| | 00:36 | I am going to use the Elliptical
tool here and create a perfect circle.
| | 00:39 | I am holding down the Shift key to
create that perfect circle just like that.
| | 00:43 | Now if the lightbulb is straight
on, that would be the basis for the
| | 00:47 | lightbulb right there.
| | 00:48 | However, in this particular case, I
want the lightbulbs to be slightly from the
| | 00:52 | side like a three-quarter view.
| | 00:54 | So what I am going to do is I am going
to take this Direct Select tool here and
| | 00:56 | I am going to grab the
bottom point and drag it down.
| | 01:00 | I am holding down the Shift key to
constrain it straight up and down.
| | 01:02 | So now we get kind of like a three-
quarter view of the lightbulb, the face up
| | 01:06 | on top here and then the little socket area
coming down, and that's the basic shape right there.
| | 01:12 | Now this lightbulb is
going to be a clear lightbulb.
| | 01:15 | So I also want to have a filament inside.
| | 01:17 | So with my Pen tool I am going to
start right about here, which would be about
| | 01:21 | the center of the connecting area.
I am going to click right there and come
| | 01:25 | straight up, hold down
my Shift key to constrain.
| | 01:27 | I am going to click and drag to get a
little point up there, which I'm now going
| | 01:31 | to wrap around like so to create the
little filament, and that's it right there.
| | 01:37 | So those two paths, the ellipse and
that little curlicue there, will become the
| | 01:43 | basis of my brush tip.
| | 01:46 | Now when you create a brush, any part
of that brush tip that's black will be opaque.
| | 01:50 | Anything other than black, a
color or a gray, will be transparent based
| | 01:56 | on that particular value.
| | 01:58 | So since the bulb is transparent I am
going to select the ellipse for the bulb
| | 02:03 | and I am going to fill it with a gray.
| | 02:05 | So I am going to pick a nice medium
gray like about that right there. Click OK
| | 02:09 | and in a layer I am going to create the bulb.
| | 02:13 | I am going to take that path and fill it.
| | 02:17 | So now I am going to select that little
curlicue inside, which is the filament.
| | 02:21 | I am going to invert back to black,
because that part is going to be opaque ,and
| | 02:24 | I am going to take my Paintbrush tool
and we'll pick a small brush tip shape,
| | 02:28 | like about this one right here.
| | 02:30 | I'm going to bring down the size considerably.
| | 02:32 | I get the Hardness set to 100% and I
got a size that's just about the right
| | 02:36 | size I want right there.
| | 02:37 | I could always test it
freely on the side. That's good.
| | 02:40 | That's what I want. And then I am going
to take that same path and then stroke it.
| | 02:45 | So there are the basics for my actual brush tip.
| | 02:49 | So when I select this and it doesn't
matter this area here because that's white,
| | 02:53 | which means that brush tip
will be transparent in that area.
| | 02:57 | So I come over here and I
will say Define Brush Preset.
| | 03:01 | There it is and we'll call it bulb.
| | 03:04 | So now go ahead and deselect it and
let's just go over here and we don't need
| | 03:08 | to see that anymore.
| | 03:09 | I want to keep it open, but
we are going to just not see it.
| | 03:12 | I am going to create a new layer on
top of this. This is where we are going to
| | 03:15 | actually create a little string of bulbs.
| | 03:18 | I am going to take the background here.
| | 03:19 | I am going to invert it so that
we can see the little bulbs lit.
| | 03:23 | So I am going to in here and
I am going to create a path.
| | 03:25 | Let's just go straight up and down
here right here, just like that, and I am
| | 03:29 | going to duplicate that path across here
and over to here, three different paths,
| | 03:35 | and maybe one that's kind
of a curlicue, right.
| | 03:38 | So we'll just kind of do
a little thing like that.
| | 03:40 | Let's just curl this like that.
| | 03:43 | So here, we have these three different paths
and let's move this one over just a little bit.
| | 03:47 | These three paths are going
to be where our bulbs are.
| | 03:50 | So now I am going to go in there.
| | 03:52 | I am going to take my Paintbrush
and select that brush, which will be the
| | 03:55 | last brush in the set right there, the one
we just created, which right now is pretty big.
| | 04:00 | So I am going to bring down the size
considerably, maybe a little bit bigger.
| | 04:05 | That's a good size right there.
| | 04:06 | So now in that layer I am going to
pick the color that I want my bulbs to be.
| | 04:10 | So I am going to go in there and I am going
to pick a bright yellow like that right there.
| | 04:16 | Click OK and in my brush engine
we're going to see there is the bulbs.
| | 04:19 | So what we are going to do is going to
separate them, give them a little more
| | 04:22 | Spacing like that, right there about like that.
| | 04:25 | We want them fairly close, but not too
close, and then I want to go into my
| | 04:30 | Shape Dynamics where we
have some stuff happening.
| | 04:32 | I don't want any Size Jitter.
| | 04:34 | I could do that but I don't want that.
| | 04:35 | I want all to be the same size and you
see that everything is set to zero, but
| | 04:39 | the Angle, the Control is set to Direction.
| | 04:41 | If I have that off, then you can see
that they are all straight up and down.
| | 04:44 | So when I draw it's going to look
like that, whereas when I set that to
| | 04:48 | Direction, the bulbs are going to follow
the flow of my stroke. So there we go.
| | 04:55 | It's the only thing I need to do.
| | 04:58 | Now that I have that, make
sure I am in the right layer.
| | 05:00 | Yeah, I am in the layer that's going
to have the bulbs. So I go to Paths.
| | 05:04 | There is my paths and I say
with the Paintbush stroke them.
| | 05:08 | And there we could see that we have all
these little bulbs right there in place.
| | 05:11 | Now these guys went the wrong direction.
Had I stroke them in this direction,
| | 05:14 | it would have been fine, but no
problem. All I have to do is just go in and
| | 05:17 | select those and just rotate them over,
just do a little Flip Horizontal. There we go.
| | 05:22 | So there we have those bulbs
going the same kind of direction.
| | 05:24 | Now they don't really look like bulbs yet.
| | 05:27 | Let's go in there and make them look like bulbs.
| | 05:28 | Double-click on that layer of the
bulbs to bring up the layer styles.
| | 05:32 | In the layer styles we are going
to start to give this some life.
| | 05:35 | First thing we'll do is
give them a little Outer Glow.
| | 05:38 | A little Outer Glow is going to spread
out from those bulbs, a little Size there,
| | 05:44 | and bring down the Opacity a
little bit just so it's not so strong.
| | 05:47 | We have a little Outer Glow going
there and a little Inner Glow as well.
| | 05:51 | The Inner Glow, however, I am going to
change the color to a nice bright orange
| | 05:55 | like that and I am going to change
the mode to something like Multiply.
| | 05:59 | So I am going to get this
little orangey glow inside.
| | 06:01 | I am going to bring the Size down to
about a two, based on the size of what I
| | 06:05 | have here, and I click OK and there
we see that we have these nice little
| | 06:08 | strings of lights that can
be used just about anywhere.
| | Collapse this transcript |
| Creating the effect of a fading brushstroke| 00:00 | There is a very simple function of the
Paintbrush tool or any other tool for
| | 00:04 | that matter that utilizes
brush tip. That is called Fade.
| | 00:08 | Now the use of Fade can have a lot of
different functions, but here in the
| | 00:11 | painting, we'll look at a couple
places where we see such a fading brush.
| | 00:15 | Right here we see that some of the
little highlights right here on this
| | 00:19 | lamppost, and also we them right here
on one of the highlights on the edge of
| | 00:24 | this cab right there.
| | 00:26 | I can see where is really bright and then
it's just slowly fading off into nothing.
| | 00:30 | That's a real simple function of that tool.
| | 00:33 | So let's go in here and see how that
works. Just so we can use him as highlights,
| | 00:38 | so I'm going to go inhere and just
invert my background and I'm going to create
| | 00:41 | a couple of little effects here.
| | 00:43 | I'm going to take my brush and it's set to
a size 36 and it just does this right now.
| | 00:49 | So when I go into my brush engine the
function is under Transfer and what you
| | 00:53 | fade out is either the Opacity or the Flow.
| | 00:57 | What I am going to is I'm just going
to turn this guy off completely, the Flow,
| | 01:00 | and I'm going to save the Opacity.
| | 01:02 | I'm going to have it set to Fade. There it is.
| | 01:05 | Now you can see a little preview
of what's happening down below.
| | 01:08 | I'm getting a little bit of a bumpiness.
| | 01:10 | So what I'm going to do is I'm
going to close up the Spacing.
| | 01:12 | So I won't get that much of a bumpiness.
| | 01:14 | Now the Fade is set on a number of steps,
so 25 is going to fade when it gets to
| | 01:21 | 25 different little brush tips being applied.
| | 01:24 | So there you can see where it's going
from the solid and fading out to nothing.
| | 01:28 | So I can go in there and increase that.
| | 01:30 | Let's say we do it to 95.
| | 01:31 | So now I am going to get a longer streak.
| | 01:35 | This is very good for little things
like say a meteorite or little light
| | 01:38 | streaks like you saw before.
| | 01:40 | If you want to have control over this,
you might want to go in there and
| | 01:43 | create a path. So if I want it to be a
really nice arc and I want to create a nice
| | 01:48 | little path, like so,
| | 01:49 | all right, so now when I take the brush
then I go to the Paths and say Stroke that,
| | 01:54 | you see that it's going
to follow that nice little arc.
| | 01:58 | Now let's just say you want to add a
little highlight to the edge of a disc or
| | 02:02 | something like that.
| | 02:04 | Let's create a little disc, just so can
get the idea of what I'm talking about.
| | 02:07 | So I'm going to go here and I'm
going to just create this little shape.
| | 02:10 | So we will get Ellipse tool and we'll
say fill it with a solid color here.
| | 02:14 | And I create a layer and I create a
little disc here, a nice filled disc and
| | 02:18 | it's a nice little golden disc like that.
| | 02:20 | Okay, so I want to give this a little
edge and that's where the light is going
| | 02:24 | to be picking it up.
| | 02:25 | So I'm going to duplicate this and the
one in back here, I'm going to kind of
| | 02:29 | lift up a little bit like this. There we go.
| | 02:33 | And then I'm going to just select a
little area right in-between the two of them
| | 02:36 | right through there.
| | 02:37 | And I'm going to fill that with a color,
same color, and then it just duplicate
| | 02:41 | then close it off on that
side we get a perfect there.
| | 02:43 | So now we have this disc.
| | 02:45 | Now to make it and look like as three-
dimensional, I'm going to take that one in back.
| | 02:48 | I'm going to burn the edges of it.
| | 02:50 | Let's go in here and say let's get the
Highlights and we're just going to kind of
| | 02:53 | darken that edge right through there.
| | 02:55 | I'm going to darken this edge
right inhere it has a little
| | 02:59 | three-dimensional look to it.
| | 03:00 | And then we're going to kind of lighten
up the center. I'm going to go in here and
| | 03:04 | just lighten this up.
| | 03:05 | And let's set this up to Highlights
and we're just going to lighten up bright
| | 03:09 | in the middle there.
| | 03:10 | Let's set up the Shadows. Get it as
light as we can in there. There we go.
| | 03:14 | It going to require a lot of hits right there.
| | 03:17 | So we're just picking up a little
highlight right in the center there.
| | 03:20 | Now this edge right here that's
facing us is going to need a nice little
| | 03:24 | highlight right there.
| | 03:26 | But it's got to follow that edge and
it's got to fade that way and that way.
| | 03:32 | Now when you stroke a path, it strokes it
into direction in which it was created.
| | 03:36 | So what we'll going to do is
we're going to getting close here.
| | 03:38 | I'm going to create a path right from the
center right here, but I click and drag.
| | 03:44 | I'm going to hold down my
Shift key to constrain it.
| | 03:46 | I'm going to come over to this
edge here and click and drag.
| | 03:50 | Now I want it to follow that edge so I'm
just going to adjust this to it's just
| | 03:55 | following that edge like that.
| | 03:56 | Now it's going in that direction.
| | 03:59 | I'm not going to create a totally separate path.
| | 04:01 | Let's disconnect that path right there,
that path is no longer selected, and I'm
| | 04:06 | going to get kind of close to it, but
not on it, because then it's going to
| | 04:08 | automatically connect it.
| | 04:09 | Right off to this side, click and drag
this way, hold on my Shift key and go
| | 04:13 | down to here and click and drag, and
then I'm going to bring it over so it's
| | 04:18 | right on top of the other.
| | 04:19 | They're still two distinct paths, but one is
going to this way and one is going that way.
| | 04:25 | So now I don't want either one of them
selected, but I want to have those paths there.
| | 04:29 | So I'm going to use this white right
there and get my Paintbrush here and let's
| | 04:34 | make the size much smaller.
We have just about the size we want.
| | 04:37 | Which is going to give us that.
| | 04:39 | And there is the fade right now.
| | 04:40 | That's currently set from before.
I'm going to give that a much larger Fade so
| | 04:44 | we'll set this up to say 120.
| | 04:45 | So let's test that and
see how far it's going to go.
| | 04:48 | We could go even further. Let's go to 155.
| | 04:53 | That's going to be a nice size right there.
| | 04:55 | So I have the brush selected and I'm
going to create a new layer for that little
| | 05:01 | highlight, on top of all of them,
and we'll even call it hilite.
| | 05:06 | And then I'm going to take my
brush, take that path, and stroke it.
| | 05:11 | And there you see that we have this
highlight right in the center going off in
| | 05:14 | this direction and off in that direction.
| | 05:16 | And if you want, you can go in there and
increase the size of it, bring down the
| | 05:20 | Opacity a little bit to about 40%, and
just give it a little bit hit right there
| | 05:23 | in the center, just to add that extra
little sparkle right there that makes it
| | 05:27 | look a little more realistic.
| | 05:28 | And there we see that we have this nice
little sheen on the edge of that disc to
| | 05:33 | add that three-dimensional look to it.
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2. Using Filters to Create Realistic SurfacesCreating a paper towel| 00:00 | There are many surfaces throughout
Times Square, made up of many different
| | 00:03 | materials. There's glass and metals and woods.
| | 00:07 | I want to discuss how some of these
materials are recreated and filters in
| | 00:11 | most cases is the answer
to creating these effects.
| | 00:14 | I am going to look at one of the
little sections of the things that are in
| | 00:17 | the streets of Times Square and that's
a little Nuts4Nut stand right here and
| | 00:21 | I am going to look at something that's a
household item, the little paper towels right there.
| | 00:26 | So what we are going to do is we are
going to create new file here and we will
| | 00:29 | create our own little roll of paper towels.
| | 00:32 | So it requires drawing at first to go in
there and create the shapes that we want.
| | 00:36 | So we will create a little circle,
a little bit of an ellipse right there
| | 00:40 | like that, which could be the side of
the roll right there, and I will create
| | 00:43 | another one right inside, which
would be the center of the roll.
| | 00:47 | I am going to just put that
right there in the center like that.
| | 00:50 | I am going to duplicate this one and
bring it way over here and I am going
| | 00:53 | to shrink this one.
| | 00:54 | This is the end of the roll on the
other side, so I am going to just shrink
| | 00:57 | it down a little bit.
| | 00:58 | So that we see it down from that end like that.
| | 01:01 | All right so there it is.
| | 01:02 | so I am going to just move these guys
all the way up here, because what I am
| | 01:05 | going to do is kind of
unfurl this roll a little bit.
| | 01:08 | So now I am going to just cut
off parts of this path here.
| | 01:12 | I am going to grab that
center point and delete it.
| | 01:15 | So I can now take the Path tool and
just continue this guy right here over to
| | 01:20 | here and down and back over to close it off.
| | 01:25 | So now we have the complete roll right there.
| | 01:27 | From this edge here, I am going to
unfurl the roll by just pulling out a path,
| | 01:32 | bringing it down, like so.
| | 01:34 | So there is this one sheet
that's just down below like that.
| | 01:37 | Now I can duplicate this guy straight
across to this side of the roll right
| | 01:41 | there and there since it's further away
I am going to shrink that path down just
| | 01:46 | a bit like that. So now that I have
that I am going to go in there and close
| | 01:51 | this off by connecting that path to this
path and let's do it by getting a whole
| | 01:57 | new line here. Holding on my Option key,
Alt on a PC, to eliminate that handle so
| | 02:02 | that when I close if off here,
I am still holding that key.
| | 02:04 | I have a straight line
that connects to two paths.
| | 02:08 | Up here it doesn't matter, but I am
going to hold down Option key here to make
| | 02:12 | sure that it doesn't go beyond my roll.
| | 02:14 | So there I have the basic shapes
that I need to make my roll of paper.
| | 02:19 | So now I want to go in there
and start to create the effects.
| | 02:23 | Let's start with the back. This is a back sheet.
| | 02:27 | So it's the furthest back, so it's going
to be the first layer that we create and
| | 02:30 | we will call it the back sheet.
| | 02:32 | I am going to fill that with a light
gray color, just like that, and I am going
| | 02:41 | take that path and say fill it right there.
| | 02:44 | So now I am going to take this one,
the roll itself, and in a new layer, which
| | 02:51 | will call the roll, we will
fill that with that same gray.
| | 02:58 | And this is the side of the roll,
which we will create a new layer for that.
| | 03:02 | We will call it the side and again we fill
it with that gray and there we have hole.
| | 03:17 | Now we will fill it with that same gray.
| | 03:18 | We will just keep the same colors.
| | 03:19 | We are going to manipulate these colors later.
| | 03:22 | So once again we fill in that last one.
| | 03:25 | So there now we have all the basic shapes
that are going to make up the roll of paper.
| | 03:30 | Now we are going to start to make it look real.
| | 03:31 | Going back to my layers, I have my back
sheet here, where I'm going to go in and
| | 03:37 | add a little tone to it.
| | 03:39 | So I am going to take my Burn tool and
make it a nice large size. I want to just
| | 03:43 | go in there and start to darken right in here.
| | 03:46 | I am just passing it along there to darken
that little edge right there of the paper.
| | 03:50 | You see it underneath. It's got
that little dark tone to it.
| | 03:53 | All right, we might even want to
lighten it up a little bit right here at the
| | 03:56 | bottom part some I am going to get a
bigger brush there and just going to give
| | 04:00 | it a little highlight
right along the front there.
| | 04:02 | I am going to give this a filter. That
filter is not going to start to give a texture.
| | 04:06 | I am going to get in there and say
Texture > Texturizer and Texturizer one of
| | 04:11 | the modes it has is sandstone
which is what I am going to use.
| | 04:14 | I am going to bring my Scaling way down.
| | 04:16 | So it's just a really tiny little
texture and bring the Relief down a bit, just
| | 04:19 | bring it down there is just a little hint of
a texture like that about two. That's good.
| | 04:24 | And my light is coming in
from the top. That's good.
| | 04:27 | Click OK and there we now
have this slight texture to it.
| | 04:30 | Now on the roll, I am going to go
in there and add a little highlight.
| | 04:34 | Right through here. I am going to click
on this side, Shift+click on the other
| | 04:37 | side, just to get a little highlight
going right across the roll right there and
| | 04:41 | let's go back and forth so that we get
some nice little highlight going right
| | 04:44 | through there, and there we see the
high appearing right there on the roll.
| | 04:48 | Then using my Burn tool, I am going to
just add a little shadow right below,
| | 04:52 | just sort of a slight bit like that and
maybe a smaller brush and we will just add
| | 04:56 | a little shadow right
along the top there like that.
| | 05:00 | So that's starting to give
it a little more dimension.
| | 05:02 | Now I am going to look at that same
filter again, the same Texturizer filter,
| | 05:07 | except this time I am going to increase
the relief, because this is the face of
| | 05:11 | the paper which has a little more
texture than in the under part of the paper.
| | 05:15 | You are not sure how that works, go look at
the paper towels in the kitchen right now.
| | 05:19 | But here we go.
| | 05:19 | I am going to increase that relief just
a little bit like that and click OK and
| | 05:23 | we can see now that we have
that texture going on there.
| | 05:26 | Now comes the hole.
| | 05:27 | Let's jump to the hole area, so we can
see exactly where the side of the paper
| | 05:32 | would be, and in the hole area I am
going to take my Burn tool and I am going to
| | 05:36 | really darken this top part right in
there and darken the bottom just a little.
| | 05:40 | So I am darkening it just to give it
that sense that, there you go, we have this
| | 05:44 | nice little edge to it.
| | 05:45 | I might want to go and give that hole a
little layer style and give it a stroke,
| | 05:51 | just a little tiny stroke, and not black.
| | 05:53 | I am going to go with a
light gray color like that.
| | 05:56 | The blend is good, the opacity is good.
| | 05:58 | Let' go in there and just say Overlay
so we get a little bit of a light tone
| | 06:02 | right there, and bring down the Opacity
a little bit, so we get that little edge
| | 06:07 | of the paper right there.
| | 06:08 | So now we got a little edge to our roll.
| | 06:11 | Now comes the texture of the
actual roll of paper right in here.
| | 06:17 | So what I am going to do now is I've got the side.
| | 06:20 | I am going to create a layer on top
of it and in that layer I am going to
| | 06:24 | create a nice square, like so, which I
am going to fill with that gray and I am
| | 06:30 | going to give that some noise.
| | 06:34 | Add Noise. I am going to say a lot of noise.
| | 06:36 | Monochromatic, so that it stays in the same
tones. I don't want any greens and reds in there.
| | 06:41 | I just want these tones right here. Click OK.
| | 06:44 | Now that I have that, I am going to
give that another filter. I am going take
| | 06:48 | that noise and rotate it around to give
me the impression of the roll of paper.
| | 06:53 | So I am going to get in there and say
under Blur I have a Radio Blur and the
| | 06:57 | Radio Blur has two modes, Spin and Zoom.
| | 07:00 | Spin is the one I want and I am going
to push that all the way to 100 and you
| | 07:03 | can see the effect that it's having.
| | 07:05 | So I am going to click OK.
| | 07:06 | It's going to go in there and spin
that thing around, which I am now going to
| | 07:11 | just accent a little bit. I am going
to bring up the Contrast, by going into
| | 07:14 | something like Levels here and in
Levels I am going to kind of push my dark
| | 07:17 | tones in and push my lights up.
| | 07:20 | So now I sort of get more of that
definition there you could see that I am
| | 07:23 | moving these until I got a really
nice strong definition of that circular
| | 07:27 | effect that I just got. Click OK.
| | 07:30 | So now I am going to take
this. Again deselect it.
| | 07:33 | I am going to move this layer over so that
it's centered right inside there, like that.
| | 07:37 | Then I am going to clip it with
the side of the roll like that.
| | 07:41 | Now that it's in there, I am going to
take it and I am going to scale it so
| | 07:45 | that it starts to have the same sense of
the roll that we have here, right there,
| | 07:50 | until we see that it's starting to
look like it's going round and round.
| | 07:54 | Click OK and there we see that
now we have the roll of paper.
| | 07:59 | We have the texture of the paper on top
and we have the little sheet coming down the below.
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| Creating denim| 00:00 | There are many materials in Times Square
and one material in particular which is
| | 00:04 | pretty predominant in our society.
That's blue jeans. And we're coming in close to
| | 00:09 | see that quite a few people are
wearing blue jeans, and there these two
| | 00:13 | people are wearing blue jeans.
| | 00:15 | Here 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 before the painting.
| | 00:28 | I'm going to zoom in down here on
his jeans and we could see the denim
| | 00:32 | material right there.
| | 00:33 | So what I'm going to do is I'm going to
show you how this denim material was created.
| | 00:37 | Create a new file here and I'm going
to fill this file with a color for our
| | 00:42 | denim, so I'll pick a blue like that and
I'm just going to go ahead and fill that
| | 00:46 | with 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.
| | 01:03 | And then go in there and choose a
particular filter that's going to give me what
| | 01:07 | I need which is Halftone Pattern under Sketch.
| | 01:12 | Now I have quite a few things that I
can 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 of one.
| | 01:23 | I'm going to click OK and that's going
to give me a bunch of nice little lines
| | 01:27 | based on my two colors of black and white.
| | 01:30 | I'm going to give this another filter.
| | 01:32 | Let me go in there and give this a filter.
| | 01:35 | Under the Pixelate we'll find Mezzotint.
I'll give it a Mezzotint, which is set to
| | 01:41 | Fine Dots as a default.
That's what I am going to use.
| | 01:44 | You can see that it's going to
create a texture to my little lines.
| | 01:47 | 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'm going to pull back a little bit,
and I take that layer, and I'm going
| | 02:02 | to rotate it 45 degrees.
| | 02:03 | So I'm go in there and say Rotate and
holding down my Shift key to constraint.
| | 02:06 | I'm going to give it to give it
to 45 degree angle, just like that.
| | 02:10 | I'm now going to enlarge and this trend
is also where we can see the blank area.
| | 02:13 | I'm going to enlarge it so that
it covers up the entire space.
| | 02:17 | I'm holding down my Option key and my Shift.
| | 02:20 | That's Alt+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
| | 02:28 | see there, to make that happen.
| | 02:32 | Come in real close and look at
the texture I've created so far.
| | 02:35 | And now I'm going to turn on the one
behind it, which we don't see it because it
| | 02:38 | affected these layers all 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 it,
| | 03:10 | 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 asphalt| 00:00 | The texture that we see way down
here in the asphalt, right in here,
| | 00:04 | it looks like a conglomeration of bunch
of the light colored dots and black dots
| | 00:08 | and so on, all this is is
just a couple of filters.
| | 00:13 | So let's see how that was created.
| | 00:14 | Right here, I'm going to create a layer.
| | 00:17 | We are just going to have our asphalt.
| | 00:19 | We'll call it texture, because
we're going to need a couple of them.
| | 00:22 | So now, I'm going to take this layer
and we'll just fill it with black. It doesn't
| | 00:27 | matter what color we fill it with
because what's going to happen now is we're
| | 00:30 | going to start to apply filters which are
going to give us the final effect that we want.
| | 00:34 | So I'm going to go in here and I'm going to
say Add Noise and it's got a lot of noise.
| | 00:41 | Very high numbers so that I get a
really strong coarse noise like that.
| | 00:45 | Which I am going to say OK.
| | 00:47 | I have this noise and now
we are looking real close.
| | 00:50 | You see that it's basically just a
couple of grays but mostly black and white.
| | 00:53 | So what I want to do is I want to
add a little variation in there.
| | 00:57 | A little bit of grays so that I can
then manipulate this noise the way I want.
| | 01:02 | So I'm going to blur it.
| | 01:03 | I'm going to give it a
little Blur More. That's enough.
| | 01:06 | I don't need to blur it that much
because all I want to do is introduce more
| | 01:09 | gray, as you can see there.
| | 01:12 | Now that I have that gray I can go in
there and manipulate this by reducing the
| | 01:17 | amount of noise that we have visible.
| | 01:21 | I'm going to do that by
using my adjustments of Levels.
| | 01:26 | So in Levels I'm going to push my dark
slider in and you can see that right off
| | 01:30 | the bat, we are starting to
eliminate a lot of the noise.
| | 01:33 | It's starting to look like a star field.
| | 01:35 | I have another movie where I use this
technique for a different purpose, but
| | 01:39 | right here we're just going to bring
it down. Bring the whites in a bit so
| | 01:43 | that we get real strong whites. The black a
little bit further and there we have that.
| | 01:48 | So now we've got all these nice little
dots but in the street scene there are
| | 01:53 | at an angle, right.
| | 01:55 | So they're usually round and at a
slight angle because we're looking at them
| | 01:59 | at an angle, so to get that effect what I'm
going to do is I'm going to apply another filter.
| | 02:03 | I'm going to go in here and
give it a filter of Motion Blur.
| | 02:07 | The Motion Blur filter, which right
now this is great for creating rain.
| | 02:11 | Right there you can see we have some
nice rain happening. But what we're going
| | 02:15 | to do is making called straight across.
| | 02:18 | Right here we'll set it going straight
across and we'll bring that Distance in
| | 02:22 | just a little bit, just a little bit
so we are getting little streaks.
| | 02:26 | That starts to flatten our little tone
right there, so there we have that.
| | 02:30 | So I'm going to duplicate
that layer, so I have two of them.
| | 02:35 | Now the second one, what I'm going to do
is I'm going to do a little rotate on it.
| | 02:40 | I'm going to go in there and
do a complete 180 on it.
| | 02:43 | So it looks totally different than the
other. And I'm going to invert this one.
| | 02:48 | Right here and this one's in black
dots on a white field. So let's just turn both
| | 02:54 | of them off for a seconds. And here is we're
going to create in the background our actual street.
| | 02:59 | Now you should do in a layer but just for
the saving of time we're going to right here.
| | 03:03 | So I'm going to with a dark gray
like so, and a much lighter gray for
| | 03:08 | the foreground color.
| | 03:09 | I like that. And I'll throw a gradient in there.
| | 03:14 | Nice, even linear gradient, dark on top,
then light at the bottom like that.
| | 03:19 | So there is our street close
towards us and going further back.
| | 03:23 | Now we'll turn these guys back on,
which right now they completely hide, right.
| | 03:27 | So, let's just look at the first texture.
| | 03:29 | That's the one where we have the white dots.
| | 03:31 | So what I am going to do I am going to
set that one to Screen and now we see
| | 03:36 | that we have the white dots that are
appearing above our little gradient.
| | 03:40 | This one has the dark dots.
| | 03:43 | So this one I am going to set to
Multiply, and there we have all the little
| | 03:47 | dark dots appearing on top and there we
see where we start to get our sense of
| | 03:52 | the gradient, which is the asphalt
underneath and then the texture on top of it.
| | 03:56 | Now I could lessen the amount of dots
or made them stronger. That's up to you.
| | 04:01 | But you could see that the basic steps
that went into creating that texture that
| | 04:06 | eventually became the asphalt that we
see here on the streets of Times Square.
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|
3. Layers Used in "Times Square"Layer groups| 00:00 | In this tutorial, we're
going to look at layer groups.
| | 00:03 | Layer groups allow you to take
multiple layers and put them into a single
| | 00:06 | folder, making it easy to organize
things, especially when you have image like
| | 00:11 | Times Square which is made up of so
many different objects that are made up of
| | 00:14 | so many different layers.
| | 00:16 | It allows me to go in there and
keep things organized and easy to find.
| | 00:20 | We're going to look at how the layer
groups also made it easy to go in there and
| | 00:24 | get complex areas simplified.
| | 00:27 | We're going to zoom in over here on
this Marriott Hotel right here and we are
| | 00:30 | going to get a little closer and we
see that there's multiple rooms here.
| | 00:33 | Now, this is a low res file, so I am
going to open up the actual file for that
| | 00:37 | building itself which is right here.
| | 00:39 | Now there's a lot of pieces missing.
| | 00:41 | I only create the pieces that are visible.
| | 00:43 | But this is high res version, so if we
zoom in closely, we could see all the
| | 00:47 | details that's involved in each room.
| | 00:49 | Now being a hotel, all the rooms
in a line are pretty much the same.
| | 00:53 | Same paintings on the walls,
same furniture, and so on.
| | 00:56 | So you could see that there is a little
variety as far as the paintings on the wall,
| | 00:59 | but the furniture is pretty
much the same everywhere across.
| | 01:03 | Now the difference that we see here is
that the lightning in the rooms is different.
| | 01:08 | All right, the key here, we have this room
being lit from somewhere over here on the side.
| | 01:13 | And we see a reflection on
the bedspread and so on.
| | 01:15 | Here the chair has been moved a
little bit and the lamp is lit.
| | 01:19 | Okay, over here somebody is watching television.
| | 01:22 | You could see their feet
underneath the covers, and so on.
| | 01:25 | Here again, there's a lit from the side.
| | 01:27 | Here's a light from the other side, and so on.
| | 01:30 | Here's one that's completely dark inside.
| | 01:32 | Here's a lamp by the bed is
lit and everything else is dark.
| | 01:36 | So it looks like each one of these
rooms is totally different, right here.
| | 01:40 | Look at those three and we see
that all three are different.
| | 01:44 | Same furnishings, but the atmosphere is
different because the lightning is different.
| | 01:48 | Now, did I go ahead and create
three completely different rooms? No.
| | 01:54 | Right here we'll look at a simple file
that was created just for this tutorial
| | 01:57 | in which we see the interior
part of the room, right there.
| | 02:01 | Above here on the second floor there is nothing.
| | 02:04 | Now when we look at the layers, we see
that there is the windows, right there.
| | 02:08 | It's a 5 by 12 and then there is a group here.
| | 02:11 | Opening that you'll see that there's
two subgroups, the Chair and the lamp,
| | 02:15 | and the other elements of the interior
of the room, the Painting on the wall,
| | 02:18 | the bed, the ceiling, and the wall.
| | 02:19 | The lamp is made up of multiple
layers as well. We have a pole.
| | 02:23 | We have the pole in back.
| | 02:25 | We have the shade, and so on.
| | 02:27 | So, all these things are in there.
| | 02:29 | So I am going to just close this group.
And to create a group all you do is click
| | 02:33 | on that little icon right there,
and that will create a group.
| | 02:36 | And then a layer you put into it or new
layers that you create while that group
| | 02:40 | is open will
automatically be put into that group.
| | 02:43 | So I'll now do here is all the interior
elements of that room are in that group.
| | 02:48 | So what I am going to do I am
going to duplicate that group.
| | 02:51 | I will call this upstairs.
| | 02:53 | So there's a second group.
| | 02:58 | So now I am going to take that entire
group and move it up above just like that.
| | 03:05 | All right, so there they are
in the exact same position.
| | 03:08 | It's little bit over. They're directly above.
| | 03:10 | Now because we're looking at it a
different angle, we're going to see
| | 03:15 | things differently.
| | 03:16 | We're going to see more at
the ceiling, less at the bed.
| | 03:18 | So let's move it down a little bit, like so.
| | 03:20 | All right, that's one start.
| | 03:23 | And we're going to see
more at the top of the painting.
| | 03:25 | The painting would be a little further down.
| | 03:26 | So we're going to open up that group and
look at that Painting on the wall which
| | 03:31 | I am not going to move a little
further down, so we see more of it.
| | 03:35 | And the bed as well.
| | 03:36 | I am going to move that a little further
down so we're seeing less of it, because
| | 03:40 | we're at the different angle so we're seeing
less of those items here. Okay, the chair,
| | 03:44 | the chair would be down pretty far
so that's good. The lamp is good.
| | 03:48 | Now what we're going to do is we're going
to change the mood by changing the lighting.
| | 03:52 | This particular lighting is
going to be completely changed.
| | 03:54 | Again, we should see more of the ceiling.
| | 03:56 | So what I am going to do is I am going
to take the wall and the ceiling there
| | 03:59 | and move them down, like that
so we see more of the ceiling.
| | 04:03 | Okay, because we're again
looking at this different angle.
| | 04:06 | So now let's go in there
and start changing the lights.
| | 04:09 | I am going to pick up the colors of
the lighting on the wall by picking this
| | 04:13 | light color here for my foreground and
I am going to pick the darkest brown for
| | 04:16 | my background, right there.
| | 04:18 | And I am going to select the ceiling first.
| | 04:22 | Now my light is not going to be
somewhere way over here on this side of the room.
| | 04:27 | So I am going to get a Radial
Gradient and I am going to lock the
| | 04:32 | transparency for that layer.
| | 04:34 | So it's only going to affect the active pixels.
| | 04:36 | I am going to draw a gradient
right through there like that.
| | 04:39 | I am going to get the wall and I
am going to take a linear gradient.
| | 04:44 | If I don't lock the transparency, when
I go ahead and do this, it's going to
| | 04:47 | kind of fill up everything, you see.
| | 04:49 | I want to do that.
| | 04:49 | I just want to fill that layer, so I lock
the transparency and then I'll throw a
| | 04:53 | little gradient right through there like that.
| | 04:56 | So now we see that the lighting is
somewhere over here out of our field of view.
| | 05:00 | So that's going to affect
the few things in this scene.
| | 05:03 | For one thing, the bed should get a
little darker. So I am going go to the bed
| | 05:06 | here and I'll just choose
one of different adjustments.
| | 05:09 | We will just go in there and say Hue/Saturation.
| | 05:10 | That will allow us to go in there and
bring down the Lightness and bring down
| | 05:16 | the Saturation a little bit.
| | 05:18 | Now Lightness, some more so
little darker in there. See,
| | 05:20 | just like that.
| | 05:21 | Now the painting on the wall,
that should be darker as well.
| | 05:25 | So I am going to go in there to Hue/
Saturation again and say make that darker.
| | 05:31 | But we have this light coming from over
here, which means it should cast a shadow now.
| | 05:35 | So this time I am going to give the
painting on the wall a layer style.
| | 05:39 | I am going to give it a little Drop Shadow.
| | 05:41 | The light is coming from this direction,
so I am going to put this right over
| | 05:44 | there and there you see that now we
have this little shadow on the side of the
| | 05:47 | painting right there. We can make a
little more distance so that it as a nice
| | 05:51 | long shadow because the light is
somewhere near the wall. Click OK there.
| | 05:55 | And now our painting is darker and it
has a shadow that's being cast by this
| | 05:58 | light way over here. The lamp,
| | 06:01 | we have to turn this lamp off because
we have another lamp on way over here.
| | 06:06 | So I am going to go to layer for the lamp.
| | 06:09 | There is a bulb right there.
| | 06:10 | So I am just going to use that Hue/Saturation.
| | 06:11 | We'll just bring the Lightness all the way
down to -100, which made it pretty much black.
| | 06:17 | It turned off.
| | 06:18 | So now I've got go over in
there and throw in the shade.
| | 06:21 | So I am going to pick some colors from here.
| | 06:23 | And I'll pick up this tone right there,
and from the background the same tone
| | 06:26 | which I'll make even darker.
| | 06:28 | A darker tone like that.
| | 06:30 | And I am going to get this shade and
I'll lock its transparency and throw the
| | 06:34 | light tone on this end here, because this is
picking up that light from way over there.
| | 06:38 | Then I am going to take the inside of
the lamp which is right here. There it is.
| | 06:44 | Its transparency is locked.
| | 06:46 | I am going to throw a gradient inside there,
which I am also going to make a little darker.
| | 06:49 | So let's just go in there and darken
that because that is the inside of the
| | 06:53 | lamp, right in there like that. Click OK.
| | 06:56 | Now that lamp is turned off.
| | 06:58 | Now the pole has a little
bit of a light in there.
| | 07:01 | Let's go in there and take
the pole and we'll darken it.
| | 07:03 | For now, the pole is nice and dark.
| | 07:08 | And you notice that the chair also has
some highlights, but every element of the
| | 07:12 | chair is in its own layer,
making it easy to make adjustments.
| | 07:17 | But there you could see the armrest.
| | 07:18 | So I could take the armrest and darken it.
| | 07:20 | You could take away the Inner Shadow that it
has and just darken the whole thing completely.
| | 07:28 | And the same thing with the Chair back,
which is that section right there, yep.
| | 07:32 | This we'll do with a little burning.
We'll just burn this side right here just to
| | 07:36 | darken that side a little more, just like that.
| | 07:38 | And there you could see that now
we have two totally different rooms.
| | 07:42 | They have the same contents, but you can
see that the entire mood has been changed
| | 07:46 | because the lighting was changed.
| | 07:48 | But it made it really easy to do it
because all the contents were in a group.
| | 07:52 | The group was duplicated and then the
elements within that group were modified
| | 07:56 | to change the mood of the room.
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| Making the lights in the Toys"R"Us image| 00:00 | Layers make it really easy to go in
there and make multiples of something and
| | 00:03 | make them look different.
| | 00:05 | What am I talking about?
| | 00:06 | Well, let's go look at an example right up here.
| | 00:09 | The lights that light up the
facades of the TOYS R US building.
| | 00:12 | We see all these different lights
and we look at them and they're all at
| | 00:15 | different angles and so on.
| | 00:16 | We get in real close and we see that
| | 00:18 | they are, in fact, different.
| | 00:20 | See that the wires are going different
directions. Look at the dirt on the front of each one;
| | 00:23 | they all are different.
| | 00:24 | They have little dirt on the sides.
| | 00:26 | Every individual light is
different from its neighbor.
| | 00:30 | Different angles, and so on.
| | 00:32 | And they're also getting
smaller as they get further away.
| | 00:35 | Way down to the end there. Those are ones
that are real close to us which are quite large.
| | 00:40 | So let's go look at that.
| | 00:42 | What happened is that I created a single light.
| | 00:46 | I only created one.
| | 00:47 | I didn't have to create 22 of them
for that side, but I just created one.
| | 00:51 | And we're going to get in close.
| | 00:52 | We see that it's got a lot of details,
| | 00:53 | a lot of stuff going on, but you see
that very clean except for dirt in the
| | 00:56 | front, little bolts and stuff
little shadows, but everything.
| | 01:00 | Absolutely everything in
this light is in its own layer.
| | 01:04 | On top we have the comp.
| | 01:06 | That's the composite of all the
different layers that's going to be brought in
| | 01:09 | to the overall file.
| | 01:11 | And we could see that every
little element is in its own layer.
| | 01:14 | There's groups and subgroups and here
you could see we could open up, there's
| | 01:18 | a Front plate and Top housing, which
has another little group here that's this
| | 01:21 | cone here, and there is
the top brace, and so on.
| | 01:25 | So there's a lot of different layers.
| | 01:27 | Now the reason we see some of the lights
and they're all different is because of
| | 01:31 | the fact that everything is in a layer.
| | 01:33 | They are the same light over and over
again, but every one has its little nuance
| | 01:37 | and that's what is easy,
because of the layers like the dirt.
| | 01:40 | That dirt layer right there which if I
wanted to see that layer in particular,
| | 01:45 | and then I can't remember what I called it,
| | 01:46 | I could just hold down my Control
key right here and click on it and I
| | 01:50 | could see there's a list.
| | 01:51 | And right there it came.
| | 01:52 | Dirt, so if I click on dirt, there is the
dirt layer right there which I can turn that off.
| | 01:56 | And you could see here as the layer turns off.
| | 01:58 | By changing that layer right there I was
able to make every light look different.
| | 02:03 | And a little tilt here and
there made the difference.
| | 02:06 | Now when we look at the file where
all the lights have been assembled,
| | 02:09 | right here, we see there they are going back
in space, making smaller as they go around.
| | 02:14 | This one is tilted a little bit,
| | 02:15 | this one is tilted that way, and so on.
| | 02:17 | Each one looks different.
| | 02:18 | Now how did I determine their size difference?
| | 02:22 | I used the Blend tool in Illustrator.
| | 02:24 | The series of tutorials on Illustrator
will explain this little feature, but
| | 02:28 | right here you see that I
have a layer called Guides.
| | 02:31 | And what I did is I created the
basic shape and using my perspective in
| | 02:35 | Illustrator I created the far
shape, which is a little guy there.
| | 02:38 | And then I blended from one to the
other giving me all the steps in between.
| | 02:42 | So I had a guide for how I
was going to shrink each light.
| | 02:46 | So once I added the wire and changed
the dirt and the angles of the shadows and such,
| | 02:50 | I was able to then create the
second light, the third, forth, all the way
| | 02:55 | down to the end here and
they're all going back in space,
| | 02:58 | getting smaller, and each one looks different.
| | 03:01 | So all these lights came from one
single light and since everything was in
| | 03:05 | a layer, it made it really easy to
make multiples that all look like
| | 03:09 | they're individual lights.
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| Understanding the layers in lights| 00:00 | Layers have been crucial in
the creation of Times Square.
| | 00:02 | If you take in to account the
thousands of files that make it up and all the
| | 00:06 | layers in each of those files, it
comes up with somewhere in the neighborhood
| | 00:10 | of about 500,000 layers
that make up the overall image.
| | 00:14 | Now if we look at some of the
individual pieces, you'll see how crucial
| | 00:17 | layers, layers groups, and all these
different ones were very important in
| | 00:21 | making the whole thing work.
| | 00:23 | I'm going to zooming right here into one
of the facades of Toys R Us and we see
| | 00:26 | that there are some video boxes there.
| | 00:28 | I am going to zoom in to the
actual file of one of these boxes.
| | 00:32 | Now it is made up of many
different files, like right here we have
| | 00:36 | the SharkTale_figures.
| | 00:37 | There is the actual characters that
are on the box that we saw in the wall.
| | 00:42 | Now each one of these is made up of many
different layers and each one has its own group.
| | 00:46 | So if we look at the Layers panel
right here, you'll see that there is a
| | 00:49 | group for the hero, the girl fish on
the left, girl on the right, shark on
| | 00:53 | right, and the shark on left.
| | 00:55 | Opening up any of these, we will
see that they are broken up into many
| | 00:59 | different layers in between.
| | 01:00 | You see that some of the layers have
layers styles, some of the layers have
| | 01:04 | clipping groups, as you see here, some
of the layers have layer masks, all the
| | 01:09 | different things that go into the layer.
| | 01:10 | Now, putting everything into an
individual layer makes it easy to go in there
| | 01:14 | and make changes if necessary.
| | 01:16 | What I'm going to do is I'm go
in here and just look at the back.
| | 01:20 | That's the very furthest back layer of
the girl on the left and you see just
| | 01:25 | this little fin area right there.
| | 01:26 | I'm going to start turning on each
one of these layers so you can see the
| | 01:29 | buildup as it starts to form.
| | 01:31 | There's just this little fin, the
back wave, there is the back texture.
| | 01:36 | Now here is the layer that I don't use
that's actually how the texture that I
| | 01:40 | created for this back texture.
| | 01:42 | I'm going to turn that one off, because
this is not part of image. I just kept
| | 01:45 | it as a separate layer and it's there.
| | 01:47 | And we have right here, the right wave,
the little thing here, and this little
| | 01:51 | edge, the edge appear in the side there
at the body, and each one of these things
| | 01:56 | has its own element.
| | 01:57 | So as you can see as they start turning
them on, some are named, some are not,
| | 02:01 | and there you can see that all the
different parts start to form the overall
| | 02:05 | character, even the little eyes.
| | 02:08 | They just have a little inner
shadow, a little stroke added to them.
| | 02:12 | Here are the eyeballs that have a
little inner glow to them, and there is the
| | 02:16 | shadow on the face and the left wave,
and so on, so we keep turning on each
| | 02:20 | element and the fish starts to come to life.
| | 02:23 | Now once all the elements are there,
here is the little hero with all his little
| | 02:27 | pieces, all of them together.
| | 02:29 | Once all those are combined and created,
they go into the overall file for the box,
| | 02:34 | which is right here.
| | 02:35 | There is a box with all the elements in place.
| | 02:38 | Now there is the characters right there.
| | 02:39 | Now you will notice that the
little characters are right here.
| | 02:43 | They are a separate layer by
themselves, a composite layer.
| | 02:46 | I'm going to show you that in
a few seconds, how that works.
| | 02:49 | But here there are many
layers that make up the box.
| | 02:51 | Let's turn this off.
| | 02:53 | There is the basic shape of the box,
which we can use later right there to
| | 02:56 | crop it and so on.
| | 02:58 | Let's deselect that for now.
| | 03:00 | There is the blue that
you see in the background.
| | 03:02 | There is the little characters.
| | 03:04 | There is a filmstrip, which has a drop
shadow added to it to give it that little
| | 03:08 | effect that you see right inside there.
| | 03:11 | There is the little slide shape and that's
these little guys, these little vertical lines,
| | 03:16 | and all the different other
pieces all turned on and you see all
| | 03:20 | different parts, and there is another
shape in there somewhere, and all the
| | 03:24 | different parts that make up the overall box.
| | 03:27 | Now what happens here is that I need to
make a composite of this, one composite
| | 03:32 | file that goes into the overall file, where
it get skewed into position into the painting.
| | 03:38 | So what happens is I make sure that
the background is turned off, because
| | 03:41 | background isn't part of the image,
and I select the topmost layer.
| | 03:45 | Now the modifier keys, they all
change the way things function.
| | 03:49 | So if I go in here and just say Merge
Visible, you'll see that everything got
| | 03:53 | merged into that one
single layer. Let me undo that.
| | 03:57 | Maintaining all these layers
individually is very important, in case if I ever
| | 04:01 | need to make a change.
| | 04:02 | Let's just say I want to move this one
character over so it will have more room
| | 04:06 | or whatever. Having it as an original
file somewhere else gives me the belief
| | 04:10 | that I can go in there and make that change.
| | 04:12 | So I want to keep all my layers here.
So what I do is I select that top layer,
| | 04:16 | I hold down my Option key, which is Alt on the PC,
and choose that same command, Merge Visible.
| | 04:22 | When I click on it this time, it
created a whole new layer, which is a merge
| | 04:26 | of the layers beneath.
| | 04:28 | Now I can come down here and select
the box, come back up to the top and say
| | 04:33 | Inverse the selection, and let
just see this box that we see there.
| | 04:38 | Seeing just that one layer and now that
I inversed the selection I can just say
| | 04:42 | Delete and it eliminated all the
pieces in back that I don't want.
| | 04:45 | This layer will be renamed box+Comp,
which I abbreviate for my composite layer.
| | 04:53 | And that layer will then be brought over
to the overall file, where I compose it
| | 04:57 | into scene, as we see here.
| | 05:01 | There it is in place, distorted and
shadowed and colorized to the way it should
| | 05:07 | look within the scene, but the
layers were crucial in creating it to keep
| | 05:11 | every element separate, easy to modify
independently of the others, and allowing
| | 05:16 | me to make changes later if necessary.
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| Creating blinds with a 3D postcard applied to layers| 00:00 | CS5 introduced some new
advancement to their 3D functionality in
| | 00:04 | Photoshop Extended.
| | 00:06 | One of them is a very simple way of
turning something into a postcard.
| | 00:11 | Let me show you what that does.
| | 00:12 | I have one of my previous images right
here on the screen and what I'm going to
| | 00:16 | do is I'm going to turn it into a layer
by double-clicking on it in the Layers
| | 00:19 | panel. Turns it into a layer. There it is.
| | 00:21 | Now it's a layer, I go in here and say
under 3D > New 3D Postcard From Layer.
| | 00:28 | Click OK, and there it is.
| | 00:31 | Now it doesn't look like anything
happened, but what happened is it turned it
| | 00:34 | into a three-dimensional shape
that I can easily maneuver now in
| | 00:38 | three-dimensional space.
| | 00:39 | So you can see that I can twirl it
around and do all kinds of stuff to it and
| | 00:43 | view it from different angles and it
becomes this three-dimensional object.
| | 00:47 | Now you might say, "Well, that's
kind of cool, but how useful can it be?"
| | 00:51 | Well, I'll tell you what.
| | 00:51 | Let's go in here and do something.
| | 00:54 | You can see how useful it can be.
| | 00:56 | When you try to emulate the third
dimension, a lot of things have to be taken to
| | 00:59 | consideration and perspective is one of them.
| | 01:02 | Let's just say we're going to do a
50s style diner that has this black and
| | 01:06 | white tile floor, right?
| | 01:08 | Let's create one of those floors right now.
| | 01:09 | I'm going to turn on my grid to
ensure that we'll get nice even tones here.
| | 01:14 | I'm going to select the square right there.
| | 01:16 | And I'm going to go ahead and fill it
with black and I will duplicate that
| | 01:19 | one straight down here.
| | 01:21 | Then I'm going to select both of them
with the two white ones on either side
| | 01:24 | there and I am going to say
Define Pattern. There it is.
| | 01:29 | So now I could deselect that. Actually let's
going to throw everything away. There we go.
| | 01:35 | Now we don't need the grid
anymore, so let's turn off the grid.
| | 01:37 | In a layer on top of this, I'm going
to fill that with that pattern we just
| | 01:43 | created and there is our
checkerboard pattern. Click OK and there it is.
| | 01:47 | Now, if I want to make a floor for
our scene, how about Distort? Distort is
| | 01:53 | probably going to give us the best solution.
| | 01:55 | So I'll go in there and take Distort
and drag it down here and I'll drag it down there.
| | 01:58 | Not quite. Why? Because
down here it is squares, but look, these
| | 02:02 | are no longer squares.
| | 02:03 | That ones that come to us are
actually rectangles. Let's escape that.
| | 02:07 | By taking that layer and turning
it into a 3D layer, a 3D postcard,
| | 02:12 | now when I rotate this into the third
dimension, you'll notice that I'm keeping
| | 02:16 | the shapes, no matter what angle I
view this at, I am maintaining those nice
| | 02:21 | shapes, making it still look like
squares no matter what angle I look at this.
| | 02:25 | They are still squares. That one doesn't
quite work, but there you can see that
| | 02:29 | they are still squares.
| | 02:31 | Now how useful was that in creating Times Square?
| | 02:34 | Well, I'll show you one very good
use for it and that is right here.
| | 02:38 | I'll show you two places where I used
that very same function to solve things.
| | 02:42 | Right here, get in close, and we see
that we have these vertical blinds on this
| | 02:47 | top portion of the MTV store, all of
these little blinds through here, and then
| | 02:52 | over here we have this little pattern
up here, which is being reflected at two
| | 02:57 | different angles in the windows down below.
| | 02:59 | Well, here is a case where it was easy
to make a simple pattern and then have it
| | 03:04 | go into the third dimension
to fill the spaces that I wanted.
| | 03:08 | So we'll go back into that untitled file
and here is where I want to create my
| | 03:12 | little vertical blinds.
| | 03:13 | So I've got to create a long line like so.
| | 03:16 | Here is my line, and I'll fill
it with black, okay, that's good.
| | 03:20 | So now I'm going to select this,
just like this. Give a little space
| | 03:23 | between it like that.
| | 03:25 | Now in creating a pattern, this space
plus this space next to it means how far
| | 03:29 | this line is going to be from its
neighbors on the next size, so I'm going to
| | 03:31 | turn that into a pattern. Define Pattern.
| | 03:35 | So, now I can take and throw it away.
Background Color, there it goes. It is gone.
| | 03:40 | So let's pull back just a little bit.
| | 03:41 | There it is. So now I am going to
create a layer, and this layer I'm going to
| | 03:45 | fill it with that pattern. The
pattern and the line I just created.
| | 03:51 | There is the lines.
| | 03:53 | Now going back in space, these lines
are going to get smaller or thinner and
| | 03:59 | get closer together.
| | 04:01 | Now to create that line by line is very
labor intensive, but if I turn this into
| | 04:06 | a 3D layer, I can go in
there and do this easily.
| | 04:09 | So I'll say New 3D
Postcard From Layer. There it is.
| | 04:13 | So now I can easily rotate this back in
space and you can see that the lines are
| | 04:18 | getting thinner as they get further away,
and they are getting closer together
| | 04:22 | and so on, just as they would in the
real scene, and it creates the illusion of
| | 04:27 | the lines moving back in
space and this trick was done easily.
| | Collapse this transcript |
|
|
4. Layer Styles Used to Create Realistic ObjectsCreating a bottle| 00:00 | Layer styles have been crucial in the
creation of Times Square because layer
| | 00:03 | styles allow you to create a lot of
effects that would normally take a lot
| | 00:06 | of steps to create.
| | 00:07 | We'll zoom in on the central area of
Times Square here and we'll look at some
| | 00:10 | bottles up there in the edges of Times Square.
| | 00:13 | Let me show you why it was so important
to use layer styles to create that effect.
| | 00:18 | So here we have a blank file and I
have a path for the shape of the bottle.
| | 00:23 | Now, what I am going to do is I am
going to pick a nice color and we are going
| | 00:26 | to say that this a nice apple cider, so
I'll pick orangey color about like that.
| | 00:30 | There is a nice color for our cider,
make it a little deeper. There we go.
| | 00:33 | So it will be our nice clear cider and
we are going to go in there and create a
| | 00:37 | layer which I'm going to call bottle.
| | 00:41 | Right there, I am going to
fill that path with that color.
| | 00:44 | There is this nice orangey color.
| | 00:46 | Now I want to just have to
give this bottle some dimension.
| | 00:49 | I want to bring up a very important point here.
| | 00:52 | Look at the layer styles. I'm
about to apply a layer style.
| | 00:55 | Look at the layer styles.
| | 00:56 | They all have names.
| | 00:58 | See Color Overlay, Inner Glow, Inner Shadow.
| | 01:01 | But you see all the controls they give you?
| | 01:02 | Same thing with the
filters, look at the filters.
| | 01:05 | They all have very specific names.
| | 01:07 | One thing that's important to note is
that you should forget what those names are.
| | 01:11 | Those names will stop you from really
stretching out what you can do in Photoshop.
| | 01:16 | Something like Motion Blur, well it
makes a little blur to make things look
| | 01:19 | like they are moving.
| | 01:20 | But what it is really doing, is it
stretches the things so it can be used for so
| | 01:24 | many things like reflections in water
and so many other effects that would
| | 01:28 | normally take other steps to create.
| | 01:31 | It's very important to study what
something is doing, because a little change
| | 01:35 | here in a mode, a little change there
in a color, will totally change the effect
| | 01:38 | that that layer style or filter is
producing and it could be the solution that
| | 01:43 | you've been looking for that
little problem that's plaguing you and your
| | 01:45 | personal work, or your job.
| | 01:47 | So I am going to go in here and I need a
dark tone all along the edges of this bottle.
| | 01:54 | So I'll go into my layer styles and the
one that automatically comes to mind of
| | 01:57 | course is the Inner Shadow.
| | 01:58 | But the Inner Shadow as you can see
is producing the dark tone on one side.
| | 02:03 | It's not equal all the way around.
| | 02:05 | So that's not the one.
| | 02:06 | That's not what I need.
| | 02:07 | What layer style gives me to tone on all sides?
| | 02:11 | The one that does that is Inner Glow.
| | 02:14 | Now it's called Glow, but that's okay
because when you click on it you notice
| | 02:18 | you have all these controls.
| | 02:20 | So what I want to do now is I want
to go in here and take that color.
| | 02:23 | I want to change it to a warm
version of this color here.
| | 02:26 | So I am going to go in here and just
make this nice deep orange like that right
| | 02:30 | there and I'll make it a little bigger.
| | 02:32 | Now we're not seeing it. Why?
| | 02:34 | Because being a glow, it's set to
Screen and Screen means that any color
| | 02:38 | that's lighter than the ones beneath should
be seen and anything darker will be hidden.
| | 02:43 | This orange is much darker than our
original tone so it's not visible.
| | 02:48 | So by changing the mode to that of a shadow,
which is Multiply, there is my dark tone, see.
| | 02:54 | So now it's become an Inner
Shadow that's equal on all sides.
| | 02:58 | Now you can go in there
and make this even bigger.
| | 03:00 | So I have this nice dark tone/
amber color along the entire edge.
| | 03:04 | That's what I wanted. So I click OK.
| | 03:08 | Now I want a darker tone right along
the edge here, an even darker brown right
| | 03:13 | along the edge to make my bottle
look even thicker and more dimensional.
| | 03:17 | Now I can add only one
layer style of Inner Glow.
| | 03:21 | Inner Glow is what I need
again, but with a darker tone.
| | 03:24 | There is always two ways or three ways
of doing the same thing in Photoshop, but
| | 03:28 | sometimes one way is more efficient than others.
| | 03:30 | If I was to take this bottle and
duplicate it and then this one I would go in
| | 03:34 | there and say take the Fill Opacity
down to 0 and then change that Inner Glow
| | 03:39 | color to something else.
| | 03:40 | But right there what I've done is I've
increased the size of this file by having
| | 03:44 | two layers with two layer styles.
| | 03:46 | So that's not a very efficient way of doing it.
| | 03:49 | If your files are really huge,
that could really make a difference.
| | 03:53 | So what I am going to do instead is I
am going to take this Inner Glow and take
| | 03:56 | it out of the layer style.
| | 03:59 | I come over here to Layer, go down
to Layer Style and go way down here to
| | 04:03 | Create Layer and click on that and
you'll notice that the Inner Glow has now
| | 04:07 | been separated out of the layer into its own
layer, keeping the file size relatively small.
| | 04:14 | I can now go back to the bottle and
double-click on it, giving me the ability to
| | 04:17 | give it another Inner Glow.
| | 04:20 | Now this is one layer with a layer
style and a second layer, which is far more
| | 04:26 | efficient than two layers with two layer styles.
| | 04:29 | So here with the second layer I am
going to go, change this to a deep brown,
| | 04:34 | really deep brown like that, change the
mode to Multiply, and then increase the
| | 04:38 | Size so I have that nice tone along
the edges just like that. Click OK and
| | 04:44 | there we have the effect that I wanted.
| | 04:46 | So now I am going to do
a few more things to this.
| | 04:49 | For one thing, I am going to turn off
my background and I'm going to hold on my
| | 04:54 | Option key, Alt on a PC, and say Merge Visible.
| | 04:57 | So I created this other bottle
on top here, which this bottle,
| | 05:00 | I am going to go in there and I am
going to go to my Hue/Saturation.
| | 05:02 | I am going to bring down the
Saturation, make it much lighter like that.
| | 05:09 | Then I'm going to create a little mask around.
| | 05:12 | I am going to take my Pen tool.
| | 05:13 | I am going to draw a little arc right
through there like that and surround the
| | 05:17 | whole top portion of this and
then turn that path into a selection.
| | 05:22 | And while it's selected, I go to my
layers, and I say for that layer give it a
| | 05:25 | mask based on the selection.
| | 05:27 | There we see then now we have the top
portion of the bottle where there is no liquid.
| | 05:30 | We just took this bottle of cider out of
the refrigerator, so it's nice and moist.
| | 05:36 | So I am going to add some moisture to this.
| | 05:38 | So on the layer on top of the whole thing,
I am going to get white for my color.
| | 05:42 | I am going to get my Paintbrush, which
right now is set to a hard-edged brush.
| | 05:46 | There it is. Hardness is at 100%,
and I have some settings for it.
| | 05:50 | I go into Shape Dynamics where I set
it up so that my size is a jitter, and I
| | 05:54 | have a minimum size set up, and then
I have some scattering set up as well.
| | 05:58 | So it's kind of jumping around.
| | 06:00 | So now I am going to go in here and I
am going to start to paint all these
| | 06:03 | little drops, all over my
little bottle like so.
| | 06:07 | All different sized drops of
water right on the bottle.
| | 06:10 | Now they don't look like drops of water.
| | 06:12 | They look like little white dots.
| | 06:14 | So using layer styles we are
going to turn that into real moisture.
| | 06:18 | Let's get a little closer so we
can see what's going to happen next.
| | 06:21 | I am going to double-click on it
and water, even though it's transparent,
| | 06:26 | it does cast a shadow.
| | 06:27 | So I am going to give it a little Drop Shadow.
| | 06:29 | I am going to bring the distance in a
little bit so they are a little bit closer
| | 06:31 | to the edge and bring down the Opacity.
| | 06:33 | So that's the hint of a Drop Shadow.
| | 06:35 | I am also going to add an Inner Shadow
which I am going to make a little smaller
| | 06:40 | right there and I also don't want
to add black to the color underneath.
| | 06:43 | What I want to do is just
darken the color underneath.
| | 06:46 | So I am going to change the mode.
| | 06:48 | Instead of Multiply, I am
going to set it to Overlay.
| | 06:51 | Now we don't see the effect. Why?
Because it's affecting the color underneath.
| | 06:55 | So to see the color underneath I am
going to go over to my Blending Options
| | 06:59 | right here where I have two opacities,
| | 07:01 | Opacity and Fill Opacity, which I
also have here in my Layers panel.
| | 07:06 | Now the Opacity deals with the entire layer.
| | 07:09 | Bringing this down, you see the
layer is becoming transparent.
| | 07:12 | Bringing it down to 0, the
layer completely disappeared.
| | 07:15 | Now, Fill Opacity deals with the original
pixels that I generated, these white dots.
| | 07:21 | The new pixels that were generated to
do the Drop Shadow and the Inner Shadow,
| | 07:25 | they will remain visible because
the Opacity will remain at 100%.
| | 07:29 | By bringing the Fill Opacity down to 0,
the white dots will disappear. There you go!
| | 07:34 | Now, we are seeing the effect of the
Overlay Drop, Inner Shadow,, and so on.
| | 07:38 | Now, to make this look like water I am
going to give it one more layer style
| | 07:41 | of Bevel and Emboss where I am going to
bring up the depth, so I get really strong tones.
| | 07:45 | I am going to soften them up a little
bit and I'll bring up the Opacity of my
| | 07:48 | whites, so I get really nice
highlight right there like that.
| | 07:51 | Now this bottom part, the shadow area,
well that's not quite the way I want it.
| | 07:56 | Let's make this a little smaller.
| | 07:57 | There is no shadow in there.
| | 07:58 | The water acts like a little magnifying
glass, saturating the color underneath.
| | 08:03 | Black is not going to saturate, so I
am going to change that color to white.
| | 08:06 | White will saturate.
| | 08:08 | Now it disappeared. Why? Because of the fact
that it's set to Multiply, the mode for shadow.
| | 08:13 | By changing this to Color Dodge, there I
have the intensifying of the color underneath.
| | 08:18 | I am going to bring down the Opacity just a
little, click OK, and now couple of final touches.
| | 08:23 | We just brought this out of refrigerator,
so maybe with my Smudge tool I kind of
| | 08:28 | push this one up like that, so it
looks like it's dripping, and then this one
| | 08:30 | over here it's just starting to drip
like that and this one is dripping and
| | 08:35 | maybe this one over here is dripping as well.
| | 08:36 | So you can see how we've
created the full effects of the
| | 08:40 | three-dimensional bottle.
| | 08:41 | Given it the tones and given it the
moisture by some basic shapes that we're
| | 08:45 | giving layer styles to complete the scene.
| | Collapse this transcript |
| Creating an iPhone case| 00:00 | The layer styles were so useful in so
many of the tiny details in the painting.
| | 00:04 | I'll zoom in right here on this
iPhone ad there that we see right there.
| | 00:08 | Now the iPhone was entirely
created right here in Photoshop.
| | 00:12 | Here's the file for the iPhone itself
before it was put into the billboard.
| | 00:15 | When look at it, we see here that
we have the composite layer on top.
| | 00:20 | And underneath it we have all the
individual layers that make up all the
| | 00:24 | pieces inside, including
| | 00:26 | way down here we have a whole another
set which is the actual phone itself.
| | 00:31 | So we can see all the
layers that make up the phone.
| | 00:34 | You can see that we have the little
labels and the little yellow line and
| | 00:37 | the pin and the 280,
| | 00:39 | all the different pieces that go into
there, even the battery life is in there.
| | 00:42 | So what we're going to do is we're
going to come down here and create this
| | 00:46 | phone from scratch.
| | 00:47 | I am going to go in here
and see just the background.
| | 00:49 | We see here we have the paths.
| | 00:51 | Here is the basic paths and
there is a couple of the symbols.
| | 00:54 | There's some other shapes.
| | 00:55 | There's a little envelope, the Safari,
the little music symbol, the pin shadow,
| | 00:59 | the route sign, the little gears,
| | 01:01 | all the different parts that
go into the overall painting.
| | 01:04 | So now, what I am going to do is I am
going to come over here and I am going to
| | 01:07 | pick up the outside part
of the phone right there,
| | 01:10 | that outside edge of the phone.
| | 01:12 | So back in my layers I am going to
create a layer right here on top of this,
| | 01:16 | which we'll call the outercase, right there.
| | 01:22 | And I'll fill that with
a white. It will be fine.
| | 01:24 | So I'll go in there and
say fill that with white.
| | 01:27 | Now let's just see our background.
| | 01:28 | Turn it off so we know that, yep,
it is in fact filled with white.
| | 01:32 | Now I am going to pick this
inner part here. Switch to black.
| | 01:35 | That'll be the interface.
| | 01:37 | So let's create a new layer and
we'll call it the face of the phone.
| | 01:42 | And I will go and fill that path with the black.
| | 01:44 | So there's our phone.
| | 01:46 | Now let's turn the background back on,
and that outer case is kind of like a
| | 01:51 | shiny silver color on this particular model.
| | 01:54 | And being the metallic, it's going
pick up all these nice little reflections.
| | 01:59 | Now I could go in there and paint all
those reflections and create little masks
| | 02:02 | and go in there and grab all
these colors? Far too much work.
| | 02:06 | So what I am going to do is I am
going to take the outercase right there.
| | 02:08 | Let's move this over,so we
can see what's going to happen.
| | 02:10 | Next, I am going to go into the layer
styles for it and I am going to give it a
| | 02:13 | single layer style, Satin.
| | 02:17 | Now it seems I've turned gray, but Satin
is using black at a 50% Opacity to give
| | 02:23 | me the tone that I want.
| | 02:25 | Now right now it just looks
like a plain gray right there.
| | 02:28 | So what I am going to do is I
am going to choose a Contour
| | 02:30 | that's a little more complex
like this one right here.
| | 02:32 | And we see that something happened already.
| | 02:34 | And what I am going to do is I am going
to set the Angle here to say 0, so it's
| | 02:38 | kind of straight on, and I am
going to play around with the Size.
| | 02:42 | And you can see what's starting to
happen up there is I am starting to get at
| | 02:44 | all these nice little tones.
| | 02:45 | If I set this to say maybe 90 degrees, there,
we can see that I am getting all these
| | 02:49 | other little tones happening.
| | 02:50 | So I can go in there and play around with
these until I have it just the way I want.
| | 02:54 | And I'll play with these little handles
here until we have just the Angle that I want.
| | 02:58 | Maybe I could play around with this.
| | 03:00 | And right there that Angle, there we
could see that we've picked up this
| | 03:03 | nice shininess to it.
| | 03:05 | Increase the Size just a little.
| | 03:06 | Click OK and we got to 100% zoom on this.
| | 03:09 | And we see that we have this
really nice edge to our phone.
| | 03:13 | See? I've got these nice little
highlights that we picked up along the edges,
| | 03:17 | which gives with that illusion of being this
nice metal case on the outside of the phone.
| | 03:23 | That's all it took.
| | 03:24 | It was a simple solid color into the
shape and then one layer style of Satin was
| | 03:29 | the setting that provided me with all
the little reflections to make it look
| | 03:33 | like the metallic case.
| | Collapse this transcript |
| Creating the iPhone icons| 00:00 | In the previous movie we saw how
layer styles were crucial in creating the
| | 00:03 | reflections that make the
case of the iPhone look metallic.
| | 00:07 | In this tutorial we're going to look
at how layer styles were instrumental in
| | 00:11 | making all the icons on
the iPhone look realistic.
| | 00:14 | I am going to zoom in on the main core
of icons right here and we'll look at
| | 00:20 | individual ones, just as
they come in to view here.
| | 00:23 | So right there, right
off the bat we see the sun.
| | 00:25 | The sun's got some nice little tones to it.
| | 00:28 | Let's go look at it.
| | 00:29 | I am going to click on the sun itself and
you see that the sun has two layer Styles.
| | 00:35 | It has an Outer Glow and has a Bevel and Emboss.
| | 00:39 | Without it it's just a circle that
was given a radial gradient going from a
| | 00:43 | light yellow to a darker yellow.
| | 00:45 | But the Outer Glow and the Bevel and
Emboss made it look like the icons that
| | 00:49 | we see on the phone.
| | 00:50 | So if we go in there and turn these
back on, you see there are the effects.
| | 00:54 | If we look at the Bevel and Emboss,
we see that I made some changes to it.
| | 00:57 | The Screen and Highlight is still set to white,
but the Shadow mode was set to a lighter yellow,
| | 01:04 | lighter than the one
that's in the background itself.
| | 01:06 | So I set the mode to Normal rather
than Multiply, which is the shadow's mode,
| | 01:11 | and by doing that we get that nice
little extra yellow halo along that bottom.
| | 01:15 | The Outer Glow is just set to a
stronger yellow than the default.
| | 01:19 | The Opacity is brought up a little bit
and it was made a little larger, which gave
| | 01:23 | me that glow around it.
| | 01:25 | Something like the YouTube symbol right here.
| | 01:28 | We'll click on that and we see that we
have a few layers that make up the YouTube.
| | 01:32 | We have the frame, the screen,
the knobs, and the label.
| | 01:36 | Every one of them has some kind of a
layer style with the exception of the label.
| | 01:39 | The label is just this little piece right there.
| | 01:42 | So if we look at the frame, it has a
Drop Shadow, which is right in here,
| | 01:47 | you could just see it in here, and it
has Bevel and Emboss to make the frame
| | 01:51 | look three-dimensional.
| | 01:52 | I'll turn those off.
| | 01:53 | There is the Drop Shadow and
there's the Bevel and Emboss.
| | 01:57 | And you could see that it's just a little
frame without any highlights and so on.
| | 02:00 | Turning those back on, you see that it
starts to give it a little dimension.
| | 02:04 | The same thing with the
screen. It has a stroke.
| | 02:06 | Turn that off and you can see that that
edge around the screen is just a stroke.
| | 02:11 | The knobs also have a little Drop Shadow.
| | 02:14 | Turning that off and you could see that
it's just a little hint of Drop Shadow.
| | 02:17 | And again, this was based on looking at an
actual iPhone to see what these icons look like.
| | 02:23 | Same thing like the lens right here.
| | 02:25 | The lens has an Outer Glow.
| | 02:27 | That's what was creating this
little halo around the side there.
| | 02:30 | It's just this little Outer Glow right
there, which created that little edge.
| | 02:34 | That little edge made the
difference to make this look dimensional.
| | 02:37 | Something as simple as the pin.
| | 02:39 | Let's zoom in on that pin.
| | 02:41 | You can see that the pin has some tones to it.
| | 02:43 | Well, that pin has a Bevel and Emboss.
| | 02:46 | Without it it's just a little gray
rectangle, but with the effect it becomes
| | 02:51 | this three-dimensional pin
that's sticking right into the map.
| | 02:54 | Right here we see the Calculator.
| | 02:56 | Click on that and we see that the Calculator
has quite a few things. There are symbols.
| | 03:01 | The symbols are those little symbols inside.
| | 03:02 | They have no effect;
they're just little shapes.
| | 03:05 | But the Calculator
itself has a Bevel and Emboss.
| | 03:08 | Without it they're just
rounded cornered little squares,
| | 03:12 | that's it, with no other tone.
| | 03:14 | But adding that little effect makes them look
like buttons that are raised from the surface.
| | 03:19 | So, all these things have these tiny
little layer styles, which make these
| | 03:23 | buttons come to life.
| | 03:24 | Every one of them has something in
there that makes it come to life and
| | 03:28 | these layer styles, no matter how
simple they are, they will add dimension to your image.
| | Collapse this transcript |
| Creating a ladder| 00:00 | Layer styles can make the
smallest thing look real.
| | 00:03 | No matter how simple it is, it is
important for that to have life to make the
| | 00:06 | overall scene look real.
| | 00:08 | So I am going to zoom in right here on
these little structures back here and
| | 00:12 | you see there is a ladder there.
| | 00:12 | Now, that ladder needs to
fit into the rest of the scene.
| | 00:15 | It has to have shading and
such to make it look real.
| | 00:18 | Now we are looking at a low-res version, so it
doesn't look as detailed as the actual piece.
| | 00:22 | But we are going to make that ladder.
| | 00:24 | Simple thing like that and it doesn't
require a tremendous amount of work, just
| | 00:29 | a knowledge of how Photoshop
works to make it look real.
| | 00:32 | So I got here a file I just created
and I am going to create some basic paths
| | 00:35 | that are going to make up my ladder.
| | 00:37 | And they are not going to be difficult.
| | 00:38 | I am just going to create one long
path like this and I am going to duplicate
| | 00:43 | it straight across.
| | 00:44 | There is the basic shape of
the upright parts of my ladder.
| | 00:48 | Then I am going to go in here and
create all the rungs that go across.
| | 00:51 | I am just going to create this one right
there and duplicate it down there and I
| | 00:57 | am going down again and I'm basically
holding down my Option+Shift+Command key
| | 01:02 | to constrain these guys straight down.
| | 01:04 | That would be Shift+Alt+Ctrl on a PC.
| | 01:09 | With the beauty of editing, there you see the
entire rung. You don't have to make each one.
| | 01:13 | You see the entire ladder is now set up.
| | 01:15 | These are just the paths. Without them we really
haven't done anything to our art. Here is the path.
| | 01:21 | So I am going to just save
those paths so we have them.
| | 01:23 | Now, this is going to be
created in various layers.
| | 01:26 | I am going to select this
first one here, right there.
| | 01:29 | This is the one that's closest towards
us, right there, and I am going to go in
| | 01:33 | there and create a layer right there
and this layer is going to upright and in
| | 01:40 | fact we will make the one that's furthest to us.
| | 01:42 | So we will say upright right
and that's this one here.
| | 01:47 | So I am going to get a color
that's going to represent that shape.
| | 01:50 | So I am going to go in here and let's
pick a nice gray. Say we pick that gray
| | 01:54 | right there and I am going to
get a brush, a hard-edged brush.
| | 01:58 | Let's bring the Hardness up, bring the
Size down to the size, that's going to be
| | 02:02 | good for that shape of the ladder.
| | 02:04 | Go in there and type in a 15
there and that's a good size.
| | 02:10 | So now that I have that in that
layer, I am going to go ahead and stroke
| | 02:13 | that path. So there it is.
| | 02:15 | Now this one here, I am
going to stroke in another layer.
| | 02:19 | So I am going to call this layer upright
left, and stroke that path in that layer.
| | 02:29 | Then I am going to select
all the ones in between.
| | 02:31 | I am going to select all of these and
in a layer in between all these, right
| | 02:38 | there in between them, we will call it the rungs.
| | 02:43 | And I am going to get a much thinner brush.
| | 02:45 | Let's go in here and make it a little
thinner. Let's say about 9 looks good.
| | 02:50 | So in that I am going to
stroke the paths right there.
| | 02:54 | So there is our basic shape for our
ladder, but it's very flat right now.
| | 02:58 | So now let's make it look dimensional.
| | 03:00 | So I am going to go into my layer
styles and for the upright on the right, I am
| | 03:06 | going to go in there and say give it
just a Inner Shadow, which I am going to
| | 03:11 | have it turn off the global light and
have the light come from this side here.
| | 03:14 | Now I am going to choke it so it's hard,
and I am going to bring the Size down
| | 03:18 | to about 2 and I am going to reduce the
Distance to 2, just so I get this little
| | 03:23 | edge along the front there, see just like that.
| | 03:26 | Right now, what if this was supposed to
be the light side, it's facing the light?
| | 03:30 | Well, what we will do is we will just
change the color to a very light gray
| | 03:34 | like this and change the mode to a Screen, and
now we've got a light edge right along there.
| | 03:40 | So we'll say that's good.
| | 03:41 | Click OK. And so that we can
really see that light stand out,
| | 03:44 | I am going to go to the
background and invert it.
| | 03:46 | So now we see that we've got this
little light edge going on right there.
| | 03:50 | So that's a good layer style, so I am
just going to Option+Click and drag that
| | 03:53 | into the other upright layer, like that, so
now they both have that little edge going up.
| | 03:58 | So now comes the rungs.
| | 04:00 | We want the rungs to look dimensional too.
| | 04:02 | So I am going to double-click on them
to bring up their layer styles and here
| | 04:06 | I am going to give them a Bevel and Emboss.
| | 04:08 | Right off the bat, you can see
that they started to look dimensional.
| | 04:10 | So I am going to go in there and I am
going to just kind of reduce the size of
| | 04:14 | this to something like about 3.
| | 04:15 | Now this is not a formula, because
this depends on the resolution of the
| | 04:19 | file you're working on.
| | 04:21 | So 3 might be too much.
| | 04:22 | This is 72 dpi, so 3 is quite a bit.
| | 04:24 | I am going to increase the Depth so I
get really strong lights and darks and I
| | 04:27 | am going to increase the Opacity for my
whites right there, and you can see that
| | 04:31 | I have this nice tonality
going on there. Click OK.
| | 04:34 | Now, that's fairly good, but not perfect.
| | 04:38 | So here is what we are going to do next.
| | 04:40 | I am going to turn on the rungs as a selection.
| | 04:43 | I am going to Option+Click on it just
like that, and then in a layer right on top of
| | 04:47 | the upright right, I am going to
create a new layer right there,
| | 04:50 | I am going to fill that area with black.
| | 04:52 | So I am going to go in there and
say Fill, Foreground Color, done.
| | 04:57 | Now, I can deselect. What do I have?
| | 05:00 | I have a bunch of black areas there. We
should just turn this off so we could see it.
| | 05:04 | I am just going to move it down for a second.
| | 05:05 | Let's turn this off.
| | 05:07 | I am in that layer.
| | 05:08 | There it is. See it's just that.
| | 05:09 | Let me undo that, so it is
right back where it is used to be.
| | 05:12 | And what I am going to do is I am going
to get in a little closer so we can see
| | 05:14 | what I am about to do here.
| | 05:16 | I am going to take that rung.
| | 05:17 | We see that we have a light coming from
up here somewhere, which means that the
| | 05:22 | rung should cast a little shadow
on the inside part of this upright.
| | 05:26 | So I am going to take that layer, which I am
going to call shadow, and I am going to skew it.
| | 05:32 | I have to give it a little
skew, right here like this.
| | 05:35 | So I am going to skew that so it goes
just like that, and I am going to bring
| | 05:41 | down the Opacity just a little.
| | 05:42 | It's just a little hint, and then I am
going to clip it with the upright layer,
| | 05:47 | just like that, and there you can see
that now we have this little shadow on our
| | 05:51 | ladder there and we can even bring down
the Opacity a little bit more, so that
| | 05:54 | there's just as little hint of a shadow and
there we could see that our ladder just
| | 05:58 | became this three-dimensional ladder
| | 06:00 | that was done with just a bunch of
little paths that were stroked and layer
| | 06:04 | styles took care of the
rest to make it look real.
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| Creating the effect used on the Bubba Gump sign| 00:00 | Layer styles can be so effective in
creating the third dimension, because
| | 00:04 | basically, layer styles are lighting effects.
| | 00:06 | If you look at the names of the layer
styles, you have Inner Glow and Drop
| | 00:10 | Shadow. Most of these things
are the effects of light on an object.
| | 00:15 | Now to create some effects in the
painting here, like for instance we'll zoom
| | 00:19 | in on this little sign right up here
and you can see that you get the
| | 00:22 | impression that they're
light bulbs behind that sign.
| | 00:24 | It has that glow toward. That little
darkness along the edges gives it that
| | 00:28 | impression that they are
light bulbs inside there.
| | 00:31 | And the the same thing will happen over here.
| | 00:33 | You can see that again there is this
little dark haze that's going on. That gives
| | 00:37 | an impression that there are two
long bulbs right inside this area here.
| | 00:41 | A very simple use of the layer styles can
give you these really accurate effects.
| | 00:45 | Let's go in here and create a
3-dimensional effect for this little sign here.
| | 00:51 | That's the Bubba Gump sign from the
painting, but we're going to make it a
| | 00:55 | little different here.
| | 00:56 | Straight on and we want to make it look
like it is a sign that's all lit up.
| | 01:00 | So what I'm going to so here is
play around with it a little bit.
| | 01:03 | So the first thing I want to do is I
want to take the actual Bubba Gump sign,
| | 01:06 | and I'm going to go into my controls,
into my Adjustments, go to Hue/Saturation,
| | 01:10 | and I'm going to go in there.
| | 01:12 | I'm going to punch up the
saturation on that sign quite a bit
| | 01:15 | so it starts to look like
it's lit up, just like that.
| | 01:19 | Click OK and that's good enough.
| | 01:20 | That's got really strong saturated color now.
| | 01:23 | So I'm going to go in and I'm going
to double-click on it to bring up the
| | 01:26 | layer styles, and let's just move it over here
so we can see what's going to happen next.
| | 01:30 | To give the impression that
there is light bulbs inside the sign,
| | 01:33 | I'm simply going to give the sign an Inner Glow.
| | 01:37 | Now I'll bring up the size here.
| | 01:39 | You see that what we're seeing is that
there is a light tone along the sides.
| | 01:42 | That's not what I want.
| | 01:43 | I want the center of the sign to be bright
and make it look like the bulbs are inside.
| | 01:48 | So I'm going to change the color of
this to a deeper tone, say like about
| | 01:53 | this orange right here.
| | 01:54 | Now it disappeared, because again I'm
going with a color that's darker than the
| | 01:58 | contents of the image.
| | 01:59 | So now I'll go in here and change
the mode to Multiply, which added this
| | 02:03 | darker tone right along that edge, giving me
the impression that this is lit up from inside.
| | 02:09 | Now the frame itself, I want this to
look 3-dimensional. So here is the frame
| | 02:15 | in its own layer,and we're going to say
that the lights coming from this side over here.
| | 02:19 | It's coming from the street. The
building is here and the street is here.
| | 02:22 | So I am going to go into the layer
styles for the sign itself, and I am going to
| | 02:27 | give it a little Bevel and
Emboss, right off the bat.
| | 02:30 | And we want the light to be
coming from this side right here.
| | 02:33 | So now, you see that I've
got this Bevel and Emboss.
| | 02:35 | I'm going to increase the Depth so
I get really strong lights and darks.
| | 02:38 | I'm going to make the Size really small.
| | 02:40 | Bring it down to about 2, so I just
get this little tiny edge on the two sides.
| | 02:45 | I might be even it make one, just
so it looks like it's just got a little
| | 02:49 | tiny edge to the sign. There we go.
| | 02:51 | We have this nice brightness on this side.
| | 02:53 | Now the actual sign is inset into
the frame, so I'm going to give this
| | 02:59 | particular guy a Drop Shadow as well.
| | 03:02 | There we'll see that we
have this little drop shadow.
| | 03:04 | We're going to bring the light down just
a little bit like this. So there is our
| | 03:07 | little drop shadow inside, which I can
kind of increase the Spread, so it become
| | 03:10 | a little bit sharper, just like that,
and we have the little shadow inside.
| | 03:14 | I'll bring down the Opacity a little bit,
| | 03:16 | because this is a brightly lit sign.
| | 03:18 | So I get this little hint of a
shadow right inside there. Click OK.
| | 03:22 | The shadow is out here too.
| | 03:23 | I don't want it out there.
| | 03:25 | So now that I have the drop shadow and
the Bevel and Emboss for that frame, I'm
| | 03:29 | going to come over here and
say Layer Style > Create Layers.
| | 03:34 | This little message will pop up to
warn you that sometimes when you're making
| | 03:39 | layers out of individual layer styles,
sometimes there will be a conflict.
| | 03:43 | When they're working together, they
work fine, but if you separate them into
| | 03:47 | separate layers sometimes the
modes might conflict. So there is that
| | 03:51 | possibility that things won't look the same as
it did when you first applied the layer style.
| | 03:55 | So it's kind of like a little
warning that some things might not work.
| | 03:58 | Usually they do, but if you've added
say five different layer styles and you're
| | 04:03 | going to combine this with another
layer that has another five layer styles,
| | 04:07 | you're going to run into some conflicts
and it won't look as good as it do when
| | 04:10 | you originally assigned the layer style.
| | 04:11 | So, now that we have them as
individual layers here, I'm going to go to the
| | 04:15 | Drop Shadow layer and I'm going to go in
there and just erase this area right up in here.
| | 04:21 | Now I'm not totally sure I want to erase it,
because what if I want to move things later?
| | 04:26 | Rather than erasing, which is
destructive, I'm just going to give that a layer mask,
| | 04:30 | and in the layer mask, I'm going
to go in there and using black I'm going
| | 04:35 | to just paint out that area up there,
so I don't see the shadow on that side
| | 04:39 | there and I don't see the shadow
on this side here, just like that.
| | 04:44 | I'm just painting it out, so that way
if I ever decide I want to just move
| | 04:50 | things around, the shadow is still intact.
| | 04:52 | I've just hidden parts of it using a
layer mask, so I don't see the shadow
| | 04:56 | outside the area of the frame.
| | 04:58 | But there you can see that now we have a
sign that looks 3-dimensional and looks
| | 05:02 | like it's lit up from inside and
has the effect that I wanted to get.
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| Creating realistic glasses| 00:00 | Layer styles will add dimension to
just about anything they're applied to
| | 00:04 | depending on how well you apply them.
| | 00:06 | Now they don't have to be glaring effects.
| | 00:09 | They could be very subtle.
| | 00:11 | Like right here, when we see Kevin Connor
from Adobe, he has got some glasses on.
| | 00:15 | I want to create the effect of these
glasses and show you how layer styles was
| | 00:19 | crucial in making them look realistic.
| | 00:21 | I have here another file, which is a
copy of that where I have gone ahead and
| | 00:25 | flattened a bunch of the layers, and we can
see that there are the glasses real close.
| | 00:29 | What I am going to do is I am going to
eliminate the front group here, which
| | 00:33 | is that front area.
| | 00:34 | Let's pick up this blue right here,
that we have of the glasses. Right there
| | 00:38 | let's pick up the blue
and then we'll turn this off.
| | 00:41 | And you can see that I have
paths for the glasses right there.
| | 00:44 | So what I am going to do is I am
going to select the outer frame path
| | 00:48 | right there, and then in a new layer
I am going to create a layer on top
| | 00:52 | of this right there.
| | 00:53 | I am going to create this layer and
let's put it outside here and we are
| | 00:56 | going to call this frame.
| | 00:57 | This is going to be the frame for our glasses.
| | 01:01 | I am going to go ahead and
fill that path with that blue.
| | 01:03 | Now I am going to select
the inner path right here.
| | 01:07 | This is the path that makes up
the glass area of the glasses.
| | 01:10 | I am going to turn that into a selection,
then I am going to turn off my path.
| | 01:14 | Now, the reason I am turning it off
is because I am going to delete this
| | 01:18 | interior part of the glasses.
| | 01:20 | And when I hit the Delete key, if the
path is turned on the path will be deleted
| | 01:25 | rather than the interior of the blue frame.
| | 01:28 | So now, I go back to my layers, make
sure I am in the frame, and I hit the Delete
| | 01:32 | key, which will eliminate that central part.
| | 01:35 | So now I am going to create another layer.
| | 01:36 | I am going to call it the
glass. This is the glass.
| | 01:40 | Now I am going to put that behind the frame.
| | 01:41 | I want it inside the frame and I am
going to expand the selection just
| | 01:46 | slightly. 2 pixels is enough.
| | 01:50 | That's going to make it go
right in behind the glasses.
| | 01:53 | I won't have any gaps that make it
look like there is a hole between the
| | 01:55 | class and the frame.
| | 01:57 | That's just a little bit of an expansion.
| | 01:58 | I am going to pick a light gray color
like that and I am going to go ahead and
| | 02:03 | fill that area with that
gray. And I can deselect it.
| | 02:09 | Now that I have that I am going to go
into the layer styles for the glass.
| | 02:12 | And here is where I am going to go
in and start to create that illusion
| | 02:15 | this is in fact glass.
| | 02:18 | I am going to go in and take that glass
and bring down the Fill Opacity so we
| | 02:21 | can see through it, right there like that.
| | 02:24 | And then I am going to give
the glass a Bevel and Emboss.
| | 02:27 | And we see that the light is going to
come from about this area right here.
| | 02:30 | There is the light coming from that
area and I am going to increase the Size of
| | 02:35 | that Bevel and Emboss, just like that,
increase the Depth, so I get a really
| | 02:39 | strong light and dark and we did that.
| | 02:42 | Let's just make it a little bit smaller.
| | 02:43 | We don't want these to look like
bottom of the glass is really thick, like a
| | 02:48 | Pepsi bottle or something.
| | 02:49 | No, I want to just make it just a little
edge to give them a little thickness to them.
| | 02:54 | Now there's a dark shadow in
here. I don't want this.
| | 02:56 | I would like this to look like
just another edge of the glass.
| | 02:59 | I am going to change the black to a
light gray color and there we can see that
| | 03:03 | now we just have this little hint of
the inside of the glass shaded at the
| | 03:07 | bottom right there, like that.
| | 03:09 | Now, this is a glass and
glass is highly-reflective.
| | 03:13 | So there should be some
little reflections in here.
| | 03:15 | So what I am going to do is I am
going to look at the Glass Contour for the
| | 03:19 | layer style and give it something a
little more complex like this one here and
| | 03:23 | you can see what it just did.
| | 03:24 | It just added all these nice
little tones inside of the area there.
| | 03:28 | Now, I can bring down the darks a
little if I want to, just to make them a
| | 03:33 | little less pronounced inside the glass area.
| | 03:36 | And there you can see that now we have
this really nice bright area pushed out
| | 03:40 | up a little and you can see that we
have these nice little highlights all along
| | 03:43 | the edges of the glass, which are making
them look three-dimensional, and make it
| | 03:47 | look like real glass. I will click OK.
| | 03:50 | That part of the glass is done.
| | 03:52 | I might want to add a layer on top of
that, which I am going to go ahead and
| | 03:55 | clip with the glass.
| | 03:57 | So it will only be seen inside the
glass and I am going to go in there and add
| | 04:00 | some white highlights to it.
| | 04:02 | I will keep in mind that anything
that's being clipped by a layer beneath is
| | 04:06 | going to be affected, and since I
reduced the Fill Opacity for that layer,
| | 04:10 | my white will not be as strong, but I am
just going to add a little bit of a glare
| | 04:13 | right through here and let's just
soften this brush considerably, and we'll
| | 04:17 | just add a little bit of a highlight right
through there and another one right through there.
| | 04:21 | So it just looks like that there's
little highlights on the glass itself,
| | 04:24 | right there like that.
| | 04:25 | Okay, we might want to add another
little one just right through there and
| | 04:29 | there we have this nice
little highlight showing up.
| | 04:32 | If you want you can go in there and
give a little Gaussian Blur just to soften
| | 04:35 | those highlights a
little bit, so they just become
| | 04:38 | these little soft edges
right in there like that.
| | 04:41 | Now the frame itself needs a
little bit of a layer style.
| | 04:45 | So I will go in there and give that a
Bevel and Emboss as well, and you can see
| | 04:49 | that it's just conforming to what the
glass is, but I would like to just work at
| | 04:53 | it so that you don't see certain areas.
| | 04:55 | So I am going to turn off my Global
Lights, so it's not going to affect the
| | 04:57 | other layers and I am just going to
move my light source so that I have it just
| | 05:01 | about where I want it, which is right
on the top here and showing me my shadows
| | 05:05 | underneath with nothing
happening in this area here.
| | 05:08 | There we see that now we have
this nice edge to the frame as well.
| | 05:12 | Now there are a little
highlights and stuff of the frame,
| | 05:14 | I am going to use the dodging
and burning to create those.
| | 05:17 | Let me go in there and add a little
darkness to this edge, just like that, maybe
| | 05:21 | a little darkness to the bottom, a
little shadow going right through there, and
| | 05:25 | then I am going to take the Dodge tool.
| | 05:27 | I am going to add a little highlight
right through here, a little highlight
| | 05:30 | right there, and maybe a little highlight
right at this edge here, right in there like that.
| | 05:36 | And there you can see that we started
adding dimension to the glasses, making it
| | 05:39 | look three-dimensional.
| | Collapse this transcript |
|
|
5. Textures and Patterns Applied to Objects in "Times Square"Creating a fabric texture| 00:00 | In places where you're getting very
close to the subject, like in this particular
| | 00:05 | case here we are looking
really close at the blouse,
| | 00:08 | so we see that there is in fact a
fine weave in the blouse right here.
| | 00:14 | So we are getting real close, so we can
see that, and we see that there is a very
| | 00:17 | fine weave that's visible,
| | 00:19 | the fabric itself right through there.
| | 00:22 | So we can start to see it
in these different places.
| | 00:24 | We can see how it's taking on the
contours of the fabric as it folds.
| | 00:29 | So we need to create that kind of an effect.
| | 00:33 | Now, in another movie I talk
about creating that pattern.
| | 00:36 | Here we're going to
actually apply it to a fabric.
| | 00:39 | So I have another file here where I've
just created some simulations of some folds.
| | 00:45 | Now we are not going to see the fabric
in the dark areas, but we are going to
| | 00:48 | see it going around the light areas,
because in the light areas we'll see
| | 00:53 | through it and see that
darkness underneath and so on.
| | 00:55 | So we need to go in there and apply it.
| | 00:58 | First, we have to decide
exactly how these fabrics are folding.
| | 01:02 | Now, the dark areas are going in, which
means these areas here are coming out in a
| | 01:08 | curved fashion, as is this area here.
| | 01:10 | It's curved like this and curved here
and curved there and then curved like
| | 01:17 | that, which means the fabric has to
follow all these individual folds.
| | 01:22 | That also means that we need various
sections of it so that we can manipulate
| | 01:27 | each one separately.
| | 01:29 | So I am going to go in here and in a
new layer I am going to go ahead and fill
| | 01:32 | it with the fabric that we
created, and I'll click OK.
| | 01:38 | And right off the bat, we see that the
existing pattern is a little too big for
| | 01:44 | the fabric that we want here.
| | 01:45 | We want it to be a little bit finer.
| | 01:47 | So let me undo that.
| | 01:48 | I look at the size of this file and
I see that this file is 900 x 700.
| | 01:54 | So what I am going to do is I am
going to go in there and create a new file
| | 01:56 | that's larger than that, much larger.
| | 01:59 | So I am going to go in there
and say 1500 x 1200 and click OK.
| | 02:06 | So here is this much larger file, and
here I'm going to go ahead and--in a new
| | 02:11 | layer, because I want it to be
transparent--I am going to go in and just fill
| | 02:16 | this with the pattern.
| | 02:18 | I'll just say fill with the pattern. Click OK.
| | 02:22 | Now I have a much larger swath that I
can now do a Select All and copy it, or
| | 02:29 | I can drag and drop if I was working
with the Standard View mode, but I'm in
| | 02:32 | Full Screen mode here,
| | 02:34 | so it makes a little difficult to do that.
| | 02:35 | I am going to deselect this, or I
could even close it at this point.
| | 02:39 | I have it in memory. So I'm going
to go in there and just close this.
| | 02:44 | Back here again I am going to say paste.
| | 02:49 | There is my fabric.
| | 02:50 | Looks the same as it was before because of
the fact that we filled it the same size.
| | 02:54 | But when we pull back, we'll see that
there's a lot more to this particular layer.
| | 02:59 | So I am going to go in and say scale,
and there we see that we have all this
| | 03:03 | additional space for it.
| | 03:05 | So I am going to go in there and shrink it down.
| | 03:07 | I am holding down my Shift key to keep
it constrained, and I'm shrinking it down
| | 03:11 | to the size of this file that I have here.
| | 03:13 | Click OK and now we see that
we have the size that I want,
| | 03:17 | a nice size right there.
| | 03:19 | Now, I need one, two, three, and four--
| | 03:25 | I need four different pieces of it.
| | 03:27 | So I am going to go ahead and create
three more copies to give me a total of four.
| | 03:32 | There we are! So now I am going to go in there and
turn these guys off for now, and I am just
| | 03:35 | going to work with this one. Well, I am going to
go in there and start to manipulate parts of it.
| | 03:39 | I am going to come in here and this
is going to be this corner up here.
| | 03:43 | So I am going to go in here and just
drag this up a little bit, so I have some
| | 03:46 | room to work with, and I really
don't need all this extra stuff.
| | 03:49 | So I am just going to kind of dump this.
| | 03:52 | I don't need that part;
| | 03:53 | it just gets in my way right now.
| | 03:55 | So I don't need to see it.
So now, this is what I want to manipulate.
| | 03:57 | So I am going to go into my Warp tool,
and in Warp, I am going to go in there and
| | 04:02 | stretch this out so that it follows
that contour that I have there. I'll just drag
| | 04:08 | these over, drag them down, and I
can get rid of the excess later.
| | 04:12 | There is no problem with that.
| | 04:14 | I am going to bring this guy way up here,
way over, and bring this right in there.
| | 04:18 | I am going to start dragging these
points and start pulling this around.
| | 04:23 | Now, it really needs to curve around,
| | 04:25 | so what I am going to do is I am
going to start to have these areas just
| | 04:28 | curve just like that.
| | 04:30 | There you can see I am starting to
get this nice curve happening in there.
| | 04:34 | Now, you can exaggerate it if you want.
| | 04:36 | That's what I'm going to do. I want to
exaggerate this, so I get this really fine
| | 04:40 | curve happening in there
just like this. There we go!
| | 04:46 | We have it the way I want it. Click OK
and there is this nice little curve in there.
| | 04:50 | Now again, I can get rid of the
excess--I need to see this stuff--and
| | 04:54 | then I'm going to go in and I am
going to give it a mask, so that I only
| | 04:59 | see the parts that I want.
| | 05:00 | So I give that layer a mask, and I can
go in here and very lightly--and I say
| | 05:05 | lightly because I am going to bring
down the Opacity to about 27 or whatever--
| | 05:09 | I am just going to go in there and
paint in the mask the parts I want to hide,
| | 05:13 | and you can see I am not
doing it in one complete stroke.
| | 05:16 | I am doing it in multiple strokes.
| | 05:17 | I can slowly start to erase it,
so I don't get this hard edge.
| | 05:22 | I just kind of very
slowly start to soften it up.
| | 05:25 | There you can see I start to have
that nice little curve in there.
| | 05:28 | I am just having the fabric
exposed just where I want it.
| | 05:30 | So now, the side would be the same thing.
| | 05:34 | So we'll go in there and let's pull back
and look at the next bunch. Here it is!
| | 05:40 | So right off the bat, I am going to just
dump this whole area right here, don't
| | 05:44 | want that, throw it away, and I want to make
sure I am in the right layer. There you go!
| | 05:50 | Take care of that. All right!
| | 05:51 | So now I've got this piece.
| | 05:53 | I am going to bend that
in the opposite direction.
| | 05:55 | I am going to go in there and say warp.
| | 05:58 | I am going to drag it and do
the same thing I did before.
| | 06:01 | I am going to go in there and just
pull these guys all the way around so I
| | 06:06 | start to really exaggerate my
distortion here and I get this nice curve, and I
| | 06:13 | start to play with it. And here I've just got
this little bend going down this way, so it's just
| | 06:18 | going to go this way.
| | 06:19 | I get this little light area happening.
Or actually it should be the opposite.
| | 06:23 | It should be going up this way.
| | 06:25 | So we'll just start to bend these guys
up, start getting that curvature, bring
| | 06:30 | this down, bring these handles over.
| | 06:33 | That's giving us the
ability to go in there and start bending this
| | 06:36 | just the way we want. I start
curving this around that way, bring this over some
| | 06:42 | more so we get more of a twist and
bring this guy out and curve that and bring
| | 06:50 | this up, and there we're starting
to get this distortion on this side.
| | 06:58 | Once I have it the way I want it, make
it happen, get rid of this little excess
| | 07:02 | in here, don't need that,
and give that a mask as well.
| | 07:07 | We'll do the same thing on this side.
| | 07:10 | Just go in there and start to just
paint this off just like that, just so
| | 07:15 | we start to expose just the parts
of that texture the way we want them
| | 07:19 | right in there like that. Now, we have this.
| | 07:23 | We can handle this with probably just one.
| | 07:25 | I am going to bring down the opacity a
little bit so I can kind of really see
| | 07:28 | the thing underneath there. All right!
| | 07:30 | And I am going to take away this piece
here, and take away this piece here, just
| | 07:35 | so that that isn't invisible,
so we can see what we want.
| | 07:38 | So now that we have this, this piece here
will now be warped to follow that contour.
| | 07:44 | Here, we've got to really
start to manipulate this.
| | 07:47 | I am going to pull this guy up,
bring this down, bring this in.
| | 07:52 | So I am going to start to
tighten it up on top here.
| | 07:55 | I want to tighten this area up.
| | 07:56 | So I am going to pull this in,
and then pull these guys down, and then I am
| | 08:01 | going to follow this curve.
| | 08:02 | So I am going to start to bring
this guy around just like that.
| | 08:05 | You can see where I am
getting this nice little angle here.
| | 08:09 | I am going to bring this in right to that
edge and then have these guys kind of follow.
| | 08:13 | These are the sides of the fabric.
| | 08:16 | I am just going to follow that whole
movement right there and tighten this up even more.
| | 08:20 | So there we can see where it's just
starting to wrap around the light area.
| | 08:24 | I am just going to thicken this a little just
so that it starts to fill up right in there,
| | 08:29 | move this over just a little right
into that area, and there you can see we're
| | 08:33 | getting this nice curvature.
| | 08:35 | Now I am going to curve
this down here even more.
| | 08:41 | There, we can see where we're getting
that nice curve, and I click OK.
| | 08:44 | Let's bring the Opacity back up.
| | 08:46 | I think we can get away with
just the three pieces at this point,
| | 08:49 | so I am going to go in there,
and give that a mask and just hide all the
| | 08:53 | parts I don't want.
| | 08:54 | I can erase or just hide, which
is what I am going to do here.
| | 08:57 | I am going to just hide this whole
piece here, get rid of that, and then start
| | 09:01 | to soften up this edge, just going in
there and erasing, and just going to go
| | 09:07 | soften that edge so it just blends right in
with that fold right through there like that.
| | 09:14 | Soften this edge, right through there,
make it all disappear, exposing only
| | 09:20 | the parts that I want.
| | 09:21 | Then I start to soften this edge,
and then I could just go in here back into
| | 09:27 | layer and just eliminate this piece.
| | 09:29 | I don't need to spend time
covering that. Just dump that.
| | 09:33 | There we can see that now we have
this fabric that's just following the
| | 09:36 | movements of the fabric, and we're
getting the textures just where we want it in
| | 09:40 | the areas that we need, and you start
to get this realistic-looking texture.
| | Collapse this transcript |
| Creating Julianne's pants| 00:00 | Patterns are fairly easy to create,
but sometimes those patterns need to be
| | 00:04 | manipulated to make them look real.
| | 00:06 | Julieanne Kost here is wearing these pants
that have this very intricate little pattern.
| | 00:12 | It's just made up of these little squares,
and these tiny little squares inside and so on.
| | 00:17 | But you see that it's all folding and
following the folds of the fabric and so on.
| | 00:21 | So that's what we're going to create now.
| | 00:22 | If I go over here to the file where
I've got a path that I created.
| | 00:27 | It's going to be the leg.
| | 00:29 | So on the right onto this leg we're going
to create that pattern and make it look right.
| | 00:33 | So, I'm going to go in here and I'm going
to select the colors that I want for this.
| | 00:37 | So we will go back to that other file,
and we'll pick the colors that we need.
| | 00:41 | Now see that we have these two
different types of purplish color here.
| | 00:45 | So what I'm going to do is I'm going to
select the dark one for the foreground
| | 00:48 | and holding down my Option, Alt keys,
and clicking on the light tone so I have
| | 00:54 | it for the background.
| | 00:55 | So there is the two tones that I want.
| | 00:57 | I could possibly make them a little bit
darker just to give them a little more
| | 01:00 | contrast and make this one a little lighter
just to make it look a little more defined.
| | 01:07 | Okay, so there. Now that we
have the tones that we want,
| | 01:10 | let's go back and create the pattern itself.
| | 01:14 | Now, the whole point to a pattern is
that you need perfect symmetry, so that the
| | 01:18 | step-and-repeat process will be seamless.
| | 01:20 | So I'm going to view my grid, so
I can make a nice solid pattern.
| | 01:25 | I also need the pattern to be fairly small,
| | 01:28 | so I'm going to increase the
subdivisions for this grid right here and bring it
| | 01:34 | to a fairly high number.
| | 01:36 | So I have really tiny little
boxes that I can work with.
| | 01:39 | That's good enough.
| | 01:40 | So I click OK, and now I'm going to go
in here and start to create my pattern.
| | 01:44 | I have still got my path lit, so I can kind
of see where I'm going, and that looks good.
| | 01:49 | So now I'm going to go in here and just
pick an area like this one right here.
| | 01:53 | That little shape right
there is going to be my pattern.
| | 01:57 | I can now turn off my path.
| | 01:58 | I don't need it anymore.
| | 02:00 | Now what I'm going to do with this
is I'm going to go ahead and fill that
| | 02:03 | with that dark tone.
| | 02:04 | So we go in there and say fill
with the foreground color. Do it.
| | 02:10 | Then I'm going to select
the little squares inside,
| | 02:14 | those two, and I'm going to say
fill with the background color.
| | 02:22 | Now I'm going to select that shape
there and I'm going to duplicate it straight
| | 02:26 | down so that it puts up right
against it right there in that corner.
| | 02:30 | Now I'm going to select this side.
| | 02:31 | I'm going to go in there and say
fill with the background color.
| | 02:38 | Select the two squares inside and say
fill with the foreground color. And like I
| | 02:46 | did before, I want to grab that
whole bunch and duplicate it down here.
| | 02:52 | I have now set up my pattern.
| | 02:54 | I can select all four little
rectangles there and say Define Pattern.
| | 03:00 | Now I can throw it away. I don't need it
anymore, and we still got our background
| | 03:08 | color, so we'll do it this way.
| | 03:10 | Just take this over and
copy it over. There we go.
| | 03:13 | So now let's pull back and we have our
pattern, so we no longer need to see the grid,
| | 03:22 | so let's turn off the grid.
| | 03:25 | Now I have the leg there, and in the
layer, go in there and create this layer
| | 03:29 | and we'll call it leg.
| | 03:30 | We're going to create another layer here.
| | 03:34 | In the leg layer, I'm going to
just fill that path with a color.
| | 03:39 | So we're just going to say fill it and
I'm going to create another layer, which
| | 03:43 | I just did, and in that layer
I am going to put the pattern.
| | 03:49 | I'm going to go ahead and fill
that layer with that pattern.
| | 03:51 | I select Pattern and I choose
that tone. Click OK. There it is.
| | 03:59 | So there is my basic pattern.
| | 04:02 | So now I'm going to go in here and turn
off that path--I saw it was still on there.
| | 04:07 | I'm going to go in here and I'm going
to trap this pattern inside of the leg.
| | 04:11 | So I don't need all of this.
| | 04:14 | So I'm going to kind of get rid of some of it.
| | 04:16 | I am going to go in here and
select a small portion of this.
| | 04:19 | Let's pull back a little bit,
so we can see what we're working on here.
| | 04:22 | I am going to select a portion right
there like this and just dump it, and
| | 04:26 | select this little side here and dump
it, just so that we don't need all that
| | 04:30 | excess stuff. And there I have the pattern.
| | 04:32 | I'm going to clip it inside the leg.
| | 04:34 | Holding down my Option, Alt key, I'm
going to click between the two, and now
| | 04:38 | we've trapped the
pattern inside of the leg area.
| | 04:41 | This pattern now has to
follow the contours of the leg.
| | 04:46 | So what I'm going to do is I'm going to warp it.
| | 04:48 | You notice that I'm still in
the layer with the pattern.
| | 04:51 | So I'm going to go in there
and I am going to say warp.
| | 04:53 | I'm going to warp it over so it starts
to match the angle of the leg itself.
| | 05:01 | Now, I'm not bringing it all the way in,
because what's going to happen is I'm
| | 05:04 | going to start to lessen the thickness
in certain areas so it is going to have
| | 05:08 | this feeling like it is getting
thinner as it goes around her leg.
| | 05:12 | As you can see, it is starting to
happen right there. Right here the little
| | 05:15 | lines are getting thinner.
| | 05:16 | Let's bring this over, bring this around
this way so you can see how the pattern
| | 05:21 | is starting to take on the shape of the leg.
| | 05:24 | I can grab these handles.
| | 05:26 | Let's brings this one over.
| | 05:27 | Let's bring this one up, and you can see
how we are starting to bend this, and it's
| | 05:32 | starting to take on the form of the leg itself.
| | 05:34 | Down here we will bring this one in,
bring this in like this, bring this one
| | 05:41 | out, and there we are starting to get
that shape of her leg right in there.
| | 05:45 | All right, so now the pattern is following
the contours of the leg. So we'll say OK.
| | 05:51 | So now, we have a couple of little
bends here and there where it is going
| | 05:55 | to pinch this fabric.
| | 05:57 | So here is where the
puppet warp is going to come in.
| | 05:59 | So I'm going to go here and say puppet warp.
| | 06:03 | Now I want to go in there and
just manipulate certain parts.
| | 06:06 | I'm going to expand this.
| | 06:07 | I want this to be a little more dense, so I
want to be able to have more points in there,
| | 06:11 | so I increase the number of
polygons that make up the mesh.
| | 06:15 | Now I don't need to see the mesh.
| | 06:16 | So I'm going to turn it off.
| | 06:18 | So now I'm going to go here and
start the anchor certain parts that I
| | 06:21 | don't want to move.
| | 06:22 | So I'm going to go like right down through
middle right here and just add up some points.
| | 06:28 | These are the points that are just
going to be used for the point of anchoring.
| | 06:32 | I'm going to start adding
some points on this edge
| | 06:34 | that kind of parallel to the others
right there, and a couple on this side.
| | 06:42 | So I'm getting a whole series of points
that I'm going to be able to manipulate.
| | 06:44 | Now I can go in here and start to
add points that will be used to bend
| | 06:49 | things, like this one.
| | 06:50 | I'm just going to drag this one in
just a little bit, so I get that little
| | 06:54 | bend right there. And maybe I'll add one right
here, so I can twist this in just a little bit.
| | 07:00 | So I'm getting this little pinch in
the fabric, a little pinch right here as
| | 07:03 | well, and maybe one right
there which I can pinch up.
| | 07:06 | So I'm getting these little bends
in the fabric at certain points.
| | 07:10 | I'm going to add another one right here
where I can kind of bend this one in and
| | 07:14 | one here, where I can bend this one down.
| | 07:17 | So I'm getting a couple of little
bends so that I could just go in there and
| | 07:20 | just kind of twist it around
so I could see what's happening.
| | 07:23 | I'm going to grab one right here,
and I want to anchor it on this side.
| | 07:25 | I don't want to bend that side.
| | 07:26 | So I just want to bend this in just a
little, so that I get a little pinch in
| | 07:29 | the fabric right there.
| | 07:31 | We'll add another one right there and
just kind of bend this over that way.
| | 07:35 | That's good enough.
| | 07:36 | I'm going to click OK, and there we
have all these little twists in the fabric.
| | 07:41 | So on top of this, I'm
going to add another layer.
| | 07:44 | This layer is going to have the dark
tones that are going to be in there for
| | 07:47 | these little recesses.
| | 07:49 | I'm going to go ahead and clip that
with this as well, and I'm going to use a
| | 07:53 | black, which I'm going to go in with
the soft brush and just kind of start to
| | 07:58 | draw in where I know that
these dark tone should be,
| | 08:01 | right in there like that,
and another one right in here, and in there.
| | 08:05 | Actually, that one should be more or like up
above here like that, and let's do a couple in here.
| | 08:11 | I want to just darken this whole side of
the leg now, because it is the back side.
| | 08:15 | This is starting to add the
dimension to the leg itself.
| | 08:18 | So I'm adding all these tones right
along the sides here like that, and here I am
| | 08:23 | going to add some more folds.
| | 08:24 | So I'm going to get a smaller brush and
I'm going to just kind of add a couple
| | 08:28 | little folds in there, and a couple
of highlights in certain spots where I
| | 08:32 | feel they should be.
| | 08:34 | There is the dark tones, and dark tone there.
| | 08:37 | We will just darken this whole
area right up here. All right!
| | 08:41 | So, there. Those are those dark tones
which we are going to set to Multiply.
| | 08:45 | It just darkened that area a little bit.
| | 08:47 | I'm going to add another one,
which I'm also going to clip.
| | 08:50 | Now this one is going to have white, and white
is going to be the little highlights here.
| | 08:55 | So we are going to add little highlight
right into this area right in there, and
| | 08:58 | you notice that I'm using
a lowered-opacity brush,
| | 09:00 | so I'm not getting really strong tones.
| | 09:03 | Now I'm going to go in there and with a
much smaller brush just add a couple of
| | 09:06 | little highlights in certain spots where
I want them to be looking like there is
| | 09:09 | a little fold in the fabric there,
and right above the knee here, and then just
| | 09:14 | add a little highlight right through
the center part there, right there.
| | 09:17 | And there you can see how we've pretty much
taken that pattern and distorted it and
| | 09:21 | shaded it, so it starts to look like
that pattern is in fact part of a pant leg.
| | Collapse this transcript |
| Creating a checkerboard pattern on a bottle cap| 00:00 | Patterns appear everywhere.
| | 00:01 | They could be on a curtain or on the floor.
| | 00:05 | In the case of a little Snapple
bottle here, it's a little tiny
| | 00:09 | checkerboard along the cap here.
| | 00:11 | Let's go see what one looks like.
| | 00:13 | We've got one here, and you can see that
it has these three little rows of little
| | 00:18 | checkerboards, and it's a blue cap.
| | 00:20 | So we have to go in there and create
that effect for our little Snapple cap here.
| | 00:24 | What I am going to do is I am going to
zoom in real close, and the first thing
| | 00:29 | we're going to do is colorize the little
cap so that it looks like the same blue.
| | 00:33 | So I'm going to go in there and select this cap.
| | 00:35 | So I am going to go in there and just
very carefully, with my Pen tool, surround
| | 00:41 | the area that's going to be the cap
| | 00:43 | just like so, and then come out here and
just grab a big area just to refine it there.
| | 00:50 | So now I'm going to go in here and
just get this just right, so there.
| | 00:53 | Now we're just picking up
just that area of the cap.
| | 00:55 | Now this area back here is
transparent, because this is in a layer.
| | 00:59 | You can see that area is transparent.
| | 01:00 | So now I'm in that layer, so what I'm
going to do is I'm going to turn that path
| | 01:04 | into a selection, and then I'm going to
go over here to my Adjustments and use
| | 01:09 | Hue/Saturation, where I'm
going to set this to Colorize.
| | 01:13 | So it's going to change the colors of
the existing image and pick a nice
| | 01:18 | blue that I want there.
| | 01:19 | I'm going to pump up the Saturation a bit
until I have just the blue that I want right there.
| | 01:24 | And you notice since I'm just using
Colorize. I'm maintaining the dark tones and
| | 01:29 | the highlights the way it looked
originally. I'm not covering any of that stuff,
| | 01:33 | so I didn't go in there and paint over it.
| | 01:35 | I'm simply colorizing what was there before,
going from that brown to the desired blue.
| | 01:41 | So now that I've got the color,
click OK and I could deselect it.
| | 01:45 | So now I need that little checkerboard effect.
| | 01:48 | I want that little checkerboard
to be on top of my bottle here.
| | 01:51 | So now there are three
little rows of white checkerboard.
| | 01:54 | So now I need to create that
pattern of that checkerboard.
| | 01:58 | Perfect symmetry is necessary, so I'm
going to turn on my grid, Show the Grid.
| | 02:02 | Now I'm going to go in here really
close and in a separate layer, I'll create a
| | 02:09 | new layer, I'm going to go in
there and turn off my other two.
| | 02:12 | I don't want to see them.
| | 02:13 | I'm going to go in here and
create my little checkerboard.
| | 02:16 | I am going to select a little square,
one of those subdivisions right there, and
| | 02:21 | I'm going to fill it with white.
| | 02:22 | So I'll go in there and say Fill with
the Background Color, because that's
| | 02:29 | what's white right now. Click OK.
| | 02:31 | There it is.
| | 02:32 | Now I'm going to duplicate that
straight down so that it just touches the
| | 02:37 | corner right there.
| | 02:38 | So now I can select both of these and
the two blank spaces next to them, and I
| | 02:44 | have the basis for my checkerboard.
| | 02:46 | Now you're saying, this is only two rows and the
cap has three, but that's okay. It's a pattern,
| | 02:51 | so we can have thousands of rows that
we can easily go in there and cut later.
| | 02:56 | So now that I have that, I'm
going to say Define Pattern.
| | 02:59 | Now it's important that these areas
here be transparent because all we want
| | 03:06 | is the white boxes.
| | 03:08 | So now that we have that, we can throw
that away. Let's go see our other two
| | 03:14 | layers and we'll take
care of the grid. Grid be gone.
| | 03:18 | All right, so now our pattern is
a little bigger than this is,
| | 03:22 | so what I'm going to do is I'm going to
fill a larger area so I can really get
| | 03:26 | in there and scrunch it down later.
| | 03:29 | So I'm going to make my background
inverted so I can really see those little
| | 03:33 | white boxes, making it a lot
easier to go in there and modify them.
| | 03:38 | So I'm going to select a nice
large area here in that layer.
| | 03:42 | I'm going to call this layer the pattern, so
we can easily distinction it from the others.
| | 03:47 | And I'm going to go ahead and
fill it with that pattern we created.
| | 03:51 | Pattern and it should be that
last one right there and click OK.
| | 03:55 | There is my little white boxes.
| | 03:57 | So now all I want is three rows, so I'm
going to eliminate this top row here and
| | 04:04 | eliminate this bottom row here.
| | 04:06 | So there are my three rows, which I can now
shrink those until they match the size of my cap.
| | 04:16 | So I'm going to in there, scale them down so
they're just the same height as the cap
| | 04:23 | itself, right about there. Perfect!
| | 04:28 | Click OK and we zoom in so we can
see what we're going to do next.
| | 04:32 | We now have to wrap this little
pattern right around our cap right here.
| | 04:37 | So what I'm going to do is
take that pattern and warp it.
| | 04:43 | Now when you warp it, you notice that
there are some pre-done sets right here,
| | 04:48 | and there is one called Arc, which is
going to arc it and make it real easy for me.
| | 04:52 | I can just grab this handle and just
move it until I have it to where I want it.
| | 04:56 | Let's put in position, and we'll just
play with this until we have it just where
| | 05:00 | we want it, right about there like that.
| | 05:02 | And I click OK, and I'm going to take it
one step further, because I want this to
| | 05:07 | kind of bend down just a
little bit more right there.
| | 05:10 | So what I'm going to do is I'm going to
select this area here, and I'll go a little further.
| | 05:15 | Let's get a little tighter.
| | 05:17 | Let's make it a real tight along
this edge, right there like that.
| | 05:21 | And I'm going to say Warp this.
| | 05:22 | I am just going to grab this side here,
just this little batch right here, and
| | 05:28 | move those guys in just a little.
| | 05:31 | By moving them in, I'm actually
making it a little thinner on this edge,
| | 05:36 | so it starts to have that sense of
foreshortening like it's going around that
| | 05:40 | bottle, just like that.
| | 05:41 | I'll do the same on this side now.
| | 05:44 | I am just going to foreshorten this just
a little bit, so it'll start to thin out as
| | 05:50 | I go towards that edge.
| | 05:51 | I'm going to bring this in, bring this
down just a little, just slightly. I'm not doing massive
| | 05:58 | turns here, just a little bit at
a time, and then I click OK.
| | 06:02 | Now that I have the shape that I
want, I could easily go in there and just
| | 06:05 | clip it with the cap, and there we see that we
have our little pattern on top of the bottle.
| | 06:11 | We've reversed this back to white,
and we could see our little cap.
| | Collapse this transcript |
| Creating a wood texture| 00:00 | Wood is an interesting texture because
there are different kinds of wood and
| | 00:05 | different kinds of grains.
| | 00:07 | And here up in these windows here, there
is a couple of different wooden textures.
| | 00:10 | I am going to zoom in up there, and we
see that we have one texture right there.
| | 00:14 | There's a wooden texture.
| | 00:16 | There is another one, and here is wood
painted over it with a couple of chips in it.
| | 00:20 | Here is another piece of wood and
coming way over on this side, another
| | 00:26 | different piece of wood and a couple of
pieces of wood on this side here, tons
| | 00:31 | of wood. Different kinds of
woods, different kinds of textures.
| | 00:35 | So, let's go ahead and create
two different kinds of wood.
| | 00:37 | Now, keep in mind that the colors that you use
are also going to determine the type of wood.
| | 00:43 | Certain woods have the same kind of
a grain, but the actual wood color is
| | 00:47 | different--like a mahogany,
as compared to say a cedar.
| | 00:52 | They will have very similar grains,
but the colors would be totally different.
| | 00:55 | Then you will have something like a
walnut or something where the grains will
| | 00:58 | start having another few features.
| | 01:01 | So, let's go in here and
create some wooden grains.
| | 01:04 | In a layer, because we put everything
into a layer, I am going to go in here and
| | 01:07 | create a nice big selection like that.
| | 01:11 | I am going to fill it with a color that's
going to be the type of wood that I want.
| | 01:15 | So I am going to go here and pick a
mid-range brown like that and I will go
| | 01:21 | ahead and fill that area with that color.
| | 01:24 | Fill it with the foreground color.
| | 01:26 | Okay, and there's my brown.
| | 01:28 | Now, to create the grain in this
brown, I am going to give it noise.
| | 01:33 | I am going to add noise, a lot of noise.
| | 01:38 | I kept it in monochromatic so it
doesn't introduce any unwanted colors.
| | 01:42 | It keeps it in the brown tones, with
darker and lighter versions of the brown
| | 01:46 | with some white going through it. Click OK.
| | 01:49 | That's the beginnings of our woodgrain,
and by they way, that is exactly how I
| | 01:55 | created one part of that image that we
saw a second ago, right here, where we
| | 02:00 | saw the edges of the wood right there.
| | 02:03 | I didn't do anything further to create
that little texture right there than what
| | 02:07 | I just showed you of creating just noise.
| | 02:11 | Back to that file, we are going
to create the grain on the sides.
| | 02:14 | So, now that I've got this noise, I'm
going to go in there and apply another filter,
| | 02:20 | which I am going to apply a motion blur.
| | 02:23 | Now which direction you want
your woodgrain, that's up to you.
| | 02:26 | I am going to make it 0, which is
going to make it straight across.
| | 02:30 | And I am going to increase distance,
very high distance, so I get these
| | 02:34 | really strong, long lines.
| | 02:36 | And you'll notice how it's
bleeding in this way? No problem,
| | 02:40 | we will take care of that later.
| | 02:41 | It bleeds in the colors on the edges,
but that's not a problem. What you want to
| | 02:45 | get is these long lines
like you see right there.
| | 02:48 | So, there is the basis of our wood now.
| | 02:51 | I'm going to go in there and increase the
contrast to bring out more luster in the wood.
| | 02:56 | So I am going to use the adjustment of
Levels, and with Levels, you will notice
| | 03:00 | that most of my tones are in this
midrange, so I am go in there and my darks
| | 03:04 | towards it and bring my lights towards.
| | 03:06 | And there you can see that we're now
starting to get a much stronger woodgrain.
| | 03:10 | If you want it darker, you
push those darks further.
| | 03:12 | You want it lighter, you bring the lights in.
| | 03:14 | We will just kind of even it out,
make it pretty even tone, like that.
| | 03:18 | So it kind of looks like an oak almost.
| | 03:21 | So, I am going to click OK.
| | 03:22 | Now we have some good wood grain right there.
| | 03:25 | Now, in many cases, this will be enough.
But if we want to take this further and
| | 03:29 | start to really give it some nice
little burls and stuff, I am going to take
| | 03:33 | this to another filter.
| | 03:35 | I'm going to use the Liquify filter.
| | 03:38 | Now with Liquify filter, we have
many different options that we can use.
| | 03:42 | The first one that we
have is the little warp guy.
| | 03:45 | I am going to use a smaller brush, and
I want to just kind of push these sides
| | 03:51 | out, and see, that's why you don't
have to worry about those edges.
| | 03:54 | In that act of pushing, I'm kind of
very slightly waving it as you can see, too.
| | 03:58 | I am not just going straight across.
| | 04:00 | I am kind of moving it around so
it kind of waves the texture. See?
| | 04:08 | Now, I might to do a little thicker grain here,
| | 04:11 | so what I am going to do is I am going to
move it up and then I am going to move it out.
| | 04:13 | See? I've got a thicker grain up
in that area there like that.
| | 04:19 | Do a little bit on this side.
| | 04:20 | We will bring it up, bring it down, and
then push it up, and you can see that we
| | 04:24 | are getting this much thicker
grain on these edges of our wood.
| | 04:29 | I might want to add a little burl to it.
| | 04:30 | I want to kind of rough it up a little bit,
so we add a little Turbulence tool right there.
| | 04:35 | Now, I am going to get a much bigger brush
now--maybe not that big. About that size,
| | 04:39 | that's good.
| | 04:40 | I am just going to hold it in place.
| | 04:42 | I am going to click and hold it, and in
a few seconds you see that it starts to
| | 04:45 | create these little burls.
| | 04:48 | Make a smaller brush and we will do a
little turbulence right here. Click and hold it.
| | 04:53 | I will just hold it for a second and
you will see that the burls will start to
| | 04:55 | appear and there we have some
little burls happening there.
| | 04:58 | Maybe you want a little knot.
| | 05:00 | Well, I get my blot tool and I'll bring
the brush side way down to a manageable
| | 05:05 | size that I want my little knot to be.
| | 05:08 | And again, I will find a little area
like a dark one or a light one and I will
| | 05:12 | just click and hold it in place.
| | 05:14 | And you hold it there and it just starts
to create the little knot for you right
| | 05:17 | there, and we will throw a
little knot right here.
| | 05:20 | There we go. There are our little knots.
| | 05:24 | Click OK and we have a fairly
realistic-looking kind of a wood grain here.
| | 05:29 | Now, these knots will
require a little extra touch.
| | 05:32 | So, what I am going to do, once I am
done here, I am going to come in, getting
| | 05:36 | real close on this right here, and I am
going to get a hard-edged round brush,
| | 05:41 | make it fairly small, like this.
| | 05:43 | And I am going to pick a darker
tone than this brown that I have here.
| | 05:47 | I am going to get a really dark version of it.
| | 05:49 | And in a layer, so I would get it just
right, and we will go in here and just
| | 05:52 | draw a little circle.
| | 05:55 | I am going to bring this opacity up, and
I am going to draw a little circle right
| | 05:58 | through it like that.
| | 06:00 | And I might want to just go in there
and maybe erase a little tiny edge of it.
| | 06:04 | I'll bring this way down, and we will
just kind of erase a little cut right
| | 06:10 | into it right that.
| | 06:12 | And we will give that a little bit of
noise, so I will go in there and say Add
| | 06:15 | Noise, and just a little bit, just to
give it that little bit of a grain in there
| | 06:20 | that we need for that knot, right about there.
| | 06:22 | Let's go down all the way to about 4.
| | 06:25 | Click OK and we see that we have
this realistic kind of wood texture.
| | 06:29 | A second way of doing this,
| | 06:31 | which becomes even simpler, is to get rid of
these two, and we will create a layer on top.
| | 06:37 | This time I am going to select an all-
vertical area like this, and I am going to
| | 06:42 | fill it with the brown.
| | 06:43 | Now, you need to have some color in
there. The color that you throw in there is
| | 06:47 | not important because we are now
going to pick the colors for our wood, but
| | 06:51 | this particular filter that we are
going to use does require there to be
| | 06:55 | something in that layer.
| | 06:56 | So, we will just filled it with that color.
| | 06:58 | So, that brown is good.
| | 06:59 | We want that brown.
| | 07:00 | So over here, we are going to pick for our
background color a lighter version of that brown.
| | 07:06 | So, we'll say we will use something like that.
| | 07:08 | So, that will be a contrast for our colors.
| | 07:11 | And then I am going to go in here and
apply the filter, which in this case is
| | 07:15 | under Render, and it's called Fibers.
| | 07:17 | Now, fibers can give you some very
realistic-looking woods, right there.
| | 07:22 | We can play around with the Variance
and the Strength, so we can get what we
| | 07:26 | want, and let's just say we will bring
this strength down a little bit, and we
| | 07:31 | click OK and we get a nice wooden texture.
| | 07:33 | Now, it only works up and down,
| | 07:35 | so after we've done it, we can easily
go in there and we can deselect that and
| | 07:39 | just say let's rotate this clockwise
and there is our wooden texture, which at
| | 07:45 | any time we can change the
colors of it and do whatever we want.
| | 07:48 | Let's say we want to stain it a little bit.
| | 07:50 | I am going to our Adjustments, go to
Hue/Saturation, and we are going to stain
| | 07:54 | this a little bit, maybe increase the
saturation, decrease the saturation.
| | 07:59 | There, now it's weathered old
wood, and so on. Or just colorize it.
| | 08:03 | Go in there and change
the tones ever so slightly.
| | 08:07 | So, you can see how easy it is to
create wood textures that are like this one,
| | 08:12 | the plain rough texture, or the
other one, which had burls and knots and
| | 08:16 | everything else into it, making it
really easy to go in there and create a
| | 08:20 | wooden texture, which you could
then apply to any object in your scene.
| | Collapse this transcript |
| Creating concrete and marble| 00:00 | Another material which is easy to
be re-create in Photoshop is concrete.
| | 00:05 | I'm going to zoom in right here into this little area
right there, and there you can see some concrete.
| | 00:10 | That's what we're going to re-create
right now is concrete, and we'll see how
| | 00:14 | incredibly easy it is to do.
| | 00:16 | So I'm going to go ahead and I have
this file, and I'm going to select the
| | 00:21 | area right here, and in a layer--always in a
layer--I'm going to fill that with 50% gray.
| | 00:27 | Let's go in there and get a nice
little density of 50% gray, and there it is.
| | 00:32 | Now to this I'm going to apply a filter,
and a filter I'm going to apply is under
| | 00:38 | Texture called Craquelure.
| | 00:40 | Now this is a good texture to go in and start
playing around, like they say these were browns.
| | 00:44 | This is a good ways to start getting
and say a tree bark kind of a thing, but
| | 00:48 | what I'm going to do is I'm going to a
push up that Crack Spacing way up, so we
| | 00:51 | get just this kind of a
little thing going on right there.
| | 00:55 | Depth, I'll leave it like that because
I want these little highlights in there,
| | 00:58 | and the same thing with the brightness.
| | 00:59 | I'm going to leave those.
And I'm going to say OK.
| | 01:01 | Now that we've done that, I'm going to
apply that filter again, and one more
| | 01:08 | time. And you can see how it's
roughened it up. It's gotten into that nice
| | 01:12 | little kind of a texture
that you would find in concrete.
| | 01:15 | And now for the final touch, I'm going
to give it another texture filter, the
| | 01:20 | Texturizer, which I'm going to put in
Sandstone mode and bring the Scaling way
| | 01:25 | down, and bring up the Relief a little
bit at a time until I get just the right
| | 01:30 | amount of texture that I want, right
about there. Click OK and there we have
| | 01:35 | some very simple concrete. Very easy to do.
| | 01:39 | Now, you want the better grade of stone
you might say. How about some marble?
| | 01:45 | So I'll go in here and create a new layer.
| | 01:48 | What I'm going to do is I'm going
to pick some colors for my marble.
| | 01:52 | I am going to pick a deep green like that
for my foreground, and for my background,
| | 01:59 | I'm going to pick a really dark green, so
that I have a nice contrast of these two tones.
| | 02:05 | And in this layer I'm just
going to fill that with a filter.
| | 02:08 | I'm going to in there and say Render > Clouds.
| | 02:12 | When you apply the clouds, you're
going to get that. Let me undo that.
| | 02:16 | I'm going to hold on my Option key this
time--Alt on a PC--so I can increase the
| | 02:20 | contrast between those colors.
| | 02:22 | So I'll say Render > Clouds, so I get
really strong definition between those two tones.
| | 02:26 | And once have applied this, I
am going to apply another filter.
| | 02:30 | I want to go in there and
say Render > Difference Clouds.
| | 02:35 | Difference Clouds applied on
top of this multiple times.
| | 02:38 | I'm going to keep applying it, until I
start getting that grain, and you can see
| | 02:42 | it's already starting to happen.
| | 02:43 | I am going to start getting that grain
that you see in a really good Italian marble.
| | 02:48 | I am going to apply until I have just
about the amount of green that I want,
| | 02:52 | those nice little ripples that travel
through the marble like that, and you can
| | 02:55 | see I've this really nice marble.
| | 02:57 | And keep in mind of course that after
the fact we can always go back in there
| | 03:01 | and say Hue/Saturation and we can go in
there and say Colorize this, punch up to
| | 03:06 | saturation, and change it to any kind
of color that we might want to get the
| | 03:11 | effect that we need.
| | Collapse this transcript |
| Creating a brick pattern| 00:00 | Now, patterns are fairly easy to create,
but sometimes some patterns are little
| | 00:04 | more complex, especially when they are
interlocking patterns--patterns that run
| | 00:09 | into each other rather than
their normal step and repeat.
| | 00:12 | One such pattern is bricks.
| | 00:14 | We are going to come in
here and look at a brick wall,
| | 00:17 | real close here, and there is a brick
wall right there, and those bricks are
| | 00:21 | interlocking into each other.
| | 00:23 | Let's go in there and create a brick pattern.
| | 00:28 | You need symmetry, so I am going to go
in there and I'm going to turn on my grid.
| | 00:34 | And what's going to happen is our
bricks are going to be the size of one of
| | 00:38 | these little blocks here.
| | 00:40 | I want the subdivisions to
represent the grout in between the bricks,
| | 00:45 | so I'm going to increase the number of
subdivisions to a higher number, so they
| | 00:49 | become little tiny ones.
| | 00:50 | You can see it back here, and I am
going to go in there and change it.
| | 00:56 | Another thing to keep in mind is
that you need perfect symmetry.
| | 00:59 | So, in order to get that symmetry, I'm
going to use an odd number. And it might
| | 01:04 | seem odd at first, but you'll
understand it as we start to create this pattern.
| | 01:08 | So, I used 11, which gave me enough of a size for
that grout between the bricks. So, I click OK.
| | 01:14 | Now, I am going to zoom in
to see my bricks right here.
| | 01:20 | In a layer, I am going
to create the first brick.
| | 01:24 | I am going in here and select a section.
| | 01:26 | You can see, it's taking up four
blocks down, and I am going to go and pick
| | 01:31 | a color for my brick.
| | 01:32 | A little redder and we will pick a
color like that right there. And I am going
| | 01:36 | to go ahead and fill that in the layer
with that color, Foreground Color. Do it.
| | 01:42 | So, now I'm going to grab this and I'm
going to copy it straight over, leaving
| | 01:47 | one subdivision in between. There is my grout.
| | 01:51 | Now, the reason for the odd number is
that I can now duplicate this and center
| | 01:56 | it underneath the other two.
| | 01:59 | There is the reason for that odd
number, see? Because I have five on this
| | 02:03 | side, five on that side and that odd number
gets centered directly underneath the one above it.
| | 02:09 | So now, what I am going to do
is create my pattern. That's it.
| | 02:13 | That's all I need for the
pattern is three bricks.
| | 02:16 | And I select it like this.
| | 02:18 | Now, you will notice that my
selection is such so that it's flush up here.
| | 02:23 | The step and repeat,
it needs a grout up here,
| | 02:26 | there is the grout up on top.
| | 02:28 | And it's flush here.
There is the grout on this side.
| | 02:32 | I have five sections here.
| | 02:34 | The six that the missing are right there.
| | 02:37 | So, now I can turn off my background,
so I ensure that I have transparency in
| | 02:41 | between and I define my
pattern. It is that simple.
| | 02:46 | Go in there and call it 'brick'. Make it happen.
| | 02:50 | Now I can just throw these away.
| | 02:52 | I don't need them. And I can pull back a bit.
| | 02:57 | And what I will do now is I
am going to turn off the grid.
| | 03:00 | I don't need to see it anymore.
| | 03:02 | And in my background here, I'll
put some color in the background.
| | 03:05 | We will get some color for the grout.
| | 03:07 | Let's just say we want to grout to
be this little beige-y color like that.
| | 03:11 | I am going to go ahead and fill it with
that, and I will give it some noise, Add Noise.
| | 03:16 | In this case, I am going to say
non-monochromatic, so it will introduce a few other
| | 03:20 | little tones in there, and I'll just kind
of bring it up to about 8, right there,
| | 03:24 | and I've got this nice little
fine grit to it back there.
| | 03:27 | Or you might want to have a little more
grit to it, so let's go with a 12. There.
| | 03:32 | Then in this layer here,
I will create my pattern.
| | 03:35 | So I am going to go ahead and say fill
that with the pattern, and there is the
| | 03:42 | bricks we just created.
| | 03:44 | Click OK and there we see our bricks,
which I'm now going to go in there
| | 03:48 | and give those noise.
| | 03:50 | We will add noise to that.
| | 03:51 | This time, we will say Monochromatic and
bring it out to about say 8, so we just
| | 03:55 | get a little fine grain in there.
| | 03:57 | Click OK and we have the bricks.
| | 04:00 | Now, we will take this a step further.
| | 04:02 | You can double-click on it to bring up
the Layer Styles and we will give the
| | 04:05 | bricks a little drop shadow, and we will
give it a little Bevel and Emboss, which
| | 04:10 | will just kind of bring
up the depth a little bit.
| | 04:12 | Bring down the Size to soften it up,
so we have these nice little bricks
| | 04:16 | coming out of the wall.
| | 04:19 | But sometimes you have
something that's a little more complex.
| | 04:22 | Pulling back on here, we have
another brick wall right over here.
| | 04:27 | Now, in this low-res version, we
really can't quite make it out,
| | 04:30 | so I do have a high-res version of that
section right here, so you can see that.
| | 04:35 | There we these brick pattern.
| | 04:36 | Now, here we see that the bricks are
separated by a row of small half-bricks, and
| | 04:42 | also, this building is older,
| | 04:44 | so you see that the bricks seem to
have a little wear and tear on them, a
| | 04:48 | little aging to them. They're a little more broken up.
| | 04:52 | So, that requires a whole
other type of a pattern--
| | 04:55 | something that where you won't really
see the pattern, but you will see the
| | 04:58 | damages in the bricks, and so on.
| | 05:00 | You can see that some bricks are
discolored more than others and so on.
| | 05:03 | Let's go and see how that starts out.
| | 05:07 | That starts out this way.
| | 05:09 | I created four little bricks, and each
one is different, as you can see.
| | 05:13 | I can take those bricks now and I can
duplicate it and the duplicate, I will
| | 05:18 | bring down and center it below,
bringing up a little bit, and those I will do
| | 05:23 | maybe a Flip Horizontal or a Flip Vertical--
anything to start making them look different.
| | 05:29 | Now, you know that yeah, well, this guy
looks like that guy, but he is reverse.
| | 05:33 | You can take individual bricks within
this group and start to break them up.
| | 05:38 | What happens at the end is that
you end up with a pattern like this.
| | 05:41 | Here is the basic pattern, so you see
that there is a lot more than the three
| | 05:44 | bricks we used before, because that
way we are going to get enough variety in
| | 05:48 | here so you are not going to see it.
| | 05:50 | There is the row of half-bricks, which
are also varied in shape along the top.
| | 05:55 | Now the symmetry is perfect.
| | 05:57 | You have a pixel right here.
| | 05:59 | You have got two pixels between the others.
| | 06:01 | So, that one pixel combined with this
one pixel will give us the two pixels on
| | 06:07 | either end here, so it will
be even with these bricks here.
| | 06:10 | We are missing this little
chunk over here. There it is.
| | 06:13 | So, this is cut at a very precise spot, so
that the step and repeat will be seamless.
| | 06:19 | Taking this into a brick
pattern will complete the whole scene.
| | 06:24 | Let's go and see what that will look like.
| | 06:27 | So, here we see the grout, and there we
see the pattern of irregular bricks in
| | 06:33 | which each brick was handled separately, so I
can go in here and with a Dodge & Burn tool
| | 06:39 | I can go in here and just
lighten this one brick up.
| | 06:41 | Let's go to the brick layer, and we will
lighten this one up a little bit, right
| | 06:44 | in there like that, and maybe we
will darken this one, and so on.
| | 06:47 | So, we added variety to the entire
brick pattern, so it starts to look like a
| | 06:51 | wall that's fairly irregular and
worn by the elements and so on.
| | 06:56 | And we have a larger section of that
pattern, which was then used for the
| | 07:01 | building that we see in Times Square.
It was reduced heavily to bring it down
| | 07:05 | to fit the actual scene, and there
you can see how a complex brick pattern
| | 07:09 | can easily be created.
| | Collapse this transcript |
| Creating ribbed metal| 00:00 | We are going to look at the pattern
that exists here in the Times Square scene,
| | 00:03 | which is right up here, this little
pattern right there, these little ribs.
| | 00:09 | And you notice that here there's a
little place where the little ribs are
| | 00:11 | protruding beyond this sheet here,
| | 00:14 | these little rounded tops and so on.
| | 00:16 | We are going to create this pattern right here.
| | 00:18 | Now keep in mind that in this tutorial
I am going to be doing it the way I did
| | 00:22 | it for Times Square, this gray tone.
| | 00:25 | Variations in color or any of the
steps that I am going to show you now will
| | 00:29 | result in a totally different kind of an effect.
| | 00:31 | So keep in mind it is not what I did,
but how I did it that's important.
| | 00:35 | So let's go in here and
create this little pattern.
| | 00:38 | So I am going to create a long rectangle,
like so, and in a layer I am going to
| | 00:45 | go ahead and fill that
with a 50% gray, right there.
| | 00:50 | So this is 50% gray. I am going to go in
there and start adding some tones to it.
| | 00:54 | But one thing I am going to give it a
layer style of Inner Glow, which I will
| | 00:59 | make a little bigger. And I
don't want it to be that tone,
| | 01:02 | so I am going to go in there and make it
a dark black and set the mode to Multiply.
| | 01:09 | So there I have this nice dark tone
along the edges like that. And maybe we will
| | 01:13 | increase the Opacity a little bit, so
it gets a little darker just like that.
| | 01:17 | And I want to add more darkness to this side.
| | 01:20 | So what I am going to do is I am going
to take my Burn tool, which I am going to
| | 01:23 | set up here to Shadows and I got it at 50%.
| | 01:26 | I am going to make sure that I have no settings
| | 01:29 | that are set up, and I am going to
go and click right up here and then
| | 01:33 | Shift+Click directly below at the bottom
| | 01:36 | and go back and forth until I start
getting a much deeper tone on that side.
| | 01:40 | You can see I am keeping it
nice and even going up and down.
| | 01:44 | I've got this nice dark tone happening there.
| | 01:46 | Maybe it's just a touch on this side.
| | 01:49 | So we have this nice tonality happening there.
| | 01:52 | And maybe I want to just go right
down the middle here and create a long
| | 01:56 | vertical shaft right through there
like that, which in a separate layer
| | 02:01 | I am going to fill that with a
white, and I am going to blur it.
| | 02:07 | I am going to give a little Gaussian
Blur just to soften that up a little bit
| | 02:10 | and this is going to be a little highlight
going right down the center. That's good.
| | 02:16 | I want to make sure it gets
clipped inside there, so I don't see it.
| | 02:19 | You see what's going on
there because of the layer style.
| | 02:22 | All right, and now we want to give
the whole thing a little texture.
| | 02:25 | So right here on the main layer, I am
going to go in there and say let's give it
| | 02:29 | a little Texturizer, and I will just
apply a little bit of a texture to it.
| | 02:34 | That looks good. Maybe we will bring
up the relief just a tad and click OK.
| | 02:37 | So now we have this little texture happening.
| | 02:40 | So now, I am going to urge that
down so we have one layer here,
| | 02:43 | and I am going to turn that into a selection.
| | 02:46 | Now, because of the layer style, I
have this darkness going along here, which
| | 02:51 | means that my step-and-repeat isn't
going to quite work the way I wanted to
| | 02:55 | because all of a sudden it's
going to have this dark edged here.
| | 02:57 | So what I am going to do is I am going to
deselect it. Holding on my Option key, Alt on a PC,
| | 03:01 | I am going to go in there and
deselect this top portion right there.
| | 03:04 | I am going to come down here to the
bottom and deselect this portion right there.
| | 03:09 | So now you can see that what I have
left selected is this central portion right
| | 03:14 | there, which is going be fairly even.
| | 03:16 | So now that I have that, I go in
there and say Define Pattern. That's it.
| | 03:24 | We have now created our pattern.
| | 03:26 | I can take this entire layer
right here and just throw it away.
| | 03:29 | Like we will take the entire layer and
throw everything away because it had a
| | 03:33 | layer style applied to it.
| | 03:34 | So now I am going to create a new layer.
| | 03:36 | Let's pull back a little bit. And that
new layer I am going to go ahead and fill
| | 03:40 | it with that pattern we just created.
| | 03:42 | So I will go in there, and there is my pattern,
| | 03:44 | the last thing I just created right there.
So I click OK, and we see that we have
| | 03:48 | this nice kind of a ribbing effect.
| | 03:51 | Now in the case of the painting, what I
did was I went in there and just created
| | 03:56 | little circles that I selected right
on top here, just like so, right on each
| | 04:06 | edge, and the rest will just
kind of pull out like that.
| | 04:13 | I am going to turn that path into a
selection and just delete that portion,
| | 04:21 | and there you can see I have the
little circular areas along the top.
| | 04:25 | Now the wear and tear I applied to this,
| | 04:28 | well, what I did there was to just take a brush--
| | 04:30 | one of the existing brushes like the
Spatter Brush right there--I went in there
| | 04:35 | and modified that brush.
| | 04:37 | I have given it a little Spacing,
going into Shape Dynamics where I turn this
| | 04:43 | off, but I got a Size Jitter set up and
I got an Angle Jitter set up, and let's
| | 04:47 | turn this back to off here,
and let's bring this down.
| | 04:50 | So there we have this, and I am
also going to set up a Color Dynamic,
| | 04:52 | so it goes between
foreground and background 100%.
| | 04:56 | And I got this black set up and I am
going to pick up a light gray, like that.
| | 05:01 | And then in sections, so that they are
independent of each other, I went it
| | 05:06 | there, and in a separate layer,
I started adding that dirt.
| | 05:10 | So I will go in here, and just make a
smaller brush and I just kind of paint
| | 05:14 | in some dirt along these edges like
so, just add a little dirt to some of
| | 05:19 | these guys like that, which I can then
easily put that into say a Multiply mode
| | 05:24 | or some other mode, just so it becomes
kind of a dirt effect. And I will bring
| | 05:28 | down the Opacity and there we just see
that we start to have little damages in
| | 05:32 | certain areas all over the place like
that, and that's all it took to create
| | 05:36 | this pattern and then to weather it down.
| | Collapse this transcript |
| Creating ribbing on T-shirts| 00:00 | Patterns are the solution to so many
situations that come up in imaging.
| | 00:04 | Take for instance right here.
| | 00:05 | You've got to look at this T-shirt that we have.
| | 00:07 | I am going to go a little
closer here and zoom in on this.
| | 00:10 | You see that it has got
this nice little ribbing.
| | 00:12 | There is tiny ribbing right
on the edges of the T-shirt.
| | 00:16 | Another file with a
similar ribbing is this one here.
| | 00:19 | Here we are looking at ribbon
on the edges of the sleeves.
| | 00:23 | All these nice, little simple lines
that also then wrap around the edges.
| | 00:28 | Let's go in here and
create that kind of a pattern.
| | 00:33 | The pattern is simple.
| | 00:34 | In this particular case, it's extremely simple.
| | 00:37 | I am just going to go into there and
create a long, vertical line like so, and we
| | 00:42 | get in real close so
we could see what's going to happen.
| | 00:45 | And I am going to fill that with a gray.
| | 00:46 | We will fill that a nice deep gray like this.
| | 00:49 | I will just go ahead and say Fill
with Foreground Color, and there it is.
| | 00:54 | Now, selecting this, there is where
you are going to create the pattern.
| | 00:59 | If I was to select it like this, well,
this area here of white does become the
| | 01:04 | pattern, so the next line next to
this one would be a way over here, and it
| | 01:10 | would be a very wide rib.
| | 01:12 | But in the case of a T-shirt or other
cloths that had that kind of a texture
| | 01:16 | to them, the ribbing is
very tight. It's very close.
| | 01:18 | It's almost the thickness
of the threading itself.
| | 01:21 | So, I am going to go in here and make a
selection that's twice the thickness of
| | 01:25 | this actual piece here.
| | 01:27 | So, let's get in real close, so we
can see what's going to happen here.
| | 01:30 | We see that thickness of our rib right
there and double the size right there.
| | 01:35 | Now, you might want to have this even softer.
| | 01:38 | So, what I might want to do is to go
in here and blur this just a little bit.
| | 01:42 | We will give it a little blur.
| | 01:43 | Not a Blur More, not a Gaussian blur,
maybe a second one, just to soften it
| | 01:47 | up just a little bit.
| | 01:49 | So, now I am going to go in here
and select it form the center now.
| | 01:52 | And I am going to select it so that I
have a selection right about like that.
| | 01:56 | So now, this space here plus this
one will tell me how close it's going to
| | 02:00 | be to its neighbors.
| | 02:01 | Now, it's just about twice the width of
the line itself, which means these lines
| | 02:06 | are going to be fairly close to each other.
| | 02:08 | I came on this side because the fact
that I do have this anti-aliasing on this
| | 02:11 | edge caused by the blurring.
| | 02:13 | So, now that I have that selection
right there--and that's all I need to select.
| | 02:17 | I don't need to select the entire line;
| | 02:19 | I can select the small portion of it.
| | 02:21 | I'm going to go in here and say Define Pattern.
| | 02:25 | And you will notice how
it's showing me a pattern.
| | 02:26 | It's just one pixel slice
| | 02:29 | because it's all continuous.
It doesn't need to have all that information.
| | 02:32 | It just looks like one pixel
slice right there. And click OK.
| | 02:36 | So, now that we have that,
I can throw this away.
| | 02:38 | We don't need to see this anymore.
| | 02:40 | I didn't put it in a layer, but that's okay.
| | 02:42 | We'll just go into here and say Select
All and delete it and do background
| | 02:46 | color, and there it is.
| | 02:48 | So, now let's pull back, and I've got a
couple of paths here that make up the
| | 02:53 | top of a T-shirt.
| | 02:54 | So, let's go in here and
pick a color for our T-shirt,
| | 02:57 | say a slightly off-white like that.
| | 03:00 | I'm going to select that path now.
| | 03:02 | This is the path right here for the T-shirt
itself, and in a layer, right on top of this,
| | 03:08 | we will call this shirt body.
| | 03:10 | That way we know that this
is different from the collar.
| | 03:13 | And I will go ahead and
fill that path with that tone.
| | 03:16 | So now, I am going to select
this part of the collar right here.
| | 03:20 | I am going to create another layer, and I
am going to call this layer collar left.
| | 03:30 | And I am going to go ahead and fill it
with that color there too, just so that we
| | 03:34 | have some tone inside there.
| | 03:37 | And I select this one and create
another layer, which of course we are going to
| | 03:41 | call 'collar right' and
fill the path with that tone.
| | 03:49 | So, now we have these basic shapes.
| | 03:51 | We can turn off our paths.
We no longer need them.
| | 03:53 | So, I am going to select the long rectangle
right across here, fairly large in size about like that
| | 04:01 | that's going to encompass the entire
area of the colors themselves. And in a
| | 04:05 | totally separate layer--
| | 04:06 | I want to call this layer ribbing--
| | 04:12 | and I am going to go ahead and fill
that with that pattern we just created.
| | 04:16 | So, I go down here and say
Pattern, and there is that pattern.
| | 04:21 | You see that it's looking at
it as a single-pixel length.
| | 04:23 | Click Ok and there you can see that we
fill that selection with the pattern.
| | 04:28 | Now, this pattern right now is fairly large.
| | 04:31 | That's why I created these big sections
because we are going to go in there and resize it.
| | 04:35 | I can deselect it now, and what I am
going to do is I am going to duplicate it.
| | 04:39 | So, now I have two.
| | 04:41 | Why? Because we have two
different sides of the collar.
| | 04:43 | So, let's turn one off for now, and we
will work with this one, which we are going
| | 04:47 | to put right here by collar left.
| | 04:50 | Now you see that collar right came out in
front because we're behind that there.
| | 04:55 | So, I am going to take this guy right now
and I am going to clip them with collar left.
| | 04:59 | So, I'm going to click on it right there, and we
see that is now contained inside of that area.
| | 05:04 | So, now we are going to go in there and
distort this to get the effect that we want,
| | 05:10 | and we will do that by warping it,
because warping is going to give us the
| | 05:13 | ability to go into them and make all
kinds of transitions to this. So I am
| | 05:16 | basically going to warp it to
follow the shape of this collar.
| | 05:21 | So, you can see I am pulling these
handles up so that I've got that edge like that,
| | 05:25 | and I am going to bring this one down,
way down here like this, and then bring
| | 05:29 | these handles over so that
they match where I'm traveling,
| | 05:33 | set that up, and bring this guy over this way.
| | 05:37 | And this long one here, we are going
to bring down, bring this one over.
| | 05:42 | And you can see how we are starting to
distort our little collar here, so that
| | 05:47 | we get the angles that we want.
| | 05:49 | And then we have got to bring these handles in.
| | 05:52 | Here, I am actually working with the
points themselves, the shapes inside.
| | 05:55 | I am going to keep moving these
until I have the right angle.
| | 05:58 | See, there is the angle
that I needed right there.
| | 06:00 | So, I am going to twist this
around and bring this over.
| | 06:03 | Now, I've got a concentration here, so I
am going to move these, so I started
| | 06:06 | getting the concentration on the other side.
| | 06:08 | So, let's just move these guys
around until I am starting to get the
| | 06:12 | right angles that I want.
| | 06:13 | Here, I want it to be fairly straight up and down,
| | 06:15 | so I am going to pull this guy way up
like this, so that they start to curve on
| | 06:19 | that side, and I kind of straighten these out.
| | 06:23 | So, you can see, I am doing this all
visually and I haven't done anything.
| | 06:27 | I haven't committed anything to the
image yet until I click OK and this
| | 06:30 | all falls into place.
| | 06:31 | So, you can see I am constantly
modifying this until I get all the right
| | 06:35 | angles that I want.
| | 06:36 | So, I am curving this up a little bit,
right in there to follow that little curve.
| | 06:38 | Okay, and I got these guys going
straight down, and I'm playing around with it
| | 06:43 | until I have it just the way I want it.
| | 06:45 | And there is what I want, so now I
hit Return and I get the little ribbing,
| | 06:49 | which I now going to put this into a
mode because right now I have that white
| | 06:52 | showing through it, and I would like
it to be that other tone underneath.
| | 06:55 | So, we will try a few different modes.
| | 06:56 | I can try Screen, which is going to
give us as the light tones in there.
| | 07:00 | No, maybe want to do Multiply.
| | 07:01 | No, that's going to darken it too much.
So we might want to go in there
| | 07:05 | and in fact--you know what, the
Multiply does look good because I do want to
| | 07:08 | emphasize the dark tones and leave the
grays of the T-shirt to come through.
| | 07:12 | So, to make it blend in better, I am
simply going to bring down the Opacity.
| | 07:16 | I am lowering the Opacity to just get
that little hint of the ribbing in there.
| | 07:21 | Now, once we start adding a little
texture to this later, as you will see in a
| | 07:24 | minute, this will all
start to really come to life.
| | 07:27 | Now, we are going to look at this ribbing,
which I am going to do the same this.
| | 07:30 | I want to clip it to the collar on the right.
| | 07:32 | So, I am going to select that layer
and as I did before, I am going to go
| | 07:36 | in here and say Warp. So, I am going to say
Transform > Warp, and I am now going to work with this
| | 07:39 | layer, which I going to do the same thing.
| | 07:41 | I am going to drag these points down to
start to match the area of the collar itself.
| | 07:48 | Now, when I drag the points, you notice
that the handles remain in place, which
| | 07:51 | is giving me this really distorted thing.
| | 07:53 | So, I need to of course grab these
handles and bring them back into the scene
| | 07:58 | like that so that they start the
match the way they should, and let's bring
| | 08:01 | these guys over and this one over
and now to start to give it that shape.
| | 08:07 | I'm going to start to straighten this out,
just as we do with the other side.
| | 08:11 | I am going to pull these out and bring
these guys way up, so that they start to
| | 08:15 | match our T-shirt on this side.
| | 08:17 | And I want to just play with these
little handles until I start getting that
| | 08:20 | little curve that I need up there.
| | 08:22 | Here is that little curve, bring this around.
And this one needs to be a little straighter,
| | 08:26 | so let's just straighten this out a
little more right through there like that.
| | 08:29 | That looks good, a little bit
of a curve. There, we see it.
| | 08:33 | But I want to thicken this side,
so let's just pull these guys out.
| | 08:36 | So, this starts to thicken this, and
pull this over so these start to tighten up
| | 08:40 | because they need that foreshortening
and starts to go around the neck area.
| | 08:45 | And I can even just pull this one
down just a little. There we go.
| | 08:48 | So, now that we have that, I can
click OK, and we will match the Opacity.
| | 08:53 | We have 40 here, so we are going to
set this one to Multiply and set its
| | 08:58 | opacity to 40 as well.
| | 09:00 | So, there we see that we
have the ribbing on the T-shirt.
| | 09:02 | Now, we are going to start to give this
a little more of a sense of real fabric.
| | 09:07 | So, going back to the collar on right
here, I am going to take my Burn tool.
| | 09:11 | I am just going to very lightly start to
go in there and play around with the collar,
| | 09:16 | and I am going to start adding some tones.
| | 09:18 | Let me set this to Midtones here, so I
start getting some little tones going in
| | 09:22 | there like that, and maybe right along
the edge, and I like to have a little edge
| | 09:25 | right through there.
| | 09:26 | If you want to make that even, let me undo that.
| | 09:29 | I am going to bring this
tone down a bit just like that.
| | 09:33 | And what I am going to do is I am
going to pick the path itself, which I have
| | 09:37 | this path here for that collar.
| | 09:39 | I am going to select the path, and I am going
to say use that as a guide for my Burn tool.
| | 09:45 | So, let's just say go in there and burn it.
| | 09:46 | You see how it's just created a
little edge right where I wanted it?
| | 09:49 | So, there I got this nice edge, and I
might want to accent it in the few spots
| | 09:53 | just to make it little stronger, like
right up here and so on--and maybe throw a
| | 09:57 | little tone right in there.
| | 09:58 | And then we go to the other layer, the
collar on the left. Then we will do the
| | 10:01 | same, which is add a little tone right
into that area, select the path right
| | 10:08 | there, get our Burn tool,
and go ahead and stroke it.
| | 10:12 | Stroke it another time so we get
this nice little dark tones happening
| | 10:15 | right through there, and we can see
that we start to get the nice definition
| | 10:18 | to our little collar.
| | 10:20 | Same thing would then, of
course, apply to the shirt.
| | 10:23 | We can go in there and make a much
larger Burn tool and just add a couple
| | 10:27 | of little tones along the top, along that side,
and maybe just a little bit along these edges.
| | 10:32 | So, what we will do is we will
take the path that we did before.
| | 10:35 | I am going to reduce the size of this
nice and small, and we are going to take
| | 10:40 | those paths, just like we did a second ago,
| | 10:42 | a path for this side right here, which
I am going to go ahead and stroke inside
| | 10:47 | this shirt--and make sure we
are in the shirt, shirt body.
| | 10:51 | Good, so we've got that. And we will
say take that path and stroke it.
| | 10:55 | So, I get this nice little tone.
| | 10:57 | Stroke it again, so we have a
little shadow underneath the collar.
| | 11:00 | We select this side and say stoke it,
stroke it, and then you can see how we
| | 11:04 | are starting to get this nice
little definition to our T-shirt.
| | 11:08 | You can add as much more if you want,
but there you can see how we have used
| | 11:11 | the pattern to create that little bit
of fabric that you see along the collar.
| | Collapse this transcript |
| Creating a lime| 00:00 | The contents of the billboards all over
Times Square are as varied as the lights
| | 00:04 | on Broadway themselves--
| | 00:06 | tons of different kinds of images, all
kinds of things can be seen, like right here.
| | 00:11 | We see a little lime sticking out of
the top of a bottle with little drips of
| | 00:15 | moisture coming down.
| | 00:16 | Let's create that lime right now.
| | 00:18 | I have got some basic paths that I
created that are going to be the basic shapes
| | 00:23 | of my little lime wedge.
| | 00:25 | First, I have to go in there and
create the textures themselves.
| | 00:29 | So let's turn off the Path for now and
in Layers, I created my first layer, and
| | 00:34 | this layer right here is going to be the rind.
| | 00:36 | This is the rind of the lime.
| | 00:40 | So I've got this nice deep green, so
what I am going to do is I am going to fill
| | 00:43 | that entire layer with
that dark green. There it is.
| | 00:47 | So what I am going to do with this now is I
am going to go in here and give this a filter.
| | 00:51 | So I am going to go down here to my
Textures and give it a Craquelure, which
| | 00:55 | is in its default texture right there
| | 00:57 | the way it's set up, that's pretty good.
| | 00:59 | I am going to maybe lighten up those
cracks a little bit, just to bring that down
| | 01:03 | so that you can see that the little
Brightness is kind of lessening up, and the
| | 01:07 | Crack Depth I can
increase it or just decrease it.
| | 01:10 | I just want a little bump there. Click OK.
| | 01:12 | So I've got this basic texture which
I will play with when the time comes.
| | 01:17 | Create another layer.
| | 01:19 | This is going to be that juicy part of the lime.
| | 01:22 | So I have a second color for my background,
which is a lighter shade of green, like here.
| | 01:26 | We will fill this layer with that color.
| | 01:28 | There you can see it. So now with these two
colors, I am going to fill this layer with a filter.
| | 01:35 | Now I did fill that layer ahead of time
because the filter needed something in there to work.
| | 01:40 | You can't work in a blank layer for
this next filter, which is Render > Fibers.
| | 01:45 | Fibers is a great filter for all these
kind of effects, and right there, very
| | 01:49 | close to its default, is pretty much what I want.
| | 01:51 | I am going to bring down the strength and
I've got these nice tones going on in there.
| | 01:55 | I am going to click OK, and I've got
that, which I am going to subject to
| | 01:58 | yet another filter.
| | 02:00 | I am going to take that.
| | 02:00 | I am going to round it up by saying
Distort > Polar Coordinates, which is going
| | 02:05 | to whip this whole thing out in a
nice little angle like you see there
| | 02:09 | just like that, giving me this nice kind
of a spread like that, which I am going
| | 02:13 | to take even further.
| | 02:14 | I am going to go in there and stretch
that out a little bit with a little Radial
| | 02:18 | Blur, which I have set to zoom here.
| | 02:20 | I am going to push this zoom up a little
bit just to get a little more to it and
| | 02:25 | click OK, and I get this nice little stretching.
| | 02:28 | So there, that becomes the
basis for my textures in my image.
| | 02:33 | So let's turn that off again, and
let's start creating the basic shapes.
| | 02:37 | So I am going to go in here and create
a layer, which we'll call the rind, and
| | 02:42 | there I am going to get my paths.
| | 02:43 | I am going to look for that
path right there, and there it is.
| | 02:46 | It's that shape right there.
| | 02:48 | So what I am going to do is I am going
to take that path and in that layer--I
| | 02:52 | am in the right layer--
I am going to say go ahead and stroke it.
| | 02:56 | It strokes with green. It doesn't matter
because these are just shapes that are going
| | 02:59 | to be masks for those
textures that I just created.
| | 03:03 | I am now going to select this one big
piece. That's that inside part of my rind.
| | 03:09 | So I am going to pick a color for that.
| | 03:11 | I am going to pick something kind of
in a creamy tones right here and pick
| | 03:15 | something really light like that one
right there. And behind the rind, I am going
| | 03:19 | to create this and call this the meat.
| | 03:22 | All right, so I am going to go in there and
just fill that path with that color right there.
| | 03:29 | So now these are the juicy things,
so I'll call this the pulp, all right?
| | 03:34 | So I've got another layer on top of the meat
| | 03:37 | I am going to call it pulp, and I am
going to fill those with that green.
| | 03:43 | It doesn't matter the color
because that's a texture.
| | 03:46 | So I am going to go in there
and save it, my path, fill it.
| | 03:48 | All right, so now I've got
all those shapes put together.
| | 03:53 | So now, go look at our layers again and
we are going to put the rind right there.
| | 03:57 | There is the rind, which we are now going
to clip with the rind texture right there.
| | 04:03 | Now it's not quite right, so I am
going to go in there and select a little
| | 04:06 | portion of it like this and
do a little warping on it.
| | 04:09 | So I am going to go in there and say
Warp, and I am going to kind of bend this
| | 04:14 | piece in like that and twist that in,
and let me undo that because I have the
| | 04:19 | wrong layer selected. I want this,
| | 04:22 | the actual rind texture.
| | 04:24 | So let's go in there and do that warp.
| | 04:26 | I am going to just drag this over here,
bring this up, and you can see what's
| | 04:31 | starting to happen to our texture.
| | 04:32 | Let's grab this little handle, bring
it in, bring that up there like that.
| | 04:37 | Let's bring this guy over, and we are
starting to bend this thing to make it
| | 04:40 | start to look like the actual edge of our rind.
| | 04:45 | We are just bending these guys over
so just to get all this nice little
| | 04:49 | curvature going here.
| | 04:50 | So I've got to bring this way over,
so we can get really a strong kind of a
| | 04:55 | distortion to our rind.
| | 04:57 | I'll bring this out like that, and
there we could see where we are starting to
| | 05:00 | get that nice texture.
| | 05:02 | Now once I have it in place, I could
deselect it. And I don't want it completely
| | 05:06 | through there, so I might want to give
it a little mask, and then with the mask,
| | 05:10 | I am just going to soften certain parts.
| | 05:12 | So I am going to get a soft-edged brush.
| | 05:14 | I am going to bring down the Opacity a
little bit and with black, I am going to
| | 05:17 | kind of lighten it up in certain spots,
so I don't have this continuous tone all
| | 05:22 | the way through like that, so I am just
going to lighten it up like that. There we go.
| | 05:26 | And then I can add it some dimension
by going in there and darkening it.
| | 05:30 | So we would darken it down here and I
would darken it up on top adding some
| | 05:36 | dimension and maybe a little light
right along this middle here, we'll just add a
| | 05:39 | little bit of a highlight
right through here just like that.
| | 05:42 | So then we have the pulp.
| | 05:44 | There is the pulp. So I am going to take this
texture and bring it above the pulp right there.
| | 05:48 | We want to look at it, and we are going
to clip it with the pulp, and we are going
| | 05:52 | to move that layer until we have
the pulp exactly where we want it,
| | 05:56 | right there in that position just like that.
| | 05:58 | And there we see that now
we have the pulp inside.
| | 06:01 | Now we want to give this a
little dimension as well,
| | 06:03 | so I am going to go into the Layer
Styles for the pulp there and give it a
| | 06:07 | little Bevel and Emboss, just to
start adding a little highlight.
| | 06:10 | So I am going to increase my
highlights right there, and let's have our light
| | 06:14 | coming from say this direction right
there, so we have nice little highlights
| | 06:18 | through this area. And this, not good.
| | 06:20 | We are going to go with a deep green
right there like that, and we are going to
| | 06:24 | soften those little tones, bring down
that darkness just a little, and punch up
| | 06:28 | that highlight, so we get that nice
little juicy part right through there.
| | 06:32 | And then we are going to add
some more moisture to this.
| | 06:35 | I am going to go in there with our
Dodge tool, and I am just going to kind of
| | 06:39 | lighten these tones up.
| | 06:40 | I am going to go into the texture.
| | 06:42 | I am just going to lighten certain parts, just
to start making them look a little more juicy.
| | 06:46 | So I am going to go in here and just
add little highlights, and those little
| | 06:49 | highlights that are following the
angles that I want I am going to just add a
| | 06:53 | little sense of moisture to this,
and then I can go in really light and start
| | 06:58 | adding some more little highlights.
| | 07:00 | And then to really make it look moist,
on the layer on top of that--which I am going
| | 07:05 | to clip as well so we don't lose anything--
| | 07:07 | I am going to go with white, and with
the paintbrush, we shall make it sharp and
| | 07:13 | I've got a lower opacity there.
| | 07:15 | Let's bring that opacity up just a little bit.
| | 07:17 | I am going to go in here and start to
paint with a very small brush, paint
| | 07:23 | little highlights, which are going to
start to make this look nice and juicy and wet.
| | 07:28 | little highlights right through
there, and I see that the brush has a--
| | 07:31 | yeah, let's turn that off.
| | 07:33 | Okay, and we'll just start adding
little highlights in little places.
| | 07:37 | That's going to make it look moist.
| | 07:40 | Now these highlights, once I have them
done and I have them in place, let's give
| | 07:44 | a couple of small ones, even smaller.
| | 07:47 | There we go, just like that,
I am going to blur those.
| | 07:51 | I am going to go in there and give
them a little Gaussian Blur just to soften
| | 07:54 | them up so they are not so strong,
just a little bit so there are just these
| | 07:57 | tiny little highlights.
| | 07:59 | Click OK and there we see that we
have this nice juicy-looking lime.
| | 08:03 | I will do one more thing.
| | 08:05 | I am going to take that meat, which
right now is just so solid, and we will give
| | 08:09 | it a little bit of a texture and
we will use good old Texturizer.
| | 08:13 | This is a very, very useful little
Sandstone mode. It could be stucco, and in this
| | 08:18 | case it's going to be little
meaty pulp there of our lime.
| | 08:21 | I'll increase the Relief just a
little, click OK, and there we have this
| | 08:25 | nice juicy lime.
| | Collapse this transcript |
| Creating leather| 00:00 | Textures, textures, textures!
| | 00:02 | They make something look like what it
really is, and how you create that
| | 00:05 | texture is just a matter of
understanding what's in Photoshop.
| | 00:09 | I'm going to come in real close on one of
these mini textures right here--this
| | 00:13 | leather bag, right there.
| | 00:14 | On getting closer, you'll see that
it's got some pretty nice grain going
| | 00:20 | through it, right there.
| | 00:21 | We're going to create this leather texture.
| | 00:23 | Now it's the texture I'm going
to concentrate on in this movie.
| | 00:27 | All the little tones of the folds
and stuff like you see in these cool
| | 00:32 | leather boots back here, that's all
handled in the movie that deals with
| | 00:35 | folds of fabrics and stuff.
| | 00:37 | So right now we're just
going to create this texture.
| | 00:39 | If you're going to go in here, and I
have a file, and I am going to fill this
| | 00:43 | file with this light gray, in a
layer, right there. Just a light gray.
| | 00:49 | That's going to be our basic tone for
our leather, and keep in mind that once
| | 00:53 | we have this texture and it's in the
layer, we can apply it over any surface and
| | 00:58 | depending on the mode of that layer,
it will have different effects on the
| | 01:02 | colors underneath it.
| | 01:04 | So right now we're going to apply a
series of filters. So what I am going to do
| | 01:08 | is I am going to go into Filter
Gallery, which right now there is my file,
| | 01:13 | nothing has been applied, and I am going
to start to apply a series of Filters.
| | 01:17 | So I am going to go in here and go to my
Textures and give it a little Craquelure.
| | 01:21 | Now, I am going to apply another Filter.
| | 01:23 | I want it to be another Filter, not
replace this filter, so I am going to say
| | 01:27 | Add another Filter.
| | 01:29 | And then the one that I just opened up,
I am going to start looking through here
| | 01:32 | and find one that I know is going to
give me good effect like Bas Relief.
| | 01:36 | That's going to give me another.
| | 01:37 | So let me add one more.
| | 01:39 | And on this I'm going to go
to my Distorts and I have Glass.
| | 01:43 | And there you can see
that I have done something.
| | 01:45 | It's created some pretty bizarre
effects, each one on top of each other.
| | 01:48 | Now the positions of these is going to
make the difference, so if I take the
| | 01:53 | Craquelure and put it up here, well
it kind of overrides the others. But if I
| | 01:57 | put it in the middle here, you see that
it's starting to have different effect.
| | 02:00 | So each one, their position is going to
have a different effect on what happens below.
| | 02:05 | So by putting the Glass
right there, there is a texture.
| | 02:08 | Bas Relief, Glass and Craquelure--
| | 02:11 | in that order I have this really
cool texture which I can now turn into
| | 02:15 | leather, click OK and we have this nice
leather texture that I can use just about anywhere.
| | 02:21 | Call it 'leather texture' and it's ready
to go in to any other file and put on top
| | 02:28 | of some tones and whatever it is,
and it'll take on that nice texture.
| | Collapse this transcript |
| Creating rough animal skin| 00:00 | Textures take on many different forms, and
each one depicts the article that it's covering.
| | 00:05 | So I'm going to go in here and zoom in
another little tidbit right, there and we
| | 00:09 | have this really weird animal skin right
there, all kinds of weird stuff happening to it.
| | 00:15 | So let's re-create that kind of effect.
| | 00:17 | Now keep in mind that I'm doing a
particular thing here, but little variation in
| | 00:22 | what I'm doing, a little
variation in colors and so on,
| | 00:25 | or setting of a filter can have a
dramatically different effect on your final outcome.
| | 00:29 | So I totally encourage you to
experiment, not take what I've done literally
| | 00:34 | and just go in there and start
experimenting on your own, and find a whole
| | 00:38 | bunch of happy accidents that could
give you a lot of solutions to problems
| | 00:41 | you'd be facing with. Let's go in here.
| | 00:43 | I am going to create layer right here on
top, and I want to fill it with a color.
| | 00:48 | Let's pick a nice kind of a brownish
color like that, and I've just gone ahead and
| | 00:52 | filled it. Foreground Color, right
there I'm going to give it Texturizer.
| | 00:59 | I use that filter a lot because
it's a good basis for a lot of things.
| | 01:03 | I'm going to bring the Scaling up,
and I bring the Relief up a bit.
| | 01:06 | Now we have all that
nappy stuff in the foreground.
| | 01:10 | Well, let's create that effect.
| | 01:12 | It's can be a little tougher, and I'm
going to go here and I'm going to fill this
| | 01:15 | new layer with a neutral
density, a nice 50% gray.
| | 01:19 | I'm going to give it noise.
| | 01:23 | I'm going to give it a lot of noise.
| | 01:25 | Now I want to introduce a lot of
gray to this so I can get some nice even
| | 01:29 | tones for my next filter.
| | 01:32 | So before that, I'm going to filter
with a little Blur More, which is going to
| | 01:35 | introduce some grays.
| | 01:37 | Now comes my next Filter, which is under
Pixelate. I am going to do Crystallize.
| | 01:41 | Crystallize is going to create these big chunks.
| | 01:44 | It could be small, but I wants a
fairly big chunks like about like that.
| | 01:48 | Click OK and I have these big
chunks all over the place.
| | 01:51 | To those I want to apply yet another filter.
| | 01:53 | I'm going to say find the
edges of all those chunks.
| | 01:56 | There we see that we have all these nice
little tones happening all through there.
| | 01:59 | So I'm going to blur it just a
little bit, a little Gaussian Blur, just
| | 02:04 | to soften them, and then I'm going
to go into my Levels, where I'm going
| | 02:07 | to strengthen them.
| | 02:08 | So I'm now getting these
much thicker lines like that.
| | 02:12 | So now that I have that, I can
go there and apply yet another filter.
| | 02:17 | I'm going to go into Brush
Strokes here and apply Spatter.
| | 02:21 | And Spatter is going to go in here
and start to really roughen those up.
| | 02:24 | I can bring the Smoothness up a
little bit, maybe the Spray Radius down, so
| | 02:28 | this is not so chaotic.
| | 02:30 | And I got these nice tones happening
there. Click OK and I've got this happening,
| | 02:34 | which I'm going to go into my Levels
once again and just take those great tones
| | 02:38 | and just make them a little darker like that.
| | 02:40 | So now that I have that, I'm going to go in
there and say I want to make that into a different mode.
| | 02:45 | I will just put into Multiply mode.
| | 02:47 | So now I have all these
dark tones on top of this.
| | 02:50 | So what I'm going to do is I'm
going to duplicate that layer.
| | 02:53 | So I have another one right on top there.
| | 02:55 | This one I'm going to blur it even more, a
Gaussian Blur, just to start to kind of
| | 02:59 | spread out those tones right
there like that, soften that up.
| | 03:03 | And I'm going to go in there and
increase those dark tones so I start getting
| | 03:07 | these really heavy dark tones in between there.
| | 03:10 | Click OK and this one I'll just
bring down the opacity just a little
| | 03:13 | to just get those other tones to come
through from underneath right there like that.
| | 03:17 | So now I can go in here and start
playing around with that basic brown texture
| | 03:22 | underneath where I can start getting a little
tonality to it, a little bending here and there.
| | 03:27 | I'm just going to go in there,
and let's set this to our shadows,
| | 03:30 | so we'll get some nice warm tones of the fur.
| | 03:33 | There we can see now we're getting
a nice texture going through there.
| | 03:37 | And I might want to go in there and do
some very specific little areas where I
| | 03:41 | want to go in there just add little
tones right into these little spots right in
| | 03:44 | there, very likely to give them a
little dimensional look to them.
| | 03:48 | And there we could see we're
adding all these nice little textures to
| | 03:51 | certain spots and making this look
like this burly kind of a animal skin like
| | 03:56 | the one we see in the Times Square scene.
| | Collapse this transcript |
| Creating a grill on a car| 00:00 | Patterns make up the solution for so
many of the problems that came up during
| | 00:03 | the creation of Times Square.
| | 00:05 | One such problem is the grill
in front of most of the cars.
| | 00:09 | If I zoom in here to this one taxi cab
right here and we get really close, you see
| | 00:13 | that it has this grill.
| | 00:15 | And we can see through the grill to
the inside there, and we see these nice
| | 00:19 | little highlights on it and so on.
| | 00:21 | Those little highlights are being caused by
the fact that it is a metal grill and so on.
| | 00:25 | It picks up all those nice lights.
| | 00:27 | Now that is a pattern.
| | 00:28 | It has a curvature into it and so on,
but that can all be modified once
| | 00:33 | the pattern is created.
| | 00:34 | Let's go in there and create
that pattern for the grill.
| | 00:38 | Now one thing that's very important
in any kind of a pattern is perfect
| | 00:42 | symmetry, because it has to step and repeat.
| | 00:45 | Where it leaves itself off, it has to
pick itself back up again and look seamless.
| | 00:49 | So in order to get that perfect
symmetry, I am going to turn on my grid.
| | 00:53 | I'm going to get a little closer here,
and using the grid as my guide--because that's
| | 00:59 | going to allow me to create
these shapes perfectly symmetrical--
| | 01:03 | I am going to use my Pen tool.
| | 01:04 | I am going to take the Pen tool and
place it right here at this corner
| | 01:07 | spot right there.
| | 01:08 | I am going to click and drag and have
it snap so that the handle ends right
| | 01:13 | there at that first subdivision.
| | 01:14 | Then I am going to go to this center
right there, click, and drag, so that the
| | 01:20 | handle again goes one subdivision.
| | 01:22 | Going straight across to the center of
this block here, I am going to click and
| | 01:26 | drag, then back down to
this corner, click and drag.
| | 01:30 | So there I have this
perfectly symmetrical little arc here.
| | 01:33 | Now, that's the shape that's
going to be the basis for my grill.
| | 01:37 | And to do that, I am going to use a paintbrush.
| | 01:40 | So I get my paintbrush, which I have a
solid brush right now, select it, and I
| | 01:44 | just test it by doing that little trick, just to
see how thick it is, and that's a good thickness.
| | 01:49 | Now, I need it to be transparent because,
as you saw a second ago when you look
| | 01:53 | at the painting, we can see inside of that cab.
| | 01:57 | So we can see what's going right
through it, inside the cab through there.
| | 02:00 | So I need it to be transparent inside the grill.
| | 02:04 | So I am going to create the
actual pattern in a separate layer.
| | 02:08 | Now that I have that layer selected, I've
got my paintbrush selected, I go over to
| | 02:13 | the path and say stroke it. So there it is.
| | 02:17 | I can turn off the path.
| | 02:18 | I don't need to see this anymore.
| | 02:20 | I am now going to select that little
shape and holding down my Option and Command
| | 02:25 | keys, I am going to click
and drag it straight down.
| | 02:28 | I am now going to flip that
vertically and then move it up until it snaps
| | 02:35 | so it's right on top of the other one.
| | 02:37 | Now that I have that, I am going to
select both of them and again, I'm going to
| | 02:42 | copy those and have it snap
to the grid right there on top.
| | 02:47 | So now they are directly on
top of each other just like that.
| | 02:50 | Now that I have that, I am going to
select both sets and copy them one more time
| | 02:56 | and have it snap to the
grid right in there like that.
| | 03:00 | Now that I have this shape
in place, I can now let it go.
| | 03:04 | This is now the basis for my pattern.
| | 03:07 | I have enough information there that I
can have to step and repeat, as long as I
| | 03:11 | pick an area to make the pattern that
has that step and repeat established.
| | 03:16 | So I am going to go right here from
this center point right there and drag it
| | 03:20 | over to the center point at the far end.
| | 03:23 | So there, we see this little piece that's
outside. Where is that? Right in there.
| | 03:27 | See, that's going to be the
step-and-repeat that's missing.
| | 03:30 | This whole section is here,
where is this one? Right there.
| | 03:33 | Same thing with here.
| | 03:35 | We are seeing the bottom. Where is this top?
| | 03:37 | Right there.
| | 03:38 | So now that we have this, I am going
to turn off my background so that I have
| | 03:43 | transparency, and then I am
going to establish the pattern.
| | 03:48 | I come over here and say Define Pattern.
| | 03:51 | I can now call it whatever I want.
I am going to call it grill.
| | 03:55 | So now, I can select all and delete it.
| | 03:57 | I don't need it anymore. Let's pull back.
| | 04:00 | We don't need the grid anymore,
| | 04:01 | so we can turn the grid off,
and let's look at our background.
| | 04:05 | And in the background, we'll
just throw some color in there.
| | 04:07 | Let's just pick some color, so we
could see what's inside this grill.
| | 04:11 | Let's make it a little
slightly lighter black, all right?
| | 04:15 | And for the background
color, we'll make it yellow,
| | 04:18 | kind of a warm yellow about like that.
| | 04:22 | And in the background, I'm
just going to throw in a gradient.
| | 04:25 | We'll make it a reflective gradient with
yellow in the center, and we'll just do like that.
| | 04:31 | So there, we have this tone.
| | 04:34 | Now, in this layer here, we're
going to fill with our pattern.
| | 04:38 | I'll go in and say fill it.
| | 04:41 | I've got my path selected.
| | 04:43 | The last pattern I just created should be at
the end of the stack right there. There it is.
| | 04:47 | I select that and say OK.
| | 04:50 | There is our grill, which now to
make it look like the one in the scene,
| | 04:54 | I am going to go in there and
just distort it a little bit.
| | 04:56 | So let's pull back a little bit, and I
am going to get my Warp, and I am just
| | 05:01 | going to kind of bend this out a little
bit like that, bend this over, bend this
| | 05:06 | one out, this one over and there you
can see that we are starting to get that
| | 05:10 | nice little curvature to it.
| | 05:11 | Now that we have that, I am going to go
in here and give it a little layer style.
| | 05:17 | And the layer style is going to
establish that curvature that we want.
| | 05:19 | So I am going to go and give it a Bevel
and Emboss, and the Bevel and Emboss are
| | 05:23 | going to push up the depth,
| | 05:25 | so I get really strong lights and darks.
| | 05:27 | Now, I am going to move that light
source a little bit over to the top a little so
| | 05:30 | we get a little highlight right along
the top there, and then this bottom edge
| | 05:33 | right now is going to get kind of hidden
because it's black against a really dark gray.
| | 05:37 | So I am going to change that color.
| | 05:39 | Say we have some taillights showing in there.
| | 05:42 | So I am going to pick a bright
red like this. We don't see it.
| | 05:45 | That's because it's set to Multiply.
| | 05:47 | If I set this to Screen just like the
highlights, there we see that little red in there.
| | 05:51 | We can bring that one down just a
little bit and maybe bring the size down just
| | 05:55 | a tad, click OK, and there you see
that we have this nice little grill.
| | 05:59 | It looks three-dimensional.
| | 06:00 | It looks metal, and it does
have a nice symmetry to it.
| | Collapse this transcript |
| Creating a car light| 00:00 | Here we are going to look at
another pattern that's somewhat complex.
| | 00:03 | But keep in mind, you may never have to
do what I am doing here in this movie,
| | 00:08 | but look at all the different steps.
| | 00:10 | A little modification here and there,
a different color, different mode, it's
| | 00:15 | going to give you a completely different effect.
| | 00:16 | So take into account what is being
done, not necessarily the subject.
| | 00:22 | I am going to come in real close on
this cab right here, and we see that it's
| | 00:26 | got this little light right here on the side.
| | 00:28 | I am going to get really close on that light.
| | 00:30 | And we see that it's got this nice
little intricate little pattern happening
| | 00:33 | here and some lights and
glares and stuff around it.
| | 00:36 | That's what we are going to create here.
| | 00:38 | It's this kind of a pattern right now.
| | 00:40 | Now that's complex, but it really isn't:
| | 00:42 | as you'll see, just a simple
block with some layer styles.
| | 00:46 | So let's go in here and create that effect.
| | 00:49 | Let's get in a little closer.
| | 00:50 | I am going to create a little block
right here, a little shape like that.
| | 00:55 | That's going to be the basic shape of
those little rectangles that you saw there.
| | 00:59 | I am going to do it in a layer, because
we are going to use some layer styles to
| | 01:03 | create the basic effects.
| | 01:04 | So I've got it in a layer.
| | 01:06 | Now, I got a color.
| | 01:07 | I am going to pick a warmer
orange color like that, right there.
| | 01:11 | I am going to fill that
color into the selection.
| | 01:14 | Let's go in there and say Fill
with the Foreground Color, fill it.
| | 01:17 | Okay, so now that's enough right there.
| | 01:20 | That's the basis for what we need,
because everything else is going to be layer
| | 01:24 | styles applied to that particular shape.
| | 01:26 | So I am going to go into my Layer
Styles for that little layer there and I am
| | 01:30 | going to, first of all,
give it a Bevel and Emboss.
| | 01:32 | And I am going to set it to a hard edge.
| | 01:35 | So I am going to say Chisel Hard, which is
going to give me that nice little hard edge.
| | 01:38 | I am going to increase the Size so
it starts to look like right there, a
| | 01:41 | little crystal shape.
| | 01:43 | I am going to push the Depth so I
get really strong lights and darks.
| | 01:46 | And I am going to move that light over
just a little bit over to the side, so I
| | 01:50 | get a nice little tonality
like that happening there.
| | 01:53 | Now, I am going to play around my colors as well.
| | 01:55 | I am going to change this color right here.
| | 01:57 | I don't want that white, so
I am going to go to a bright yellow.
| | 01:59 | See? So that kind of warmed up that area up there.
| | 02:02 | Say it was this black. Not good.
| | 02:04 | So I am going to change that
to say maybe a deeper brown.
| | 02:08 | So now I start to get my effect that I want.
| | 02:10 | Click OK, and that's looking a little better.
| | 02:13 | It starts to look like
that a little crystal shape.
| | 02:15 | Now I want to add some gleams and stuff in
they, so I'm going to give it a little Satin.
| | 02:20 | Now Satin gave me this little tone right here,
| | 02:21 | so let's set the Angle to 0, so it's going to
be following the basic lines of our rectangle.
| | 02:28 | So I am going to go in there, and
let's change the color as well.
| | 02:31 | Let's try something really light like a white.
| | 02:33 | Now, it's set to Multiply so we don't see it.
| | 02:36 | White is not going to multiply those colors,
so we are going to set to Screen.
| | 02:40 | Now we see the white.
| | 02:42 | It doesn't make any big difference there;
| | 02:44 | it didn't really add anything to it.
| | 02:45 | So what we are going to do is
change the contour to something a little
| | 02:47 | more complex like this.
| | 02:50 | Push up that Opacity a bit.
| | 02:51 | Now we can start to see what's starting
to happen. And we'll play around with the
| | 02:54 | Size and the Distance on this.
| | 02:56 | So we'll start getting
these little sheens in there.
| | 02:58 | Think there we are starting to get
these little tones happening in there.
| | 03:01 | We might want to change the Angle as well.
| | 03:03 | Let's change it to 90 degrees.
| | 03:05 | There. Now we got these cool little
highlights like that. That works.
| | 03:08 | All right, so now, we might want
to add another little tone in here.
| | 03:12 | Let's give it a little Inner Glow,
but the Inner Glow is going to not really be
| | 03:17 | a glow, but it's going to be
like a darkening along the edge.
| | 03:20 | So I am going to change that color to a
deeper kind of a brown color, about like
| | 03:24 | this, maybe real deep, click OK
and change the mode to Multiply.
| | 03:29 | So I am going to get that little
dark edge right along the sides there and
| | 03:32 | increase that just a little.
| | 03:33 | See what's starting to happen there?
| | 03:35 | It's giving me that nice little tonality.
| | 03:37 | And now, for the final touch, is I do
want a nice little edge around this, just to
| | 03:41 | separate one from the other.
| | 03:43 | So I am going to give it a stroke.
| | 03:45 | Now the stroke right now is set to the outside,
| | 03:47 | so all of it's outside of our selected
area, and remember that our pattern is
| | 03:51 | going to be inside of the selected area,
and that's pretty thick. It's set to 3.
| | 03:55 | I want about a 1.5 pixel,
| | 03:58 | so what I am going to do is I am going
to center that box in there, and I don't
| | 04:00 | want it to be black.
| | 04:01 | So let's change it from a black to say
kind of a dark gray like that. That's it.
| | 04:06 | There's the basis for our patterns.
| | 04:09 | So I am going to click OK, and I
am going to say Define Pattern.
| | 04:13 | Okay, so now I can deselect it.
| | 04:19 | In fact, I can throw it away.
| | 04:20 | I don't even want it anymore.
| | 04:22 | I am going to create a new layer here,
and I am going to fill that layer with
| | 04:24 | that pattern we just created.
| | 04:26 | Use the pattern, and there is that
one we just created right there.
| | 04:31 | Click OK, and we get that nice little
pattern happening all through there.
| | 04:35 | Now there is some lights
going on behind this thing.
| | 04:38 | So what I am going to do is I am going
to create another layer on top of this,
| | 04:41 | and I am going to switch to a
white for my foreground color.
| | 04:44 | I am going to get my Gradient tool.
| | 04:46 | I am going to set it to Radial Gradient.
| | 04:49 | White is in the center so it's going to
make the circle white going to a black,
| | 04:53 | but I don't want the black.
| | 04:54 | So what I am going to do is I am going
to switch the mode that I am using for
| | 04:56 | Foreground Color to Transparent.
| | 04:59 | So I click on that.
| | 04:59 | So now the white is going to go from
white to nothing in a nice soft gradient.
| | 05:04 | So right in here in the center, I am
going to click and drag out like that.
| | 05:07 | I am going to get this
big white glare like that.
| | 05:10 | It's a little strong, and it's
kind of blocking everything.
| | 05:11 | So what I am going to do is I am
going to set the mode for that to Overlay.
| | 05:16 | Overlay is going to give me this
nice kind of a light tone in their now.
| | 05:20 | It's not enough so I am simply going to
duplicate that layer, so I have two of them.
| | 05:24 | And there we can see that now we start
to get that sense of this light inside
| | 05:28 | of our grill right behind there that's
causing all this nice bright tone, and you
| | 05:32 | have seen the effect on our
little plastic grill on top.
| | 05:36 | Now remember, you might not be
creating a grill like this, or maybe you want a
| | 05:41 | grill like this, but with a
slightly different pattern, and so on.
| | 05:44 | It's the steps that are important here,
| | 05:46 | all the different steps, how I was able
to get the beveled edges to make it look
| | 05:50 | kind of crystalline, how I was able to
get the glow in the middle, and so on.
| | 05:54 | A few additions here and there will make
your piece a wonderful thing to look at,
| | 05:59 | and create your own masterpiece.
| | Collapse this transcript |
| Creating the windshield| 00:00 | Depicting glass can be
quite a problem for some people.
| | 00:04 | In some cases, it's just a question of
going in there and creating reflections.
| | 00:07 | That's what's going to
give you the sense of glass.
| | 00:09 | Like for instance here, way
over here we'll go to this window,
| | 00:12 | you see that there is
glass there. How do you know?
| | 00:15 | Well, it's because it's a little
lighter, when you see through it, and so on,
| | 00:19 | and there's reflections.
| | 00:20 | The reflections is what really makes
it look like there is glass there.
| | 00:23 | What we're going to do is come in tight
right here on this motorcycle here that my
| | 00:30 | good friend Jeff Schewe is
driving, and look at that windshield.
| | 00:34 | That's where we are going to work on
right there is this windshield, because it
| | 00:36 | has all these shapes to it.
| | 00:38 | It's not just something you can see
through it, but it also has all these tones
| | 00:42 | that are involved here.
| | 00:43 | So we're going to work on that.
| | 00:45 | Now right here we have the actual bike.
| | 00:47 | Here is the artwork that was created
for the bike and as we are getting closer,
| | 00:50 | you'll see that it does have all these
little highlights that it's picking up,
| | 00:54 | all these little tones, little
reflections that its picking up in different
| | 00:57 | areas, and the contours, and those
contours will also distort things as you see
| | 01:02 | through them, and so on.
| | 01:04 | So that's what we're going to
create at this point is we are going to
| | 01:06 | create this windshield.
| | 01:08 | Not exactly that windshield,
but we're going to create something similar
| | 01:10 | that will have contours and hopefully
that'll inspire you to create your own
| | 01:15 | shapes to do something. All right!
| | 01:17 | So what I'm going to do here is I'm
going to create a layer, and I'm going to
| | 01:20 | fill this layer with a pattern, just so
that we have something that we can see through.
| | 01:24 | I've got this checkerboard pattern.
| | 01:25 | I'm just going to click OK. All right!
| | 01:27 | That's going to be what
we see through our glass.
| | 01:30 | So let's turn it off now,
and I'm going to create the shape.
| | 01:33 | So let's go in here and create kind of a
curve shape up here like this. All right!
| | 01:38 | It's going to come in, and then it's
going to have this little indent right here.
| | 01:42 | It's going to come out like that,
and come around like this, and then come down,
| | 01:47 | and then come over like that, and curve
around this edge like so, and then come
| | 01:54 | back up here and close it off.
| | 01:56 | Okay, so there is our desired
little piece of glass like some kind of a
| | 02:00 | windshield or something, right?
| | 02:01 | So there are a few things--I'm just
kind of cleaning it up a little bit.
| | 02:04 | There we go. So a couple of things happening here.
| | 02:07 | So we're going to have to create a
few additional paths right off the bat,
| | 02:10 | because we see this little indent here.
| | 02:12 | So let's create the shape that
that indent is going to be creating.
| | 02:15 | So we come down here and create this
long kind of a triangle shape like that,
| | 02:21 | and then here we have a hard face,
| | 02:23 | so we're going to create a little
shape for that particular shape.
| | 02:27 | Now I'm going beyond the
limits, because it doesn't matter.
| | 02:30 | These are going to be contained
inside of our glass at some point.
| | 02:33 | Right now, we're just creating the basic shapes.
| | 02:36 | So we have our paths.
| | 02:37 | Let's go ahead and save those
so we have them. All right!
| | 02:40 | So now there are a lot of steps,
going to be involved in here.
| | 02:43 | You might not have to use all these
steps, but keep in mind it's how something
| | 02:48 | is being done, not what is being done.
| | 02:51 | A little change here and there will
totally give you a different effect.
| | 02:55 | So what I'm going to do now is I'm
going to come over here to a layer.
| | 02:57 | On top of our little background here,
I'm going to create a layer, and we'll
| | 03:00 | call this the glass.
| | 03:02 | This is the basic glass.
| | 03:04 | So I'm going to select this shape right here,
and then I'm going to fill it with a tone.
| | 03:09 | So let's go in here and let's give a
reddish gray like that, and we'll go ahead
| | 03:14 | and fill that path with
that color in that layer.
| | 03:18 | So now let's look at that background layer,
which right now we don't see through it, right?
| | 03:22 | We can't see through it. So we're going to bring down
the Fill Opacity for that layer so we can see through it.
| | 03:28 | There we go. The reason I'm bringing that Fill
Opacity and not the Opacity is because I will
| | 03:33 | be applying some layer styles to
this, which I'm going to do right now.
| | 03:37 | I'm going to go in there and go to the
Layer Styles and give it a little Bevel
| | 03:41 | and Emboss, which is going to give me a
little bit of an edge. See that edge?
| | 03:44 | We're just getting that little edge in there,
and I don't want this dark gray in there.
| | 03:49 | I want that to be more of light tone, so
| | 03:51 | I'm going to pick a light gray.
| | 03:53 | Actually, we'll make it just a little darker.
| | 03:56 | Okay, like that, and we have that
little tone there, and then that lighter tone
| | 04:00 | which just lightened that up
there and click OK, so there.
| | 04:03 | Anything that I applied to this, like
let's just say that I go in here and take
| | 04:08 | this path right here, and in the new
layer, I'll go in there and let's say we
| | 04:13 | fill it with a tone.
| | 04:14 | It's picking up the reflection from somewhere.
| | 04:17 | That's going to pick up
let's say a reddish tone, right?
| | 04:19 | So we'll go in here and fill it with a red.
| | 04:21 | We will just fill that path
with a red in that new layer.
| | 04:24 | So I go in there and say fill it. All right!
| | 04:27 | So now if I clip that with that glass,
since I have the Fill Opacity reduced
| | 04:33 | to 74, it's going to take this,
and when I clip it, it's also going to be
| | 04:37 | reduced in Opacity.
| | 04:39 | That's the effect I'm going to get.
| | 04:41 | If you want that to have a little less
opacity--which is what I want to do, I
| | 04:45 | want to have a little less opacity to that--
| | 04:47 | I'm not going to clip it.
| | 04:48 | What I'm going to do instead
is I'm going to give it a mask.
| | 04:52 | So I'm going to turn the glass into a
selection, and go to that layer and say
| | 04:57 | give it a mask. And there you see that
now it is opaque, so I can play around
| | 05:02 | with its opacity
independently of that of the glass.
| | 05:05 | So here I'm going to take the actual
Opacity and reduce it just a little, about like that.
| | 05:10 | Now this side here should have that
same red, so I should have filled them
| | 05:13 | both together at the same time.
| | 05:15 | So, I am. I am going to do just that.
| | 05:16 | I'm going to go in there and pick that
second path right there, go back to that
| | 05:21 | layer, make sure I am in the layer, and I am
going to just fill that path with that same color.
| | 05:25 | Click the Path and say fill it.
| | 05:27 | So there you see that you have both of
these with that same tonality applied,
| | 05:32 | and that same opacity.
| | 05:34 | Now, they are on separate layers.
| | 05:35 | So I'm going to go in there to the
layer and just give it a little blur.
| | 05:38 | So I'm going to give it a little
Gaussian Blur, just to soften up that edge,
| | 05:42 | so it starts to look more like
they are little indents in there.
| | 05:44 | So I want to just go in there and
give it just a little bit of a blur.
| | 05:48 | This one needs to be a little more blurred,
| | 05:50 | so I'm going to select this guy separately
from the other, and apply that filter again,
| | 05:56 | except this time I'm going to go a little
higher, give it a little more of a blur,
| | 06:01 | because that's its softer edge.
| | 06:02 | Click OK and now we get that
softer edge right in there.
| | 06:05 | So now we're getting this nice little
highlight happening in there. All right!
| | 06:09 | So now the glass is going to have
other tones happening through it.
| | 06:13 | So I want to go in there and apply a
couple of little highlights and stuff all
| | 06:17 | through this area here.
| | 06:19 | So I'm going to go in and perhaps
throw in some white highlights, and again I
| | 06:22 | like to handle them separately from that layer,
| | 06:24 | so I'm going to create a layer above
the glass right here and I'm going to
| | 06:28 | throw in some whites.
| | 06:29 | So we'll go in here and get a nice large
brush, and it's soft, and I'm just going
| | 06:35 | to throw some white highlights right
through here like that and maybe a little
| | 06:39 | thin one right through here like that,
| | 06:42 | which I can soften up at any time.
| | 06:45 | I'm going to just give them that same
mask by Option+Clicking on the mask and
| | 06:48 | dragging it down. And I'm going to
bring down the Opacity for this one just a
| | 06:52 | little so I can see through it,
and you can see how we're starting to get our
| | 06:55 | little highlights going through there.
| | 06:56 | Now I want to add more of an edge,
because I want to start adding some little
| | 07:00 | highlights along that edge.
| | 07:02 | So here is where it's
going to get a little trickier.
| | 07:04 | I'm going to go in there and turn the
glass into a selection and save that
| | 07:08 | selection, and we'll call it glass.
| | 07:11 | I'm going to save it again,
and this time we'll call it the edge.
| | 07:20 | So now, I just saved them.
| | 07:22 | They became alpha channels.
| | 07:25 | Now we'll see in this third one here--
and it's italicized why? because we happen
| | 07:29 | to be in a layer that has a mask.
| | 07:31 | See, right there.
| | 07:33 | If I click on this one that
doesn't have a mask and we go back to our
| | 07:35 | channels, it's gone.
| | 07:37 | It's a temporary place where we can
see the actual contents of that mask, but
| | 07:43 | here we have these two alpha channels.
| | 07:46 | So what I want to do now is take this
one, the edge, and see the other one.
| | 07:50 | I'm going to take this edge and just
move it over a little bit to the left and
| | 07:56 | down. There is that little edge of
the glass. Or maybe we move it up.
| | 08:01 | I want to see the bottom part. There it is.
| | 08:03 | There is that little
section right through there.
| | 08:05 | That's what I want to see.
| | 08:07 | So what I'm going to do is I'm
going to go into my Calculations.
| | 08:10 | In Calculations, I'm going to take those,
| | 08:13 | I'm going to subtract one from the other.
| | 08:14 | I'm going to put the glass here.
| | 08:18 | So I'm getting that edge.
| | 08:19 | See, there is that edge being exposed.
| | 08:21 | So I'm going to send that to a new channel.
| | 08:25 | So now let's do these guys again.
| | 08:27 | Take the edge, just see the glass,
and this time I'm going to move the edge in
| | 08:30 | the opposite direction.
| | 08:31 | I want to come in this direction.
| | 08:32 | I want to get that little overlap right in
there and come down a little bit about there.
| | 08:38 | That's what I want.
| | 08:40 | Again, I'll do the Calculations
and subtract one from the other
| | 08:43 | so I'm getting that edge.
Send it to a new channel. Click OK.
| | 08:47 | So now that I have that, I go back to
my RGB here where I'm going to start to
| | 08:51 | add little highlights in that area.
| | 08:53 | So we have this white light
here, this strong white light.
| | 08:56 | So what I'm going to do is I'm going
to load this channel, and then in the
| | 08:59 | layer behind the glass,
| | 09:01 | let's put it right on top of this guy here.
| | 09:03 | Right here, we're going to call it the
white glare. And we can turn off those
| | 09:09 | marching ants in case we want to
just see what we're doing here.
| | 09:12 | I've got white, and I'm going to take a paintbrush,
and I'm just going to throw a little white
| | 09:16 | highlight right into that area right in there.
| | 09:17 | See? I'm throwing it into a layer
that's underneath the red, so we can see it
| | 09:23 | there is this little
highlight showing up right in there.
| | 09:25 | Now if we want, we could put it above the glass.
| | 09:27 | Now we see even stronger, and let's
just throw it right along this edge here.
| | 09:31 | There, just like that.
| | 09:32 | We'll put a little bit of
it let's say right in here.
| | 09:35 | Just throw a little edge right through
here, just so it starts to give it that
| | 09:39 | really strong effect.
| | 09:41 | Now on this side, it's going to be a red.
| | 09:44 | So we're going to get the red and create
another layer, which we'll call the 'red
| | 09:49 | glare', because this side of
glass is picking up that little red.
| | 09:54 | So right here in this layer,
| | 09:56 | we're going to load that other
channel, this one, which exposed that side.
| | 10:01 | So now in that layer for the red glare,
I can start the paint in that little red
| | 10:05 | glare just the way I want it right
through here just in there like that.
| | 10:10 | And we deselect, and we see that we now
have this chunk of glass just laying over
| | 10:16 | our little background.
| | 10:17 | Anything we can see through it. Any other
shapes you want, you can put on top there.
| | 10:21 | If you want to get even spiffier, you
can go in there and add a reflection,
| | 10:26 | any kind of a picture that you can just store
onto this, and then it becomes a reflection.
| | 10:30 | Make sure you bring that Opacity way
down so it's just a little hint of a
| | 10:34 | reflection of something out of
the viewer's point of view there.
| | Collapse this transcript |
| Creating a metal screen| 00:00 | In the Toys R Us store, getting real
close right here, we'll zoom in to this area right
| | 00:04 | here, and we're going to see a
interesting little pattern right there.
| | 00:08 | See these little patterns of these
little fences with all these little holes
| | 00:12 | inside there that are at angles.
| | 00:15 | Looking at the actual file for the fence,
it looks like this, but we're going to
| | 00:20 | do here is create that pattern of holes.
| | 00:23 | Now, it's very similar to the little
quilted metal we did for the Nuts for Nuts
| | 00:27 | stand, but with an added detail.
| | 00:31 | The quilted metal was just these little
bumps in the middle, but this is holes
| | 00:35 | in the metal, and that right
there adds a whole complexity.
| | 00:39 | The holes are little circles that
are at angles, which adds that level of
| | 00:43 | complexity, because when you create a
pattern of circles, it just would make him
| | 00:47 | straight up and down. But here they
are at 45 degrees angles of each other.
| | 00:51 | So let's go in there and create this effect.
| | 00:54 | Now the first thing we need to do is to
show our grid so that we get perfect symmetry.
| | 00:58 | I'm going to come in here and right here,
I'm going to select a circle like that.
| | 01:05 | And in the layer--I am going to create
a layer because I want the transparency
| | 01:08 | in between those holes
where the actual metal will be--
| | 01:11 | I'm going to go in there and fill
that with a 50% gray. Click OK.
| | 01:19 | Now to this I'm going to add some
tones, so I'm going to look at some black,
| | 01:22 | and I get a nice soft-edge brush. I'm just going
through a little black along this edge here.
| | 01:27 | I got my Opacity lowered so I can do it
in a couple of strokes, rather than giving
| | 01:30 | a strong black right off the bat.
| | 01:32 | And then I'm going to use white, and I
will bring my Opacity back up make the
| | 01:36 | size little smaller.
| | 01:37 | Let's get rid of that Transfer mode there.
| | 01:40 | And I'm just going to go in here
and click here, come down here and say
| | 01:43 | Shift+Click, and it connects the two clicks.
| | 01:47 | So, there. We have that.
| | 01:48 | Now that doesn't exactly look like a
hole, but you'll see where this is going
| | 01:51 | when we completed the whole pattern.
| | 01:53 | I'm going to go in here and
duplicate this straight across, leaving two
| | 01:56 | subdivisions, almost exactly like
we did with the quilted pattern.
| | 02:00 | I'm going to go in here and establish
that angle by centering one below the
| | 02:05 | other two and then
duplicating the ones below like that.
| | 02:09 | So now here is the point where I would
go in there and create the pattern by
| | 02:14 | selecting the center portion of the outer
circles to establish the angle right there.
| | 02:21 | Now, I make sure that my background
is turned off and I say Define Pattern.
| | 02:28 | Now why have I done these tones if this
is supposed to be a bunch of little holes?
| | 02:33 | Okay well, let's go in there and now
use this pattern and you'll see why.
| | 02:39 | I'm going to pull back, see the whole image here,
and at this point we can turn off our grid.
| | 02:45 | We don't need to see it anymore,
so we just say turn off the grid.
| | 02:49 | In this layer here, I'm going to throw
with tone that's going to be the metal itself.
| | 02:54 | So I'll pick a light gray like this for
my foreground and for my background, I'll
| | 02:58 | pick a darker gray like that, and we'll
just throw a reflected gradient right
| | 03:03 | into that layer like that.
| | 03:04 | So now I'm going to create a layer on
top of this, and this layer right here I'm
| | 03:09 | going to fill with my pattern.
| | 03:12 | So I come over here and say gill with
the pattern, and there is the little holes
| | 03:18 | that we created, but they don't like holes.
| | 03:21 | So what I'm going to do is I'm going to
duplicate that layer to have a second layer.
| | 03:25 | This layer I'm going to lock the
transparency, switch my color to black, and say
| | 03:31 | fill that with the foreground color.
| | 03:36 | Now they look like holes, but do they
look like holes in a sheet of metal?
| | 03:39 | No, they look like holes
on a gray sheet of paper.
| | 03:43 | This is metal. So what I'm going to do
now is I'm going to clip that layer of the
| | 03:48 | black holes with that layer below
that has the pattern we created.
| | 03:53 | Now that it's clipped, I'm going to
take that layer and with my Move tool, I'm
| | 03:57 | going to move it slightly to the left,
hitting my cursor keys and up a little
| | 04:01 | bit, and there you see the purpose of
those little highlights and shadows,
| | 04:05 | because now it looks like holes cut
into a thick piece of metal, giving you the
| | 04:10 | illusion that this is in fact metal.
| | Collapse this transcript |
| Creating a quilted metal effect| 00:00 | The many vendors that fill the
streets of Times Square have all kinds of
| | 00:03 | carts that sometimes
incorporate some interesting textures.
| | 00:07 | Like here, we have this pattern on this
metal of this little Nuts 4 Nuts stand.
| | 00:12 | It's kinds of like a quilted metal.
| | 00:14 | This is a pattern, so let's go in there
and create this pattern. Right here I'm
| | 00:19 | going to create my pattern.
| | 00:20 | Now the pattern requires perfect
symmetry, so I am going to turn on my grid, and
| | 00:26 | I've created a layer where I'm going
create my pattern. Why? Because I want space,
| | 00:31 | or transparency, in between the various
little diamonds that will make up the
| | 00:35 | pattern, so that way at some point
I could turn off my background, so I
| | 00:38 | would have transparency.
| | 00:39 | I have a white background. That way I
could see what I'm doing. It makes it lot easier.
| | 00:43 | So I'm going to come in here
and create one of the diamonds.
| | 00:45 | I'm going to use my Pen tool.
| | 00:47 | I'm just going to click over here and
drag the little handles out to this
| | 00:50 | corner here and come down here and
grab them, drag it to that corner, down to
| | 00:54 | here, click and drag to that corner, and come
up here, click and drag, and then close it off.
| | 01:00 | So there is one diamond.
| | 01:02 | I'm going to get little closer here,
so I like to see what I'm about to
| | 01:04 | do, which is I'm going to scale
this down so that it fills up just one
| | 01:08 | little section like this.
| | 01:10 | I work larger. That way it makes it
easier to do things without having to strain.
| | 01:13 | So I'm just going to going here and
just shrink it down to fill up one set of
| | 01:17 | sections right there. Click OK.
| | 01:19 | So now that I have my shape established,
I'm going to go in there and turn it
| | 01:24 | into a selection. So I've got the path.
I'm going to say make data selection, make
| | 01:29 | sure I am in the right layer. And I
have a couple of colors set up here.
| | 01:33 | I've got this light gray, which I will
make it a little lighter, and I've got a dark
| | 01:37 | gray for the background. So right in
that selected area I'm going to throw a
| | 01:40 | gradient, a linear gradient for
straight up and down right there.
| | 01:44 | So now what I need to do is to start to
establish the step-and-repeat pattern,
| | 01:48 | but it's an interlocking pattern,
which makes it a little more complicated.
| | 01:52 | So I'm going to in there and duplicate
this guy straight across, leaving two
| | 01:57 | subdivisions right in between. So I can
now take this and drag it down below and
| | 02:03 | center it underneath those
two subdivisions, right there.
| | 02:06 | Then I'm going to duplicate the ones below
right here and across, and I have now
| | 02:12 | established my pattern.
| | 02:14 | I'm going to go in there and create the pattern.
| | 02:16 | So what I'm going to do is I'm
going to select the inside center of the
| | 02:21 | four outer diamonds.
| | 02:23 | Now we the center one and there we
see the lower part, the three missing
| | 02:26 | sides out there, there and there, so
when this steps-and-repeat, it's going to
| | 02:31 | give me a complete pattern.
| | 02:33 | I turn off my background to ensure I
got that transparency back there, and then
| | 02:37 | I go in here and I say the
Define Pattern. There is my pattern.
| | 02:43 | I can now select all and throw it away,
because the pattern has been established.
| | 02:48 | I can turn off my grid.
| | 02:49 | I don't need to see that anymore. And in
my background here, I'll just throw a tone.
| | 02:54 | In fact, we'll throw in this very same
tone that we have here, except I'll do it as a
| | 02:58 | reflective gradient like that.
| | 03:00 | I'm going to do that in the background.
| | 03:04 | Then in this layer here we're going to
fill it with that pattern we just created.
| | 03:08 | So I'll go over to here and say Fill,
and I choose that pattern we just created,
| | 03:13 | click OK, and there you see that we
have our nice little quilted pattern.
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| Creating wafer quilting| 00:00 | In the previous movie, we discussed how the
pattern was created to create this little
| | 00:04 | metal siding of this little Nuts 4 Nuts truck.
| | 00:08 | We're going to move over a little bit
to the right here and look at this same
| | 00:12 | pattern, but how it was used
slightly different right there.
| | 00:16 | That's the Mister Softee truck, and we'll
look at the side of the truck. There is
| | 00:20 | the art for the actual truck itself.
| | 00:23 | Now every element is created on its own,
so we'll look at the little Mister Softee
| | 00:28 | guy right here, which I called Mr. Softee Dude.
| | 00:32 | Now right here if you look closely at
his wafer face, there is the exact same
| | 00:37 | pattern again, except a slight
modification made it look like what you see here.
| | 00:44 | So let's go and see how we
modified that to get the effect.
| | 00:49 | So right here in a layer, I am going
to create a layer, and in that layer I'm
| | 00:53 | going to fill that layer with that pattern
that we created before, right there. Click OK.
| | 01:00 | There is the effect.
| | 01:02 | So now, let's turn this off for a
second and in this layer right here, I'm
| | 01:06 | going to create a layer on top of it, and I'm
just make the shape that I want my cone to be.
| | 01:11 | So I'm just going to take my Pen tool
and I'll just create a cup shape just like
| | 01:15 | so. Very simple cup. There.
| | 01:19 | That's all. Doesn't have to be perfect.
| | 01:21 | This is just to give us the effect.
| | 01:23 | Now I'm going to go in there and pick a color.
| | 01:24 | That's going to be for my wafer.
Let's just pick this kind of a yellowish tone
| | 01:28 | right in there, and in that layer I'm
want to go ahead and fill that path with
| | 01:31 | that color right there.
Turn off the path and that's it.
| | 01:35 | So now, we have that other layer,
the layer that has that pattern, right?
| | 01:40 | So what I'm going to do is I'm just
distort this pattern into that shape back there.
| | 01:44 | So first I am going to clip it. Holding
down my Option key, Alt on a PC, I want
| | 01:48 | to click between the two layers to mask
that pattern inside of that shape, just
| | 01:53 | like that, which I'm now going
to go in there and distort it.
| | 01:56 | I am going to go in there and say
Distort, and I'll take that pattern and just
| | 02:01 | kind of drag it over to the corners
of my shape that I created right there
| | 02:06 | like that. And let's bring this one
over and grab that one back over there to
| | 02:12 | that corner and this one over to here, and
there we see we have the shape that we want.
| | 02:17 | Now we want to curve it a little bit.
| | 02:19 | That's easy. We'll just go in there
and say warp it. So I can grab this corner
| | 02:24 | here, drag it up, this corner up,
and just kind of curve this guys down, and
| | 02:29 | the same thing down at the bottom.
| | 02:30 | We will just curve those like that.
| | 02:32 | So now we have that curvature that we want.
| | 02:35 | Now the effect of the Mister Softee,
| | 02:38 | that is basically just a layer style.
| | 02:41 | So I'm going to go into the Layer
Styles for that pattern layer, and I am going
| | 02:45 | to take the Fill Opacity
and dump it right off the bat.
| | 02:48 | We don't need to see those tones.
| | 02:50 | We created those tones for the metal
in the Nut cart, but in this particular
| | 02:54 | case, they are like little indents in the wafer.
| | 02:57 | So by giving the pattern a little inner
shadow just like that, we can see that
| | 03:03 | we've created that sense that the
wafers are now indented inside of that cone,
| | 03:08 | by simply changing the color to
something a little more along this line here.
| | 03:13 | And say we pick up little tone somewhere around
here, a little brown like that. That looks good.
| | 03:20 | Click OK and we got this brown.
| | 03:22 | We could punch it up a little bit,
increase the distance a little bit and maybe
| | 03:26 | in the light source, just move it over
just a slight bit, so we get a little
| | 03:29 | more of an angle like that, increase the
size a little, just like that and click
| | 03:34 | OK, and we see that now we
have the effect of the wafer.
| | 03:38 | Now if you want to add a little more
dimension to this, which you can, let's
| | 03:41 | give it another layer style.
| | 03:43 | We'll give a little Bevel and Emboss,
but we're going to put the Bevel and
| | 03:46 | Emboss on the outside. See, the tones
are on the outside there, and I'm going to
| | 03:50 | change the direction of the light.
And first of all, if I just change the
| | 03:54 | direction, you see that everything is changing.
| | 03:56 | So I want to make sure that the global
light is turned off with this particular
| | 03:59 | layer style. So I am going to turn
that off, and I'm going to change the
| | 04:02 | direction of the light to be on this
side, and there we see that now we have
| | 04:05 | this little highlight right where we want it,
so it looks like those indents are going in.
| | 04:09 | We will just pump that up a little
bit, so you can get that nice white.
| | 04:13 | Bring down the brown.
| | 04:14 | We don't want the black;
| | 04:15 | in fact, we'll make it a
brown. That looks good.
| | 04:19 | And then we have that nice
highlight right along the edge there.
| | 04:22 | We could punch that up a little bit,
and maybe make it just a little smaller.
| | 04:26 | So there we see that nice little
highlight right along the edge there. Click
| | 04:29 | OK and there we see that we have these
little indents--the exact same pattern,
| | 04:34 | but with a slight modification and
layer styles that gave us a completely
| | 04:39 | different look.
| | Collapse this transcript |
| Creating a pattern on the wall| 00:00 | Now there are many patterns that appear in
Times Square. All of them are created in
| | 00:04 | many different ways.
| | 00:05 | Let's go in here and look at one of
these patterns really close. Right here in
| | 00:09 | the foot locker store,
| | 00:10 | we see that there is a little
pattern right inside there up on the wall--
| | 00:14 | this little pattern made of all these
little cylindrical shapes right there.
| | 00:18 | We're going to create that pattern right now.
| | 00:20 | Right here in this blank file,
I want to create this pattern.
| | 00:23 | Now what's important with any
pattern is perfect symmetry.
| | 00:27 | So in order to ensure that
symmetry, I want to bring up my grid.
| | 00:30 | I am going to say show the grid.
| | 00:32 | Now I want to get in real close here, so we
can see clearly what I'm going to be doing here.
| | 00:36 | Right now, it's broken up this way.
I need three cylinders, so what I am going
| | 00:40 | to do is I'm going to increase to the
number of subdivisions, so I have a better
| | 00:43 | guide for the three shapes that I need.
| | 00:46 | So I'm go into my Preferences
and go to Grids right there.
| | 00:49 | I'm going to increase to subdivisions
to a higher number, say 10, and you can
| | 00:54 | see them back there.
| | 00:55 | They just became this tiny little squares.
| | 00:57 | So I will click OK, and that's the
basis for my pattern right there.
| | 01:00 | So I'm going to take my rounded corner
tool right here and I'm going to draw a
| | 01:05 | shape right inside there that's
going to snap to the grid, leaving one
| | 01:11 | subdivision on the tops and bottoms and sides.
| | 01:14 | Okay, so now I am going to duplicate
that straight over, leaving one subdivision
| | 01:19 | in between and then one more, again
leaving one subdivision in between.
| | 01:23 | There we see that we have
the three shapes that we want.
| | 01:27 | So I am going to go to my Path Selection
tool and select the other three right there.
| | 01:30 | I am going to grab them all and copy
them down to this block right here.
| | 01:35 | Now I'm going to copy them over again
over to this block, but here I am going
| | 01:39 | to do one slight difference is
that I'm going to rotate them.
| | 01:43 | I am going to rotate that path, so that
it becomes a nice even horizontal kind
| | 01:48 | of a shape like that. There they are.
| | 01:50 | Make that happen. So now I'm going to
take them and copy them up to this one here.
| | 01:56 | So there, now we have all the basics
for my pattern that I am going to create.
| | 02:01 | So what I am going to do is I want a
little space in between these guys, and I'm
| | 02:03 | going to apply a layer style, which is
going to give me the effect that I want.
| | 02:07 | So I'm going to create them in a layer.
| | 02:09 | I am going to go here.
| | 02:10 | I've got a color selected.
| | 02:12 | Let's see the color we've got.
| | 02:13 | Let's make it a little lighter.
| | 02:14 | Let's say we go about like that right there.
And in this layer what I'm going to do
| | 02:19 | is I am going to take all those
paths and fill them. There they are.
| | 02:23 | They are filled.
| | 02:24 | So now in the background layer, I'm
going to fill that with a same color.
| | 02:29 | So I'll go in there and say Fill
with the Foreground color. Fill it.
| | 02:32 | So there, now we have this one complete shape.
| | 02:35 | So what I'm going to do now is I am
going to take that layer, the layer has
| | 02:38 | little cylindrical shapes, and I am
going to double-click on it to bring up
| | 02:41 | the Layer Styles, where I'm going to add
that little definition of that raised surface.
| | 02:47 | So I'm going to give it a Bevel and
Emboss, and the Bevel and Emboss, based on
| | 02:50 | my light direction,
| | 02:51 | I want to say let's bring the light
over this way just a little bit, increase
| | 02:54 | the depth, so I get
really strong lights and darks.
| | 02:56 | I am going to soften it up a
little bit, just like that.
| | 03:00 | I'm going to give it a very slight
drop shadow. Let's just go in there and say
| | 03:04 | 2, and its size of about 2,
and bring down the Opacity, so
| | 03:07 | it's just a little hint of a drop
shadow back there. Maybe a little bigger.
| | 03:11 | Let's go in there and increase the
Distance to say, 4 is good. There we ago.
| | 03:15 | Let's spread it out a little bit, so
it just softens up a little bit. Actually,
| | 03:19 | let's bring the spread back down like the size.
| | 03:21 | There we go.
That softened it up nicely. Click OK.
| | 03:25 | So now we have the basis
for our pattern right there.
| | 03:29 | When I create a pattern, it's
going to look at all the layers.
| | 03:30 | I don't need to flatten this at any point.
| | 03:32 | So what I'm going to do now is to
create the pattern, and I'm going to select it
| | 03:36 | in that place right here, which is one
big square right across both of them,
| | 03:40 | snapping to the grid as well,
and let's pull back and see what we've created.
| | 03:44 | It's just this little shape right there, right?
| | 03:45 | So now that we have that, we
don't need the grid anymore.
| | 03:48 | So I can go in there and
say let's turn off the grid.
| | 03:50 | Now we can really see the shape that
we've created. And if they are not quite
| | 03:53 | exactly the way we wanted, let's go in
there and go back to our Layer Styles,
| | 03:57 | and go to that shadow tone right here.
| | 03:58 | Let's bring that down a little bit.
| | 04:00 | It's a little too strong. There we go.
| | 04:02 | That looks a little better. Click OK.
| | 04:05 | Now that we have that, we can say
the Define Pattern, and we can call
| | 04:09 | this whatever we want. We'll say wall.
| | 04:12 | We can now just throw it away, no problem.
| | 04:15 | In that same layer--we can even
turn this one off--this layer,
| | 04:19 | I'm going to ahead and fill it with
the pattern, and the new pattern we just
| | 04:26 | created should appear at
the end, and there it is.
| | 04:28 | Click OK, and there is our wall,
| | 04:31 | which then in the scene is slightly
tilted at an angle, so all I need to do is
| | 04:35 | go in here and take my Distort tool
and just bring this down a little bit on
| | 04:40 | this edge, and bring this one up a
little bit. And there you can see that we
| | 04:45 | started to establish our nice
little three-dimensional look.
| | 04:48 | Now it isn't really three-dimensional
because of the fact that these guys are
| | 04:52 | just as big. Let's undo that for a second.
| | 04:55 | What I am going to do instead is I'm
going to take that layer and convert it
| | 04:58 | into a 3D postcard,
and now that it's a 3D postcard,
| | 05:03 | I go in there and simply turn it into
the perspective that I want, just like
| | 05:09 | that, and there you can see that now I
have a truer sense of the perspective
| | 05:12 | that I need for that particular wall.
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|
|
6. Clipping GroupsMaking the clipping group used on the manga billboard| 00:00 | The masking power of the clipping
group is something that's essential in
| | 00:02 | creating many of the pieces in Times Square.
| | 00:05 | I'm going to zoom in real close here on this
little marquee, and this area here is
| | 00:10 | what I want to talk about right now.
| | 00:12 | Now the clipping group is just using
the base layer of a group as a mask for
| | 00:17 | the layers above it.
| | 00:18 | If we look at another file--let's
just look at a simple lamppost here--
| | 00:21 | this lamppost, if we look at the
layers, you'll see that there are quite a few
| | 00:24 | clipping groups throughout this.
And when we start zooming down here, you see
| | 00:28 | here is one right here.
| | 00:29 | Here is another right there.
| | 00:30 | The clipping group as you can see is
indicated by one layer has an underline and
| | 00:35 | the layers above it are indented with a
little arrow pointing down, meaning that
| | 00:39 | this layer is being clipped by this layer.
| | 00:41 | In some cases, you'll see that there
are multiple layers like right here--in
| | 00:44 | some cases even more.
| | 00:45 | Here are three. So you can see that
there is quite a few clipping groups all
| | 00:49 | through this entire image right here.
| | 00:51 | So let's look exactly at how this works.
| | 00:55 | I have here a file. I am
going to create a layer.
| | 00:58 | Here is one layer. And in this layer I
am going to create a circle like this,
| | 01:04 | which we'll just fill with a red color.
| | 01:08 | On top of that, I'll create another
layer. In this layer I'll create another
| | 01:12 | circle going this way, and we'll fill
it with a green color, and then a third
| | 01:18 | layer, where I'll create a little square
like so, and we'll fill it with a blue color.
| | 01:24 | So there are three distinct
layers. Each one has its own element.
| | 01:30 | Now, what I am going to do is use the
transparency information of this base
| | 01:35 | layer--that's this area here--as a mask
for the layers above it. So we can see
| | 01:40 | that the layers above it are extending
beyond the boundaries of that red ellipse.
| | 01:46 | To create the clipping group, you see
the little hand going up and down through
| | 01:50 | the Layers panel right there.
| | 01:51 | I am going to simply hold down the
Option button--which would be the Alt on the
| | 01:54 | PC--and you'll see that when the cursor
now goes between two layers it changes,
| | 01:59 | meaning it's about to do something different.
| | 02:01 | If I click right here now,
you'll notice that the green layer became
| | 02:05 | indented with the arrow pointing down,
to this one, which is now underlined,
| | 02:09 | meaning this one is being clipped by that one.
| | 02:11 | I'll come up here and do the same.
| | 02:13 | Both of these layers are
being clipped by the base layer.
| | 02:16 | They are still individual layers, so I
can go in there and move them around and
| | 02:20 | do anything I want to them.
| | 02:21 | Let's say Auto select layer here, so we
can just grab them. And there you can see
| | 02:25 | that this one is moving around
and this one is moving around.
| | 02:29 | I can do thing to these layers, like
I can take the green layer here and
| | 02:32 | give it a drop shadow off to the side there,
extend the Distance a bit just like that.
| | 02:39 | I can take the blue
layer and reduce its opacity.
| | 02:43 | And you see that they are still
individual layers that I am doing things to.
| | 02:46 | Now if I do something to the base layer
it will affect all the others. So if I
| | 02:51 | went in here and reduced the Opacity
of the base layer, you see that all the
| | 02:54 | layers are becoming transparent,
| | 02:56 | whereas in the case of the blue, it was
working independently, but since this is
| | 03:00 | the base layer, it is affecting all of them.
| | 03:02 | If I give the base layer a Bevel and
Emboss, increase the Depth and the Size, you
| | 03:07 | see that the Highlights and Shadows are
affecting all the layers, but they are
| | 03:13 | still individual layers, so I
move them around within that space.
| | 03:17 | If I want to take something out of that
group, I simply do Option+Click between
| | 03:20 | them again and the clip is broken.
| | 03:23 | So now let's see how this
applies to other images.
| | 03:30 | Right here we see the
file for the marquee itself.
| | 03:34 | There is a marquee with the little manga
characters in it, and you can see that
| | 03:37 | there are quite a few layers that make it up.
| | 03:39 | Now right here is the
clipping group I want to discuss.
| | 03:43 | Now I am going to start with a
fresh file that has everything flattened
| | 03:47 | already, and here we see it.
| | 03:48 | In the file before, you saw that the
manga characters seem to be enclosed inside
| | 03:53 | little tiny screens, little tiny bulbs,
which is the way that sign is made up.
| | 03:57 | It's made up of many,
| | 03:58 | many little tiny bulbs that light up,
creating the pictures on a screen that
| | 04:02 | constantly change. So I am
going to create that effect here.
| | 04:05 | I'm going to zoom in to this little area
right in here just to get a little closer.
| | 04:09 | I am going to create a little
tiny circle right there like that.
| | 04:12 | I am going to fill that circle with the black.
| | 04:16 | So now, I am going to turn off all the
layers except for that one that has that
| | 04:21 | little circle, and I am going to select this
little area right here, real close, like so.
| | 04:25 | I am going to make a pattern out of that.
| | 04:28 | Now when you make a pattern out of
something, like in this particular case, this
| | 04:32 | space here added to this space will
tell you how close this circle would be to
| | 04:37 | its neighbors on top and bottom.
| | 04:39 | The space on these sides, here and here,
will tell you how closer it will be to
| | 04:44 | its neighbors on the left and right.
| | 04:46 | So I am going to go in
there and say Define Pattern.
| | 04:50 | Now since I have transparency, the
space between the little dots will be
| | 04:55 | transparent. So now that I've done that,
I can throw it away. I've got a pattern.
| | 04:59 | So what will happen now is I am going
to go in here and let's turn everybody back on.
| | 05:04 | Right here I have a layer that has just
the area of the screen. So right above
| | 05:08 | that in this layer, I am going to
fill that layer with the pattern I just
| | 05:13 | created, right there.
There are all the little dots.
| | 05:17 | Now what I am going to do is I want
to see those dots only inside this area
| | 05:22 | here. So what I am going to do is I am
going to turn this layer into a selection,
| | 05:27 | which is that black area where the
screen will fit, and I am going to go to this
| | 05:32 | layer where it has my little
dots and say give it a layer mask.
| | 05:34 | So now we are seeing the dots only inside
that area. The rest of the area is in black,
| | 05:40 | and there are other tutorials where I
explained the layer mask, but here you
| | 05:44 | see that we've created the layer mask, so
we only see the bulbs inside the live area.
| | 05:47 | So now that we have that--I'm going to get in
closer--we see that the little characters here,
| | 05:52 | we're seeing them all the way through,
because of the fact that they are right
| | 05:55 | now just as one big file here.
| | 05:57 | So what I am going to do--and there we
see them again; I had that one layer
| | 06:00 | turned on, just one solid image.
| | 06:03 | So what I am going to do is I am going to
make a clipping group out of this layer.
| | 06:07 | Now when we go to look at it, we see
that these are only the dots and there are
| | 06:11 | the manga characters on top.
| | 06:13 | So what I am going to do it is I am
going to turn that into a clipping group
| | 06:16 | right here, and now we see that we're
seeing the manga characters only through
| | 06:20 | the little dots. When we turn everybody
else back on, we see that the dots are
| | 06:24 | what's showing our image right through it.
| | 06:27 | Now these are much larger than the actual
ones, which I did there, which are very tiny.
| | 06:31 | I made them larger just so we
can see the effect and so on.
| | 06:34 | If I get in real close on this, you will
see that the dots are real tiny little
| | 06:37 | dots, very similar to the big
dots that I created for that pattern.
| | 06:41 | But you see how this one layer right
here has a layer mask to confine it into
| | 06:46 | the area of the marquee and then that
is acting as a clipping group, another
| | 06:51 | type of mask, for the images that
we're seen through the little tiny bulbs.
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|
|
7. Layer MasksApplying a layer mask to create a reflection| 00:00 | Layer masks become very useful for
certain special effects, like for instance
| | 00:04 | right here I am going to zoom in on
this LG sign here that's reflected on this
| | 00:08 | side of the building.
| | 00:09 | So I am going to go in here real close,
and as we see the reflection and as we
| | 00:13 | study real reflections, you would
notice that the lighter the tones of
| | 00:18 | reflection the more visible they will
be in the glass that's reflecting them,
| | 00:22 | and the darker areas will
be a little more transparent.
| | 00:25 | They won't be as strong in the reflections so
that you can see through them a little better.
| | 00:29 | And again, we also have these
other areas that need to cover this.
| | 00:33 | Now I could have spent a lot of time
and just created each panel individually,
| | 00:38 | but that takes too much time.
| | 00:39 | It's much easier to do it by
using things like layer masks.
| | 00:43 | Let's look at how this was created.
| | 00:45 | I've got here a file in
which I've added a couple layers.
| | 00:49 | This background layer is just a pattern,
| | 00:51 | the inside of the building you might say.
| | 00:53 | Here are the window frames.
| | 00:56 | These are the frames in
front of our building and so on.
| | 00:59 | And this is the item that's
being reflected inside of those.
| | 01:03 | So what I want to do now is I want to create
this and make it look more like a reflection.
| | 01:08 | So what I am going to do is right off
the bat I am going to bring down the
| | 01:10 | opacity a little bit, just such so
that it becomes this little hint of a
| | 01:14 | visual in the glass.
| | 01:16 | But I only want to see it in the glass;
| | 01:18 | I don't want to see it
through these parts over here.
| | 01:21 | So what I am going to do is I
am going to assign it a mask.
| | 01:25 | Now I can do it from down here, or I can
come up here and say Layer > Layer Mask >
| | 01:30 | Reveal All or Hide All.
| | 01:31 | I am going to say Reveal All, which
is going to give me a white mask.
| | 01:36 | Now that I have the mask
selected--and it is selected there,
| | 01:38 | the layer is selected here and the
mask is selected--I am going to turn this
| | 01:42 | layer, the one that has the
separations of the glass, into a selection by
| | 01:46 | Command+Clicking on it. There we go.
| | 01:48 | Now that we have it selected, I am
going to the mask. I am in the mask.
| | 01:51 | I have black for my foreground color.
| | 01:53 | So I am going to fill the mask
with black through that area.
| | 01:57 | So I am going to say using
the foreground color, do it.
| | 02:01 | Now we see that right off the bat the
reflection looks like it's in the glass.
| | 02:05 | Now this red dot is much darker than the blue.
| | 02:09 | So in that particular case I
want to do something different.
| | 02:12 | So what I am going to do is I am going
to use my Magic Wand tool and select from
| | 02:17 | that layer, the red dot.
| | 02:20 | Now that I have that dot selected, I am
going to go back to the mask, right, and
| | 02:24 | in the mask I am going to go in
there and fill that area with grays,
| | 02:28 | enough of a gray so that it's going
to hide this, just partially exposing
| | 02:32 | more of the scene behind it,
so that you can see more of it.
| | 02:36 | Because of that red being so dark, you
wouldn't see as brightening the reflection.
| | 02:40 | So I am going to go in
there and fill that with a gray.
| | 02:42 | So we'll go in there, and we'll pick a gray.
| | 02:45 | So I'll pick like about a medium gray
like that, and now this is going to be
| | 02:49 | partially exposed, because that right
now is going to be turned into a gray, but
| | 02:53 | we can fix that later.
| | 02:54 | So I am going to go in there
and just fill that with that gray,
| | 02:56 | and now we can see that we have
just seen a little hint of that.
| | 02:59 | If that's a little too much, we might want
to go in there and darken it a little bit.
| | 03:02 | So I can go in there and pick a
darker gray or a lighter gray.
| | 03:07 | I want to expose more of it, so I'll just
pick a lighter gray, and I'll expose that.
| | 03:11 | Now we're seeing more of the background
showing through and less of the other tone.
| | 03:16 | Turn these guys back into a selection
and fill that area back with black again,
| | 03:20 | and there we can see that when we
deselect it, we've seen a reflection that's
| | 03:24 | just exposing more of this area
through the red than through this area.
| | 03:29 | When we look at just the mask by
Option+Clicking on the mask, we see that the
| | 03:33 | area of the circle is a gray,
| | 03:36 | the area that we want to fully
expose is a white, and the area we want to
| | 03:39 | completely hide is black.
| | 03:42 | So you see that our mask has
different tones in it for different levels of
| | 03:46 | visibility of the contents of that
layer against its background to make it look
| | 03:50 | like it is a true reflection.
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| Linking masks| 00:00 | One thing that's important about masks
is their position and how to hold that
| | 00:04 | position in certain situations.
| | 00:06 | Like for instance, right now let's
just say we have this red circle which has
| | 00:10 | a mask for these window frames.
| | 00:12 | What if I wanted to move that red circle?
| | 00:14 | So I'll take my Move tool and I move
it, and you notice that the shape of the
| | 00:17 | mask is moving with it.
| | 00:20 | What if I wanted to just blur that circle?
| | 00:22 | So I'll go in there and I'll apply a
little Gaussian Blur to it, and then I'll make
| | 00:26 | a nice and big, and you can see how I am
getting a halo around this edge, because
| | 00:28 | I am blurring the Mask as well.
| | 00:30 | That's why there is a link right here,
which allows me to turn off the link
| | 00:36 | between the mask and the object in the layer.
| | 00:40 | So now I can take the layer itself and
move it around and you see that the mask
| | 00:45 | is going to remain intact. And I could
also take that file and blur it if I want
| | 00:51 | to, and you see that it is being
blurred inside of the mask.
| | 00:55 | See? So the mask is still solid,
but the object is being blurred, but the
| | 00:59 | mask will maintain integrity of all
that things that are being masked out.
| | 01:03 | Now I could affect the mask separately.
So I can go in there and select the mask
| | 01:08 | and blur the mask, at which time you can
see that the mask is being blurred and
| | 01:13 | the image is being left alone.
| | 01:16 | But in most cases what you really want
to do is blur the image or adjust the
| | 01:20 | image in some way but leaving the mask intact.
| | 01:23 | So that's what that Link button is
there for, to allow you to separate the mask
| | 01:27 | from the layer so that you can affect
the layer itself without affecting its
| | 01:32 | affect on all the other layers beneath it.
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| Applying layer masks and layer styles to create a chain link in a necklace| 00:00 | Now layer masks can create a lot of
effects, but sometimes they could be a little
| | 00:03 | bit of a conflict, especially in the
case of layer styles. But of course
| | 00:08 | Photoshop has a solution for it.
| | 00:10 | I'll show you such a situation like right
here, something as simple as the little
| | 00:14 | chain-link that we see right there.
| | 00:16 | Well, let's go in there and
see what I'm talking about.
| | 00:18 | Here I have a file where
I've created these three little shapes.
| | 00:23 | One of them sits alone down below, and the
other two are on top, just like that.
| | 00:29 | So now I want to create the illusion that
these guys are in fact little links in the chain,
| | 00:33 | so I'm going to apply a layer style.
That's going to make it look kind of like
| | 00:37 | the little link in a chain.
| | 00:38 | So I'm going to just say a little Bevel
and Emboss, increase the size a bit like
| | 00:43 | that, increase the depth so I get
really nice tones, soften it up a little,
| | 00:47 | and let's make this black kind of a
brownish tone like that. Click OK.
| | 00:53 | That looks good.
| | 00:55 | Click OK and then apply that same effect
to this guy by Option+Alt+Clicking down
| | 01:01 | and creating the effect.
| | 01:02 | Now they both have them.
| | 01:04 | So now I want to create that illusion
that they are linking over each other.
| | 01:07 | Let's just say that this guy is through it.
| | 01:09 | I'm going to do that by applying a layer mask.
| | 01:13 | So I am going to go in there and say
give this a layer mask right there.
| | 01:18 | And then I'm going to select this guy,
turn them into the selection, and then in
| | 01:22 | that area, I'm going to paint--and let
me turn off the marching ants, so we can
| | 01:27 | see the full effect of what I'm about to do.
| | 01:29 | So using black, I'm going to paint in
this area where they are overlapping.
| | 01:34 | So I'm going to go in there and
just paint right there through there.
| | 01:37 | Now you'll see that it looks like
it's going through, but you see what
| | 01:40 | happened to the layer style?
| | 01:41 | Since I've covered up that part of
the layer, the layer style now readjusts
| | 01:46 | itself to go to this new edge.
| | 01:49 | It's getting closer. Look at that.
| | 01:50 | See, right there, we don't want that.
| | 01:54 | We wanted it to be a nice continuous
tone, so it looks the way it should.
| | 01:58 | So let's go back to the Layer Styles for this.
| | 02:01 | And in the Blending options, there is
a choice right here that says Layer
| | 02:05 | Mask Hides Effects.
| | 02:07 | So I'm going to click on that,
and when you click on it, see what happened?
| | 02:12 | Click OK and now you see that the
layer style seems to be continuous to the
| | 02:17 | link, and it doesn't stop where
the layer mask has been applied.
| | 02:22 | So now I can go over to the other side
here, and I'll apply a layer mask right here.
| | 02:27 | And we'll do it in the mask of course.
| | 02:29 | We'll apply a little layer mask right
there, and we see that we this nice look,
| | 02:34 | like it is actually looping through
each other, creating that effect, and it
| | 02:39 | looks like it should, because the layer
style is now applying itself the way it should.
| | 02:44 | Now to make this complete, what you would
do, of course, we would take it to that
| | 02:48 | next step, and that would be to add one
layer on top of this where I'll create a
| | 02:53 | little mask, a little shadow you might say.
| | 02:56 | So I am going to take a little black
and let's go right in here, deselect, and
| | 03:00 | we'll throw a little shadow right in
there, and a little shadow right here, and a
| | 03:04 | little shadow in here.
| | 03:05 | It doesn't look like I'm
doing what I should, but watch.
| | 03:08 | You'll see how it all works in a second.
| | 03:10 | I have a little shadow right down there.
| | 03:11 | This is where the shadows should be.
| | 03:13 | Okay, so I'm going to take that
layer and I'm going to blur it a bit.
| | 03:17 | So we'll just give a little
softening by blurring it just a little bit,
| | 03:21 | not that much, like so.
| | 03:23 | Okay, I'm going to put it in
Multiply mode and bring down the Opacity a
| | 03:27 | bit, just like that.
| | 03:29 | All right, so now I'm going to give
that a mask, in which I'm going to turn
| | 03:35 | these guys into a selection and paint
in where I don't want those shadows to
| | 03:40 | appear, like right in here.
| | 03:42 | And I don't want it in there.
| | 03:44 | There we go, right through there,
and I don't want it in this area here.
| | 03:49 | And then I'm going to make this one a
selection. So I could erase it in those
| | 03:53 | places where I don't want in there.
| | 03:55 | Like I don't it say right through this area.
| | 03:57 | I don't want it in there, and I don't
want it in here, and I don't want it up there.
| | 04:01 | So there are the places where I don't want it.
| | 04:03 | Then I can just take both of these.
Right there I've got that as selection.
| | 04:08 | I'm going to inverse that selection,
so I can add a little black right up in
| | 04:12 | there, right into that area, and actually go
across this whole thing there, right up
| | 04:17 | in here, and out here, right in there.
| | 04:22 | So I'm not really erasing them.
| | 04:25 | I'm hiding them based on that mask.
| | 04:28 | So when I deselect it, you can see that
I have all my little shadows where they
| | 04:31 | belong, and the links start to look
like they are in fact through each other.
| | 04:34 | And I have got the 3-dimensional look,
and the most important thing was that I
| | 04:38 | did it all very easily.
| | 04:39 | All the highlights and shadows were
created with a layer style, which is continuous
| | 04:44 | because of the fact that I allowed the
mask to continue to style, as you saw in
| | 04:49 | here, by simply clicking
on that button right there,
| | 04:52 | Layer Mask Hides the Effects.
| | 04:55 | And then I added the additional
shadows just to complete that 3-dimensional
| | 04:58 | look. The shadows are where they belong,
where they would be cast by the links,
| | 05:02 | and then created a mask for them to
expose only the areas that we wanted to be
| | 05:06 | exposed.
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|
|
8. Channels and CalculationsExplaining channels| 00:00 | Channels are a very important part of Photoshop.
| | 00:02 | It is a way of going in there and being
very selective of how something is going
| | 00:06 | to be applied, that how being anything
like filters or colorizations--whatever it
| | 00:11 | is you want to do, you
apply it in a very specific way.
| | 00:15 | Let's first look at what
the channels really are.
| | 00:17 | I have here one of my older images, and
I'm going to use this to explain the
| | 00:22 | alpha channel itself.
| | 00:24 | When you select something, say we
select something like this, you know that
| | 00:28 | anything you do is going to
happen only inside that area.
| | 00:31 | So if I go in there and start painting,
let's just say we're going to go and
| | 00:34 | paint with the paintbrush
and make it nice and big
| | 00:38 | so we can really see what we're going
to be doing here, and when we start to
| | 00:41 | paint, it only happens
inside that area right there,
| | 00:44 | right? Nothing else gets affected.
| | 00:46 | Well, that selection is volatile.
| | 00:48 | When you deselect it, it's gone. But if
you save that selection that selection,
| | 00:55 | that selection becomes a channel,
an alpha channel to be exact.
| | 00:59 | Now, let's look at that alpha channel.
| | 01:01 | You notice that the area that's
selected is white and everything else is black.
| | 01:05 | This is a way of going in there and selecting.
| | 01:07 | Now an alpha channel is an 8-bit
channel so it does have 256 levels in there,
| | 01:12 | the black to white with 254 levels of
gray in between. The level of gray will
| | 01:16 | determine the level of the
exposure of that image to an effect.
| | 01:20 | Let's just say that we take that same
selection right there and we apply a feather to it.
| | 01:26 | We'll go in there and we'll just say
give it a feather, a nice big feather of about
| | 01:30 | say 35. That's a big feather.
| | 01:32 | Now it doesn't look like anything
happened, but the selection became rounded.
| | 01:37 | Now again the selection is
doing nothing to the image.
| | 01:39 | It is simply segregating part of
this image to some kind of an effect.
| | 01:43 | If I saved this selection now, you'll
notice it created a second channel, and this
| | 01:49 | one has the graze of that feather.
| | 01:51 | I'm going to deselect and just create
a brand-new alpha channel from scratch,
| | 01:56 | which automatically is black
because nothing was selected.
| | 01:59 | In this channel, I'm going to
throw a gradient from black to white.
| | 02:03 | Now this area here is protecting my artwork.
| | 02:07 | This area here is exposing it completely.
The area in between is exposed based
| | 02:13 | on that level of gray.
| | 02:15 | So when I go back to my artwork and
I load that channel, I could load by
| | 02:19 | Command+Clicking here or just coming
up here and saying Load Selection and
| | 02:24 | choosing that particular channel,
which in this case is number 3.
| | 02:29 | Click OK and you see the marching
ants from the 50% gray over to the white.
| | 02:34 | The entire image is in fact selected.
| | 02:36 | I'm going to just hide those
marching ants so you can see the effect that
| | 02:39 | it's going to have.
| | 02:40 | So now I'm going to return my colors to
black and white so the canvas is white,
| | 02:46 | and I'm just going to hit the Delete key.
| | 02:50 | Notice that the right side has been
deleted 100%, the left side has not, and it's
| | 02:55 | gradually deleted through
the grays. Let me undo that.
| | 02:59 | Well, this time we'll go in there and
apply some kind of a colorization, like
| | 03:03 | I'll do just that. I'll go into Hue/
Saturation and say Colorize, and we'll
| | 03:08 | colorize it into the blues
and increase the Saturation.
| | 03:12 | You'll notice that the right side is
being affected 100%, the left side not at
| | 03:16 | all, and then it's gradually been affected
through the area of the grays in the Alpha channel.
| | 03:23 | I'll apply a filter.
| | 03:24 | We'll go in there and just
choose a filter like Find Edges.
| | 03:28 | And again you see that the right side
has been affected 100%, the left side has
| | 03:32 | been left alone, and it's a gradual
filtering through his center where the grays are.
| | 03:37 | In essence the alpha channel is
basically a selected mask through which you
| | 03:42 | apply effects to that image.
| | 03:44 | Now that differs from the layer mask in
that it is not exposing the image to be
| | 03:49 | seen; it is exposing the image to be
affected, using the same concept of going
| | 03:55 | from white where the exposure
is to black where it's protected.
| | Collapse this transcript |
| Creating a license plate with channels| 00:00 | Throughout the streets of Times Square
there are many cars, and quite a few of
| | 00:03 | them have a license plate that's visible.
| | 00:06 | Now creating that license plate
requires quite a few little steps between layer
| | 00:09 | styles and alpha channels,
| | 00:10 | so I'm going to create one for you right now.
| | 00:13 | All right, I'm going to create some
paths that are going to make up the basic
| | 00:16 | license plate, so I'm going to pick
the Rounded Corner Rectangle tool here.
| | 00:20 | I have a radius set to 40 pixels.
| | 00:22 | Now that's to give me a
nice rounded corner like that.
| | 00:26 | Your particular resolution of your file
might require a different radius, so just
| | 00:31 | play around with it until
you get exactly what you want.
| | 00:33 | Now I've created a path, so the path
isn't affecting my image until I do
| | 00:37 | something with that path.
| | 00:38 | So you can experiment with it until
you have the exact radius that you want.
| | 00:43 | Now I have that shape.
| | 00:44 | I'm going to go in there and select
this path. Because it's got all the shapes
| | 00:48 | that I want exactly, I'm going
to copy it and then just paste it.
| | 00:51 | I copy and paste using the keyboard.
| | 00:53 | And now I'm going to take that one
that I just pasted right on the top of the
| | 00:56 | original image and I'm going to scale it.
| | 00:58 | So I'm going to scale it down, just a
little bit of the top there, bring it down
| | 01:01 | from the bottom and scale it in from
the sides until I have it just about the right
| | 01:06 | way that I want it, right about there like that.
| | 01:10 | Now I got a second path.
| | 01:11 | Now with that radius, creating a really
small selection right here it's going to
| | 01:16 | give me a very lozenge kind of an
effect, so it looks kind of like the holes
| | 01:21 | that you see where you put the screws
into hold your license plate in place.
| | 01:24 | So I'm going to copy that straight over,
like that, and then copy it straight
| | 01:28 | down and copy this one straight down as well.
| | 01:31 | So there we have all the basic paths
that are going to make up the license
| | 01:35 | plate. So now I can start to make up my license.
| | 01:38 | I'm going to pick a very light gray
color, and I'm going to pick up this
| | 01:42 | large area back here.
| | 01:43 | This is the basic shape of my license plate.
| | 01:46 | So I'm going to create a layer right
here, which I'll call the outer plate.
| | 01:50 | There. To that outer plate,
| | 01:55 | I'm going to go ahead and fill it with
that gray color right there, like that.
| | 02:00 | So now I'm going to take the inner
shape right there and create another layer,
| | 02:07 | which we'll call just the plate.
| | 02:10 | I'll fill that path with that.
| | 02:12 | Okay, so now both paths have
been filled into that area.
| | 02:17 | I'm going to select these little holes.
| | 02:21 | I'm going to turned those into a selection,
| | 02:25 | turn off my paths and go to both layers
and hit the Delete key to eliminate that
| | 02:30 | area, making a hole right inside that shape.
| | 02:34 | Now I'm going to go in here and I'm
going to start adding a little dimension
| | 02:37 | to this. So I'm going to go in there
and take the outer plate and give it a
| | 02:41 | little layer style.
| | 02:43 | So I am going to go ahead and say
give it a Bevel and Emboss, which is going to
| | 02:45 | give me a nice edge.
| | 02:46 | I'm going to sharpen that by bringing
it down to about 2, and increase the
| | 02:50 | depth so I get a nice hard tone in there.
And I want to give some color to that top light,
| | 02:55 | so I'm going to go here and click on
this and give it more of a bluish tone.
| | 02:59 | So it looks like it's something from
the sky right out there. Click OK.
| | 03:03 | I'm going to change the mode for
that one to Normal, so I get this little
| | 03:06 | blue haze along the top.
| | 03:09 | Let's make it a little bit darker. There we go.
| | 03:10 | So now we have this little blue haze
right along the top there, which gives
| | 03:14 | me that sense that it's the sky has been
reflected on the top and dark along the bottom.
| | 03:18 | We'll bring the light over just a little
bit to this side, and there we can see it.
| | 03:22 | Now that we have that, I am going to click OK.
| | 03:25 | I'm going to drag that effect over to
the plate here, and you notice that it's
| | 03:30 | creating the effect inside there as well,
| | 03:32 | so I'm getting this nice little edge in there.
| | 03:34 | Now here I'm going to go into the layer
style and make it just a little bigger.
| | 03:38 | So I'm going to go in there and
just make that a little bigger size,
| | 03:41 | about like that, and I'm also going to soften it,
so it starts to kind of round out those edges.
| | 03:46 | Okay, just rounded the model a little
bit, making it more like you will see on
| | 03:50 | a real license plate.
| | 03:52 | Now on top of this, I'm
going to start to add my letters.
| | 03:55 | So I'm going to pick a color that I
want from my letters, like this nice
| | 03:58 | deep blue right here, and I get my Type tool.
Now I'm going to click right in here.
| | 04:03 | Now I've picked Futura
Condensed for this particular thing.
| | 04:06 | I'm going to save this is My State right there.
| | 04:11 | I'll put that right about there like that.
| | 04:14 | Okay, then down here, I'm
going to put much bigger letters.
| | 04:19 | I'm going to type in 'My Car'.
| | 04:21 | This is going to be my license plate, right.
| | 04:24 | So, I'm going to go in there and
select that and make this much bigger.
| | 04:27 | We'll go with say a 200, see
what that's going to look like.
| | 04:30 | Okay, we could always play with it
afterwards, which is what I'm going to do right now.
| | 04:34 | I'm going to put it in there and
I'm going to just stretch it out.
| | 04:38 | Using Scale, I'm going to make it a
little taller and bring it out a little bit
| | 04:42 | like that and make it a
little taller that way. There.
| | 04:47 | Now if you look at a license plate,
you'll notice that the state is usually
| | 04:51 | printed right on the plate, but the
number--or in this case the vanity plate--is
| | 04:57 | actually embossed into that
shape, making it kind of round it.
| | 05:01 | So what I'm going to do here
is that I'm go into that layer.
| | 05:04 | I'm going to make My Car a selection, just like
that, and I'm going to save it as an alpha channel.
| | 05:10 | Now I can deselect it and throw that away.
| | 05:15 | I don't need that anymore, because I'm
actually going to create it in the alpha
| | 05:19 | channel, which is right there.
| | 05:21 | Now I want this to be rounded.
| | 05:22 | Let me get a little bit closer, so you
can see what's going to happen next.
| | 05:25 | I'm going to take this and I'm going to
blur it, give it a little Gaussian Blur, just to
| | 05:29 | soften those letters and round
out those corners just like that.
| | 05:34 | Click OK and now that I have the
rounded corner, I want to sharpen it again.
| | 05:38 | So I'm going to go into my Levels, and in
Levels I'm going to push the sliders in.
| | 05:44 | If I move the black, the letters
get thinner, and if I move the white,
| | 05:47 | the letters get thicker.
| | 05:48 | So I'm going to find a place where
they're about as thick as I want them, and
| | 05:51 | when I got it, I'm going to start to
move these guys closer together to each
| | 05:54 | other. And you can see that the
letters are starting to sharp up, but they're
| | 05:58 | not sharp in the corners like
they were before. They're rounded.
| | 06:01 | So now I have this nice rounded type
that looks more like the real thing.
| | 06:06 | So I go back to my image, I load that
alpha channel, create a layer for my
| | 06:13 | number, and fill it with that blue.
| | 06:17 | There we have the blue.
| | 06:19 | Now I'm going to double-click on that
to bring up the Layer Styles, or I can
| | 06:23 | simply use the layer
styles that were there before.
| | 06:26 | Grab this, drag it on to here. But I'm
going to have to adjust that, because I
| | 06:30 | don't want to the layer style
inside; I wanted it to be an outer bevel.
| | 06:34 | So I'm going to make the size bigger
and soften it up a little bit, and there
| | 06:40 | you can see that now we have this nice-
looking license plate that looks like
| | 06:45 | a real thing.
| | Collapse this transcript |
| Creating shadows on the cables| 00:00 | Now that we understand how alpha
channels work, let's see how it's used in
| | 00:04 | the actual painting.
| | 00:05 | I am going to zoom in up here to this shadow
area up here, the shadow being cast on this wall.
| | 00:10 | Now, if you really study how shadows
work, you will notice that as they get further
| | 00:14 | away from the object that's casting
the shadow, it starts to soften up.
| | 00:18 | So you see the shadow right here, that
it's kind of sharp down here at the edge
| | 00:22 | of the building, and it's getting
softer as it gets further back.
| | 00:25 | So let's create that effect
right now using an alpha channel.
| | 00:29 | I have here a file in which
I've created a couple of layers.
| | 00:33 | You can see that I have
the wall edge, right here--
| | 00:36 | that's this piece right here--the
wall, which is this brown piece here, and a
| | 00:40 | building, this blue area here. And the
background just has gradient of grays.
| | 00:44 | We are going to cast a shadow across this
wall that's being cast by this blue building.
| | 00:50 | The wall is a little recessed,
| | 00:52 | so there will be a little bit of a shadow
cast on the face right here over the wall edge.
| | 00:58 | So right there in front of that layer, I am
going to create a layer and call it shadow.
| | 01:02 | In fact, let's make it easier.
| | 01:06 | I can just use the wall itself, make it
a selection, and then in that layer I am
| | 01:11 | going to fill that selection with black.
| | 01:13 | I just did a fill, go in here and say
Fill, Foreground Color, OK, and here you
| | 01:21 | can see that it's black.
| | 01:22 | So I am going to deselect it and
bring that layer up a little bit
| | 01:25 | so it's just at that edge right there,
and it's being cut here, because it's
| | 01:29 | behind the wall right there. And I am
going to blur it just a little bit.
| | 01:34 | So I'll go in there and say Gaussian Blur
of about, let's say 2 is good right there.
| | 01:40 | Click OK, bring down the Opacity a
little bit to about 70%, put it in Multiply
| | 01:47 | mode, so that we have a nice effect on
the colors behind, and then I am going to
| | 01:50 | clip it with that wall edge.
| | 01:52 | So now I am seeing it only inside there.
| | 01:55 | Now the wall on this side has the shadow
being cast at an angle based on how far
| | 02:02 | this building is from the wall.
| | 02:05 | So I am going to go in here and I am
going to use my Pen tool and right from
| | 02:07 | this edge, right there, I am going to
create my first point and then come up
| | 02:12 | here and figure out my angle.
| | 02:15 | That's going to be about
right, just about there.
| | 02:17 | So now I'll just come out here and
complete the shape that I want like that.
| | 02:22 | So on top of the layer of the wall
right there, I am going to create this,
| | 02:27 | another shadow, shadow2.
| | 02:30 | And I got that path,
| | 02:32 | so I am going to take that path and
say fill it with the black, turn off my
| | 02:36 | path, go back to looking at the
layers, and we see that there's the effect,
| | 02:40 | which I am going to go ahead and clip it with
the wall just like I did with the other shadow.
| | 02:45 | There it is clipped with the wall.
| | 02:46 | I am going to bring the Opacity down
to just 70%, and I am going to put it in
| | 02:51 | Multiply mode, and I am going to give it
that same filter of Gaussian Blur just
| | 02:57 | as it was, and there we can
see the softening right there.
| | 03:00 | So now as that shadow gets further away,
it has to get softer up in this area here.
| | 03:06 | So I have to apply that Gaussian Blur
filter a few more times, but I want it to
| | 03:10 | work gradually, not evenly all the way
across as the first Gaussian Blur did.
| | 03:16 | I need to have it to happen gradually, and
that's where the alpha channel comes in.
| | 03:20 | So what I am going to do is I am going to
go to my Channels and say give me a channel.
| | 03:24 | Now, I want to know exactly
where I am placing my effects,
| | 03:27 | so I am going to look at the other
channels on top of it. And there I see my wall
| | 03:31 | exposed, so I know that I want to kind
of start right about here to soften it
| | 03:36 | all the way up to the top.
| | 03:36 | So if you remember that black protects
and white exposes, I am going to get my
| | 03:41 | Gradient tool and right now I have black
as my foreground color, so that's going
| | 03:45 | to be the first color.
| | 03:46 | So I am going to say from right
about here right up to there, I create my
| | 03:52 | gradient, and there is the
gradient that I am seeing.
| | 03:55 | Now go back over to the
RGB and turn this guy off.
| | 04:00 | We can see that the alpha
channel had no effect on my image.
| | 04:03 | It is simply a mask through
which I will apply those effects.
| | 04:06 | When we look at just the channel
itself, there we see that it's a gradient
| | 04:09 | that's going to have no effect here
on my image, full effect up here, and a
| | 04:13 | gradual effect through the area of the grays.
| | 04:17 | So when I come back only here, I make sure
I am in the layer of the shadow right there.
| | 04:21 | So now, I am going to load the alpha channel.
| | 04:24 | So I am going to go in there and Command+Click,
Ctrl+Click on it, which loads it right there.
| | 04:29 | Now I usually like hide the marching
ants, so I can really see the image in
| | 04:33 | full without those
distracting animated things going around.
| | 04:36 | So I am just going to say
turn off the selection edges.
| | 04:40 | There we go. So now we don't see them.
| | 04:41 | It is still selected, but we
just don't see that selection.
| | 04:45 | I am in the layer of the shadows,
| | 04:47 | so I am going to go in there
and get my Gaussian Blur filter.
| | 04:50 | Now I'm going to apply it a
few times at a low setting.
| | 04:54 | The reason I am going to do that is
if I apply it at a high setting, you
| | 04:56 | notice what's happening?
| | 04:57 | It's softening, but it's
still kind of sharp in the middle.
| | 05:00 | So I don't want to do it that way.
| | 05:01 | I want to do it in small increments at a time,
| | 05:03 | so I'm going to apply--
let's try a 5. 5 is good.
| | 05:07 | So I am going to click OK and
there you can see it's done the effect.
| | 05:10 | I am going to apply it again.
| | 05:11 | So I will just say apply
the filter again and again.
| | 05:15 | You see that it's Command+F, so I am
just going to do it by the keyboard,
| | 05:18 | and apply it a few times, and you can see how
the shadow is softening as it gets further away.
| | 05:23 | I am still applying it one more time, and
here it comes one more, and there we see
| | 05:27 | the effect that now is still sharp down
here, slowly getting softer as it gets
| | 05:31 | further away, and when it gets
way up here, it's very soft.
| | 05:35 | So it's giving me a realistic-looking
shadow by applying the filter through a
| | 05:41 | selected area based on an alpha channel,
which gave me a gradient, which allowed
| | 05:45 | me to apply the effect strongly in
one spot and not at all in another.
| | Collapse this transcript |
| Explaining channel calculations| 00:00 | In the previous two movies, we
saw calculations being shown.
| | 00:03 | Now, what we're going to do is look in
that window and look at it a little closer.
| | 00:08 | Let me go right into my channels.
| | 00:09 | I am going to create a brand-new channel.
| | 00:11 | There is nothing is selected,
so it's automatically black.
| | 00:13 | I am just going to set up
a little situation here.
| | 00:16 | I am going to give myself a nice big feather
of 20 pixels, and I'll create a shape right here.
| | 00:21 | And this shape is going to represent a
light coming in from some doorway somewhere.
| | 00:25 | So I am going to go ahead and fill
that selection with the background color,
| | 00:29 | which right now is a white. There it is.
| | 00:31 | I am going to create another alpha
channel, and this alpha channel is going to
| | 00:34 | have a light coming in from a window somewhere,
| | 00:37 | like that, which we'll fill with white.
| | 00:40 | And let's do another one right here,
which will be the same kind of thing, just light
| | 00:45 | from the window somewhere, like that,
and we'll fill that with white. So there,
| | 00:50 | it has two channels:
| | 00:51 | the doorway light and the window light.
| | 00:55 | So now I want these guys
to work in certain ways.
| | 00:58 | Now when I apply this to the image I'll
throw in the whatever reflections, the
| | 01:03 | colorizations I need for that
light coming in from outside.
| | 01:06 | And then whenever I need to do
something for the doorway light, I'll just
| | 01:11 | choose that alpha channel and apply my
effects onto the image through that alpha channel.
| | 01:15 | But then there are times when the
two of them should work together.
| | 01:18 | Like for instance, the area where the
two highlights overlap each other should
| | 01:24 | have a certain effect on the image,
especially if the light coming from the room
| | 01:27 | is a colored light and the light
coming from outside is a bright white light.
| | 01:31 | So therefore, the effect where
they intersect is going to mean
| | 01:35 | something different.
| | 01:36 | So what will happen is I go into
Calculations and I will take both channels:
| | 01:42 | Alpha 1 and Alpha 2.
| | 01:44 | Right now, I am subtracting one from
the other, but what I want to do is have
| | 01:47 | that place where they intersect.
| | 01:49 | So by changing the blending mode, I can go in
there and say what I really want is Multiply.
| | 01:54 | By Multiply, I am selecting the area
where the two of them overlap each other.
| | 01:59 | Send that to a new channel and it
becomes a completely separate channel that
| | 02:03 | shows me the area where these
two light sources are intersecting.
| | 02:07 | Let's say I wanted them to work
together as one, the two different channels
| | 02:13 | working as one in unison, so I can
have yet another effect on my image.
| | 02:17 | Well, in this particular case, I'll go
back to Calculations and I have 1 and 2.
| | 02:23 | And when you look at this you might say, well,
| | 02:24 | add might be the one to do,
| | 02:26 | so you can see what Add does.
| | 02:28 | Add isn't quite right because you
see that blotch that just happened?
| | 02:31 | What's happening with Add is let's
just say we had a 30% pixel right there in
| | 02:35 | one channel and a 30% pixel in the
other channel, the result is a 60% pixel.
| | 02:41 | So in a case like this where you don't
want to override the lightest color so
| | 02:44 | what we do is we say Screen--
screen one on top of the other--
| | 02:48 | now you can see that we have a perfect
blending between the two alpha channels
| | 02:52 | becoming one channel that
takes into account both channels.
| | 02:56 | Send that to a new channel and we
have yet another channel that sees the
| | 03:01 | different channels put together into one.
| | 03:04 | Now looking at that Calculations,
there are a lot of things in there.
| | 03:08 | I strongly suggest that you sit there and play.
| | 03:10 | There are many different modes,
including these two, which don't appear anywhere
| | 03:14 | else, Add and Subtract.
| | 03:15 | All kinds of modes that have
different effects on what one channel would do
| | 03:19 | on top of the other.
| | 03:20 | You can Invert the channels in the
process and even add another channel as a
| | 03:24 | mask as you're applying an
effect to different channels,
| | 03:27 | many different steps.
| | 03:29 | And the best way to learn this is to
actually sit there and play with those, push
| | 03:32 | all those buttons and see what they do.
| | 03:34 | Work with different channels on top
of each other and see the effects that
| | 03:37 | you're going to get. And those masks that results
from all these calculations can have really intense
| | 03:43 | effects onto your image.
| | Collapse this transcript |
| Understanding calculations in channels| 00:00 | Those alpha channels, when used in
conjunction with the Calculations command,
| | 00:03 | can create some very intricate
masks, which you can apply some very
| | 00:07 | interesting effects.
| | 00:09 | I have this lamppost right here
at the center of the painting.
| | 00:12 | I've got the actual file open in background
here, so let's go look at that right here.
| | 00:17 | And when I zoom in and start looking at
some of the cables on this image here,
| | 00:22 | you see that the cables have shadows
and highlights in very specific spots
| | 00:27 | that were made real easy to do by using the
alpha channels in conjunction with Calculations.
| | 00:33 | Now let me explain what that is all about.
| | 00:35 | We have here a little ring.
| | 00:38 | It's very easy to make this ring look three-
dimensional using things like layer styles.
| | 00:42 | I just go into that layer and hit it
with the Layer Styles and say give me
| | 00:45 | a Bevel and Emboss.
| | 00:46 | I am going to increase the size like
that, and let's make this more of a reddish
| | 00:52 | tone so it doesn't look so deep there.
Click OK and I have a 3-dimensional-
| | 00:56 | looking ring. But you notice how
it's evenly lit on all sides?
| | 01:01 | That's the one thing that's bad about
the layer styles is that they are kind of
| | 01:04 | even, and if I introduce a sudden second
light source, well the lightning has to
| | 01:09 | be a little more specific here.
| | 01:11 | Now the light is so close to the ring,
it's going to be very bright along this
| | 01:15 | edge and somewhat dim along this edge,
which means I have to apply something
| | 01:21 | other than the layer style to get the
effect of this candle lighting the ring.
| | 01:25 | And that's where the alpha channels come
in in conjunction with the Calculations.
| | 01:31 | I'm going to go in here and turn
the ring into the selection and save it
| | 01:35 | as an alpha channel. I'll call it ring.
| | 01:38 | I'm going to save it again
and call it edge, and I get these selected.
| | 01:47 | When I go ahead and look at my channels,
you'll see that I have the ring and the edge.
| | 01:52 | Now because of the roundness of the ring,
I'm going to take the edge and blur it.
| | 01:57 | So I'll apply a Gaussian Blur to it,
just enough to make it look like that round
| | 02:03 | edge that I have of the ring. Click OK.
| | 02:05 | I'm going to turn on the
second ring right there.
| | 02:10 | And we see it as a quick mask mode,
which is the red, and I'm just going to
| | 02:14 | move the edge one over.
| | 02:17 | Now I know that my candle is right here, so
I'm going to move it over to the left a bit.
| | 02:21 | I am using the Move tool, and I'm just
moving it over to the red, using my cursor
| | 02:24 | keys to move it over, just like that,
so I see this little overlap right there.
| | 02:28 | That's where I want it. See the overlap?
And maybe move it down a little bit, and
| | 02:35 | actually I've got to move it up. There we go.
| | 02:36 | There is the edge that I want for where
my candle is right there, and there we
| | 02:40 | see it on this side as well.
| | 02:42 | So now here's where the Calculations
comes in, because what I want do now is
| | 02:45 | have an alpha channel that
exposes just those areas of the ring.
| | 02:51 | So I'm going to go in here and
go to my Image > Calculations.
| | 02:55 | What I'm going to do is I'm going to
take the ring up here and the edge there,
| | 03:00 | and you can see what's happening.
| | 03:01 | I'm subtracting one from the other, and
it's giving me a drop shadow, which is the
| | 03:06 | way drop shadows were done back in the
days when there were no layer styles or
| | 03:10 | layers, for that matter.
| | 03:11 | So by putting the edge up here and the
ring down here, we'll get the inside of
| | 03:17 | the ring being exposed.
| | 03:19 | Remember that white exposes
to the effect, black protects.
| | 03:22 | So I send the information over to a new
channel like that, and I have this new
| | 03:27 | channel which exposes that part of the
ring to the effect that I want to have.
| | 03:32 | Going back to my image, I can then
apply that channel, which exposes that area.
| | 03:38 | And in a new layer, I will apply that yellow
that I want to beat the light of the candle.
| | 03:44 | I'm just going to turn of those
marching ants, so we don't see them in the way,
| | 03:47 | and I'm going to pick a color
that I want for that light to be.
| | 03:51 | So I'm going to just pick kind of
like this yellow from right there.
| | 03:55 | Click OK and with a paintbrush, nice, big
soft brush, big brush like this set it at 100%,
| | 04:01 | I'm going to go in here and just apply
a tone right through there like that.
| | 04:05 | And then I'm going to bring down the
Opacity to about 50% and just apply a
| | 04:08 | little bit right in there like that.
| | 04:10 | And there you can see that we have a
realistic kind of a lighting that's being
| | 04:13 | applied from the candle directly on to only
the part of the ring that I want to expose.
| | 04:20 | Now in the next tutorial, we're going to
take that step a little bit further and
| | 04:24 | see how it's applied in a very
intricate image, like a manhole cover that lives
| | 04:29 | somewhere in Time Square.
| | Collapse this transcript |
| Creating a manhole cover with channels| 00:00 | Some elements of Times Square might
seem simple but require many, many
| | 00:04 | different steps to make them look real.
| | 00:07 | I'm going to zoom in on one such item, which is
right down here underground, a manhole cover.
| | 00:12 | Now we are looking at a low-res version of this,
so it worked very quickly on this machine.
| | 00:16 | But I do have open 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.
| | 00:28 | You see the depths of them, and you
see little highlights from the different
| | 00:31 | streetlights all over the place,
reflection of the signs up above, and then these
| | 00:35 | 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.
| | 00:45 | So let's see how those guys were created.
| | 00:45 | Right here I have a series of paths
for the manhole cover right there.
| | 00:52 | Now these were created in Illustrator,
and the tutorials on Illustrator will show
| | 00:56 | 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 am going to go in there
| | 01:04 | and scrunch them down.
| | 01:06 | I am going to go in there and do a
little scale down like that, so it starts to
| | 01:12 | look like it is underground there.
| | 01:13 | I am just going to make it a little
bigger here, just like that, and let's move
| | 01:16 | it up into the middle.
| | 01:17 | So there we have it. Make that happen.
And now the paths are all fitting into the
| | 01:22 | perspective of the scene, so it's down on
the ground we are looking down onto it.
| | 01:26 | Now I need to separate some of these
because they are going to be handled separately.
| | 01:29 | So I am going to go in here and I
am going to select certain paths.
| | 01:33 | I'll select these outer ones, these ones
that form the outside frame, and these two
| | 01:39 | that form the inner part of the frame,
and I am going to cut those. I'm just going to
| | 01:43 | go in there and say Cut.
| | 01:44 | I am 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 will call this one 'outer edges'.
| | 02:02 | Going back to this, I am 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 am going to select every one of
these, and there is quite a few of those, and
| | 02:14 | we will just make sure we get them all.
Go in there, and let's select this one, and we
| | 02:19 | have got one more here and one more,
and then we just look around to make sure
| | 02:23 | we have them all and yes, we do.
| | 02:26 | So I am going to go ahead and
cut those from the main set.
| | 02:32 | Create a new path, and we will
call this one 'holes' and paste.
| | 02:42 | 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.
| | 02:51 | I am going to go into my Layers and in Layers
here, I am going to create a series of layers.
| | 02:56 | So this will be the outer ring.
| | 02:59 | That's the furthest ring out.
| | 03:05 | It helps to spell it right,
so let's just do that.
| | 03:07 | There you go, outer ring.
| | 03:10 | Now I am going to select this one
way out here, and I have got this gray.
| | 03:13 | Let's pick a slightly darker gray
right there like that, and I am going to go
| | 03:17 | 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 am 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 are 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 will make this a much darker gray,
| | 03:48 | like that. And in this layer here, I am
going to fill that next path with that
| | 03:53 | tone, and you can see there
it's that darker tone inside.
| | 03:56 | Now I am going to pick this ring here.
| | 03:58 | This is another ring on the outside.
| | 04:00 | Let's go back to light gray and a
new layer, which we call inner ring.
| | 04:08 | We will go ahead and fill that layer with that.
| | 04:15 | Go to our paths and fill it.
| | 04:18 | Now I am 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 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.
But now it is taking away the center part of
| | 04:38 | that ring right there.
| | 04:40 | So now we can deselect, and we have
another layer which will be the center ring.
| | 04:49 | Go to our path, and we see that
here is our center ring right here.
| | 04:55 | So we are going to select that, and in that
layer we are going to go ahead and fill it.
| | 04:59 | I am 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.
| | 05:19 | So now we have that same gray.
| | 05:20 | I am going to fill this
entire thing with this path.
| | 05:23 | So I am going to create another layer.
| | 05:24 | We will call this design, and we will
go ahead and fill that path with that.
| | 05:33 | Now we have all the little shapes inside.
And then finally, we need the little holes.
| | 05:37 | So, I will create one more layer, and we
will call it the 'holes', and we take the
| | 05:44 | path that makes up the holes and we
switch this to black and white and fill
| | 05:49 | 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 there are separate layers, which
makes it really easy to go in there and
| | 06:02 | do anything that we need to do to this.
| | 06:03 | I am going to go in there, and the first
thing I am going to do is go to my outer
| | 06:07 | ring and give it a layer style, give it
a little Bevel and Emboss, just a tiny
| | 06:11 | Bevel and Emboss which gives me this
little highlight and shadow right in the
| | 06:15 | edge there, just like that.
| | 06:16 | I am 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. And if we want, we can start
| | 06:28 | 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.
| | 06:34 | There we can see it. Click OK.
| | 06:36 | If you really want to see out 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 all the little
highlights and shadows and so on in there.
| | 06:47 | Or since we do want to be able to see
the shadows here, let's just make to say
| | 06:51 | kind of a bluish tone.
| | 06:52 | Let's go in there and
fill that with a blue. There!
| | 06:54 | 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 see
| | 07:02 | the elements that we are 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 am
going to apply that to the inner ring.
| | 07:10 | So I am going to hold down Option--Alt
on a PC--and drag the little fx up to the
| | 07:15 | inner ring, which is going to apply that same
effect to the inner ring, as you can see there.
| | 07:20 | I am going to then give it to the center ring.
| | 07:22 | I am 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 up
| | 07:34 | 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 am going to go into the design area, and
I am going to do quite a few things to this.
| | 07:43 | First of all, I am going to
give it some layer styles.
| | 07:45 | I am going to give it a little Bevel
and Emboss, except this time it's going to be a little
| | 07:48 | bit different because I am going to
just kind of soften this up a little bit.
| | 07:51 | Let's bring this down and make the size
smaller. Let's bring it down to about 2,
| | 07:56 | so we just get that little edge in there.
| | 07:58 | I am 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 they
| | 08:10 | look like they are a
little deeper, not too much because
| | 08:13 | I don't want to 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 are
getting the beginnings of this.
| | 08:21 | Now I might want to move to design over
down behind the inner ring. There you can see
| | 08:24 | 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. That requires an alpha channel.
| | 08:38 | So what I am going to do is I am 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 am 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.
| | 08:54 | I am going to save it again.
| | 09:01 | This one we will call edge.
| | 09:04 | I can now deselect it.
| | 09:06 | Going over to my channels, we 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
we are going to see right in there.
| | 09:18 | So what I am going to do, I
want it to be a little soft.
| | 09:21 | I am going to go in there and blur it
just a little bit, so I'll give it a
| | 09:24 | little Gaussian Blur, just
enough to make it soft, not so hard,
| | 09:28 | 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 channels, so
| | 09:37 | I am 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 am going to do is I am
going to double-click on the edge channel,
| | 09:50 | which is the one I am 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, the
| | 10:07 | Selected Area, the area
that's white or a Spot Color.
| | 10:10 | This case we are going to
leave it at Masked Area.
| | 10:12 | We can also change the name here just
like it was changed to the name of the panel.
| | 10:16 | But the color, that's
what we are going to change.
| | 10:18 | We are going to change that to a blue color.
| | 10:20 | That's going to be a
contrast against the red there.
| | 10:24 | I am going to bring the Opacity for
it up to about 80% and still the Masked
| | 10:28 | Area, 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 am going to do is I am going
to take that edge, with my Move tool, I
| | 10:38 | am 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 am 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.
| | 10:54 | See? 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 am going to come
| | 11:00 | over here to Image and go Calculations.
| | 11:04 | And in Calculations I am going to take the
sources, and which source make a difference.
| | 11:10 | So if I put the design up here, you can
see something happened right off the back.
| | 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, so I
am going to put the edge on top and the
| | 11:27 | design for source 2, and there you can see
that we are now exposing the edge that I want.
| | 11:34 | Now keep in mind that an alpha channel is a
mask to which you apply effects to your image:
| | 11:39 | filters, colorizations whatever it is
you want to do. It is being done through a
| | 11:43 | specialized selection where white is
exposing, black is protecting, and the level
| | 11:48 | 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 we will just
send to a new channel. Click OK.
| | 12:03 | There is our channel, which I am going to
name right in here and call it the left edge.
| | 12:10 | I am now going to go back and look at
that channel again and turn on this one
| | 12:13 | again, and I am going to move
it in the opposite direction.
| | 12:16 | I am 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 send
| | 12:29 | 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 will go in there and load the
channel for the left edge right here like
| | 12:46 | this, and now in a whole new layer
on top of this, I will pick up say a
| | 12:53 | reddish tone. And I can very loosely
paint right into these areas here, and
| | 12:58 | you can see that I am picking up
those little red edges just where I want
| | 13:02 | them, right on top.
| | 13:04 | I come over to this side and I will load
the other channel, the right edge, and I
| | 13:10 | could pick a different color.
| | 13:11 | Let's say we pick a blue. And I will
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. If we pull back, of
course I am only working in little area
| | 13:24 | there, but you can see how you start to
develop a sense of the edges picking up
| | 13:29 | the light, whereas the other sides do not.
| | 13:31 | When the whole thing is done, I can
easily go in there and add an overall glow to
| | 13:36 | the entire thing. By going in there
and creating another layer on top here,
| | 13:40 | this one, we will just say glow.
| | 13:42 | We will create this one as a glow.
| | 13:43 | I will just pick up a yellow color, nice
yellow like that, and a large paintbrush,
| | 13:50 | and I just throw a street right across
here like that, and we make sure that the
| | 13:54 | 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.
| | 13:59 | So I am going to take that yellow that I just
created and possibly even make a mask for it.
| | 14:05 | So what I will do is I will just make a
mask, which is going to soften the whole
| | 14:08 | thing up, and I am going to go in there
and I am going to duplicate that because
| | 14:12 | I am going to want it for something else.
| | 14:13 | So I am going to have two of them.
Let's turn one off for now.
| | 14:16 | This one I am going to take
that original path. There's my path.
| | 14:19 | So I am going to take the path for
the design and turn into a selection.
| | 14:23 | Now that I have that selected, I come
back to my layers. In that layer I am
| | 14:27 | going to say give it a mask, and now
you can see that we are seeing it only
| | 14:30 | inside of that area there.
| | 14:33 | Then the second yellow glow, this one
here, I am going to go back to those
| | 14:37 | paths and I am going to make the inner
selection right in here, this inner ring right there,
| | 14:44 | I am 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 am going to put this one behind
the design right here inside the indent,
| | 14:55 | and I am 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 then
| | 15:02 | the bright yellow on the top level.
| | 15:03 | So you can see here how many
different facets of Photoshop went in to play
| | 15:08 | to create this effect.
| | 15:09 | There were layers styles,
| | 15:11 | there were alpha channels, and layer
masks being applied to create the final
| | 15:17 | effect which we once again looked at it here.
| | 15:20 | I took my time to create it right, and
you can see that all of these little
| | 15:23 | subtle tones and colors have been
applied to all the different ridges, giving it
| | 15:27 | that 3-dimensional look of a real manhole cover.
| | Collapse this transcript |
| Creating wiring on lights with channels and calculations| 00:00 | Lighting of the elements is what
really establishes their position within the
| | 00:03 | scene, in other words
adding the third dimension.
| | 00:07 | Sometimes creating those highlights and
shadows and stuff requires specialized masks.
| | 00:12 | A good case in point would be way up
here, the wires and the lamps in the
| | 00:17 | Toys"R"Us building.
| | 00:19 | These wires are going all over
different areas, so their highlights and shadows
| | 00:22 | I have to fall on different areas--
something that a layer style cannot do
| | 00:26 | because of the fact that it only works
with something uniformly, whereas here
| | 00:30 | the wires are not uniform.
| | 00:31 | They are just bending in different
areas and causing shadows and stuff
| | 00:34 | in different places.
| | 00:35 | So let's see how a
specialized mask is going to work.
| | 00:38 | What I have done here is
I have created this pole.
| | 00:41 | Now right off the bat, we can see that
there is a problem that a layer style
| | 00:44 | won't be able to tackle, and that is
that there are three light sources.
| | 00:48 | There is a blue tone coming from above,
a greenish hue coming from the center
| | 00:53 | and then a orangey kind of a
glow coming from down below.
| | 00:57 | So right there we are dealing with
three colors, and the layer styles can
| | 01:00 | only handle two colors.
| | 01:02 | And also these particular light
sources are in very specific places, which is
| | 01:06 | another little problem for our wire.
| | 01:08 | So let's go in there and create a wire.
| | 01:10 | Now, I have got a path here,
which I'm going to select that path.
| | 01:14 | I am going to create a layer right here above
the pole, and I am going to call it the wire.
| | 01:18 | Now I am going to get a color
that I am going to use for this wireless.
| | 01:23 | Let's just say we choose a nice dark
gray like that, and I get my brush tool, and
| | 01:27 | I am going to set it to a
hard edge. Make it much smaller.
| | 01:30 | Let's see, about that size.
| | 01:31 | That's a good size.
| | 01:32 | Okay, and then I am going to make sure
that the brush is set to a nice solid line.
| | 01:38 | There it is.
| | 01:39 | So now that I have all that in that
layer of the wire right there, I am going to
| | 01:43 | take that path and
stroke it with the paintbrush.
| | 01:45 | So there is our wire.
| | 01:47 | I am going to take away the
path, and there is our wire.
| | 01:49 | Now going behind the pole, we'll
handle that at the end. But right now what
| | 01:53 | we have to do is shade it so it looks like
it's being hit by these three light sources:
| | 01:58 | the blue, the green, and the orange.
| | 02:00 | Now they are going to
fall in very specific spots.
| | 02:03 | We are going to see that the blue
is going to hit it up here, and it is
| | 02:06 | probably going to hit it in this area here and
right around here and a little bit down here.
| | 02:12 | The green is going to hit it right here,
dead center there, right here, right
| | 02:17 | there, and there, because
it is coming straight on.
| | 02:20 | And then the orange that's coming
from below is going to hit it in this
| | 02:23 | area, down here, there,
| | 02:26 | not really up here, why?
| | 02:27 | Because the pole is going to block it. But we
might pick a little bit of it right in there.
| | 02:31 | So here is where we have to get very
specific with our mask as to where we are
| | 02:35 | going to add these specific tones.
| | 02:38 | So here is where we are
going to create our mask.
| | 02:39 | We are going to do it with alpha channels and
the use of that often-neglected tool, Calculations.
| | 02:46 | So what I am going to do is I am
going to turn the actual shape of the
| | 02:49 | wires into a selection by Command+Clicking on
it, and I am going to save it as a selection.
| | 02:54 | So I go in there and say Save
Selection, and I am going to call this wire.
| | 02:58 | I am going to save it again.
| | 03:01 | I am going to call it edge.
| | 03:06 | Now we can deselect it.
| | 03:08 | So when we go to our channels, we see that
there is the wire and there is the edge.
| | 03:12 | They look exactly the same
because they are the same selection.
| | 03:14 | The edge is that roundness is what's
going to make this wire look round, kind
| | 03:19 | of like the edges on the pole that had that
rounded look to them because they are soft.
| | 03:24 | So to get that effect, I am going to
take the channel that's called edge and I
| | 03:28 | am going to blur it.
| | 03:29 | Give it a little Gaussian Blur, which we
are going to soften it up just enough
| | 03:33 | so that it gives me that nice little rounded
edge. And I am going to click OK. So we have that.
| | 03:38 | So what's going to happen now is I want
to see the other channel on top of it,
| | 03:42 | so I am going to turn both of them on.
| | 03:44 | Now it is a little hard to see
the difference between these,
| | 03:47 | so I am going to double-click on it,
just to change the color that I am using to
| | 03:50 | see it to a blue, and click OK, and now I
can see that little haze, which is where
| | 03:56 | these two are overlapping.
| | 03:58 | What I want to create now is the mask
for the blue light coming from above, which
| | 04:03 | means we are going to see it
right in this area in here.
| | 04:06 | So what I am going to do is I am going
to take this layer of the edge and move
| | 04:09 | it down a little bit. I have got my Move tool
and I want to hit my cursor keys pointing down.
| | 04:13 | I am going to just go straight down.
| | 04:14 | You can see right there,
that's where they're overlapping.
| | 04:17 | There is that little edge
right there, and we see it here,
| | 04:20 | we see it there, and it's straight above so
that because I am just going straight down.
| | 04:25 | So now what I need is a mask or a
channel that's going to expose that area right
| | 04:29 | there, and like I did in the
other movies about Calculations,
| | 04:32 | let's explain the same thing. There we go.
| | 04:35 | We'll go into Calculations.
| | 04:37 | I am going to say subtract the wire from
the edge, and you see that I am exposing
| | 04:42 | those top edges of my wire right in there.
| | 04:45 | So I send the information
over to a new channel. Click OK.
| | 04:49 | Now I am going to go back to
the edge and see the wire again.
| | 04:52 | This time I want to expose
for that orange down below,
| | 04:55 | so what I am going to do is I am
going to move it straight up like that.
| | 04:59 | But that's going to be the area for
the orange that's coming from down below.
| | 05:03 | Again, I go to Calculations and I have
the subtract, and I say send it to a new
| | 05:09 | channel, and there it is.
| | 05:10 | Now I can name these. Let's do that.
| | 05:12 | Let's name this the 'blue'.
| | 05:14 | We will name this 'orange', and
now we are going to do the 'green'.
| | 05:22 | So I go back to the edge again and I
look at the wire, and what I am going to do
| | 05:26 | with the edge this time is I am
going to move it to the right,
| | 05:28 | so I am exposing this side right
here, just through there like that.
| | 05:33 | That looks good, and I am going to move it down.
| | 05:35 | See right here in this edge, I am
getting a little more of exposure right
| | 05:38 | through there of where my green
is going to be because this is not
| | 05:40 | exactly straight on.
| | 05:42 | It is a little bit up to the top, so
we have got this little edge going right
| | 05:45 | through there like that.
| | 05:46 | Let's just move it up so we have just enough
exposed and over about like that. That looks good.
| | 05:52 | Do the calculations again, and we could
see what we are getting. That looks good.
| | 05:58 | Click OK and we will call that one green.
| | 06:02 | Now that we have all the channels, we
can go back to our RGB, and we can start to
| | 06:06 | add all these effects to our wire.
| | 06:09 | Now they are going to be done in layers.
| | 06:12 | So we are going to create a layer on top of
this, and we are going to call this one the blue.
| | 06:18 | So I can pick the blue right from here.
| | 06:20 | Right there I have same blue.
| | 06:22 | In fact, if I want to make it a little
stronger, I can just go into the color
| | 06:25 | picker and just make it a little bluer.
And in that blue layer, I am going to
| | 06:29 | load that channel that we just created
called blue, and I am going to load that channel.
| | 06:33 | It is exposing that area. If you
really want to see what you are doing, you
| | 06:37 | might want to just turn off the marching ants.
| | 06:40 | So with my paintbrush, this time I
am going to get a soft-edge brush.
| | 06:44 | I am going to make it very soft and much bigger.
| | 06:47 | I am going to bring down the Opacity
because I want to have a little more
| | 06:49 | control for this and I want to bring it
out to about 51%. And through that mask
| | 06:54 | in that one layer--and make sure we are
in it--I am going to start to paint my
| | 06:58 | blue right up in there. And I am going
to see some of it right in here, and I am
| | 07:04 | going to see some of it right in there,
and maybe just a touch right in there.
| | 07:09 | See how subtle they are? Very subtle.
| | 07:11 | I might want to add a little more up
there because of the fact that that's
| | 07:14 | closer to the light source.
| | 07:15 | So now I am going to pick
up the green right there.
| | 07:18 | There is my green, and I create another
layer, which I will call 'green', and make
| | 07:24 | sure I am in that channel that's
for the green, and there it is loaded.
| | 07:29 | Again, I am going to hide the marching
ants, just so I can really see what I am
| | 07:33 | doing, and in that layer for green, I'm
going to get my paintbrush and start to
| | 07:37 | add green, which we can see that it's
pretty much in this area right here.
| | 07:41 | Now that green just doesn't quite look right,
| | 07:43 | so let's undo that and pick a really good green.
| | 07:46 | Let's get that green, and let's say we go with a
little lighter, about like that. That looks good.
| | 07:53 | So I am going to throw a little green
right through here, and that's going to
| | 07:56 | pick some of it up right in there, and
we are going to pick up some right in
| | 07:59 | this area here. And that's closer so I
got a little stronger there and maybe
| | 08:04 | just a tad right in there.
| | 08:06 | And finally, we have the orange.
| | 08:08 | So I am going to get one more layer which we
will call 'orange', and we will pick an orange.
| | 08:14 | Let's pick it right from here this time.
| | 08:16 | We will go in here, and we will pick up
a nice orange like that, and make sure we
| | 08:21 | have that channel selected.
| | 08:23 | So we will go in there and turn that
into a selection, and we will go in there
| | 08:26 | and hide the marching ants, and we will
go in there and paint it. Right in there
| | 08:32 | we want some orange.
| | 08:33 | We want some orange in here.
| | 08:35 | We are going to get rid of some of
that in a little while, a little orange in
| | 08:38 | there, and a lot of orange in here,
because of the fact that that's real close
| | 08:42 | to the light source.
| | 08:43 | Now you notice I don't have to be that
careful because of the fact that it is
| | 08:46 | all going through a mask.
| | 08:47 | So here we have the proper lighting now.
| | 08:49 | So now what we have to do is we have to
add some additional masks, but these are
| | 08:55 | now layer masks that we are going to apply.
| | 08:57 | So the wire does look like it is
in fact wrapping around this pole.
| | 09:00 | So I am going to go back to my layers, and
the wire right there is going to get a mask.
| | 09:06 | Now, something was selected, so let's undo that.
| | 09:10 | Whenever something happens, it is
not Photoshop making its own judgments.
| | 09:13 | No, I never deselected it, so when I
created a mask, it automatically made a mask
| | 09:18 | based on the selection.
| | 09:19 | So we are going to make sure
that we have nothing select.
| | 09:21 | So we will go there and say Deselect.
| | 09:23 | So now when I make a mask,
there you see nothing happened.
| | 09:27 | I have a pure white mask.
| | 09:29 | In that white mask, using black at 100%, I
am going to paint right in this side here.
| | 09:35 | Now what I want to do is I
want to paint only inside there,
| | 09:38 | so what I am going to do is I am
going to do make the pole a selection by
| | 09:41 | Command+Clicking on it and I'm in the mask.
| | 09:43 | So when I paint with black, you
notice that the wire disappeared.
| | 09:46 | It now looks that it's
going in back there, right?
| | 09:49 | So now, the orange is going to need a mask,
| | 09:51 | so I am going to give it a mask.
| | 09:53 | I am going to select that pole
again and erase that part right there.
| | 09:57 | I don't want that part.
| | 09:59 | Take that away and now I am going to
throw a little black into this area here,
| | 10:04 | but I am going to go straight up and
down, because I just want it to look like the
| | 10:07 | pole is casting a shadow right on
there, which we have to consider that shadow,
| | 10:12 | which we will do that last.
| | 10:13 | So there we see that now the orange is
being blocked just the way you wanted, and
| | 10:17 | then the blue needs a mask right there.
| | 10:20 | So what I am going to do is I am going
to give it a mask, select the pole, and
| | 10:25 | hide it right in that area right there.
| | 10:27 | So there, now we are starting to get the
full lighting of our pole, and the last
| | 10:31 | thing that we need is that shadow
being cast by this pole because of fact we
| | 10:35 | have this strong light source right
there and a strong light source here.
| | 10:39 | So we have a shadow of the pole on the
wire, and then here we need a shadow of
| | 10:44 | the wire on the pole.
| | 10:46 | So, first the shadow on the wire,
| | 10:49 | so we got the wire here. What I am
going to do is I am going to create a layer
| | 10:53 | on top of it, and in that layer,
I am going to throw some black.
| | 10:57 | So with a nice soft brush, I am going to
just throw some black right in there like that.
| | 11:00 | I am going to clip it with the wire, so I
see it only inside there and bring down
| | 11:04 | the opacity just a little.
| | 11:07 | So there we have this little shadow
being cast by the pole on the wire.
| | 11:10 | Now, the wire has to cast a shadow itself,
| | 11:13 | So what I am going to do is I am going to take
the shadow and I am going to make it real easy.
| | 11:17 | I am just going to double-click on this
to bring up a layer style for the wire,
| | 11:21 | give it a drop shadow.
| | 11:23 | There is my drop shadow, which I am
going to increase the distance a bit
| | 11:27 | like that. Click OK.
| | 11:29 | Now what I am going to do is I am going
to separate that shadow from the layer
| | 11:33 | by going into Layer Styles >
Create layer. Okay, there it is.
| | 11:37 | There is the drop shadow.
| | 11:39 | I am going to take the drop shadow and
clip it to the pole, so now I see it only
| | 11:43 | inside the pole. And then I am going
to move it around a little bit, just so
| | 11:47 | that I can get it just the angle that I want.
| | 11:49 | Let's get that shadow that's what we
want to move, and we will just move it just
| | 11:52 | to where we want it, right about like that.
And that little piece that came up, no problem.
| | 11:57 | We could just erase that right out,
and there we see that we have this wire
| | 12:02 | strung over the pole with the proper
lighting that matches all the rest of the
| | 12:06 | lighting in the scene.
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ConclusionParting words| 00:00 | Now that you've learned how the tools
work, and how I used them in creation of
| | 00:04 | Times Square, in the next installment,
you're going to see how to take those
| | 00:08 | brushes and those layer styles and the
alpha channels and combine them to create
| | 00:12 | specialized effects.
| | 00:13 | So we're going to go in there and take
a brush and apply a stroke and apply a
| | 00:17 | layer style to it and do it
through a mask, create an alpha channel.
| | 00:21 | These are all the techniques that you
could then apply to your workflow to make
| | 00:25 | your life a lot easier.
| | 00:26 | Let's go see what those
techniques are all about.
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