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This course is a collection of short Photoshop and Illustrator projects and creative effects that can be completed in ten minutes or less. The series is taught by computer graphics guru Deke McClelland, and presented in his signature step-by-step style. The intent is to reveal how various Photoshop and Illustrator features can be combined and leveraged in real-world examples so that they can be applied to creative projects right away.
In this movie, I'm going to show you how take that branded type technique and customize it to fit the contours of any textured image. So, the idea is what you've done the up-front work, you have a kind of image- branding machine that you can use to make quick work of other images inside your library. Now, if you're going to follow along with me, you'll have to have set up a branded type composition as per my instructions in the previous movie, and I have got one right here. Notice that I have this Smart Object which contains live editable type, and I've assigned a couple Smart Filters: Gaussian blur and Displace.
Now, this layer is turned off; we're not seeing it in inside the image window. What we are seeing instead is this text space burned type layer that I created using the Burn tool, as you may recall, and it's set against this rock layer. However, the thing is, while it looks great against the rock texture, it suits the rock texture and only the rock texture. It's not going to work with any other image file. For example, if I turn off that rock texture, which permits me to see this corrugated cardboard in the background, I've got this cleft through the N and D that does make any sense where the corrugation is concerned, and also the letters aren't following the contours of the cardboard at all.
So, I've got to set up a new layer of text using in new displacement map. Fortunately, that's very easy to do over and over again. So, the first thing I'm going to do is I'm going to rename this burned type layer "brand #1" because that's what it is; it's the first approach to that branding effect. Now, I'll turn it off. And I need to set up the corrugate layer as a displacement map, so I'll right-click on corrugate right there inside the Layers panel, I'll choose Duplicate Layer, I'll change the Document option to New, and I'll enter in for a name here, "Corrugate displace" like so.
And then I'll click OK in order to create that new image. Now the Displace filter only works with flat image files, so I have to go up to Layer menu and choose Flatten Image. And then I'll go up to the File menu, choose the Save command, make sure the format is set to the native PSD format, as it is. Otherwise, it'll just go ahead and save this file along with my other displacement maps, which I've created in advance, just to omit this step in the future. So, I'll click the Save button, and now I'll switch back to my composition in progress here. I'll go up to this Smart Object, the one that's turned off currently.
You can still modify it. You don't have to be seeing it to modify it. Just go ahead and double-click on Displace in order to bring up to Displace dialog box. Assuming that Horizontal Scale and Vertical Scale are set to five, click Okay. Then locate the Corrugate displace.psd file. Click open. That changes that type. You can't see it, but it's now changed. In order to load its selection outline, press the Ctrl key--or the Command key on the Mac-- and click its thumbnail there inside the Layers panel, drop down to the corrugate layer, and press Ctrl+ Alt+J--or Command+ Option+J on a Mac--to jump it to a new layer.
I'll go ahead and call this guy "brand #2" this time around and click okay, and then I'll zoom out in order to take in the entire composition. I'll select my Burn tool from the toolbox and I'll go ahead and paint inside these letters. That's going to take multiple passes of the Burn tool to get it right. And don't worry about getting it in absolutely uniform effect. In fact, the whole reason we're using the Burn tool is so we get a kind of hand-rendered effect, which is more in keeping with the brand, after all. Now, I'll switch the blend mode from Normal to Multiply, here inside the Layers panel.
And I need to add the Emboss effect. Well, I don't have to reenter all those settings this time around. Once a layer effect is created in the first place, you can replicate it over and over again, by just pressing the Alt key--or the Option key on the Mac--and dragging that fx icon that's associated with brand #1 right there onto brand #2. So because Alt or Option is down, we're going to duplicate that layer effect, like so. Go ahead and move that text up, so those guys are right next to each other. And notice that we have this text that exactly follows the bumps and ridges in the corrugated cardboard.
All right, so now it's just a matter for replicating those steps over and over again. I'll turn off brand #2. I'll turn off corrugate. I'll double-click on displace associated with the Smart Object. I'll click Okay in the Displace dialog box, I'll load Burlap displace this time around, click Open in order to apply the effect, then drop down to the burlap layer to make it active, Ctrl+Click or Command+Click on the thumbnail in front of the brand Smart Object. Then press Ctrl+Alt+J or Command+ Option+J on a Mac in order to create a new layer called "brand #3" this time around. Click okay, zoom out, grab your Burn tool and go ahead and burn that text, just by dragging over it multiple times, and burn it to your heart's desire, of course.
Then go and change the blend mode from Normal to Multiply, press the Alt key or the Option key and the Mac and drag one of these fx icons from brand #2 or brand #1--it doesn't matter--onto brand #3. Drag this guy up to a new place. Collapse it, like so. We've now got an effect that exactly matches those burlap edges. Perfect. Turn that guy off. Turn that guy off. Go ahead and double-click on Displace--once again associated with the Smart Object layer. Click OK. Load the Rhino displace.psd file this time around, because will be working on the rhino layer.
Click on the rhino layer to select it. Ctrl+Click or Command+Click on the thumbnail associated with that Smart Object layer, press Ctrl+Alt+J--Command+Option+J on a Mac-- in order to bring up a New Layer dialog box, and call this guy "brand #4." Unfortunately, I misspelled it, so brand #4. That's better. Click okay to drag this guy up a little bit if you so desire. Zoom out. Go ahead and burn the text as much as you want. Now, this may take some additional burning, because this background is so dark in the first place. You may need to burn those letters pretty good in order to see them at all.
Then we will go ahead and change the blend mode from Normal to Multiply in order to really burn in that text. That's a little strong in my opinion. We'll take care of that in a moment. Alt+Drag or Option+Drag fx onto brand #4, like so. And because this text is now so very dark, I'm going to reduce the Fill value. And what that allows me to do, by changing the value to 65%, is I'm making the text translucent without reducing the opacity of the Bevel and Emboss effect. Go ahead and press the Enter, or the Return key on a Mac, in order accept the modification.
Let's turn that layer off. Turn rhino off as well. cowhide is our final layer, so I'll go ahead and collapse my Color panel, so I have little bit more room here. I'll double-click on Displace, click OK, and this time I'll load Cowhide displace.psd. Click the Open button Ctrl+Click or Command+Click on the thumbnail for that Smart Object in order to load that selection outline. Click on the cowhide layer in order to make it active. Press Ctrl+Alt+J, Command+Option+J on a Mac, and name this layer "brand #5" this time around. Click Okay. Drag this guy up a little bit.
Let's burn inside of those letters using the Burn tool. This is probably the most successful of the effects because it really gives you this nice cowhide brand, don't you know? Let's change the blend mode from Normal to Multiply, and then I'll Alt+Drag or Option+Drag that fx icon onto brand #5 in order to complete the effect. It's a little strong in my opinion, so I'll change the Fill value to let's say 80%, like so. Switch back to my Marquee tool. Press the F key couple of times, and zoom in. And that is the final effect with the letters branded into the cowhide.
I know I was going pretty fast there, but the whole reason is I'm trying to demonstrate to you that what you now have is a lean, mean, image-branding machine.
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