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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.
Hi! This is Deke McClelland. Welcome to Deke's Techniques. Now, as those of you who have been watching regularly know, I am on something of a face effect kick lately, and today is no exception. I am going to take this regular, old, everyday, average photograph of a woman's screaming her brains out, and I am going to reflect it into some shattered glass, which she may be responsible for shattering with her scream. Or I also imagined, what if she is like this sepia tone that's trapped behind the glass and she is screaming to get out.
Either way, I think you are going to find this to be a very interesting technique as soon as we get started, which will be now. In this movie, I am going to start with this cracked glass image from Andrey Semenov, and I am going to add this model from Ollie, both with the Fotolia image library, and I am going to eventually create this effect here, where either this model is shouting or singing so loudly she is being reflected into this glass that she shatters it. Or I kind of thought of her as being a sepia tone that's trapped behind the glass and screaming to get out.
So either way, let's start with this simple two-layer image here. Eventually, I want to apply a Free Form distortion, and I also want to apply a couple of filters, and I want to do so nondestructively. So I am going to right-click on that top layer and choose Convert to Smart Object. Next, I am going to change the blend mode from Normal to Multiply in order to burn her into the background. She is a little bit too opaque for my taste, so I am going to press the Escape key here on the PC so that the Multiply mode is no longer active, and I will dial in 65 on the keyboard to reduce the Opacity value to 65%.
Now I am going to go ahead and zoom out a couple of clicks, and I will go up to the Edit menu, and I will choose Free Transform, or you can press Ctrl+T, Command+T on the Mac. As you may recall when you are working with a Smart Object, any transformation you apply is nondestructive. You can go back and change your mind later and so on. So you have a lot of latitude. I am going to go ahead and press the Ctrl key, or the Command key on the Mac, and drag outward on that top-left point in order to stretch the top of her head outward. You might also Ctrl+Drag or Command+ Drag on the Mac out on these two other corner handles as well like so, just to add a little bit of extra flare.
When you get the effect you are looking for, press the Enter key or the Return key on the Mac in order to accept that change. Now, I am going to zoom back in, and the next effect that I want to apply is the Twirl filter, of all things. So I will go up here to the Filter menu, and I will choose Distort, and I will choose Twirl. What I want to do is just twirl her counter-clockwise ever so slightly. So I am going to change the Angle value to -20 as I have already in advance. Then I will click OK in order to apply that effect. You can see that that's spins her head even farther.
Now, that's too far. In fact, I didn't mean to go that far. That was a wrong value, which is the beauty of smart filters. I will go ahead and double-click on Twirl, and I will change that value to -10. It wasn't -20 I wanted. That's way too much. Click OK to accept that change, and I get this more, I think, desirable effect here. I am going to right-click on that filter mask thumbnail and choose Delete Filter Mask to get rid of it. Now, I want a little bit of double-reflection effect. If you have ever looked in an old mirror, a mirror that's been hanging around for a long time, or it's a cheap mirror, or it's a cracked mirror, you will notice that there is a double- reflection effect because the top of the glass and the bottom of the glass are both reflecting your image, and that's the effect I want to impart.
So I am going to double-click on the slider icon over here on the right side of the Layers panel in order to bring up the Blending Options dialog box. I am going to change the Opacity value to 50% so we get that double-reflection effect over here at the top of the image. Down here at the bottom of the image, there is no double reflection, because the twirled images are aligned with each other. I will click OK to accept that modification. The next effect I am going apply, under the Filter menu, I will choose Sharpen, and then I will choose Smart Sharpen, and I am going to dial in these values right here: an Amount of 300%, a Radius of 1.5 pixels, Remove is set to Lens Blur, and More Accurate is turned off.
That's going to suit me just fine. I will click OK in order to accept that modification, and that way we are just sharpening up the detail since it needs to compete with this fairly highly focused cracked glass. Now I will go over to the slider icon, here to the right of the words Smart Sharpen, double-click on it to bring up the Blending Options dialog box, and change the mode from Normal to Luminosity, which is just the good follow-up mode after applying a sharpening effect inside Photoshop. Now I will go ahead and accept that effect. The next step is to reveal some of the brightest highlights inside of the glass, and I will do that by double- clicking in this empty area here inside the reflection layer in order to bring up the Layer Style dialog box. And I want to force through the highlights and the underlying layer, so I will drag this white slider triangle over to the left just a little bit, until I get a value of 245. And then I will press the Alt key or the Option key on the Mac and drag the left side of that white slider triangle down to 180 like so, and then I will click OK.
You can see how that goes ahead and reveals these white highlights in the background. Next, I want to darken the image up a little bit, actually, increase the contrast fairly significantly, and I want to infuse the image with a little bit of sepia tone. So I am going to drop down to the black- white icon at the bottom of the Layers panel, press the Alt key, or the Option key on the Mac, and click on that icon and then choose Hue/Saturation to bring up the New Layer dialog box. Let's go ahead and call this new layer colorize and turn on Use Previous Layer to Create Clipping Mask check box.
Click OK and then here inside the Adjustment panel, turn on the Colorize checkbox, and I want you to take the Hue value to 35 degrees and the Saturation value to 65% like so. Then go ahead and hide the Adjustments panel. You don't want to change that Lightness value. What you do want to do is go up here to the blend mode pop-up menu and change the setting from Normal to Hard Light in order to achieve this effect right here. Now the final effect I want to apply is a gradient overlay. However, if I apply the gradient overlay as the layer effect directly to the reflection layer or to the colorize layer, it's going to get mixed in with the colorize effect, and that's not what I want.
I just want a straight mix of a black-to-white to black-to-white gradient, as you will see. It's going to ripple a little bit across the image. I want a straight mix of that gradient along with the underlying image, and so in order to pull that off effectively, I need to create a dummy layer. Here is how I am going to make it. I will drop down to the black- white icon once again and Alt+Click or Option+Click on it here at the bottom of the Layers panel, and I will choose Brightness/Contrast, because anytime I am a dummy layer, that's not going to do anything, that's not going to serve any purpose but to hold some other element in the image, I use Brightness/Contrast.
That way I can just easily locate what's going on. Anyway, I will go ahead and choose that command, and I will call this dummy like so, and then I will click OK. That just tells me once again it's a dummy layer. Do not make any modifications of brightness or contrast, just leave those values alone so that the adjustments layer is effectively not doing anything to the layers below. The next thing you want to do is click the fx icon at the bottom of the Layers panel and choose Gradient Overlay, and I am going to click on the Gradient bar and make some modifications. First, I am going to press the Alt key, or the Option key on the Mac, and drag this white color stop so that I am making a copy of it at 35%.
So the Location value is now 35%, as you can see. Now I am going to make a duplicate of the black color stop by Alt+Dragging it or Option+Dragging it over to the right, until I hit a location value of 65%, and that's all I am looking for-- black-to-white to black-to- white gradient. Click OK. Next, I am going to change the blend mode to Hard Mix, of all modes, which ends up giving us just a tragic effect right there. However, as soon as I reduce the Opacity value, which is analogous to the Fill Opacity value inside the Layers panel where Hard Mix is concerned, I end up getting a much more effective mix.
Then finally I am going to change that Angle value to 70 degrees like so and click OK. That is my final effect, by the way. Now you could go ahead and try to add a displacement map in order to distort the image into the highlights and shadows. Where this image is concerned, I just didn't find it to be a very effective technique, so that's why I ignored the displacement map this time around. What I do have, however, I think is a very effective, fairly scary image. I will go ahead and press the F key a couple of times and zoom in. That is at least one way to map a reflection into shattered glass here inside Photoshop.
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