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Deke's Techniques 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.
All right! The idea behind this movie is that we're going to cut and brush the light that's being cast upon this round jewel. And that might seem like a strange concept, but here's what I mean. Right now I am looking at that sort of round plastic effect that we created using a series of layer effects combined with shine layers in the previous movie. Now what we're going to do is we're going to cut the highlights on both sides of the shape--both in the upper-right region and the lower-left region--and we're also going to add a little bit of brushing in order to achieve this final effect here.
So right there you can see what I'm talking about with cutting the light, as if it's coming in from a window or something along those lines, or really any natural light source. And then we've got the brushing along the surface as well. I am going to start off inside this round plastic image. My first step is going to be to apply a layer effect that you don't use very often, but it's going to make a heck of a difference in the image. Now, because all these layers here--low color, low light and high light--are all clipped inside the jewel layer, all the layer effects that are assigned to the jewel layer are actually wrapped around the clipped layers.
And so I am going to click on the jewel layer and apply one more effect, and that's going to be wrapped around those clipped shine layers as well. So I will select jewel, then I will drop down to the fx icon, click on it, and choose Satin in order to bring up the massive Layer Style dialog box. I will click on a color swatch. I will dial in shade of orange by entering a Hue value of 20 degrees, a Saturation value of 50%, and a Brightness of 25%. And you may say, "That's not really orange," Well, it's brown because we've taken out the saturation and brightness, but it is fundamentally a shade of orange.
I'll go ahead and click OK. I will leave the Opacity value set to 50% as by default. I do want to change the contour, however, so I will click this down-pointing arrowhead next to the Contour option and select the most radical of the predefined contours which is Ring - Double. Right now you're not going to see much of an effect, but we will see an effect as soon as you begin dragging inside the image window, and then you can see that something is going on there as I change the Distance and Angle values on the fly. We're going to get more of an effect if we stretch it apart by increasing the Size value.
So I will take that Size value up to 250 pixels, which is its absolute maximum, and now I can start dragging around again to achieve different effects. I eventually came up with an Angle value of -35 degrees, and then I also changed the Distance value to 160 pixels in order to produce this effect here. And you can see we are now cutting through the light. Finally, we want to change the blend mode from Multiply to in this case Linear Light. Now, you can go ahead and click OK in order to accept that effect, and once again, I want to stress this: this Satin effect is wrapped around not only the jewel layer, but also the three clipped layers above it.
Now, I am going to switch to this layer called realism, and I am going to turn it on. Obviously, nothing about it is particularly realistic at this point, but it is going to turn into our brushing, so we're going to use this layer to brush in the surfaces below. Now, we don't want to clip this guy in with the other layers because if we do, we will once again wrap those layer effects around it. And I don't have any desire to see that happen. I want this guy to be independent. Now, the first thing I want to do is change the color of this ellipse, so I will press the A key to switch to the Black Arrow tool.
Then here in CS6 I will go up to the Fill option in the Options bar, and I will click on this little Color Picker icon in order to bring up the Color Picker dialog box, and then I will dial in a Hue value of 10 degrees, and a Saturation value of 100%, along with a Brightness value of 100% as well. Then I will click OK in order to accept that new color and press the Enter key to hide that little panel. Now, I want to bring up the Properties panel by going up to the Window menu and choosing the Properties command. And I'll go ahead and change the Feather value to 66 pixels in order to soften up this guy dramatically.
Now, I want to apply a few filters, so I am going to have to convert this guy to a Smart Object by going up to Layers panel flyout menu and choosing the Convert to Smart Object command. And then next what you want to do is apply those filters as Smart Filters, and so the first one we want is Add Noise. So I will click in the Filter menu, choose Noise, and then choose the Add Noise command. And then dial in a very high Amount value--not quite this high. I am going to take it to 100%, and I will set Distribution to Gaussian, and I will turn on the Monochromatic checkbox as you see here, then click OK.
So we've got a ton of single-pixel noise, and you can see, if I zoom in here, that it's just a mess. Let's gum it up a little by going up to the Filter menu, choosing Blur, and choosing Gaussian Blur. And I ended up through trial and error coming up with a Radius value of 4 pixels, where this image is concerned. Now click OK. And now we want it to turn into brushing. And just about anytime you want that kind of brushed effect inside Photoshop, you go up to the Filter menu, you choose Blur, and you choose Motion Blur.
And the values you see here, the values I applied, an Angle of 35 degrees and a Distance value of 50 pixels. Then click OK in order to apply that effect. Now, I want to get rid of this filter mask, so I will right-click on it and choose Delete Filter Mask. And then I want to blend this layer with the layers behind it by changing the blend mode from Normal to the first of the contrast modes: Overlay. And we end up with that pretty subtle effect, actually. Now, it does exceed the confines of the jewel, so we need to mask it.
So I am going to scroll down the list of layers to the jewel layer. And I will Ctrl+Click on it or Command+Click on its thumbnail on the Mac in order to load up the outline of the ellipse as the selection, and then scroll back up to this realism layer here, drop down to the Add Layer Mask icon at the bottom of the panel, and click on it. We want to emphasize this effect now by adding a couple of layer effects, and one of them has already been done, and it's been assigned to the jewel right there, and that's the Inner Shadow effect.
So I'm just going to press the Alt key or the Option key on the Mac and drag Inner Shadow all the way up the list, and then I will just go ahead and drop that layer effect into place. And you can see it makes a profound difference in our effect. If I press Ctrl+Z or Command+Z on the Mac, this is the contribution the brush the realism layer was making a moment ago, and this is how it looks after the addition of that inner shadow effect, which is actually providing us with the directional glow. Now I am going to add a little bit of drop shadow on them from this low color layer.
So I will Alt+Drag or Option+Drag the drop shadow from low color and drop it onto realism. Now, you may wonder what in the world the settings are for these two effects. So I will just go ahead and double- click on Inner Shadow, and there we have it. It's a shade of orange, set to Screen, an opacity of 100%. We've got a big Distance value of 110 pixels and an even bigger size value of 250 pixels. Then I will switch over to Drop Shadow. And for that we've got a dark shade of red set to Linear Burn, 100% for the Opacity value.
We've got the Size value cranked up to 120 pixels. I am going to crank the Distance value as well, to 50 pixels, just so that we have a more pronounced effect, and you will see it up in this region here. That's not where I want it at all, so I am going to turn off Use Global Light, and then I'm going to set the Angle value to 35 degrees, which shifts that shadow down and to the left. And then finally, I don't want it to exceed out beyond the jewel, so I will click on Blending Options right there in order to switch back to my Blending Options panel, and I will turn on this checkbox, Layer Mask Hides Effects.
And that way the drop shadow stays inside the confines of the elliptical layer mask. That takes care of it. I am going to click OK. Just so you have a sense of what we've been able to achieve here, I am going to press the F key a couple of times. Now, I will press the F12 key so that we can see, this is where we started, and this is what we have now, thanks to our ability to both cut and brush light onto our entirely synthetic jewel, here inside Photoshop.
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