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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'll show you how to create the final Warhol variation on the male portrait, which includes some additional depth in the background as well as these colored but opaque shadows. Go ahead and switch over this base version of the composition, which includes this very small palette of colors shown in the upper left corner of the image. I'll go ahead and scroll down to the bottom of the Layers panel, and I'll click on the background layer to make it active and then I'll press the I key to switch to my Eye Dropper tool, make sure that Sample is set to All Layers up here in the Control panel, and then click in the yellow swatch, the second one from the left, then press Alt+Backspace or Option+Delete in order to fill the background with yellow.
Now we have a couple of different colors going on in the background. Now I'll click on the Flat Fan layer to make it active, and in order to give it just a little bit of painterly depth, I'll click on the fx icon and I'll choose Inner Shadow and that will bring up these default settings here. The black shadow doesn't look right at all, so I'll click on the color swatch in order to bring up the Color Picker dialog box, and then I'll move my eye dropper cursor out into the image window and click on that medium green background in order to lift it.
Even though that's the same shade of green that's already at work in the background, because the Blend Mode is set to Multiply by default, we end up getting these darker interactions. Now I'll click OK in order to accept that effect, and I'll increase the Opacity value to 100%. A Distance value of 5 pixels is fine. You want the Choke to be set to 0%. Tab to the Size value and press Shift+Up arrow in order to increase it to 15 pixels and then I'll click OK. And you can see that it appears as if the yellow--even though it's in back of the green layer--is a little bit raised.
Now I'll click on the man layer in order to make it active, and I want to infuse these shadows with red. I'll try out that same approach that I showed you in the past couple of movies, I'll click on the fx icon at the bottom of the panel and choose Color Overlay and I do want this exact shade of red, that is to say if I click on the color swatch, the Hue value is set to 0 degrees, the Saturation is 100%, and the Brightness is 100% as well. Go ahead and click OK and I'll change the Blend Mode as in the past to Screen.
And that ends up producing too bright of an effect outside of the shadows, as you can see here, so I'll click on Blending Options over in the left-hand list and then turn on Blend Interior Effects as Group, which has done the trick in the past. However, if I click OK in order to accept that change, you can see that we get these, well, I would say unfortunate interactions in the white areas of the hair as well as in the white portions of the eyes. Now you may or may not find that to be exactly what you're looking for.
If not, and you want these shadows to be uniformly this bright shade of red throughout, here is what you do. Go ahead and turn off the Effects that are assigned to the man layer, then click on the color fills group in order to make it active. Press and hold the Alt key or the Option key on the Mac and click the black/white circle at the bottom of the Layers panel and choose Solid Color. Then go ahead and name this layer white and click OK. Inside the color picker dialog box, just go ahead and drag to the upper left corner of the color field in order to fill the layer with white and click OK once again.
Now scroll up to the top of the list and turn off the swatches layer so that we're seeing just the shadows, that is to say the shadows associated with the male model, as well as-- if I press Ctrl+0 or Command+0 on the Mac to zoom out slightly --those associated with the framing effect as well. With nothing but the shadows visible, switch over to the Channels panel, and let's convert those shadows to a selection outline by pressing the Ctrl key or the Command key on a Mac and clicking on RGB. That will go ahead and select the white regions and deselect the black ones.
That's the opposite of the effect we want, so go up to the Select menu and choose the Inverse command, or you can press Ctrl+Shift+I or Command+Shift+I on a Mac. Now switch back to the Layers panel and turn off the frame layer, then scroll down the list and turn off that man layer, as well as the layer of white. Now scroll back up to the top of the list and click on the swatches layer, and we're going to create a new layer to house our opaque shadows by pressing Ctrl+Shift+N or Command+Shift+N on a Mac, and then call this layer color outlines and click OK.
Now let's go ahead and lift that shade of red, and the easiest way to do that is to bring back the swatches for a moment. I still have my eye dropper active, so I'll click in that final swatch in order to load the bright red as a foreground color. Turn off the swatches layer, make sure the color outlines layer is still selected and that you still have a selection outline at work, and then press Alt+Backspace or Option+Delete on the Mac in order to fill this selection with red. Now if you press Ctrl+D or Command+D on a Mac, you can see that we are left with these absolutely opaque shadows.
Press the F key a couple of times in order to fill the screen with the image, and I'll zoom in as well. And this is the final version of the composition, complete with the multicolor and slight depth in the background, as well as these bright opaque shadows and texture patterns, here inside Photoshop.
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