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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, we're going to take that shark head that we added to the warning sign in the previous movie, and we're going to give it some texture and some depth in order to create a more credible effect like this, that looks as if it might actually be part of the sign. I am going to start by switching back to the image in progress, and the first thing we want to do is add a couple of layer effects to the shark layer. So I'll go ahead and click on the shark layer to make it active, and I'll click on the fx icon and choose Inner Shadow in order to add a Shadow Effect inside the shark's head, because after all we've got this depth inside the cliff, and inside this guy up here at the top of the screen and so forth.
So, assuming your color is black which it should be, go ahead and crank the Opacity value up to 100%, an Angle of 130 degrees happens to match the photograph. So I am going to take the Distance value here to 30 Pixels, and then I'll take a Size value upto 12 Pixels, and that's it for the Inner Shadow. But you can see how it traces along the top of the shark's snout. One of the problems I have with things here is this area right there is lighter, much lighter than the region below it, and the only reason it's not as light even though it's the same darn cliff inside the shark, is because I scaled it.
So, I need to lighten up the tip of the shark's nose by adding a Gradient Overlay. So, just click on Gradient Overlay and assuming the default settings that it's a Black to White gradient, with the Style of Linear, and an Angle of 90 degrees and the Scale value of 100%. The only change you need to make is to switch the Blend mode from Normal to Screen, and then reduce the Opacity value to 15% in order to produce this effect here, and we now have this light region up here at the top of the shark's head.
Now I'll go ahead and click OK in order to accept that change. And next I want to add a little bit of texture inside of the sweat that's coming off this guy, and this is going to be a subtle effect indeed but I think it helps. I am going to start things off by marqueeing the inside of his body like so, then I'll switch to the developed photo layer, which is the photograph itself and I'll press Ctrl+Alt+J or Command+Option+J on the Mac, and I'll call this layer Sweat, and then I'll click OK.
Now you want to move this layer to the very top of the stack like so, above the cliff layer. Then Ctrl+Drag or Command+Drag that layer that you just created on top of the little sweat beads. And then finally press the Alt key or the Option key on the Mac and click the horizontal line between the sweat and cliff layers at the top of Layers panel in order to clip that texture inside of the sweat. The next think I want to do is give the shark an eye, but I didn't figure that if this was a real sign the designers would have drawn in an eye, because after all the hapless dude that's falling into the shark's mouth, not only doesn't have any features, he doesn't have hands or feet.
So, here we need to take it easy on the old realism here, and just put a screw at that location that would serve as the eye, and I also wanted to replace this screw with the one that actually resides there. I am going to Alt+Click or Option+Click on the eye in front of developed photo, so that I can see the original photograph. And then I'll switch from the Rectangular Marquee tool to the Elliptical Marquee and I'll go ahead and draw an ellipse around this screw. And I am pressing the Shift key as I do to constrain it to a circle but don't you have to do that.
You just need a lot of room around that screw, so that we can apply a layer mask. And now go ahead and scroll up to the top of the sign and Shift+Drag around this region to add it. If you want to turn this ellipse into a circle as well, release the Shift key and then press it again, that will constrain that ellipse to a circle as you add it to the selection. Now click on that photographic layer at the bottom of the stack and press Ctrl+Alt+J or Command+Option+J on the Mac to jump the selections to a New Layer and I'll call this New Layer, screws and then I'll click OK.
And now go ahead and turn the other layers back on, and drag the screws layer to the top of the stack. It does not need to be clipped by the way. If we go ahead and scroll down to the bottom here, you can see the screw that really belongs at this location. If I turn it off it looks a heck of a lot better than the screw from the other side that is now reflected and it got enlarged as well and it has some weird halo around it. I swear this image has not been edited, but it looks like it has. Anyway, we don't want that screw.
So let's get rid of it. Click on the cliff layer to make it active, and then go ahead and grab your Spot Healing Brush tool, which is a tool I don't use very often. I prefer the Healing Brush, but for our purposes it's going to work out great. You want a big brush that covers the entire screw like this. If I right-click inside the Image window you can see the Size is 200 pixels, the Hardness is 100% as by default, and the brush is round. Now all we want to do is just click at this location like so and Photoshop will replace it with something else.
It will just get rid of that screw, which is great. Now let's switch back to the Elliptical Marquee tool. Turn on the screws layer, click on the layer to make to active, and now drag around this screw like so, and you can use the Spacebar in order to move your selection on the fly. So you select that screw as perfectly as possible, and then dropdown to the little Add Layer Mask icon, and click on it in order to mask everything else away. Now at this point it's going to look pretty bad but it will look a lot better in just a few moments.
Go ahead and zoom out from your image by pressing Ctrl+0 or Command+0 on the Mac and I am going to zoom out just a click farther. If you Alt+Click or Option+Click on the Layer Mask thumbnail you'll see that everything is masked away except that area that we just selected. But I need a much larger region to be unmasked, because after all I need to move that top screw onto the shark. So, I am going to press Shift+M in order to switch back to the Rectangular Marquee tool and I'm going to marquee a huge region like this here inside the Layer Mask, and just to check that I have got enough, I'll Alt+ Click or Option+Click on that Layer Mask thumbnail.
I just need to make sure that this region at the top of the shark's face is open which is kind of isn't. I haven't really selected enough yet. So I'll go ahead and drag this Marquee down a little to about there. Then assuming your foreground color is white, and the Layer Mask thumbnail is still active. You want to press Alt+Backspace or Option +Delete on the Mac to unmask that area. Now you can click anywhere in the image to deselect it. Let's zoom in on that screw right there, and I'll just go ahead and select this region using the Rectangle Marquee tool and click on the Layer thumbnail itself to make sure it's selected this time around.
Then Ctrl+Drag or Command+ Drag that screw into place. And if you want to get a sense of where it goes, then just press Ctrl+; or Command+; on the Mac in order to bring back the guides, and you'll see a couple of guides intersect at this location, and just go ahead and center the screw at the intersection of those guides. Then you can press Ctrl+D or Command+D on the Mac in order to deselect the image, press Ctrl+; or Command+; on the Mac to again hide the guides.
I'm going to zoom in now, and press Shift+M to switch back to the Elliptical Marquee tool, and I'll marquee this region right there like so. And then switch back to your Layer Mask here inside the Layers panel, and you want to go up to the Select menu and choose the Inverse command or you can press Ctrl+Shift+I or Command+Shift+I on the Mac. Then scroll down to this screw and press the Alt key or the Option key on the Mac, and deselect the region like this, a fairly generous region, just to make sure you don't hurt that one.
Then, what you want to do is confirm that your background color is black as by default, and then press Ctrl+Backspace or Command+Delete on the Mac in order to leave this screw intact, and go ahead and mask this screw as well, and you should get this effect here. Now I am going to press Ctrl+D or Command+D on the Mac in order to deselect the image, and we need a shadow for these screws. So, dropdown to the fx icon and choose Drop Shadow. Make sure that the color is black, increase the Opacity to 100%, the Angle should be 130 degrees, and then just take the Distance and Size values up to 12 Pixels like so.
My final issue with these effects here is that they are too sharp. Look how extremely sharp those shark teeth are compared with the other elements of the sign. To soften them up here's what you do. Click on the shark thumbnail itself in order to select the vector shape. In Photoshop CS6, you go up to the Window menu and you choose Properties to bring up the Properties panel. If you're working in an older version of the software you want the Masks panel, and then increase the Feather value here to 1 Pixel and then press the Enter key or the Return key on the Mac, and that gives us a little bit of softness.
We want even more softness associated with the pixel-based layer mask, so go ahead and click that Layer Mask thumbnail for the shark layer here inside the Layers panel and change the Feather value for it to 2 pixels. And then finally the mask around the screws is too sharp too, so go ahead and select that top layer mask for the screws layer, and this time around I came up with a Feather value of 1.5 pixels like so, and that's just soften things up ever so slightly.
And it does so parametrically, meaning that you can change this numerical parameter anytime you like, so you haven't actually permanently modified the layer mask. That finishes off the effect. I'll press the F key a couple of times in order to switch to the Full Screen mode, and that's how you use texture and depth to increase the credibility of an element that you've added to a photographic image.
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