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234 Creating volumetric forms with shape layers

From: Deke's Techniques

Video: 234 Creating volumetric forms with shape layers

Hey gang, this is Deke McClellan, welcome to Deke's Techniques. This week I'll show you how to take vector based shape layers and turn them into volume metric forms inside Photoshop. And it features a really fun sample file that I created with the help of my youngest son, Sam. So, we started with this sketch here, and we took turn drawing it. I drew the left eye, then he drew the right one with all the veins in it and he drew the right pointy ear and I drew the left ear as a normal ear with a prosthetic and so forth, and, of course, we're trying to one up each other and crack each other up.

234 Creating volumetric forms with shape layers

Hey gang, this is Deke McClellan, welcome to Deke's Techniques. This week I'll show you how to take vector based shape layers and turn them into volume metric forms inside Photoshop. And it features a really fun sample file that I created with the help of my youngest son, Sam. So, we started with this sketch here, and we took turn drawing it. I drew the left eye, then he drew the right one with all the veins in it and he drew the right pointy ear and I drew the left ear as a normal ear with a prosthetic and so forth, and, of course, we're trying to one up each other and crack each other up.

And then I took the sketch into photo shop to create this final, fully realized piece of art work. Now the great thing about it is I didn't paint a single brush stroke. It's all a function of these vector-based shape layers that I drew primarily using the Pen tool. And now we're going to dress him up using some layer effects in order to create this volumetric artwork. Here, let me show you exactly how it works. All right, I've set up some layer comps in advance inside of this document. You can get to them by going up to the Window menu and choosing the Layer Comps command, but I'm just going to be switching between them from the keyboard using a custom shortcut that I added. So here's the original sketch that Sam and I came up with and then this was the development, essentially, of the drawing.

So you can see, I took a little bit of latitude. Put the guy at a jaunty angle and then started adding some volumetric elements to them. And ultimately came up with this sort of black and white version and then I colored him with some green gradients. We'll start off inside this document. I'm going to go ahead and zoom in by pressing Ctrl + 1 or Cmd + 1 on the mac, in order to zoom in to 100%. And we'll start off with this shape right here. So I'll press the V key to switch to the Move tool, because we have so many layers inside this document. And I will right click on this white ellipse right here and I will go ahead and choose eyelid R is a name of this which stands for eyelid right. And now we are going to paint it with a few layer effects. Now this is a shape, a layer a vector based shape layer as you can see if I press the A key which gets be me Black Arrow tool. Then you can see this elliptical outline right there. And basically, nearly everything inside this document is a vector based shape layer.

We're going to paint these layers using layer effects. Starting by clicking on the Effects icon at the bottom of the Layers panel and then, if you're working along with me, go ahead and choose Gradient Overlay. Because we want to fill this shape with the gradient and the easiest way to do that when it's already filled with the solid color is to apply a Gradient Overlay effect. Then I'll click on the Gradient Bar. Double-click on the first swatch here and I'll dial in a Hue value of 90 degrees, a Saturation of 25%, and a Brightness value of 100% and this is typically the way I work.

That is to say, dial in the Hue value that I'm looking for. And then either combine a low Saturation value with a high brightness value or precisely the opposite. That is a high saturation value with a low brightness value. Then click OK and next double click on the final color swatch there. Again we want a hue value of 90 degrees. We want a high saturation value this time of 100% and a relatively low brightness value of 50%. Then click OK, and click OK again to return to the layer style dialogue box. Change the angle value to negative 20 degrees, and otherwise things are find by default.

A Blend Mode of normal and an Opacity of 100%. Then you want to click on Inner Shadow in order to select that effect and I'm going to move things over a little bit just so I can kind of see what's happening in the background here. And I will click on the color swatch and I am going to dial in a color value that we are going to be using over and over through out this art work which is a Hue of 210 degrees. A very high Saturation value of 100% and a very low Brightness value of 15%. So, almost black ,but infused which as much blue as possible.

Then click OK. Now take the opacity value down to 45%. You can leave the blend mode set to multiply. The angle value's negative 20 degrees by default inside of this document because that's the Global Light setting. And now, I'm going to change the distance value to 40 pixels and I'll take the size value up to 40 pixels, as well. You want to leave the Choke Set to 0%. Then, go ahead and click OK in order to create this effect here. Now, we want to burrow a hole through his eyelid so that we can see the eyes, which exist in the background.

So, I'll go ahead and scroll down the list here, inside the Layers panel. And I'll click on the Eyes layer to make it active, and then you can see this horizontal eclipse, go ahead and click on it to select it and press Ctrl + C or Cmd + C on the Mac to copy it. Then return to the eyelid R layer and press Ctrl + V or Cmd + V on the Mac to paste the horizontal ellipse on this layer. Then go up to the Options bar click on the Path Operations icon and choose Subtract Front Shape layer. In that way, we can see the eye in the background. Now, I want to cut away the bottom of the eyelid as well, because we have some eye bags there that we need to reveal. So I'll press the P key to switch to the Pen tool. And then I'll go ahead and click in order to create a straight line through the center of the horizontal ellipse.

And then I'll go ahead and click down here like so as well. And then finally complete the shape. And now I'll press the A key to return to the Black Arrow tool. Click on the path to make it active and then return to the options bar. Click on path operations and choose Subtract Front Shape and you'll end up with this effect here. Now, you'll see that we've got this group here called eye bags. Go ahead and twirl it open by clicking on the little twirly arrow. Go ahead and select the bag 3 layer. And what we need to do is copy what we've done so far, in the way of layer effects. From the eyelid R layer right there.

And to do so press the Alt key, or the Opt key on the Mac, and drag the Effects icon from the eyelid R layer down and drop it onto the bag three layer. And by virtue of the fact that you have the Alt or Opt key down, you'll go ahead and copy those layer effects as opposed to move them. So with the bag three layer active, go ahead and click on the Effects icon at the bottom of the Layers panel and choose Drop Shadow. So in other words the inner shadow and gradient overlay are fine as is but we need to add a drop shadow as well. And that drop shadow should be colored, I was telling you we're going to use this color a lot, with the Hue of 210 degrees, a Saturation of 100%, and a Brightness of 15% for this very dark blue, then click Okay.

And now if you're working along with me, turn off Use Global Light. That's very important because we're going to modify this angle value and otherwise we'll mess everything up. And then I'll click inside the value and press shift up arrow four times in order to increase the value to 160 degrees. Then I'll increase the distance value to eight, and I'll take the size value up to 12 pixels like so, and then I'll click Okay. The good news is we can use these effects over and over again for bag two and bag one, and to do so Alt drag or Opt drag the Effects icon on the bag two layer right there and then go ahead and Alt or Opt and drag it again onto the bag one layer.

And we get the effect that you see before you now. Now let's color in the body by pressing Ctrl + 0 or Cmd + 0 on the map to zoom out. It'll press the V key to switch back to my Black Arrow tool, and I'll right click on this big yellow shape right here. And I should some place on the list see a layer called body. Now this item right there, that's the body group. It's the body layer inside that group that we're interested in. So, I'll go ahead and choose it. And then, we need to grab these layer affects, by right clicking, right there on the Effects icon, associated with the eyelid R layer and choose Copy Layer Style.

Now, go ahead and scroll down the Layers panel here, until you find the body layer, right there, and then right click on it because I have such a short screen here, I have a two column menu. But in any case, you want to choose Paste Layer Style in order to paste those effects in. Double-click on Inner Shadow because that's the one we want to modify. And let's take the Distance Value up to 240 pixels and take the Size Value up to 200 pixels like so. Click on Inner Glow in order to select it.

Click on the little color swatch and we're going to dial in a familiar color, 210 for the Hue, 100 for the Saturation value, and 15% for Brightness. Click Okay. Then change the blend mode from screen to multiply so that we're darkening the edges of the body. And I'm going to take the opacity value down to 30%, because I don't want quite that much darkness. And I'm going to take the size value up to 56 pixels, and finally, I'm going to change the technique from softer to precise. And notice that that gives us a much more defined edge on the left hand side.

And then finally, you want to turn on stroke by clicking on it. And take the size value up to five pixels. The color of black is fine. A position of outside is fine as well, then click okay. Now, we want to light the eye creases a little bit over here on the left hand eyelid. So I'll press Ctrl + 1 or Cmd + 1 on the Mac. To zoom into 100%, and then scroll the image over as well. And by the way, because this is a complicated document, you may see some screen refresh delays every once in a while.

Still armed with the move tool, I'll right click on these left hand eyelids, and choose eyelids L, right there. In order to make that layer active. And I'm actually going to scroll up the list and you'll see that there's this layer toward the top of the eyes group that's called Lid Creases. Go ahead and turn it on. What it is is this soft fuzzy ellipse and I made it fuzzy by selecting it, of course that's important. And then you want to bring up your Properties panel which you can get by going to the Window menu and choosing Properties if you like.

And notice that I increased the Feather value to 2 pixels. So in other words, you can use this value to blur vector-based shapes inside of Photoshop. I'll go ahead and hide that Properties panel. And I don't actually want to see this whiteness here. I just want to use it to contain my layer effect. So I'm just going to select this Fill value. Appear at the top of the layers panel and then I am going to change it to 0%. And that will make the layer temporarily invisible. With the layer still selected, drop down to the Effects icon and choose Bevel Emboss.

And then you want to change the style from inner bevel to pillow emboss and notice that even though. The layer is invisible. The shape layer, itself. Because we changed the fill value to zero instead of the opacity value, we can still see the layer effect. Now I'm going to take the depth value down to 50%, and I'll take the size value up to 35 pixels. I've already established a global light setting of negative 20 degrees for the angle of the light, and 30 degrees for the altitude. So I'll go ahead and drop down to the highlight mode and click on the little color swatch there, and I'm going to dial in a bright green by changing the hue value to 90%. I'll change the saturation value to 25%, and I'll leave the brightness value set to 100%.

Then I'll click Okay, and I'll change the blend mode from Screen To linear dodge, so we get as much brightening as possible, and also crank the opacity value up to its maximum of 100%. Then I'll click on the shadow mode color, and I'll change it to that same color we have been using 210 degrees, a 100% for the saturation value and 15% for the brightest value. Click Okay. Leave the mode set to multiply, that's fine, but I am going to take the opacity value down to 35% like so.

And then, I'll go ahead and click okay in order to accept that effect. Now you can see that gives us this wonderful highlight at the top edge of that eyelid and this nice shadow on the bottom edge, and that's reciprocated down here on the bottom eyelid as well, but obviously the shape is extending outside the eye. We need to add a pixel based layer mask. And you do that by dropping down to the Add Layer Mask icon at the bottom of the layers panel and clicking on it. Then you want to select the gradient tool which you can get by pressing the g key. Make sure that the linear gradient style is selected up here in the options bar. And drag from right about here to here, let's say, and I'm pressing the shift key in order to constrain the angle of my drag to exactly horizontal, and now I'm going to change my gradient setting from foreground to background, to foreground to transparent.

I will drag from this location over, about the same distance, while pressing the Shift key in order to create this effect here. Now you can see we're getting these weird little highlights right here and here on both the right and left hand edges and that's a function of the layer mask not doing exactly the job I'm looking for. (UNKNOWN) . And, you fix that, by, going over to the layers panel,double-clicking on an empty portion of this layer. So, don't click on the layer name, or the Effects icon, just click in an empty area there. And, that'll bring up the layer style dial-up box, along with these five check boxes here. You want to turn on >> Layer Mask Hides Effects in order to produce this smoother effect.

And then, click okay. We've got to do one more thing here. I want to paint away some of the bags underneath this right-hand eye because if you take a look at the original effect here, I'll go ahead and zoom in on here. You can see that the bags underneath this eye fade away just ever so slightly. And to produce that effect, we need another layer mask. So I'll go ahead and switch back to our image in progress. And I'll scroll down my list here inside the layers panel, until I get to the eye bags group right there. You want to select the entire group.

And then drop down to the Add Layer Mask Icon, and click on it. So this time we're going to mask the group, as opposed to the independent layers. I will go ahead and scroll this guy over just a little bit. And I will switch to my Brush tool, and I will right click inside the image window. Size value of 100 pixels, probably going to work, but you definitely want the hardness value to be crank down to its minimum which is 0%. And notice that my 4 grand color is black. And I lied, actually I want a bigger brush. So I'm going to press the Right Bracket key a couple of times in order to make that happen. And then I'll just paint like so.

And then I decided I wanted to paint a little more inside of the two top eye bags. So I'll load the selection for bag 2 by Ctrl + clicking. On this little layer thumbnail there. And I end up loading a selection like so, and then I'll just paint inside of it like that. And then, I'll Ctrl + click, or Cmd + click on the thumbnail for the bag three layer. And I'll once again paint like so. So I'm really just painting with the soft, fuzzy edge of brush at this point. And then I'll press Ctrl + D or Cmd + D on the Mac, to deselect the image. Maybe I'll paint just a little more Right there on that edge, like so. If you decide you've painted too much, by the way, then you can go up to the Edit menu, and you can choose this command, Fade Brush tool. And what this allows you to do is back off your painting. So I can take the opacity down to 50%, in order to bring back some of those edges. And then I'll click Okay in order to accept that change. And that is it folks.

That is my long-winded journey into creating volumetric forms. Using vector based shape layers and layer effects inside Photoshop. If you remember at the lynda.com Online Training Library, I have a followup movie in which I show you how to take the monster's eyes and make them look all bloodshot. If you're waiting for next weeks free movie, I'll show you how to create the shading marks around the monster's mouth using a combination of shape layers along with pixel based layer masks. Deke's Techniques, each and every week.

Keep watching.

Show transcript

This video is part of

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Deke's Techniques

351 video lessons · 132808 viewers

Deke McClelland
Author

 
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  1. 26m 40s
    1. 349 Mixing a low-color photo with Camera Raw
      11m 2s
    2. 350 Mixing a low-color photo with adjustment layers
      10m 7s
    3. 351 Saving your effect as a color lookup table
      5m 31s
  2. 13h 16m
    1. 282 Ringing in the New Year with dynamic effects in Illustrator
      12m 59s
    2. 283 Dynamically transforming fills and strokes
      13m 41s
    3. 284 Tracing an avatar from a photograph in Photoshop
      12m 24s
    4. 285 Drawing a vector-based avatar in Illustrator
      19m 44s
    5. 286 Coloring and shading your avatar
      16m 0s
    6. 287 Exporting an illustration as a universally supported PNG file
      10m 54s
    7. 288 Upsampling a layered composition with great results
      13m 43s
    8. 289 Rebuilding a pattern at a higher resolution
      7m 29s
    9. 290 Painting happy little trees
      13m 46s
    10. 291 Shading and lighting the happy forest
      15m 15s
    11. 292 Enlarging a low-res photograph in Photoshop
      12m 20s
    12. 293 Enlarging a photo by tracing it in Illustrator
      13m 10s
    13. 294 Mastering Exposure in Camera Raw
      11m 40s
    14. 295 Super smooth and unflinchingly sharp
      10m 46s
    15. 296 Deleting an inadvertent photo bomber
      8m 13s
    16. 297 Correcting a distorted panorama
      17m 23s
    17. 298 Rebuilding bad stitching in a panorama
      14m 53s
    18. 299 Nondestructive dodge and burn
      8m 54s
    19. 300 Blending a shadow into any background
      8m 37s
    20. 301 Saving a PNG image with a translucent shadow
      8m 45s
    21. 302 Cleaning up a smart phone photo
      11m 17s
    22. 303 Using Photoshop 1.0
      5m 45s
    23. 304 Creating your own Chinese seal (or chop)
      26m 4s
    24. 305 Simulating hand lettering with art brushes
      20m 8s
    25. 306 Adding texture to your hand stamp
      3m 34s
    26. 307 Creating a black chop on red paper
      5m 55s
    27. 308 Auto-hiding iconic panels in Photoshop
      3m 44s
    28. 309 Creating a custom toolbox in Illustrator CC
      4m 21s
    29. 310 Creating the perfect passport photo
      20m 18s
    30. 311 Retouching your passport photo
      13m 38s
    31. 312 Turning a photo into a giant mural
      13m 11s
    32. 313 Enhancing the reality of your mural
      11m 8s
    33. 314 Creating a 3D bump map
      12m 7s
    34. 315 UV overlay and 3D bump paint
      14m 4s
    35. 316 Using Lens Flare for good (not evil)
      10m 48s
    36. 317 Using the Perspective Crop tool
      9m 29s
    37. 318 Reducing real-world camera shake
      10m 4s
    38. 319 Reducing glare in a photograph
      15m 25s
    39. 320 Restoring repeating details
      13m 43s
    40. 321 Integrating a detail captured with a phone
      9m 6s
    41. 322 Blending two exposures of a single scene
      12m 25s
    42. 323 Masking mountains away from sky
      14m 22s
    43. 324 Creating a photographic caricature in Photoshop
      10m 7s
    44. 325 Exaggerating facial features with Liquify
      12m 48s
    45. 326 Masking a caricature against a new background
      11m 20s
    46. 327 Shading and sharpening a caricature
      10m 6s
    47. 328 Drawing a Möbius strip in Illustrator
      12m 21s
    48. 329 Shading the Möbius strip with gradients
      9m 0s
    49. 330 Adding twisting edges to the Möbius strip
      8m 9s
    50. 331 Creating an impossible Penrose triangle
      10m 37s
    51. 332 Shading the cubes in your Penrose triangle
      8m 15s
    52. 333 Selectively converting a photo to black & white
      7m 53s
    53. 334 Straightening and “uncropping” a photo
      16m 17s
    54. 335 Restoring a missing photograph detail
      11m 26s
    55. 336 Drawing a hand (clenched in a fist)
      11m 44s
    56. 337 Cleaning up a sketch captured with a phone
      6m 17s
    57. 338 Four hands united in brotherhood, solidarity, and teamwork
      12m 24s
    58. 339 Swapping out colors in existing gradients in Illustrator
      4m 37s
    59. 340 Select > Focus Area and the pseudo engraving effect
      12m 26s
    60. 341 Integrating 3D art into a 2D scene in Photoshop
      13m 41s
    61. 342 Creating a 3D shark in Photoshop
      11m 16s
    62. 343 Creating a 3D doughnut in Illustrator
      15m 23s
    63. 344 Creating a golden 3D ring in Illustrator
      10m 21s
    64. 345 Mapping Elven runes (or text) onto a 3D ring
      15m 57s
    65. 346 Hand-drawing custom-made letters in Illustrator
      19m 33s
    66. 347 Drawing letters with curves and holes
      15m 56s
    67. 348 Enhancing your hand-drawn text in Photoshop
      7m 20s
  3. 17h 21m
    1. 185 Creating a custom 2013 calendar in Illustrator
      11m 44s
    2. 186 Adding dates to a calendar using tables
      9m 50s
    3. 187 Branding your calendar with a field of logos
      10m 54s
    4. 188 Crafting an Infinity symbol to match a specific font
      12m 6s
    5. 189 Op art experiment 1a: Inflated checkers
      10m 49s
    6. 190 Op art experiment 1b: Rounded windows
      6m 39s
    7. 191 Building a universal ISOTYPE man with strokes
      15m 6s
    8. 192 Building a universal ISOTYPE woman with strokes
      11m 7s
    9. 193 Drawing an ISOTYPE couple in love
      12m 55s
    10. 194 Creating a Warhol-style silkscreen effect
      14m 43s
    11. 195 Creating a series of Warhol-style variations
      10m 43s
    12. 196 Adding Warhol-style background variations
      8m 20s
    13. 197 Creating opaque colored shadows
      5m 20s
    14. 198 Assembling multiple variations into a single comp
      5m 9s
    15. 199 Creating a pattern of unique inset circles
      9m 55s
    16. 200 Changing a static blended color scheme
      7m 16s
    17. 201 Op art experiment 2a: Undulating pattern
      20m 26s
    18. 202 Op art experiment 2b: Concentric rings
      9m 43s
    19. 203 Developing a dramatic castle in Camera Raw
      13m 21s
    20. 204 Artificially coloring a photo in Camera Raw
      9m 38s
    21. 205 Creating an antique photo effect in Camera Raw
      7m 53s
    22. 206 Adding a weathered old-photo frame effect
      12m 0s
    23. 207 Drawing an Angry Birds-like character
      16m 59s
    24. 208 Stroking an entire layer in Illustrator
      9m 21s
    25. 209 Drawing a classic snarling cartoon face
      11m 10s
    26. 210 Drawing a radiant, cheerful cartoon background
      18m 29s
    27. 211 Stroking any kind of type in Illustrator
      5m 0s
    28. 212 Creating synthetic water droplets
      9m 29s
    29. 213 Simulating liquid reflections with effect
      5m 19s
    30. 214 Simulating liquid refractions with a dmap
      5m 30s
    31. 215 Creating an eye-catching splatter effect
      9m 8s
    32. 216 Defringing purples and greens in Camera Raw 7
      10m 4s
    33. 217 Making a danger sign more dangerous
      15m 9s
    34. 218 Using texture and depth to add realism
      10m 22s
    35. 219 Precisely aligning artwork to the bleed
      7m 16s
    36. 220 Creating and importing a tracing template
      6m 50s
    37. 221 Drawing a distinctive 2D video game character
      18m 52s
    38. 222 Adding features to the face of a 2D character
      14m 3s
    39. 223 Creating a vivid aura around an entire character
      7m 25s
    40. 224 Adding variable-width strokes in Illustrator
      11m 23s
    41. 225 Animating bird wings with Puppet Warp
      12m 15s
    42. 226 Animating text by onion skinning in Photoshop
      8m 0s
    43. 227 Creating an animated movie in Photoshop
      9m 15s
    44. 228 Exporting an animation to QuickTime and GIF
      5m 44s
    45. 229 Correcting an underwater photograph
      10m 30s
    46. 230 Making a photo razor-sharp and porcelain-smooth
      7m 17s
    47. 231 Reducing noise in a high-ISO shot with Camera Raw
      8m 33s
    48. 232 Creating highly reflective sunglasses
      10m 43s
    49. 233 Adding drama to an outdoor portrait shot
      6m 35s
    50. 234 Creating volumetric forms with shape layers
      15m 52s
    51. 235 Creating a bloodshot eye effect
      7m 11s
    52. 236 Shading an image with shapes and layer masks
      13m 2s
    53. 237 Creating fabric textures with pattern layers
      7m 27s
    54. 238 Colorize any layer with Color Overlay
      3m 23s
    55. 239 Turning a portrait into a dot drawing
      7m 40s
    56. 240 Creating a full-color dot drawing
      3m 29s
    57. 241 Drawing an orthogonal cube with the line tool
      7m 9s
    58. 242 Creating a cube of differently colored cubes
      9m 27s
    59. 243 Recreating the Creative Cloud Logo in Illustrator
      16m 18s
    60. 244 Creating a psychedelic fabric texture
      9m 7s
    61. 245 Turning psychedelic fabric into rock letters
      5m 23s
    62. 246 Creating a more finely rendered dot drawing
      8m 29s
    63. 247 Converting from RGB to CMYK via Multichannel
      12m 31s
    64. 248 Creating printer-safe CMYK shadows
      6m 48s
    65. 249 Creating bright, golden motion trails
      12m 32s
    66. 250 Creating schematic art with grid
      12m 41s
    67. 251 Drawing precisely aligned arrowhead
      12m 8s
    68. 252 Adding arrowheads around a closed path
      6m 1s
    69. 253 Drawing the Pen tool without touching the Pen tool
      17m 13s
    70. 254 Merging frames for the best possible UAV photo
      16m 40s
    71. 255 Retouching details in an aerial landscape
      12m 13s
    72. 256 Editing a video and adding transitions in Photoshop
      10m 57s
    73. 257 Importing the quadcopter crash sequences
      9m 4s
    74. 258 Color correcting a video and adding a soundtrack
      8m 56s
    75. 259 Adding precisely timed titles to your video
      11m 43s
    76. 260 Hand-painting an image with a Wacom Cintiq
      13m 11s
    77. 261 Blending the final false-color artwork
      8m 41s
    78. 262 Creating a honeycomb pattern in Illustrator
      12m 50s
    79. 263 Building up strokes to create 3D honeycomb
      9m 8s
    80. 264 Turning yourself into a zombie
      14m 0s
    81. 265 Enhancing an ambience environment for the undead
      9m 26s
    82. 266 Creating dripping, gooey ghost letters
      16m 43s
    83. 267 Turning type into gooey green slime
      11m 19s
    84. 268 Creating heavy metal type (updated for Photoshop CS6 and CC)
      12m 27s
    85. 269 Cleaning up a crummy product shot
      11m 3s
    86. 270 Scaling and rotating photographic objects
      10m 10s
    87. 271 Tracing a line drawing with uniform strokes
      11m 18s
    88. 272 Coloring line art using Live Paint Bucket
      18m 22s
    89. 273 Creating a pigture using shapes and letters
      18m 7s
    90. 274 Integrating a cartoon into a photograph
      7m 27s
    91. 275 Converting a photo into a Lichtenstein drawing
      16m 8s
    92. 276 Adding bring Ben-Day dots and a talk balloon
      15m 31s
    93. 277 Painting an eye using a custom brush
      11m 31s
    94. 278 Painting and smoothing straight-sided brushstrokes
      12m 0s
    95. 279 Simulating pressure with path outlines
      6m 3s
    96. 280 Developing a 32-bit HDR image in Camera Raw
      14m 42s
    97. 281 Converting from 32-bit to the more flexible 8-bit mode
      11m 15s
  4. 14h 31m
    1. 091 Removing people from a photo
      10m 44s
    2. 092 Masking people back into a photo
      10m 58s
    3. 093 Hand-painting a mask
      10m 5s
    4. 094 Masking a real-life shadow
      10m 40s
    5. 095 Turning a photo into line art
      7m 44s
    6. 096 Adding a crosshatch shading pattern
      6m 46s
    7. 097 Creating type that inverts anything behind it
      5m 32s
    8. 098 Creating auto-inverting line art
      5m 7s
    9. 099 Creating movie poster credits
      8m 10s
    10. 100 Creating a dual-focus hybrid image
      6m 24s
    11. 101 Adding text to a hybrid composition
      7m 24s
    12. 102 Drawing with the reshape tool
      10m 39s
    13. 103 Hand-drawing a really great letter
      10m 6s
    14. 104 Creating a vanity frame
      5m 28s
    15. 105 Adding a frame to a photograph
      5m 3s
    16. 106 Drawing a highly graphic explosion with Illustrator
      10m 3s
    17. 107 Drawing a Ninja Turtle nose
      10m 22s
    18. 108 Mapping a dog face onto a duck
      8m 20s
    19. 109 Putting a tongue on a duck
      7m 6s
    20. 110 Making synthetic lightning in Photoshop
      11m 3s
    21. 111 Creating a driving rain effect in Photoshop
      4m 57s
    22. 112 Designing a railroad track
      12m 18s
    23. 113 Bending the railroad track around curves
      7m 46s
    24. 114 Creating a Star Wars hologram effect
      9m 23s
    25. 115 Creating leafy letters
      6m 12s
    26. 116 Creating topiary type
      6m 22s
    27. 117 Creating type in grass
      9m 0s
    28. 118 Rendering type in smoke
      7m 30s
    29. 119 Rendering type in brushed metal
      9m 57s
    30. 120 Adding brushed copper effect
      4m 14s
    31. 121 Reflecting type in water
      10m 57s
    32. 122 Reflecting water back into type
      11m 14s
    33. 123 Joining type to a circle
      7m 14s
    34. 124 Making flared type on a circle
      7m 17s
    35. 125 Making a person emerge from water
      5m 32s
    36. 126 Creating progressive water ripples
      10m 17s
    37. 127 Creating an upside-down face effect
      10m 17s
    38. 128 Achieving silky smooth skin with retouching
      6m 33s
    39. 129 Pearly white teeth
      7m 28s
    40. 130 Head-shrinking
      8m 26s
    41. 131 Getting a big head
      5m 11s
    42. 132 Adding a photographic texture to vector type
      4m 28s
    43. 133 Adding strokes in back of photo type
      5m 9s
    44. 134 Adding a border to an image in Illustrator
      4m 17s
    45. 135 Two ways to crop in Illustrator
      7m 29s
    46. 136 Inventing a 3D temple with a depth map
      10m 0s
    47. 137 Drawing a 3D object with Curves
      11m 41s
    48. 138 Creating a superhero shield in Illustrator
      16m 28s
    49. 139 Turning Illustrator paths into Photoshop shapes
      11m 42s
    50. 140 Creating a photorealistic superhero shield
      12m 39s
    51. 141 Pimping your ride in Photoshop
      9m 59s
    52. 142 Masking and blackening a car
      10m 20s
    53. 143 Drawing a multi-part vector mask
      12m 46s
    54. 144 Masking and painting a shadow
      8m 26s
    55. 145 Integrating blades of grass into tires
      5m 34s
    56. 146 Making a (ridiculously) dramatic sky
      6m 2s
    57. 147 Adding flame stripes to a car
      8m 23s
    58. 148 Creating interlocking octagons in Illustrator
      7m 44s
    59. 149 Hand-coloring line art
      13m 9s
    60. 150 Creating a custom wave pattern
      9m 56s
    61. 151 Simulating a screen print
      8m 30s
    62. 152 Drawing a perfect linear spiral in Illustrator
      9m 42s
    63. 153 Drawing a spiraling nautilus shell
      11m 4s
    64. 154 Designing a hex pattern in Illustrator CS6
      11m 10s
    65. 155 Making a hex pattern in Illustrator CS5 and earlier
      7m 4s
    66. 156 Creating a Facebook cover in Photoshop
      9m 25s
    67. 157 Matching a profile picture to your cover
      6m 37s
    68. 158 Cloning yourself in Photoshop
      11m 16s
    69. 159 Lighting the clone party
      8m 29s
    70. 160 Hand-carving letters into wood
      8m 0s
    71. 161 Creating a Spirograph-like pattern
      7m 34s
    72. 162 Tracing scalloped gear teeth around a circle
      4m 55s
    73. 163 Applying custom carve and shadow styles to type
      8m 50s
    74. 164 Turning a pencil sketch into digital ink
      12m 55s
    75. 165 Adding a graph-paper background
      13m 42s
    76. 166 Creating a continuous single-line Spirograph
      13m 2s
    77. 167 Scaling circles into complex patterns
      7m 15s
    78. 168 Creating a money-like design
      8m 43s
    79. 169 Attack of the killer pumpkin
      14m 49s
    80. 170 Simulating a glowing Jack-o-lantern
      12m 24s
    81. 171 The headless stranger in the mist
      12m 25s
    82. 172 Creating 3D punched letters
      13m 29s
    83. 173 Designing a double-wave line pattern
      11m 2s
    84. 174 Assembling a seamless pattern brush
      9m 53s
    85. 175 Creating a hand turkey in Photoshop
      18m 42s
    86. 176 Creating a depth-of-field cast shadow
      7m 29s
    87. 177 Creating a lustrous round jewel
      13m 56s
    88. 178 Cutting and brushing light on a gem
      8m 30s
    89. 179 Creating a shiny button with inset text
      11m 5s
    90. 180 Creating a jaunty six-sided star
      15m 1s
    91. 181 Interweaving star shapes and adding gradients
      8m 28s
    92. 182 Casting shadows between interwoven shapes
      9m 12s
    93. 183 Creating a Hobbit-like text effect
      15m 6s
    94. 184 Enhancing a landscape photo in Camera Raw 7
      9m 16s
  5. 13h 11m
    1. 001 Creating ice type
      8m 39s
    2. 002 Branding type on a texture
      7m 6s
    3. 003 Creating an image-branding machine
      7m 13s
    4. 004 Capturing effects with layer comps
      7m 35s
    5. 005 Rendering type in gold
      8m 9s
    6. 006 Creating a hammered metal background
      5m 48s
    7. 007 Creating heavy metal type
      8m 13s
    8. 008 Creating a molten letter effect
      6m 43s
    9. 009 Setting type on fire
      11m 20s
    10. 010 Using an anti-edge mask
      7m 20s
    11. 011 Blending textures onto a face
      9m 28s
    12. 012 Rendering a face as a cave painting
      7m 34s
    13. 013 Creating a reflection in shattered glass
      8m 32s
    14. 014 Creating a face in a tree
      11m 20s
    15. 015 Building a synthetic star field
      8m 21s
    16. 016 Making 3D type with Repoussé
      10m 14s
    17. 017 Casting 3D shadows and reflections
      9m 35s
    18. 018 Adjusting 3D light sources
      10m 51s
    19. 019 Masking highlights and shadows
      6m 27s
    20. 020 Masking glass
      10m 39s
    21. 021 High key high contrast
      8m 33s
    22. 022 Simulating sub-pixel rendering
      10m 58s
    23. 023 Fixing chromatic aberrations in Photoshop
      9m 41s
    24. 024 Fixing chromatic aberrations in Camera Raw
      8m 51s
    25. 025 Correcting red-eye like a pro
      11m 56s
    26. 026 Turning a photo into an ink drawing
      10m 42s
    27. 027 Turning a photo into a pencil sketch
      8m 43s
    28. 028 Creating a seamlessly repeating pattern
      10m 56s
    29. 029 Repairing seams in a repeating pattern
      10m 47s
    30. 030 Creating a 3D pie chart
      11m 9s
    31. 031 Splitting and modifying 3D meshes
      11m 52s
    32. 032 Using the Ground Plane Shadow Catcher
      6m 58s
    33. 033 Creating a talk show-style curtain
      7m 57s
    34. 034 Assembling a flawless panorama
      10m 5s
    35. 035 Removing people with image stacks
      11m 44s
    36. 036 Creative stacking with Maximum and Range
      11m 44s
    37. 037 Creating synthetic wood grain
      9m 23s
    38. 038 Making slats of uniquely textured wood
      10m 52s
    39. 039 Kerning within a single character
      10m 31s
    40. 040 Creating a raised bevel effect
      11m 49s
    41. 041 Putting wings on a horse
      10m 41s
    42. 042 Creating a classic heart in Illustrator
      7m 15s
    43. 043 Glossing up a heart in Photoshop
      8m 42s
    44. 044 Shooting and assembling a stereoscopic photo
      8m 15s
    45. 045 Extending 3D beyond the screen plane
      6m 13s
    46. 046 Adding stereo 3D text and shapes
      9m 9s
    47. 047 Tilting text and shapes toward the viewer
      8m 13s
    48. 048 Creating a shooting star in Illustrator
      6m 33s
    49. 049 Using blends to draw path outlines
      8m 8s
    50. 050 Inventing custom starbursts
      7m 33s
    51. 051 Making a fictional creature
      12m 5s
    52. 052 Transforming a creature into a monster
      6m 14s
    53. 053 Capturing a monster in motion
      11m 45s
    54. 054 Changing the color of a car
      7m 12s
    55. 055 Painting a colorful car black
      8m 16s
    56. 056 Coloring the stripes on a zebra
      10m 47s
    57. 057 Drawing trendy swirls in Illustrator
      10m 59s
    58. 058 Creating variable-width and brushed swirls
      10m 46s
    59. 059 Drawing trendy ornaments in Illustrator
      8m 49s
    60. 060 Designing a magically updating pattern
      8m 40s
    61. 061 Automatically collapsing a selection
      7m 43s
    62. 062 Adding a magnifying glass into a design
      7m 5s
    63. 063 Healing one eye onto another
      7m 15s
    64. 064 Creating a giant command key
      9m 15s
    65. 065 Drawing common symbols part 1
      6m 29s
    66. 066 Drawing common symbols part 2
      9m 26s
    67. 067 Filtering images with Camera Raw
      7m 52s
    68. 068 Creating a vivid HDR effect
      5m 29s
    69. 069 Creating an ambigram in Illustrator
      10m 45s
    70. 070 Making a two-word ambigram
      7m 47s
    71. 071 Drawing a Halloween scareflake
      10m 45s
    72. 072 Creating true clones in Illustrator
      11m 7s
    73. 073 Taking your scareflakes into Photoshop
      7m 20s
    74. 074 Making a faux HDR image in Lab
      8m 38s
    75. 075 Turning a guy into a zombie
      7m 3s
    76. 076 Miniaturizing the world in Photoshop
      6m 45s
    77. 077 Creating a synthetic rainbow
      8m 53s
    78. 078 Casting an artificial shadow from a layer
      7m 2s
    79. 079 Rendering a portrait in type
      8m 58s
    80. 080 Rendering a portrait in tile patterns
      7m 43s
    81. 081 Rotating a pattern layer in Photoshop
      4m 16s
    82. 082 Tracing an image with path outlines
      7m 50s
    83. 083 Turning path outlines into a vector mask
      6m 0s
    84. 084 Drawing rays of light in Photoshop
      5m 40s
    85. 085 Drawing concentric glow rings
      7m 24s
    86. 086 Designing an Indiana Jones-style logo
      8m 50s
    87. 087 Achieving mitered corners in Photoshop
      5m 43s
    88. 088 Masking with Blunt Instruments in Photoshop
      11m 8s
    89. 089 Creating a stained-glass ornament
      8m 26s
    90. 090 Designing a stained-glass window
      10m 23s

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