Easy-to-follow video tutorials help you learn software, creative, and business skills.Become a member
Hey gang, this is Deke McClelland. Welcome to Deke's Techniques. This week I'll show you how to create shading inside of your artwork, using a combination of vector based shape layers, along with pixel based layer masks. Specifically, we'll be working on the monster's mouth, which presents a few challenges, because notice that the upper lip fades in and out, as do the creases around the mouth. And you know we can create those forms using our core vector based shape layers. How, you might ask? Well, let me show you. Alright, here are the shape layers that make up the monsters' mouth, just so you can see them on screen.
We'll go ahead and switch over to our illustration in progress here. Notice over here in layers panel. We have this group called nose and mouth. Now, I want you to see something. When you are working with shape layers, in the most recent version of Photoshop. If I press the A key to switch to the Black Arrow tool. And I go ahead and just marquee random portion of the illustration here. You can see that I can select shapes on multiple layers. Well, here's what you do, if you just want to focus in on the mouth shapes. Then you make sure you're working in an organized fashion, as I am here. And, I'll go ahead, and twirl closed some of these layer groups. And you can twirl all the groups close by Ctrl or Cmd clicking on one of those little triangles.
And then, select the nose and mouth group In order to make inactive. And go up to the Select menu and choose Isolate Layers. If you twirl this group open, that doesn't work now, because it stays in the same state as it did before. So in other words, what I need to do is go back to the Select menu, turn off Isolate Layers. And now, with the group expanded, I'll right-click inside the image and choose Isolate Layers, just so you can see a different way of working. And now all of my layers are good to go. Now, I'm going to turn on the Mouth layer, and see see that all the Mouth layers are currently turned off, and I'll click on it to make it active as well. You can see that it's a couple of hand drawn paths, that I drew using the Pen tool.
Their intersecting each other, thanks to the fact that this shape right there, is set to intersect shape areas. So the top shape always wins, where these path operations are concerned. Alright, so having drawn this path outline, I'm going to change its attributes here. Starting with reducing the fill value to 30%. And you can do that just by pressing Shift+3. And that'll go ahead and take that value down. And this way, we're making the shape itself translucent, but the layer effects will remain as opaque as we want them to be.
Now, I'm going to press the M key to switch back to the Marque tool, just so I'm not seeing the shape outlines, and I'll drop down to the FX icon, at the bottom of the Layers panel. And I'll go ahead and choose Inner Shadow, and I'll start things off by clicking in the color swatch and changing the Hue value to 210 degrees, Saturation 100%. And brightness to 15%, if you've been working along with me previous movies, these will be familiar settings. Then I'll go ahead and click OK. And I'm going to take the Opacity value down, just slightly, to 70%. An Angle value of negative 20 degrees is just fine. I'll increase the Distance value to 28 pixels and I'll take the Size value up to 28 pixels, as well.
So we end up with this effect here. I'll go ahead and click OK. Now, for the upper lip, and where this shape is concerned, we've got a complete closed shape, as you can see here. This is the upper lip layer, by the way, and it has a great shape associated with it. I borrowed some pieces of it from the mouth layer, but the main thing to bear in mind is that it's a closed shape outline, and what we want is just the sliver of a mouth. So we're going to start things off by changing the fill value to 0% and you can do that from the keyboard by pressing Shift+00.
And then I'll assign a drop shadow by clicking on the FX icon and choosing the bottom-most command here, in order to bring up the layer-style dialog box. I'll click on the color swatch and dial-in that same color again, 210 degrees for the hue value, 100% for saturation, and 15% for brightness. Then I'll click OK. And multiply, and 75% Opacity are just fine for this effect. I do want a different angle value, so I need to turn off Use Global Light, very important. Then I'm going to change the angle value to 160 degrees, and finally I'll change the distance value to 24 pixels, and I'll take the size value up to 36 pixels, like so, and then I'll click okay. Now, that doesn't look anything like anything I might even want. Which is why I need to throw a layer mask on top of this. So with that vector shape layer selected, drop down to the add layer mask icon at the bottom of the Layers panel and click on it. Then you want to select the Brush tool.
I'll go a head and click inside the image so you can see that my Hardness value is set to 0%. The size we can vary on the fly. So I'll go ahead and increase the size of the brush by pressing the right bracket key a few times here. And it'll drag like so, in order to paint away some of this layer. Now notice, as I'm painting, I'm getting this kind of weird, grayness right there. And, that's a function of the layer mask interacting with the drop shadow. So, what you have to do, is double-click on an empty portion of this upper lip layer To bring up the Layer Style panel.
And hen watch this area, this kind of mustache right there, watch it disappear when you turn on Layer Mask Hides Effects. And that way the layer mask does exactly what it says, it hides the effect, instead of modifying it. Now, I'll click OK to assign that change. I'm going to switch back to the Layer Mask right there, pixel-based layer mask has to be selected. And then I might paint away some more of his mouth, this upper lip right here. If you feel like you want to paint some regions back, then you just press the X key, so that you're foreground color is white and paint like so.
You can paint back and forth as much as you like. In my case, I think things are looking pretty good. Press the X key to switch back to black. And I might paint away even more. I think I want an effect that's more like that. And I also want to get rid of this corner right there. We don't want to be able to see that. So I'll go ahead and paint it away with the brush tool. I could paint it away even more if I want to as well. Let's check this area over here. I'll press the X key in order to paint back some of this, and I'll press the X key in order to paint it away. That looks fine.
So now, I'm going to zoom out just a little bit. And we want to do something similar with the lower lip, so I'll go ahead and scroll down my Layers panel here. And you can see that there is a layer called Lower Lip. Go ahead and turn it on. And click on it to make it active. Again, it's another vector-based shape layer. And it's created as you can see when I switch to the Black Arrow tool, as a combination of two ellipses, with the front ellipse subtracted from the bottom one. And so you can see up here in the pathfinder operations that Subtract Front Shape is selected for that front shape right there.
But we don't want to be able to see these shapes so I'm going to reduce the fill value once again to 0% here inside the Layers panel, and then I'll press the M key to switch back to the Rectangular Marquee tool. And this time, I'm going to start by assigning an inner shadow. So, I'll click the FX icon and choose the Inner Shadow command. I still want that same darn color, so I'll go ahead and dial in 210 degrees for the hue, 100% for the saturation, and 15% for the brightness. Then, I'll take the opacity value down to 45%, an angle of negative 20 degrees is just fine. I'll change the distance value to 24 pixels, and I'll take the size value up to 24 pixels as well.
Then I'll click Drop Shadow, to make it active. Click in a color swatch, dial in that color, 210, 115, for those first three values. Click OK. Take the opacity value down to 55%, turn off Use Global Light, because I want to change the angle. And I'll make that angle 70 degrees, and then I'll take the distance value up to 16 pixels and I'll take the size value up to 20 pixels in order to produce this effect here. Then I'll click OK. Obviously, we have some layer masking to do.
So, drop down to the Add Layer Mask icon at the bottom of the Layers panel. Click on it, press the B key to switch back to the Brush tool. Go ahead and paint some of the lower lip away, like so. It's going to look like a big mess, as it's looking for me. Which is why you need to double-click in an empty portion of that layer to bring up the Layer Style dialogue box and turn on Layer Mask Hides Effect in order to produce this effect here then click OK. And you may find that you want to paint some more, in which case, you may have to re-select the Layer Mask and then I will reduce the size of my brush a little bit and paint away some of the lower lip like so.
Now, we've got a mouth crease to deal with its this guy down here at the bottom of the list, go ahead and turn it on it looks like this its a couple of ellipses, one subtracting through the other. We need to do more or less the same thing we've been doing here, which is to say, go ahead and select the mouth crease, press the M key to select the Rectangular Marquee tool. Press Shift+00, so two zeroes in a row, to reduce the fill value to 0%. Then you want to grab the Layer effect here from the upper lip layer.
Do that just by alt dragging directly on it. So press the Alt key or the Option key on the Mac and drag the drop shadow down, and drop it onto mouth crease in order to produce this effect here. Then, go ahead and scroll down until you can see the drop shadow. Double-click on it, because we want to make a modification. I want to change the angle value to 70 degrees, which I can do because Use Global Light is turned off already. So I'll just go ahead and change that value like so in order to produce the effect you see on screen. Click OK. Drop down to the add layer mask icon. Click on it. Press the B key to switch to the Brush tool.
Move in quickly, because we've done this several times now. And I'm going to reduce the size of my brush, and paint this area away. That's going to look terrible, so double-click on an empty portion of this layer to bring up the Layer Style dialog box, turn on Layer Mask Hides Effects, and click OK, and you'll end up with something resembling this. Every time you do this, it's going to look a little different which is fine. I'll go ahead and select the Layer Mask once again and paint away that region. Then, I'll switch back to upper lip right there, because I want to paint some of him away, like so. So that everybody's getting along a little better.
Alright, there's still one last, outstanding item that makes up the mouth, and that's the tooth right here, so go ahead and turn it on and notice that the tooth extends outside of the mouth. And that's because I just drew it with the Pen tool. I can make it appear completely inside the mouth be pressing the A key, to switch to the Black Arrow tool, and because you can select two layers like you're seeing right here. I can just go ahead and click on this path outline in order to select it from the upper lip layer which is fine. Then, I'll press Ctrl+C or Cmd+C on the Mac in order to copy it, and I'll switch to the tooth layer, and then I'll press Ctrl+V or Cmd+V on the Mac in order to paste that path onto this layer.
Obviously that's the wrong interaction, so I'll go up to the Options bar, click on the Pathfinder Operations icon, and choose Intersect Shape Areas. In order to produce this effect here. Then press the M key in order to switch back to the Rectangular Marquee tool. We've got a few Layer Effects to assign, of course. So what I'm going to do is copy effects from different layers here. I'll press the Alt key or the Option key on the Mac, and drag the inner shadow from the lower lip layer onto the tooth layer. So we just want the inner shadow. And then Alt or Option drag the drop shadow from the upper lip layer onto the tooth layer in order to produce this effect.
I want to make a slight modification to the drop shadow, so I'll double-click on it and I'll change the distance value to 8. And I'll change the size value to 12 pixels, as well. And then, I'm going to go ahead and turn on inner glow and click on it as well. We actually want an inner shadow, so, I'll click on a little color swatch. 210 for the hue value. 100% for the saturation value. And 15 for the brightness then, I'll click OK. I'll change the blend mode from screen to multiply. So that we end up getting a darkening effect.
I'll take the opacity value down to 50%. And I'll take the size value up to 16 pixels in order to produce the effect you see on screen. And then, I'll click OK. And that, folks, is how you shade an image using vector based shape layer combined with pixel based layer masks here inside Photoshop. If you're a member of the lynda.com online training library. I have a follow-up movie, in which I show you how to take the monster's clothing, his shorts and his underpants, and turn them into actual fabrics, using pattern overlays.
Look, he's wearing jorts. If you're waiting for next week's free movie, I'll show you a really easy way to take this background and, and colorize it using a Color Overlay effect. Deke's Techniques, each and every week. Keep watching.
Get unlimited access to all courses for just $25/month.Become a member
120 Video lessons · 58058 Viewers
119 Video lessons · 67443 Viewers
84 Video lessons · 16778 Viewers
125 Video lessons · 29655 Viewers
Access exercise files from a button right under the course name.
Search within course videos and transcripts, and jump right to the results.
Remove icons showing you already watched videos if you want to start over.
Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.
Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.