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Deke's Techniques
Illustration by John Hersey

236 Shading an image with shapes and layer masks


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Deke's Techniques

with Deke McClelland

Video: 236 Shading an image with shapes and layer masks

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.
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  1. 29m 37s
    1. 305 Simulating hand lettering with art brushes
      20m 8s
    2. 306 Adding texture to your hand stamp
      3m 34s
    3. 307 Creating a black chop on red paper
      5m 55s
  2. 4h 53m
    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 an object’s 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
  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 a 2D character’s face
      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 Illustrator’s 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 Photoshop's Blunt Instruments
      11m 8s
    89. 089 Creating a stained-glass ornament
      8m 26s
    90. 090 Designing a stained-glass window
      10m 23s

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Deke's Techniques
50h 26m Intermediate Jan 11, 2011 Updated Apr 15, 2014

Viewers: in countries Watching now:

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.

Subjects:
Design Raw Processing Design Techniques
Software:
Illustrator Photoshop
Author:
Deke McClelland

236 Shading an image with shapes and layer masks

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.

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