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341 Integrating 3D art into a 2D scene in Photoshop

From: Deke's Techniques

Video: 341 Integrating 3D art into a 2D scene in Photoshop

Hey gang this is Deak McClellan. All right, here's that synthetic looking 3D shark, and here's the final integrated In order to draw the eye, we're going to take advantage of the elliptical marquee And I'll right clicking inside the image window, The most specifically, All right now I'm going to press the 5 key, Now you may well wonder how I created and lit and otherwise set this 3D shark in

341 Integrating 3D art into a 2D scene in Photoshop

Hey gang this is Deak McClellan. Welcome to Deak's Techniques. This week I'll show you how to integrate a piece of 3D art into a 2D scene in Photoshop, specifically we'll take this 3D model of a hammerhead shark from fellow Lynda.com author Ryan Kiddleston and set against a 2D Fotolia background and rather than leaving the shark looking like a rubber toy floating in a swimming pool. We'll give it an eye, and then we'll wrap the rays of light and the bubbles around it so that the shark looks natural and at home.

Here, let me show you exactly how it works. All right, here's that synthetic looking 3D shark, and here's the final integrated effect that we're going for, just so that you have a chance to see him on screen. We're going to start with this eye right here because it's the window into the shark's soul. So we'll go ahead and switch over to our start image and then I'll press control and spacebar, that's command and spacebar on the mac in order to get the zoom tool on the fly and then I'll just drag over to the right like so in order to zoom in and I'll press control plus or command plus on the mak to zoom just a little bit farther in so we can really see this eye, and you can see that we're working with a fairly low resolution image, it's generally the best way to start things out when you're creating 3D inside Photoshop.

In order to draw the eye, we're going to take advantage of the elliptical marquee tool, which you can select from the marquee tool fly out menu and then just go ahead and surround the eye, more or less like so and I'm using the spacebar in order to move that ellipse on the fly. Now, as you can see, it's an upright ellipse. We need to skew the shape a little bit, and you can do that by going up to the Select menu and choosing Transform selection, which allows you to modify the selection outline independently of the image, and then you want to drag this bottom handle right here that you see me dragging, although ineptly so far.

But you want to drag it, and as you drag it, you want to press and hold the control key or the command key on a fly so that you can slant the shape like so, and then go ahead and control or command drag this top handle as well, and I'm going to move this handle outward, I'm not pressing the control or command key this time, and I'm going to move this guy outward as well, because I want to scale the eye to make it bigger, and then I'll press the Enter key, or the Return key on a Mac, in order to accept that change. Now let's create a new layer by pressing Ctrl+Shift+n or Cmd+Shift+n on the Mac, and I will call this layer white, because it's the white of the eye, and I'll click okay, and now I'll go ahead and tap the d key just to ensure that I've got my default colors, including white as a background color, and then to fill the selection with white you press Ctrl+ backspace in here on the PC.

That's Cmd + delete on a MAC, and then you can click off the shape to deselect it. Now what I recommend you do is create a copy of this layer by pressing Control, Alt, J or Command option J on the Mac which lets you jump the layer and name it and I'm just going to call this guy I and I'll click Okay and we'll come back to it later. I'm going to turn off the I layer for now and go back to the white layer, and then what you want to do is double-click on an empty portion of this layer to bring up, the big old Layer Style dialog box, and the idea is I want to force through some of the darkest colors from the shark below, by dropping down to this underlying layer slider right there, and I'll drag the black slider triangle.

Over to 70 like so, you can see the value 70 over there. And what that's saying is anywhere where the underlying colors have a luminous level of 70 or darker, which is pretty darn dark by the way, they will force through, and you'll be able to see them through the white, but that creates a very harsh transition as you can see here. So, to soften things up, you want to press and hold the alt key or the option key on a mac and drag the right half of this black slider triangle over to 130, is what I'm looking for like that, and that way we have this soft transition like so, and that way we have a soft transition you see on screen.

All right now I just want to reduce the opacity value, up here at the top of the dialogue box I'm just going to it down to 30 percent like so, and then click okay. That takes care of the white of the eye and now we need to add the pupil, which I'm just calling eye because it's a big pupil, a big animal pupil after all, and then I'll click on the eye layer to make it active. Then you'll want to go up to the color panel, assuming that you see it in the top right corner of the screen, if you don't see it you can go to the color window and choose the color command. But assuming that you do, you want to bring up your fly out menu and you want to switch over to the hsb sliders, and the values that we're going to dial in are hue value of 190 degrees followed by both saturation and brightness values of 50%.

Like so, and that gives us this kind of deep shade of green, and then to fill this shape with that color, you want to make sure none of values are active, so if they are press the enter key, the return key on a Mac, to accept the values and then press shift-alt-backspace, or shift-alt-delete. On the mac in order to fill that ellipse like so. All right, now we want to transform it, make it a little smaller here. So go up to the edit menu and choose the free transform command, and I'm just going to drag this lower right handle like so.

To about this position right here, let's say, and then I'll press the Enter key or the Return key on a Mac, to accept that change, and I'm also pressing Ctrl along with the right arrow key to kind of nudge this guy a little bit over to the right like so. And I wanted to fill up into this portion of the eye, and so, I'm going to get my brush tool. And I'll right clicking inside the image window, notice that my hardness value is cranked up to 100%. That's what you want as well. The size is very low at eight pixels, which will allow me just to click right about there in order to fill in that little region right there, and now I want to mask this eye inside the white.

Right there, but I don't want to create a clipping group, because that would mess things up, so instead, I'll just go ahead and load this white layer as a selection outline by pressing the control key or the command key on a mac and clicking on this thumbnail, like so, and then with the eye layer still selected, so you can see we've got a selection outline right there, with the eye layer still selected, go ahead and drop down to the add layer mask icon, at the bottom of the layers panel and click on it and that will mask the eye like so. So it's just going to be a slight change, and now, you want to go ahead and change the blend mode for this layer to Multiply.

So, it's darkening up, and then, finally, I'm going to add a gradient overlay effect by clicking on the FX icon. Very important that you click on the FX icon and not the little black and white circle. Click on FX, and choose gradient overlay and I mention that, because I get mixed up sometimes, and now I'm going to drag this angle value around to negative 100 degrees is what I'm looking for and then you can change the blend mode to multiply in order to produce this dark effect right there, and then you can just go ahead and click ok.

In order to accept the effect which results in a pretty good looking eye, I think. All right now I'm going to go ahead and zoom out and I did that by pressing control zero, or command zero on a mac. Now we need to integrate the shark with the rest of the scene. So some of these bubbles are in front of the shark for example, as well as some of these light rays. That is coming through the water, so what you want to do is click on the background item here inside the layers panel to make it active. Drop down to the black and white circle at the bottom of the layers panel and choose the levels command, and that will bring up the properties panel, and all you want to do at this point is reduce this gamma value.

This middle value below the histogram to 0.7 by clicking inside of it, and pressing shift down arrow three times in a row and that'll go ahead and darken up that background. Now you can hide the properties panel if you like and, you know what, I'm going to go ahead and rename this levels layer deepen, like so. All right, now we need to make a copy of this background layer, so go ahead and click on it to make it active and then press control alt j, or command option j on the Mac to bring up the new layer dialogue box. Let's go go ahead and call this guy light, and click okay, and now you want to drag it to the top of the stack like so.

Go ahead and drop it into place there. All right, now here is where things get interesting, and you're going to have to make some objective decisions starting with. What portions of the light are we going to see through? So we need to make some areas of the light transparent by going over to this light layer. You want to double click on an empty portion of it to once again bring up the layer style dialogue box. Let's go ahead and change the blend mode to screen. So that we're using the light to brighten the background, which is of course the way light works, and then we want to use the: this layers slider this time around, and you want to go ahead and drag, if you're working along with me.

This black triangle up to 100. So that you're seeing a value of 100 up there. Or something very close to it, and you can see that that's dropping out. Portions of this layer. Any pixel on this layer that has a luminous level of 100 or darker, is now becoming invisible, and now of course we want to soften the transitions, so press the alt key or the options key on a mac and drag the right half of this black triangle all the way over to the right hand side. So, that you're this layer values are 100/255 followed by 255 by itself.

As long as you're seeing those values right there, you're good to go. At which point, you can go ahead and click ok. To accept that change and now we want to do some hand masking, and this is where you can just free form it, by dropping down to the Add Layer Mask icon at the bottom of the Layers panel. Go ahead and click on it. Make sure that Layer Mask thumbnail is selected, and then, let's go ahead and increase the size of the brush pretty significantly, by pressing the right bracket key a few times, and that's the square bracket key? The right one that's to the right of the p as in Paul key on an American keyboard.

Then, you want to make sure that your foreground color's black, so in my case it's white, which means I need to press the x key to make it black, then right click inside the image window to bring up this brushes panel and reduce the hardness value to zero percent and press the enter key, or the return key on a Mac to accept that change. The most specifically, the portion of the bubbles that we want to map out are along the face. We just want to make it appear as if he's emerging from these bubbles, and I'm going to zoom out a little bit. I want to get rid of this double bubble action that's up here.

In the top right and top left corners, and I'll go ahead and paint this area away a little bit. Paint this away as well. We just don't want too much brightness being cast upon the scene, because after all we've already got these bright lights in back of the shark. So, we're mostly interested. In keeping these bubbles and these lights in front of the shark. So now go ahead and zoom back in and I'll press the x key so that I can paint back in some bubbles. That's probably too much, but I do want to paint some in to the side of the creature, and in to it's fins, and it's tail and that kind of stuff, and then, what I propose we do is press the x key to switch the foregone color back to black.

And then press the five key to reduce the opacity value up here in the options bar to fifty percent. And then what you can do is just sort of click around in order to subdue the light ever so slightly. That's too much in my opinion, so I'll press control z, or command z on the Mac, to undo that change. And maybe just click down here, a little bit, maybe press the three key to reduce the opacity to 30%, it's really up to you how you decide to play this. And then I'll just go ahead and click a little bit more. And then I'll press the x key in order to make my foreground color white.

So that I'm painting in light and bubbles once again. And I'll paint in a few more places, like so. All right now I'm going to press the 5 key, to reinstate an opacity of value of 50%, up here in the Options bar. And I'll paint in some more light in this section here. And of course, it's going to be subtle because you're working with such a low opacity value. And I might add a little bit of brightness in this region. A little more brightness up above the shark. And so forth, and that looks pretty good to me. So, once you're done brushing, what I suggest you do is reinstate an value of 100% just by tapping the zero key, because otherwise this can really throw you, when you're using the brush tool later on.

Now I'll go ahead and press the m key to switch back to the rectangular marquee tool. Press the F key a couple of times to switch to the full screen mode. And just so that we have a moment to review what we've done, I'll go ahead and press the F12 key in order to restore the version of the image that we saw at the outset of this movie. So, here is that technically adept but synthetic version of the shark, and then, if I press Ctrl+Z or Cmd+Z on the Mac in order to undo the reversions. This is the version of the shark that we've integrated into the 2D scene, using a series of additional 2D layers here inside Photoshop.

Now you may well wonder how I created and lit and otherwise set this 3D shark in Photoshop in the first place, in which case I have good news for you. 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 do exactly that. If you're waiting for next weeks movie I'm going to show you how to create 3-D donuts, in Adobe Illustrator. Which is not only a heck of a lot of fun, but easy as well. Deke's Techniques, each and every week. Keep watching.

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Deke's Techniques

372 video lessons · 138728 viewers

Deke McClelland
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  1. 24m 37s
    1. 371 Creating secret-message type in Photoshop NEW
      13m 38s
    2. 372 Animating a continuously morphing message NEW
      10m 59s
  2. 17h 31m
    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
    68. 349 Mixing a low-color photo with Camera Raw
      11m 2s
    69. 350 Mixing a low-color photo with adjustment layers
      10m 7s
    70. 351 Saving your effect as a color lookup table
      5m 31s
    71. 352 Extracting a classic painting from its frame
      11m 35s
    72. 353 Extracting that same painting nondestructively
      7m 59s
    73. 354 Archiving and enhancing a child’s art
      10m 47s
    74. 355 Combining a child’s art with a real classic
      11m 5s
    75. 356 Developing the perfect sunset in Camera Raw
      9m 55s
    76. 357 Lush landscapes: The real green is yellow
      9m 7s
    77. 358 Painting away Camera Raw “Clarity halos”
      17m 7s
    78. 359 Selectively sharpening a stressed photograph
      16m 12s
    79. 360 Transforming yourself into a Dark Elf
      16m 27s
    80. 361 Hand-masking the elf against a vivid background
      15m 35s
    81. 362 Making the Dark Elf that much darker
      15m 29s
    82. 363 Developing a photograph of The Joker
      16m 26s
    83. 364 Carving expression lines into The Joker’s face
      14m 1s
    84. 365 Creating a campaign poster in Illustrator
      15m 3s
    85. 366 Creating a Prohibition (or Universal No) symbol
      7m 13s
    86. 367 Using Photoshop CC’s new Flame Generator
      10m 4s
    87. 368 Creating cool Flame Generator art
      9m 35s
    88. 369 Setting type on fire with the Flame Generator
      8m 13s
    89. 370 Blending synthetic flames with type
      6m 12s
  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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