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This week we're going to add the details to the little golden medallion we made last week. All those paths are going to serve as the details. And I'm going to start with these two on the outside. So I'm going to go in here and select these two. These two are going to be this little rib that's going to be engraved into the edge of my medallion. So I'm going to create a new layer. I'm going to call this layer right here. We're going to call it, the ribbing. Just rib. And I got my paintbrush selected right here. I'm going to make sure that I have hardness set to 100%.
And the size, I got it at five right now, which looks like a good size when I see it on the screen. So we're going to go with that. We're going to go with a five pixel brown brush. I picked a nice deep brown. So what's going to happen now is I'm going to go in here and I'm going to stroke these. I'm going to go to my path and I'm going to stroke right here using this because I have my paintbrush selected. So I'm going to click on here and in a layer that's for the ribs, I'm going to go in there and stroke it. There they are. So now, I'm going to create another layer, right here, which I'm going to call the ship.
Now even though they both going to be ribbing, I am going to make them separate and you'll see why in a minute. So now back to my paths, I'm going to go in here and get the direct selection tool, and go in here and just select all the little pieces that make up the ship. And Shift click on this one, because it wasn't inside of my little marquee areas. It's important to check just to make sure that everybody who's supposed to be selected is, in fact, selected. So now that I have that, I'm going to go back into my layers, and in that ship, I'm going to take that path, and stroke it with the brush.
Make sure that brush is selected. And there we have the ribbing for the ship. Now there's why I decided to do them separately. So what I'm going to do now is I'm going to go back to my layer with the ribs and let's go in there and get real close. Real close on it. take that rib layer and I'm going to go in there and erase it. going to bring my eraser size down. Don't need such a big one and just erase that right inside there. I don't want that visible right through that area and the same thing on this side. I don't want it visible right through here.
There it is. Go back again. There's all my ribbing. So now that I have those little touches done, I'm going to take the ship and just merge it down. To the ribs, and holding down my Option key, I'm going to drag it right above, right there, made a rib copy. So what I'm going to call this one right here is rib top. Now, the rib top, and I'm getting real close so we can see what starts to happen, the rib on top is the rib itself. I'm going to double-click on it to bring up the Bevel and Emboss.
And now the light's coming from that direction, from up above, up to the left. So right now I'm going to change my angle of my shading to the upper left and there you see I'm getting that nice effect that I want. Now that black that's going through there, that could possibly make this more into the browns. So it's not so harsh. There, now we got this nice kind of a warmer dark tone inside there. And this light tone, well we can kind of make that a little more golden as well. So just go in there and just start to make it more like a orangey. And we can kind of preview it in back.
So you can see right about where it's going, right in there like that. 'Kay, there it is. Click OK. We can make them a little stronger so we increase this and make them a little smoother. If their little tubes are hard, we can also make the size down to about maybe three, so it just picks it up right on the little edges, right there like that. Click OK and there we see that we have this nice little ribbing for the rib on top. Now, this one where we'll call, in fact we'll give it a name so you'll see what it's going to be. We'll call it the rib well.
This one down here what we'll do is we'll take that same Bevel and Emboss, which is Option click and drag it over here so it has it as well. But we're not seeing it because we'll go into it now and what we're going to do is go to that Bevel and Emboss and change the style from Inner Bevel to Outer Bevel. And there we see that we have this outside part. Now we're going to make it a little bit bigger. Let's say we try a four and see how that's going to look. Now the light is what's going to make the difference and make it look like these little ribs are being engraved into the bevel.
So, global light means that if I do this it's going to change everything. See that? So we don't want to do that. I want to turn off Use Global Light, now turn that off. So now I can change the light source just for this particular layer rather than the entire scene. So I bring the light down to this area, and there you can see that now these things look like they've been cut into the metal. We can make them a little bigger if we want. want to try it? It's a little to big. Let's try a five. Five looks pretty good. How does it look on the ship? It's starting to look really good but it's a little too hard there.
So maybe we can un-soften it a little. I'll tell you what let's bring it back down to that four. That does look the best. Click OK. Pull back and now we see that we have the engraving in place. So now, we need to do one more thing. The QE2 itself and that's going to be ribbing. So, let's go in here and create it. I'm going to type in QE2. Now I previously chose Lucida Grand as the font that I'm going to use and there it is. I'm going to put it in position, right about there, and I'm going to Cmd+T to transform it. And I'm going to enlarge it, enlarge it out this way, about like that. Bring it down, make it a little tighter.
There, that's the way it's going to look. Right in there like that. Make that happen. There's my type. But it's not the type, itself, that we want. So what I'm going to do now is I'm going to go in. And I'm going to go to my type, and say. Create work path. There's another path. That path now is going to serve as our effect. Now, I can throw this away. Don't even need that text any more, because we have the paths. So what we're going to do to these paths is, just as we did before, right here, in the rib well, we're going to take all our paths for the QE2.
And with the brush, we're going to stroke em, right in there. And in rib top, take the paths and stroke em. And there that we see that now we had the QE2 engraved in the metal frame. Now what we're going to do is add that shimmer. All that little sheen that's going through this whole thing. So what I'm going to do is right here, right on top of the plate itself I'm going to create a new layer. We're going to call this layer dark.
And I'm going to make a nice big selection right across here, right through here like this. There. And what I'm going to do, is I'm going to take my gradient tool and let's pick some colors. I got that dark brown. Let's make it a little less dark right there. And going to a let's say a brown that's even deeper, about like that. Okay. And what I'm going to do, is right inside that area there, I'm going to throw a little gradient Right in there like that. There's my gradient. Deselect it. And what I'm going to do now is I'm going to blur it.
I'm going to go in there, and give it a little Gaussian blur, just to soften it up. Right in there. Not that much, just a little. Click OK. And what I'm going to do now is I'm going to clip it. I'm going to clip it inside the charm plate. Just like that. So now we're only seeing it inside the plate itself. And now what I want to do, is I want to create this nice little edge right around all our little engravings. So what I do is I'm going to give it a mask, and I'm going to go ahead and load one of the engraving areas.
And then I'm going to expand it just a little bit and we're going to go selection modify and expand it just a tad say about four pixels for this particular resolution that I'm working at and then in that mask I'll go ahead and fill it with black. And there we see that now we have taken that sheen away from the little areas of our little engraving, which we can now go in there and maybe blur that just a little bit more, just kind of just a tiny bit, of about one, just to soften that edge. Now here's a cool little thing that we're going to do next, is to add that little curvature that we see in there So what I am going to do is I'm going to unlink the mask so that now I can affect the layer and the mask will stay in place.
So what I'm going to do is I'm going to take that little layer right there and I'm going to push it right in there and push it in here. Then I'm going to kind of push it out. See? Push it out there and push it out in this direction. Push this out, and push that out. Push this, and you can see what I'm starting to get. I'm starting to get this little feel, like this metal is just going right around. Or this little high, this shadow and such, are just going right around the metal area. Just like so, there.
Okay. Now we can do to these other areas but they're so tight it doesn't really matter. Now right through here what we'll do is we'll add a straight sheen. So in a layer right here on top of this we'll link them as well and we'll call this sheen and we'll take a nice white. And a nice big brush which just go right through it, right here, right through like that, okay. Or I can click on top and Shift click down to bottom if I want to make sure it's nice and clean. There it is.
I'm going to go in there and blur that, give that a nice little blur. Click OK. And then, I'm going to go in there, and do the same things to it. I'm going to give it the same mask. All I have to do is Option click and drag this mask. And that'll clear it from those little areas just like it did here. And since the mask is unlocked here, it'll come in unlocked there as well. So now, I can take this sheen, the sheen, itself. And, we'll just bring down its opacity a little bit, so it's not so strong. Just this nice little, tone right in there like that.
And just like we did with the dark area, we're going to go in, and, give it that little, nudge right at the corners, just so it starts to feel like it's following the motion of our metal. Right through there, and out just a tiny bit. Out and in. And there, and out and. Let's get this, this side is fine. Actually, these, these sides look pretty good. And there's our nice little sheen. Now, what's going to happen next week. Is we're going to go in there and add the third dimension to our little medallion.
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