Pixel Playground with Bert Monroy
Illustration by John Hersey

Pixel Playground with Bert Monroy

with Bert Monroy

Video: Charms and medallions in Photoshop: Adding details

This week we're going to add the details to And there we have the ribbing for the ship.
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  1. 7m 18s
    1. Using Photoshop's Displace filter to create a waving flag NEW
      7m 18s
  2. 29m 25s
    1. Making a piece of candy: Adding the jelly filling
      10m 51s
    2. Creating a Valentine's Day card
      10m 10s
    3. Turning a daytime scene into night
      8m 24s
  3. 45m 43s
    1. Using the Photoshop Flame Generator
      6m 53s
    2. Creating a mountain scene
      8m 24s
    3. Creating reflections in water
      6m 8s
    4. Making a diamond-encrusted type
      12m 11s
    5. Making a piece of candy: Creating the chocolate base
      12m 7s
  4. 27m 47s
    1. Mapping video onto a 3D object in Photoshop
      5m 50s
    2. Creating a wintery scene
      7m 36s
    3. Making a New Year's 2015 card
      14m 21s
  5. 33m 21s
    1. Three Dimensional type with extruded neon: Making the letter forms
      12m 29s
    2. 3D type with extruded neon: Adding the neon
      11m 48s
    3. Creating a Thanksgiving card
      9m 4s
  6. 47m 25s
    1. Creating a galaxy with Photoshop: Building the star field
      9m 23s
    2. Creating a galaxy with Photoshop: Adding color and effects
      10m 19s
    3. Creating a campfire scene: Adding the campfire
      12m 34s
    4. Creating a campfire scene: Adding trees and lighting
      8m 3s
    5. Creating a superhero type treatment
      7m 6s
  7. 46m 32s
    1. Making a desk nameplate
      12m 6s
    2. Illustrating a campfire from scratch
      9m 35s
    3. Creating realistic stains on bathroom tile
      9m 9s
    4. Creating a distressed windowsill from scratch
      15m 42s
  8. 45m 16s
    1. Increasing precipitation: How to make a rainy-day photo look rainier
      9m 34s
    2. Retouching techniques: Improving a picnic scene
      9m 28s
    3. Retouching techniques: Moving an object in a scene
      9m 29s
    4. Retouching techniques: Improving a real estate photo
      8m 53s
    5. Adding a billboard to a photo
      7m 52s
  9. 28m 56s
    1. Making a book: Perspective
      9m 53s
    2. Making a book: Adding pages
      9m 27s
    3. Using paths and layer styles to create logo text
      9m 36s
  10. 42m 42s
    1. Theater curtain: Animating a rising curtain
      7m 23s
    2. Creating a chalkboard
      12m 48s
    3. Creating a manila envelope
      12m 50s
    4. Turning a regular donut into a jelly donut
      9m 41s
  11. 48m 47s
    1. Creating net fabric for a veil
      15m 39s
    2. Animating a spotlight against a brick wall
      7m 1s
    3. Damen Station: Using Blend in Illustrator to create intricate details
      4m 34s
    4. Theater curtain: Making a braid and tassels
      9m 53s
    5. Theater curtain: Creating the curtain
      11m 40s
  12. 34m 22s
    1. Oyster Bar: Creating a canvas texture
      7m 53s
    2. Creating realistic reflections and shadows
      11m 0s
    3. Creating water droplets on a surface
      7m 42s
    4. Wrapping a pattern around a 3D wine goblet
      7m 47s
  13. 29m 7s
    1. Damen Station: Creating realistic rust
      6m 56s
    2. Oyster Bar: Creating puddles
      6m 15s
    3. Oyster Bar: Creating asphalt and concrete textures
      5m 3s
    4. Oyster Bar: Creating a manhole cover
      10m 53s
  14. 38m 48s
    1. Magazine cover: Creating a lamp
      13m 57s
    2. Magazine cover: Creating a wood floor
      13m 29s
    3. Damen Station: Adding multiple train cars
      5m 26s
    4. Damen Station: Creating bolts
      5m 56s
  15. 36m 9s
    1. Red truck: Creating a headlight
      7m 17s
    2. Red truck: Creating chrome headlight trim
      7m 37s
    3. Red truck: Creating realistic metal perforations
      7m 5s
    4. Red truck: Creating wear on metal
      6m 18s
    5. Magazine cover: Using perspective to draw a room
      7m 52s
  16. 31m 44s
    1. Oakland Theater: Creating lightbulbs
      15m 33s
    2. Changing photo contents with Auto-Align Layers
      6m 36s
    3. Creating a metal grill
      9m 35s
  17. 47m 14s
    1. Charms and medallions in Photoshop: Adding details
      10m 49s
    2. Charms and medallions in Photoshop: Adding a third dimension
      10m 10s
    3. Oakland Theater: Creating stone walls
      14m 11s
    4. Oakland Theater: Creating neon
      12m 4s
  18. 40m 9s
    1. Animating a 3D starfield
      7m 6s
    2. Creating an antique pub sign using Photoshop
      13m 1s
    3. Creating a custom brush to draw hair
      7m 57s
    4. Charms and medallions in Photoshop: First steps
      12m 5s
  19. 21m 8s
    1. Using a Fibonacci spiral to create a tattoo
      4m 19s
    2. Body shaping with Puppet Warp
      4m 1s
    3. Type effects in Photoshop: Pillow
      6m 46s
    4. Type effects in Photoshop: Clouds
      6m 2s
  20. 42m 37s
    1. Recreating magazine clippings
      7m 31s
    2. Creating realistic scales for a dragon tattoo
      6m 27s
    3. Creating spikes for a dragon tattoo
      10m 35s
    4. Creating the belly for a dragon tattoo
      10m 55s
    5. Creating a flower tattoo
      7m 9s
  21. 29m 24s
    1. Creating a custom brush
      7m 28s
    2. Using displacement maps to create shadows
      7m 27s
    3. Enhancing a landscape by adding a lake
      6m 37s
    4. Creating a dog tag
      7m 52s
  22. 23m 36s
    1. Creating animated snowfall with Photoshop
      6m 39s
    2. Filling an empty glass with liquid
      2m 51s
    3. Using an alpha channel to create a 3D object
      6m 53s
    4. Creating a 3D coin
      7m 13s

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Watch the Online Video Course Pixel Playground with Bert Monroy
12h 57m Intermediate Jun 07, 2013 Updated Feb 27, 2015

Viewers: in countries Watching now:

Take a 10-minute recess every week and join Bert Monroy in Adobe Photoshop or Illustrator, the playgrounds of digital artists. Every Friday Bert walks through a fun, self-contained project that tests your skills and challenges the imagination. These programs aren't just image editors; they are sandboxes for creativity and experimentation. Take a spin through a carousel of tools and get reinspired, each and every week.

Design Photography
Illustrator Photoshop
Bert Monroy

Charms and medallions in Photoshop: Adding details

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.

Find answers to the most frequently asked questions about Pixel Playground with Bert Monroy .

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Q: Why can't I earn a Certificate of Completion for this course?
A: We publish a new tutorial or tutorials for this course on a regular basis. We are unable to offer a Certificate of Completion because it is an ever-evolving course that is not designed to be completed. Check back often for new movies.
Q: Why are some of the 3D menu items grayed out when I try to follow along?
A: The 3D features in Photoshop CC require a computer with at least 512MB VRAM. If your computer doesn't meet this criterion, the 3D menu features will be greyed out.
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