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Bert Monroy: The Making of Times Square, The Tools
Illustration by John Hersey

Creating realistic glasses


From:

Bert Monroy: The Making of Times Square, The Tools

with Bert Monroy

Video: Creating realistic glasses

Layer styles will add dimension to just about anything they're applied to depending on how well you apply them. Now they don't have to be glaring effects. They could be very subtle. Like right here, when we see Kevin Connor from Adobe, he has got some glasses on. I want to create the effect of these glasses and show you how layer styles was crucial in making them look realistic. I have here another file, which is a copy of that where I have gone ahead and flattened a bunch of the layers, and we can see that there are the glasses real close. What I am going to do is I am going to eliminate the front group here, which is that front area.
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  1. 6m 34s
    1. Welcome to the tools used to create "Times Square"
      57s
    2. What is "Times Square?"
      5m 37s
  2. 1h 32m
    1. Using a Cintiq to control the brushes in Photoshop
      3m 33s
    2. Making the chain brush
      8m 49s
    3. Making the single loop chain
      6m 55s
    4. Creating a brush to make furry text
      8m 13s
    5. Creating the look of stitching on cloth
      5m 46s
    6. Creating a rough brushstroke look for the Tarzan sign
      3m 3s
    7. Creating a crochet look brush
      5m 32s
    8. Creating dirt and grime
      6m 16s
    9. Using brushes to create trees in Central Park
      6m 41s
    10. Using a brush to create the look of embroidery
      3m 3s
    11. Creating the stars on the wall of the Toys"R"Us image
      6m 24s
    12. Creating a fabric design
      3m 43s
    13. Creating the look of brick
      4m 27s
    14. Weathering bricks
      8m 23s
    15. Creating light bulbs
      6m 14s
    16. Creating the effect of a fading brushstroke
      5m 36s
  3. 15m 42s
    1. Creating a paper towel
      8m 5s
    2. Creating denim
      3m 25s
    3. Creating asphalt
      4m 12s
  4. 21m 3s
    1. Layer groups
      7m 59s
    2. Making the lights in the Toys"R"Us image
      3m 12s
    3. Understanding the layers in lights
      5m 20s
    4. Creating blinds with a 3D postcard applied to layers
      4m 32s
  5. 32m 55s
    1. Creating a bottle
      8m 50s
    2. Creating an iPhone case
      3m 35s
    3. Creating the iPhone icons
      3m 34s
    4. Creating a ladder
      6m 8s
    5. Creating the effect used on the Bubba Gump sign
      5m 7s
    6. Creating realistic glasses
      5m 41s
  6. 1h 56m
    1. Creating a fabric texture
      9m 46s
    2. Creating Julianne's pants
      9m 28s
    3. Creating a checkerboard pattern on a bottle cap
      6m 16s
    4. Creating a wood texture
      8m 26s
    5. Creating concrete and marble
      3m 14s
    6. Creating a brick pattern
      7m 12s
    7. Creating ribbed metal
      5m 40s
    8. Creating ribbing on T-shirts
      11m 18s
    9. Creating a lime
      8m 29s
    10. Creating leather
      2m 33s
    11. Creating rough animal skin
      4m 0s
    12. Creating a grill on a car
      6m 4s
    13. Creating a car light
      6m 2s
    14. Creating the windshield
      10m 39s
    15. Creating a metal screen
      4m 14s
    16. Creating a quilted metal effect
      3m 18s
    17. Creating wafer quilting
      4m 41s
    18. Creating a pattern on the wall
      5m 16s
  7. 6m 57s
    1. Making the clipping group used on the manga billboard
      6m 57s
  8. 10m 36s
    1. Applying a layer mask to create a reflection
      3m 53s
    2. Linking masks
      1m 35s
    3. Applying layer masks and layer styles to create a chain link in a necklace
      5m 8s
  9. 52m 35s
    1. Explaining channels
      4m 0s
    2. Creating a license plate with channels
      6m 47s
    3. Creating shadows on the cables
      5m 50s
    4. Explaining channel calculations
      3m 46s
    5. Understanding calculations in channels
      4m 32s
    6. Creating a manhole cover with channels
      15m 31s
    7. Creating wiring on lights with channels and calculations
      12m 9s
  10. 29s
    1. Parting words
      29s

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Bert Monroy: The Making of Times Square, The Tools
5h 56m Intermediate Mar 25, 2011

Viewers: in countries Watching now:

Take a virtual journey to the bustling streets of New York in Bert Monroy: The Making of Times Square. Digital painter Bert Monroy reveals how he created the minute details that build the impressive 108,000 x 21,600 pixels, 25-feet wide photorealistic portrait of this iconic intersection.

In this installment, The Tools, Bert demonstrates how he uses the brushes, filters, and textures in Photoshop to create everything from the trees in Central Park to the billboards on Broadway, and shares his techniques for keeping his project organized with layers and groups. He also touches on the importance of channels and channel calculations, and how the evolution of the tools in Photoshop from CS3 to CS5 shaped his work.

Topics include:
  • Making a chain brush
  • Understanding the layers in lights
  • Using the 3D tools in Photoshop
  • Using layer styles
  • Creating wood and fabric textures
  • Applying a layer mask
  • Linking layer masks with layer styles
  • Understanding channels
Subjects:
Design Illustration Design Techniques Digital Painting
Software:
Illustrator Photoshop
Author:
Bert Monroy

Creating realistic glasses

Layer styles will add dimension to just about anything they're applied to depending on how well you apply them. Now they don't have to be glaring effects. They could be very subtle. Like right here, when we see Kevin Connor from Adobe, he has got some glasses on. I want to create the effect of these glasses and show you how layer styles was crucial in making them look realistic. I have here another file, which is a copy of that where I have gone ahead and flattened a bunch of the layers, and we can see that there are the glasses real close. What I am going to do is I am going to eliminate the front group here, which is that front area.

Let's pick up this blue right here, that we have of the glasses. Right there let's pick up the blue and then we'll turn this off. And you can see that I have paths for the glasses right there. So what I am going to do is I am going to select the outer frame path right there, and then in a new layer I am going to create a layer on top of this right there. I am going to create this layer and let's put it outside here and we are going to call this frame. This is going to be the frame for our glasses. I am going to go ahead and fill that path with that blue. Now I am going to select the inner path right here.

This is the path that makes up the glass area of the glasses. I am going to turn that into a selection, then I am going to turn off my path. Now, the reason I am turning it off is because I am going to delete this interior part of the glasses. And when I hit the Delete key, if the path is turned on the path will be deleted rather than the interior of the blue frame. So now, I go back to my layers, make sure I am in the frame, and I hit the Delete key, which will eliminate that central part. So now I am going to create another layer. I am going to call it the glass. This is the glass.

Now I am going to put that behind the frame. I want it inside the frame and I am going to expand the selection just slightly. 2 pixels is enough. That's going to make it go right in behind the glasses. I won't have any gaps that make it look like there is a hole between the class and the frame. That's just a little bit of an expansion. I am going to pick a light gray color like that and I am going to go ahead and fill that area with that gray. And I can deselect it. Now that I have that I am going to go into the layer styles for the glass.

And here is where I am going to go in and start to create that illusion this is in fact glass. I am going to go in and take that glass and bring down the Fill Opacity so we can see through it, right there like that. And then I am going to give the glass a Bevel and Emboss. And we see that the light is going to come from about this area right here. There is the light coming from that area and I am going to increase the Size of that Bevel and Emboss, just like that, increase the Depth, so I get a really strong light and dark and we did that. Let's just make it a little bit smaller.

We don't want these to look like bottom of the glass is really thick, like a Pepsi bottle or something. No, I want to just make it just a little edge to give them a little thickness to them. Now there's a dark shadow in here. I don't want this. I would like this to look like just another edge of the glass. I am going to change the black to a light gray color and there we can see that now we just have this little hint of the inside of the glass shaded at the bottom right there, like that. Now, this is a glass and glass is highly-reflective. So there should be some little reflections in here.

So what I am going to do is I am going to look at the Glass Contour for the layer style and give it something a little more complex like this one here and you can see what it just did. It just added all these nice little tones inside of the area there. Now, I can bring down the darks a little if I want to, just to make them a little less pronounced inside the glass area. And there you can see that now we have this really nice bright area pushed out up a little and you can see that we have these nice little highlights all along the edges of the glass, which are making them look three-dimensional, and make it look like real glass. I will click OK.

That part of the glass is done. I might want to add a layer on top of that, which I am going to go ahead and clip with the glass. So it will only be seen inside the glass and I am going to go in there and add some white highlights to it. I will keep in mind that anything that's being clipped by a layer beneath is going to be affected, and since I reduced the Fill Opacity for that layer, my white will not be as strong, but I am just going to add a little bit of a glare right through here and let's just soften this brush considerably, and we'll just add a little bit of a highlight right through there and another one right through there.

So it just looks like that there's little highlights on the glass itself, right there like that. Okay, we might want to add another little one just right through there and there we have this nice little highlight showing up. If you want you can go in there and give a little Gaussian Blur just to soften those highlights a little bit, so they just become these little soft edges right in there like that. Now the frame itself needs a little bit of a layer style. So I will go in there and give that a Bevel and Emboss as well, and you can see that it's just conforming to what the glass is, but I would like to just work at it so that you don't see certain areas.

So I am going to turn off my Global Lights, so it's not going to affect the other layers and I am just going to move my light source so that I have it just about where I want it, which is right on the top here and showing me my shadows underneath with nothing happening in this area here. There we see that now we have this nice edge to the frame as well. Now there are a little highlights and stuff of the frame, I am going to use the dodging and burning to create those. Let me go in there and add a little darkness to this edge, just like that, maybe a little darkness to the bottom, a little shadow going right through there, and then I am going to take the Dodge tool.

I am going to add a little highlight right through here, a little highlight right there, and maybe a little highlight right at this edge here, right in there like that. And there you can see that we started adding dimension to the glasses, making it look three-dimensional.

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