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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.
In the previous movie, we discussed how the pattern was created to create this little metal siding of this little Nuts 4 Nuts truck. We're going to move over a little bit to the right here and look at this same pattern, but how it was used slightly different right there. That's the Mister Softee truck, and we'll look at the side of the truck. There is the art for the actual truck itself. Now every element is created on its own, so we'll look at the little Mister Softee guy right here, which I called Mr. Softee Dude.
Now right here if you look closely at his wafer face, there is the exact same pattern again, except a slight modification made it look like what you see here. So let's go and see how we modified that to get the effect. So right here in a layer, I am going to create a layer, and in that layer I'm going to fill that layer with that pattern that we created before, right there. Click OK. There is the effect.
So now, let's turn this off for a second and in this layer right here, I'm going to create a layer on top of it, and I'm just make the shape that I want my cone to be. So I'm just going to take my Pen tool and I'll just create a cup shape just like so. Very simple cup. There. That's all. Doesn't have to be perfect. This is just to give us the effect. Now I'm going to go in there and pick a color. That's going to be for my wafer. Let's just pick this kind of a yellowish tone right in there, and in that layer I'm want to go ahead and fill that path with that color right there. Turn off the path and that's it.
So now, we have that other layer, the layer that has that pattern, right? So what I'm going to do is I'm just distort this pattern into that shape back there. So first I am going to clip it. Holding down my Option key, Alt on a PC, I want to click between the two layers to mask that pattern inside of that shape, just like that, which I'm now going to go in there and distort it. I am going to go in there and say Distort, and I'll take that pattern and just kind of drag it over to the corners of my shape that I created right there like that. And let's bring this one over and grab that one back over there to that corner and this one over to here, and there we see we have the shape that we want.
Now we want to curve it a little bit. That's easy. We'll just go in there and say warp it. So I can grab this corner here, drag it up, this corner up, and just kind of curve this guys down, and the same thing down at the bottom. We will just curve those like that. So now we have that curvature that we want. Now the effect of the Mister Softee, that is basically just a layer style. So I'm going to go into the Layer Styles for that pattern layer, and I am going to take the Fill Opacity and dump it right off the bat.
We don't need to see those tones. We created those tones for the metal in the Nut cart, but in this particular case, they are like little indents in the wafer. So by giving the pattern a little inner shadow just like that, we can see that we've created that sense that the wafers are now indented inside of that cone, by simply changing the color to something a little more along this line here. And say we pick up little tone somewhere around here, a little brown like that. That looks good.
Click OK and we got this brown. We could punch it up a little bit, increase the distance a little bit and maybe in the light source, just move it over just a slight bit, so we get a little more of an angle like that, increase the size a little, just like that and click OK, and we see that now we have the effect of the wafer. Now if you want to add a little more dimension to this, which you can, let's give it another layer style. We'll give a little Bevel and Emboss, but we're going to put the Bevel and Emboss on the outside. See, the tones are on the outside there, and I'm going to change the direction of the light. And first of all, if I just change the direction, you see that everything is changing.
So I want to make sure that the global light is turned off with this particular layer style. So I am going to turn that off, and I'm going to change the direction of the light to be on this side, and there we see that now we have this little highlight right where we want it, so it looks like those indents are going in. We will just pump that up a little bit, so you can get that nice white. Bring down the brown. We don't want the black; in fact, we'll make it a brown. That looks good. And then we have that nice highlight right along the edge there. We could punch that up a little bit, and maybe make it just a little smaller. So there we see that nice little highlight right along the edge there. Click OK and there we see that we have these little indents--the exact same pattern, but with a slight modification and layer styles that gave us a completely different look.
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