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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.
This week, we're going to look at another aspect of Daemon here. And, what we're going to do is we're going to concentrate on these little bolts. These little bolts that are on the girders here. And, there's quite a few of them, as you can see. Quite a few of them there. And what's happening here is they're in the shadow, but they're picking up the little reflection from the bright sunlight hitting the platform down below. So we're going to go, and create a whole new file here, and show you how those bolts were created. So now I got a color here that I chose for my background.
So I'm going to go ahead and just fill that background with that color. And I'm going to give it a little texture. So I'm going to go into my filter gallery. And right here, under texture we have texture riser. Which right now is set to burlap. So I'm going to set this to sandstone, which I use a lot for things like stucco and, and even for concrete. I'll use this particular texture. I can make this scaling a little bigger Make it nice and large, and bring the relief down just a little bit, so it's not so strong.
Click OK. There's our basic texture. So what's going to happen now is, I'm going to create the bolts. Now in a new layer is where I'm going to create the two bolts. I'm going to go in here and select a circle like that. So now, now that I have this circle I could deselect it. And what I am going to do now is I am going to go in there and give it a layer style. So I double-click on it to bring up the Layer Styles window. I am going to say give it a Bevel and an Embossed. Now I am going to say that my light source is coming from somewhere in this direction right here.
Okay so, I'm going to set that light to be coming right down there like that. There you go, just like that. I'm going to increase the depth get nice strong tones there and increase the size, and soften it up. There you go. Now, this shadow is a little strong right now, so I'm going to bring down the opacity of this shadow, right there. And the highlight's a little too white, so what I'm going to do is, I'm going to pick up that color, and pick up a lighter version of that same color, about like that.
Lemme see. There we go. That looks a little more realistic. I click Okay. And there it is, right? So now, I don't want to, have it smooth. What's happened is, that this bolt has been covered by years of paint layers, on top. So what I want to do is see that texture underneath, I go to my Blending options right here and I will take the Fill Opacity and reduce it. If I bring down the Opacity you see the entire bolt is becoming transparent. If I bring down the Fill Opacity you see that the actual pixels of the bolt will start to disappear and I think all the way to zero they completely disappear but the new pixels that were generated for the lights and darks remain at 100%.
I'm going to give it one more, little drop shadow, which I'm going to increase the distance a bit, and spread it out a little bit, and soften it up. Go with even more distance. There you go, and bring down the opacity, too strong. About like that. That's looking good. Now, it doesn't look like it's behind layers and layers of paint. So what I'm going to do is I'm going to give it a filter. Now that it's all finished, I'm going to say give it a little Gaussian Blur just to soften it up. Just enough to give it that little soft edge right there.
Click OK and you see that we have this nice kind of a bowl. Now, I want to have a second one. So what I'm going to do is I'm going to go in there and duplicate this guy straight down like that. Now my light source like I said is coming from like right about here right? So now I have to go in there and change the light source for that second one. So I'm going to change the light source I'll go into my Bevel and Emboss. And change the light source to come up from this direction. Now you notice they both changed? They both changed. I didn't want that. I want to affect just one, right just as one right here.
So that's where this Global Light comes in. Global Light is by default on, to protect you. because let's just say you have 30 different layers and all of them have a layer style. And then suddenly you move one slightly over to the right because it's drop shadow wasn't showing. So you move it a little bit over. If all the others don't move, then that's going to look wrong. It's going to look like that's being lit by a second light source which the others aren't being affected by. So that Global Light is on by default to protect you when you make a change like that.
So if I turn off Global Light, just like that and you can see that happen. I'm going to go in there and say bring it up in there like that. There's a light source, go to the Drop Shadow. Turn off the Global Light and have that light coming from that direction. Click OK and there you can see that if we had a light source right here. And let's go ahead and create a light source right there. So what I'll do is I'll get my Gradient tool, and we'll set this to foreground to transparent, and I'll just throw in another layer right there, I'll throw a little, little glow right there. And there, there's our light source.
So now you can see that these guys are each being lit by that. And you might say, well, that's a little off. If it's a little off, no problem. We'll go in there, go back into these these effects here, and this one has the Global Light on, right? So, I'm going to move it just a little bit up, just a little bit, like that. Click okay, and there we can see that now we have the proper light sources happening. But there's the two bolts. That are behind layers and layers of paint, so we're seeing the texture come through, and we're, all we're seeing is the, the effect of the bolt raised from the surface, because we have the highlight and the shadow, and they're casting a shadow on the background, giving you the effect that we see here, and the bolts throughout.
See here they're much softer. There's little ones, big ones, they're all behind layers and layers of paint and additional dirt and stuff has been added. Now next week, what we're going to do is talk about the rust and at the same time look at the dirt.
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