Deke's Techniques001 Creating ice type| 00:00 | Hey gang! This is Deke McClelland, welcoming you
to my new weekly blog thing, in which on
| | 00:06 | a week-by-week basis I will offer
you a new self-contained technique.
| | 00:10 | We're calling it Deke's Techniques,
and I'm so excited about it.
| | 00:12 | I created this wicked-cool
logo on lined notebook paper.
| | 00:17 | This week I am going to be showing
you how to create a custom type effect
| | 00:21 | inside of Photoshop,
| | 00:22 | this one right here, with these
icicles dripping off this ice type here.
| | 00:27 | This is live, editable type
inside of a Smart Object, by the way.
| | 00:31 | I created the icicles using the Wind filter.
| | 00:33 | The Wind filter only operates horizontally,
| | 00:35 | so we've got to do it this way at
first and then rotate the letters back into
| | 00:39 | place inside of a nested smart object.
| | 00:41 | I created the sculptural effect using
the Bevel and Emboss effect, and I also
| | 00:45 | added a drop shadow, took the fill
opacity value down to 0%, and that's it.
| | 00:50 | Then we get this effect right there, and
you can edit the letters anytime you like.
| | 00:53 | Let me show you exactly how it works.
| | 00:58 | In this movie, I am going to show
you how to transform this very simple
| | 01:01 | composition, which features a layer of
editable type set against a photographic
| | 01:05 | background--the latter of which comes
to us from Allen of the Fotolia image
| | 01:09 | library. And we are going to transform
this composition into this classic ice
| | 01:13 | effect here, where we have icicles
dripping off each one of the letters.
| | 01:17 | Notice that the letters are also
filled with the sculptural engraving effect.
| | 01:20 | And despite the various effects that
I have applied, my text is altogether
| | 01:25 | editable so that I can change it anytime I like.
| | 01:28 | I'm going to switch back to my starter
image, zoom out, and press Shift+Tab in
| | 01:31 | order to bring up the right side panels.
| | 01:33 | Notice that my editable type layer is selected.
| | 01:36 | Currently, it's more or less
vertically centered inside the composition.
| | 01:39 | I want to scoot it up so that we have
some additional room for the icicles below,
| | 01:43 | so I'll press Ctrl+Shift+Up Arrow--
| | 01:45 | that would be Command+Shift+Up Arrow on
the Mac--two or three times in order to
| | 01:48 | scoot that text upward.
| | 01:50 | Now then, we are going to create the
icicles using the Wind filter, but you can't
| | 01:53 | apply filters directly to
editable type inside of Photoshop.
| | 01:57 | So to accommodate Smart Filters, what we
are going to do is right-click on that
| | 02:01 | type layer right there, and then
choose Convert to Smart Object.
| | 02:04 | What that does is it places the type
inside of a protective container so that we
| | 02:08 | can apply as many
nondestructive filters as we like.
| | 02:11 | Now, the Wind filter only works right and left;
| | 02:14 | it doesn't work up and down.
| | 02:15 | So we're going to have to rotate the
composition by going up to the Image menu,
| | 02:18 | choosing Image Rotation and then
choosing 90 degrees CW in order to rotate all of the
| | 02:24 | layers to the right.
| | 02:25 | Then go up to the Filter menu, choose
Stylize, and choose the Wind command.
| | 02:30 | Now the settings that I
want you to apply are these:
| | 02:32 | Method should be set to Wind, and
Direction should be set to From the Right.
| | 02:36 | That way, we're creating
our icicles to the left.
| | 02:38 | Then go ahead and click the OK
button in order to apply the Filter.
| | 02:42 | Now, that's not enough in the way of icicles--
| | 02:44 | these icicles are too fragile so far--
| | 02:46 | so I'm going to reapply the Wind
filter twice in a row by either choosing the
| | 02:50 | first command from the Filter menu or
by pressing its keyboard shortcut: Ctrl+F
| | 02:55 | or Command+F on a Mac.
| | 02:56 | That will bring up the Wind dialog box.
Just go ahead and click OK, and then
| | 03:00 | I'll go ahead and press Ctrl+F or
Command+F again in order to bring up that
| | 03:04 | dialog box. Click OK again in order to
apply three passes of the Wind filter,
| | 03:08 | and you'll see the three passes
right here inside the Layers panel.
| | 03:12 | Notice Wind, Wind, and Wind.
| | 03:14 | Now we don't need this filter mask,
| | 03:15 | so if you want to get rid of it,
right-click on it and choose Delete
| | 03:17 | Filter Mask, like so.
| | 03:19 | Now we need to rotate the
composition back to left.
| | 03:22 | But if we do so, Photoshop is going
to kindly update my icicles on the fly.
| | 03:26 | So they will flow to the
left, which is entirely wrong.
| | 03:29 | So I need to place this Smart
Object inside yet another Smart Object, by
| | 03:33 | right-clicking on it and choosing
Convert to Smart Object once again.
| | 03:38 | Now, I'll go up to the Image menu,
choose the Image Rotation command, and choose
| | 03:42 | 90 degree CCW in order to reset my text, like so.
| | 03:46 | Next, I want to apply the engraving and
textural effects, and I'll do that using
| | 03:50 | a Bevel and Emboss effect.
| | 03:52 | So drop down to the fx icon at the
bottom of the Layers panel, click on it, and
| | 03:55 | choose Bevel and Emboss.
| | 03:57 | Then inside this dialog box, I am going
to raise the Depth value to 150% and set
| | 04:02 | the Direction to Down.
| | 04:03 | I'm also going to increase the
Size value to 10 pixels, like so.
| | 04:07 | The default Angle and Altitude
values of 30 degrees are just fine;
| | 04:11 | however, I am going to change the Gloss Contour.
| | 04:13 | Click the down-pointing arrowhead and
select this ring contour right there,
| | 04:17 | and then turn on the Anti-aliased check box
just to make sure to resolve any harsh transitions.
| | 04:23 | The Highlight Mode is set to White by default.
| | 04:25 | I am going to raise the Opacity to 100%
and change the Blend mode from Screen to
| | 04:30 | something a little brighter:
| | 04:31 | Linear Dodge (Add).
| | 04:32 | Then I am going to change the color of my
Shadow Mode by clicking on the color swatch.
| | 04:37 | For the H, S, and B values, I am going to
enter 190 degrees and then 35% for S and 35% for B;
| | 04:44 | that's hue, saturation,
and brightness respectively.
| | 04:46 | I'll click OK in order to
accept that modification.
| | 04:49 | I'll change the blend mode from
Multiply to something darker like Linear
| | 04:53 | Burn, and then I'll take the edge off a
little bit by reducing the Opacity value to 50%.
| | 04:58 | Now you might look at
this effect and think, "Wow!
| | 05:01 | That doesn't look anything like what we
were trying to create a moment ago," like
| | 05:05 | that final effect that I had rendered
out, and that's because the letters are
| | 05:09 | currently absolutely opaque.
| | 05:11 | In order to make them transparent
without losing the layer effect, you go over
| | 05:15 | here to Blending Options.
| | 05:16 | So click on Blending Options:Default, and then I want you to
go ahead and change this Fill Opacity value from 100% to 0%.
| | 05:25 | That gets rid of the white, but it
keeps the Bevel and Emboss effect.
| | 05:28 | Now let's add a texture by clicking on
the word Texture underneath Bevel and
| | 05:32 | Emboss, then click the down-pointing
arrowhead next to the word Pattern, and
| | 05:36 | click the right-pointing arrowhead to
bring up a different library of patterns,
| | 05:40 | specifically the one that's called
Patterns, down here at the bottom of the list.
| | 05:44 | You can go ahead and click OK in
response to the Alert message in order to
| | 05:47 | replace the default patterns, and then I
want you to select this pattern right there:
| | 05:51 | it's called Molecular.
| | 05:52 | You can experiment with one of the
others if you like, but Molecular is the
| | 05:55 | one I am going to use.
| | 05:56 | Then click off the pattern in order to hide it.
| | 05:59 | I am going to raise that Scale value to 150%.
| | 06:02 | That looks pretty awful, which is why I am
going to take the Depth value down to just 10%.
| | 06:06 | So, a pretty subtle effect, as you can see here.
| | 06:09 | Now, I am going to add a drop shadow by
clicking on Drop Shadow to make it active.
| | 06:12 | I am going to enter that same color
value by clicking on the color swatch and
| | 06:16 | then changing the Hue value to 190 degrees,
which is just a little bit bluer than
| | 06:21 | absolute cyan, and I am going to change
the Saturation and Brightness values to
| | 06:25 | 35% each. Click OK in order
to accept that modification.
| | 06:28 | Then I am going to take the Distance
value down to 5 pixels, the Size value of
| | 06:32 | 10 pixels works out nicely, and then I
am going to raise the Opacity value to
| | 06:36 | 100%, and click the OK button
in order to accept my effect.
| | 06:40 | Now, the great thing about this is
that it is a live editable effect.
| | 06:44 | So I can change this text anytime I like.
| | 06:47 | Let me show you how that works.
| | 06:48 | Go over here to this thumbnail in front
of your text layer and double-click on
| | 06:52 | it in order to open up the
larger of the two Smart Objects.
| | 06:56 | Notice that it's cropped.
| | 06:57 | Photoshop has gone ahead and
automatically trimmed this embedded image to its
| | 07:01 | exact pixel dimensions.
| | 07:02 | We want to open it up a little bit,
so that we have some more room to work.
| | 07:06 | So I am going to go up to the Image
menu, choose the Canvas Size command, and
| | 07:10 | I'm going to turn Relative off.
| | 07:11 | That's very important.
| | 07:12 | And in my case, I am going to change
the Width value to 420 pixels and the
| | 07:16 | Height value to 1200 pixels, because
that's the size of my original composition.
| | 07:21 | I just happen to know that.
| | 07:22 | Then I'll click OK in order to accept
that effect. And notice that uncrops the
| | 07:26 | image, so that gives us some
additional canvas size in which to work.
| | 07:29 | Now, I'll go back to the Layers panel
and double-click on its thumbnail in order
| | 07:32 | to open up the original editable text.
| | 07:35 | Again, we need more room to work,
| | 07:36 | so go to the Image menu. Choose Canvas Size.
| | 07:38 | This time I'll reverse the values,
because this is a rotated version of the image.
| | 07:42 | I'll change Width value to 1200 pixels,
and the Height value to 420 pixels. Click OK.
| | 07:48 | Now, I can change the type as I like.
| | 07:50 | I'll go ahead and double-click on the T
thumbnail here inside the Layers panel
| | 07:54 | to switch to the Type tool and select the type.
| | 07:56 | And I am going to change this word to
"CRYSTAL" like so, and press the Enter key
| | 08:00 | on the keypad in order to accept my changes.
| | 08:02 | Now, I'll just go ahead and
close out of these images.
| | 08:04 | I'll close the first one and then
click on the Yes button to save my
| | 08:07 | changes--that would be
the Save button on the Mac.
| | 08:09 | Then click the Close box for the second
one, click Yes again, click Save again
| | 08:13 | on the Mac, and you have modified
text here inside of your image window.
| | 08:17 | So this was my original text before I
modified it, and this is my new text.
| | 08:22 | And I'm showing you the difference
by pressing Ctrl+Z here on a PC, or
| | 08:26 | Command+Z on the Mac.
| | 08:27 | Now, I'll go ahead and press the F
key a couple of times and zoom in on my
| | 08:30 | image, and that is how you create a
classic type effect using editable type and
| | 08:35 | Smart Objects here inside Photoshop.
| | Collapse this transcript |
| 002 Branding type on a texture| 00:01 | Hey gang! This is Deke McClelland, here to
welcome you to Deke's Techniques.
| | 00:04 | In today's installment, I am going to
show you how--in Photoshop--to create text
| | 00:08 | that appears to be branded into any
surface texture. It does not matter what
| | 00:12 | that surface texture is;
| | 00:14 | this technique will work.
| | 00:15 | We start off with live editable text.
| | 00:18 | Then we put that inside of a Smart
Object and apply a displacement map.
| | 00:22 | What that does is it goes ahead and
maps the letters onto the surface texture,
| | 00:25 | then we convert those
letters to a selection outline,
| | 00:28 | we burn inside of them using the Burn tool,
| | 00:31 | we apply the Multiply blend mode, and
finally we add a little bit of Bevel and
| | 00:35 | Emboss in order to create that beveled
edge effect right there, so that the text
| | 00:39 | appears to be set into the background.
| | 00:42 | Let me show you exactly how it works.
| | 00:46 | In this movie, we are going to take
this text and we are going to burn it into
| | 00:49 | the surface of this background image,
which comes to us from Strikker of the
| | 00:53 | Fotolia image library.
| | 00:55 | We will end up with this effect here, in
which not only do we have these darkened
| | 00:59 | letters as if the text has actually
been branded into rock, but we've also got
| | 01:03 | these embossed edges.
| | 01:05 | Then most importantly, the edges of
the letters are actually bending into the
| | 01:09 | contours of the photographs.
| | 01:10 | So notice how this edge of the N and
the stem of the D are both bending into
| | 01:16 | that rock right there.
| | 01:17 | The registered trademark is also bending
back and forth into the surface texture.
| | 01:21 | Just to give you a sense of how
incredibly flexible this technique is, I've set
| | 01:25 | up a few layer comps.
| | 01:26 | This is that same text burned
into some corrugated cardboard.
| | 01:30 | Notice how the serifs float up and
down along the corrugation, as does the
| | 01:34 | registered trademark.
| | 01:36 | This is that same text branded in a burlap.
| | 01:38 | We have a very different
effect going on this time.
| | 01:41 | Then I went ahead and
branded the text into rhino hide.
| | 01:44 | I wouldn't do that in real life, but
it works great inside of Photoshop.
| | 01:48 | Then of course, this being a brand,
I had to burn the text into cowhide.
| | 01:53 | Every one of these effects was
achieved using this exact same technique.
| | 01:56 | So I am going to switch back to my
starter image, zoom out, and then press
| | 02:00 | Shift+Tab in order to
bring up my right side panels.
| | 02:02 | Now the first thing that I need to do
is a need to set up a displacement map,
| | 02:06 | and that's an image that tends another
image inside of Photoshop according to
| | 02:10 | its luminance levels.
| | 02:11 | You create the displacement map
from the photographic image itself.
| | 02:14 | Here is how it works.
| | 02:15 | My image is set up on
this rock layer right there.
| | 02:18 | I will click on it to select it.
| | 02:19 | Right-click in order to bring up the
shortcut menu and choose Duplicate Layer.
| | 02:24 | I am going to go ahead and place this
layer inside of a new document, like so,
| | 02:28 | by choosing New from the Document pop-up menu,
and I'll go ahead and call this guy "Rock displace."
| | 02:33 | Then I will click OK in
order to create the new image.
| | 02:36 | Now I need to flatten the image--this
is a very important step, by the way--by
| | 02:39 | going out to the layer menu and
choosing the Flatten Image command, so that you
| | 02:43 | have a single background item
here inside the Layers panel.
| | 02:46 | Then go up to the File menu
and choose the Save command.
| | 02:49 | You want to save this image in the PSD format.
| | 02:52 | It has to work that way in order
to work with the displace filter.
| | 02:55 | I've already named the
image, so it's ready to go.
| | 02:57 | I will just click on the Save
button in order to save out my changes.
| | 03:00 | Now, I am going to switch
back to the image in progress.
| | 03:02 | Now because you cannot apply filters
directly to editable text inside of
| | 03:06 | Photoshop, I am going to click on a
brand layer, Shift+Click on the registered
| | 03:09 | trademark because they are on
independent layers inside this composition,
| | 03:13 | then I am going to right-click on
either one of them and choose Convert to
| | 03:16 | Smart Object, like so.
| | 03:18 | Now that the text is ready to receive
Smart Filters, I'll go up to the Filter
| | 03:22 | menu and choose Distort and then
choose this command right there, Displace.
| | 03:27 | Now the settings that I found work
the best are a Horizontal and Vertical
| | 03:30 | Scale value of 5 a piece.
| | 03:32 | The other options can be left set to
their defaults as you see them here.
| | 03:35 | Then click OK, and now you're going to be
invited to open up your displacement map.
| | 03:40 | Go ahead and locate that
file that you just created.
| | 03:42 | Click on it to select it.
| | 03:43 | Then click the Open button, and
Photoshop will do this number here where it just
| | 03:48 | slightly re-writes the edges of these
characters as you can see them, in order to
| | 03:53 | follow the contours of the detail
inside of that photographic image.
| | 03:58 | Now we are ending up with
some pretty sharp transitions.
| | 04:00 | If you zoom in, you can see that
we've got a lot of jagged edges going on.
| | 04:04 | In order to smooth over those jagged
edges just a little bit, go to the Filter
| | 04:07 | menu, choose the Blur command,
and then choose Gaussian Blur.
| | 04:11 | I like to assign a pretty small Radius
value--something like 0.7 pixels works
| | 04:16 | out pretty well here.
| | 04:17 | Then I will go ahead and click OK
in order to accept that modification.
| | 04:21 | I always like to get rid of the
filter mask if it's not in use,
| | 04:24 | so I am going to right-click on that
white thumbnail and choose Delete Filter
| | 04:26 | Mask in order to get rid of it.
| | 04:29 | Now what better way to burn these letters
into the background than to use the Burn tool?
| | 04:33 | Now you can't use the Burn
tool directly on a Smart Object;
| | 04:35 | what you have to do is create
a new, independent, static layer.
| | 04:39 | We are going to do that like so: press
the Ctrl key, or the Command key on the
| | 04:42 | Mac, and click on the
thumbnail for that Smart Object.
| | 04:45 | That loads those edges as a selection outline.
| | 04:48 | Now turn off that Smart Object, click
on the image layer itself to make it
| | 04:53 | active, and then press Ctrl+Alt+J--or
Command+Option+J on the Mac--to jump the
| | 04:58 | selection to a new layer.
| | 04:59 | I am going to go ahead and call it a
"burned type," like so, and then click OK in
| | 05:04 | order to create the new layer.
| | 05:05 | I will zoom out a little bit, so that I
can take in my entire image, and I'll
| | 05:09 | switch over to my Burn tool, which I can
select from the Dodge tool flyout menu.
| | 05:13 | Now I will press the Right Bracket key
a few times in order to grow my brush
| | 05:17 | to a pretty big size.
| | 05:18 | Make sure it's nice and soft as well.
| | 05:20 | The default settings up here in the
Options bar are just fine. And just go ahead
| | 05:24 | and drag across your type a few times.
| | 05:27 | So it'll take like two or three times in
different locations in order to get the
| | 05:31 | effect the way that you want it.
| | 05:33 | Once you get an effect that looks
something like the one that you see here
| | 05:36 | on-screen, go ahead and switch back to
the Marquee tool, which you can get by
| | 05:40 | pressing the M key, and then switch
over to the Layers panel and change the
| | 05:44 | blend mode from Normal to Multiply.
| | 05:46 | That will go ahead and burn
those letters in the place.
| | 05:49 | Now I think this effect
looks awfully darn and good.
| | 05:51 | The edges of the letters are
bending to the contours of the image.
| | 05:54 | However, the one thing we are lacking is
those embossed edges, and we will apply
| | 05:58 | those using an Emboss effect.
| | 06:00 | So drop down to the fx icon at the
bottom of the Layers panel, click on it,
| | 06:04 | choose Bevel and Emboss, switch the
Style from Inner Bevel to Emboss, like so.
| | 06:09 | You also want the direction to be set
to Down so that the letters appear to be
| | 06:12 | bent into the image, as opposed to out.
| | 06:15 | I am going to reduce the Size value to 4 pixels,
| | 06:17 | so I am just taking it down ever so slightly.
| | 06:19 | I've got my Angle values set to
120 degrees, which works out fine.
| | 06:23 | The Altitude is 30 degrees, which is also great.
| | 06:26 | I am going to change both the
Highlight and Shadow Mode opacity to 100% a piece.
| | 06:30 | I am going to change the blend mode from
Screen to the highlight to Linear Dodge (Add).
| | 06:34 | I am also going to change the
color of the shadow slightly.
| | 06:38 | So I will click on that black swatch,
change the Hue value to 15 degrees, the
| | 06:43 | Saturation value to 100%, and
the Brightness value to 15%.
| | 06:46 | That will give us a very dark brown.
| | 06:49 | Click OK. Click OK again in
order to accept your modifications.
| | 06:53 | Then I will Shift+Tab away my panels,
press the F key a couple times in order to
| | 06:56 | switch to the Full Screen mode, and
| | 06:58 | this is our final effect, in which we've
branded the text into the very surface
| | 07:04 | of a textured photograph.
| | Collapse this transcript |
| 003 Creating an image-branding machine| 00:00 | In this movie, I'm going to show you
how take that branded type technique and
| | 00:03 | customize it to fit the
contours of any textured image.
| | 00:07 | So, the idea is what you've done the
up-front work, you have a kind of image-
| | 00:11 | branding machine that you can use to make
quick work of other images inside your library.
| | 00:16 | Now, if you're going to follow along
with me, you'll have to have set up a
| | 00:19 | branded type composition as per my
instructions in the previous movie, and I
| | 00:23 | have got one right here.
| | 00:24 | Notice that I have this Smart Object
which contains live editable type, and I've
| | 00:28 | assigned a couple Smart Filters:
| | 00:30 | Gaussian blur and Displace.
| | 00:31 | Now, this layer is turned off;
| | 00:33 | we're not seeing it in inside the image window.
| | 00:35 | What we are seeing instead is this
text space burned type layer that I created
| | 00:39 | using the Burn tool, as you may recall,
and it's set against this rock layer.
| | 00:44 | However, the thing is, while it looks
great against the rock texture, it suits
| | 00:48 | the rock texture and only the rock texture.
| | 00:51 | It's not going to work
with any other image file.
| | 00:53 | For example, if I turn off that rock
texture, which permits me to see this
| | 00:57 | corrugated cardboard in the background,
I've got this cleft through the N and D
| | 01:01 | that does make any sense where
the corrugation is concerned,
| | 01:04 | and also the letters aren't following
the contours of the cardboard at all.
| | 01:08 | So, I've got to set up a new layer
of text using in new displacement map.
| | 01:11 | Fortunately, that's very
easy to do over and over again.
| | 01:15 | So, the first thing I'm going to do
is I'm going to rename this burned type
| | 01:18 | layer "brand #1" because that's what it is;
| | 01:21 | it's the first approach to that branding effect.
| | 01:23 | Now, I'll turn it off.
| | 01:25 | And I need to set up the corrugate
layer as a displacement map, so I'll
| | 01:28 | right-click on corrugate right there
inside the Layers panel, I'll choose
| | 01:31 | Duplicate Layer, I'll change the
Document option to New, and I'll enter in for a
| | 01:36 | name here, "Corrugate displace" like so.
| | 01:39 | And then I'll click OK in
order to create that new image.
| | 01:42 | Now the Displace filter only works with
flat image files, so I have to go up to
| | 01:45 | Layer menu and choose Flatten Image.
| | 01:48 | And then I'll go up to the File menu,
choose the Save command, make sure the
| | 01:52 | format is set to the
native PSD format, as it is.
| | 01:55 | Otherwise, it'll just go ahead and
save this file along with my other
| | 01:58 | displacement maps, which I've created in
advance, just to omit this step in the future.
| | 02:03 | So, I'll click the Save button, and now I'll
switch back to my composition in progress here.
| | 02:07 | I'll go up to this Smart Object,
the one that's turned off currently.
| | 02:10 | You can still modify it.
| | 02:11 | You don't have to be seeing it to modify it.
| | 02:13 | Just go ahead and double-click on
Displace in order to bring up to
| | 02:16 | Displace dialog box.
| | 02:17 | Assuming that Horizontal Scale and
Vertical Scale are set to five, click Okay.
| | 02:22 | Then locate the Corrugate
displace.psd file. Click open.
| | 02:26 | That changes that type.
| | 02:27 | You can't see it, but it's now changed.
| | 02:29 | In order to load its selection outline,
press the Ctrl key--or the Command key
| | 02:32 | on the Mac-- and click its thumbnail
there inside the Layers panel, drop down
| | 02:36 | to the corrugate layer, and press Ctrl+
Alt+J--or Command+ Option+J on a Mac--to
| | 02:40 | jump it to a new layer.
| | 02:41 | I'll go ahead and call this guy
"brand #2" this time around and click okay, and
| | 02:46 | then I'll zoom out in order to
take in the entire composition.
| | 02:49 | I'll select my Burn tool from the
toolbox and I'll go ahead and paint
| | 02:53 | inside these letters.
| | 02:55 | That's going to take multiple
passes of the Burn tool to get it right.
| | 02:58 | And don't worry about getting
it in absolutely uniform effect.
| | 03:01 | In fact, the whole reason we're using
the Burn tool is so we get a kind of
| | 03:04 | hand-rendered effect, which is more
in keeping with the brand, after all.
| | 03:08 | Now, I'll switch the blend mode from Normal
to Multiply, here inside the Layers panel.
| | 03:12 | And I need to add the Emboss effect.
| | 03:14 | Well, I don't have to reenter all
those settings this time around.
| | 03:18 | Once a layer effect is created in the
first place, you can replicate it over
| | 03:21 | and over again, by just pressing the Alt
key--or the Option key on the Mac--and
| | 03:25 | dragging that fx icon that's associated
with brand #1 right there onto brand #2.
| | 03:29 | So because Alt or Option is down, we're
going to duplicate that layer effect, like so.
| | 03:34 | Go ahead and move that text up, so
those guys are right next to each other.
| | 03:37 | And notice that we have this text that
exactly follows the bumps and ridges in
| | 03:42 | the corrugated cardboard.
| | 03:44 | All right, so now it's just a matter for
replicating those steps over and over again.
| | 03:48 | I'll turn off brand #2. I'll turn off
corrugate. I'll double-click on displace
| | 03:51 | associated with the Smart Object.
| | 03:53 | I'll click Okay in the Displace dialog
box, I'll load Burlap displace this time
| | 03:57 | around, click Open in order to apply
the effect, then drop down to the burlap
| | 04:01 | layer to make it active, Ctrl+Click or
Command+Click on the thumbnail in front
| | 04:05 | of the brand Smart Object.
| | 04:07 | Then press Ctrl+Alt+J or Command+
Option+J on a Mac in order to create a new
| | 04:10 | layer called "brand #3" this time around.
| | 04:13 | Click okay, zoom out, grab your Burn
tool and go ahead and burn that text,
| | 04:17 | just by dragging over it multiple times, and
burn it to your heart's desire, of course.
| | 04:22 | Then go and change the blend mode from
Normal to Multiply, press the Alt key or
| | 04:27 | the Option key and the Mac and drag one
of these fx icons from brand #2 or brand
| | 04:31 | #1--it doesn't matter--onto brand #3.
| | 04:34 | Drag this guy up to a new
place. Collapse it, like so.
| | 04:37 | We've now got an effect that exactly
matches those burlap edges. Perfect.
| | 04:41 | Turn that guy off. Turn that guy off.
| | 04:43 | Go ahead and double-click on
Displace--once again associated with the
| | 04:47 | Smart Object layer.
| | 04:48 | Click OK. Load the Rhino displace.psd
file this time around, because will be
| | 04:52 | working on the rhino layer.
| | 04:54 | Click on the rhino layer to select
it. Ctrl+Click or Command+Click on the
| | 04:58 | thumbnail associated with
that Smart Object layer, press
| | 05:00 | Ctrl+Alt+J--Command+Option+J on a Mac--
in order to bring up a New Layer dialog
| | 05:04 | box, and call this guy "brand #4."
| | 05:06 | Unfortunately, I misspelled it,
so brand #4. That's better.
| | 05:10 | Click okay to drag this guy up a
little bit if you so desire. Zoom out.
| | 05:15 | Go ahead and burn the text as much as you want.
| | 05:17 | Now, this may take some additional
burning, because this background is so
| | 05:20 | dark in the first place.
| | 05:21 | You may need to burn those letters
pretty good in order to see them at all.
| | 05:25 | Then we will go ahead and change the
blend mode from Normal to Multiply in order
| | 05:31 | to really burn in that text.
| | 05:32 | That's a little strong in my opinion.
| | 05:34 | We'll take care of that in a moment.
| | 05:35 | Alt+Drag or Option+Drag
fx onto brand #4, like so.
| | 05:40 | And because this text is now so very
dark, I'm going to reduce the Fill value.
| | 05:44 | And what that allows me to do, by
changing the value to 65%, is I'm making the
| | 05:49 | text translucent without reducing the
opacity of the Bevel and Emboss effect.
| | 05:53 | Go ahead and press the Enter, or the Return
key on a Mac, in order accept the modification.
| | 05:57 | Let's turn that layer off.
Turn rhino off as well.
| | 06:00 | cowhide is our final layer, so I'll go
ahead and collapse my Color panel, so I
| | 06:05 | have little bit more room here.
| | 06:06 | I'll double-click on Displace, click OK,
| | 06:08 | and this time I'll load Cowhide
displace.psd. Click the Open button
| | 06:13 | Ctrl+Click or Command+Click on the
thumbnail for that Smart Object in order
| | 06:17 | to load that selection outline.
| | 06:19 | Click on the cowhide layer
in order to make it active.
| | 06:21 | Press Ctrl+Alt+J, Command+Option+J on a Mac,
and name this layer "brand #5" this time around.
| | 06:27 | Click Okay. Drag this guy up a little bit.
| | 06:29 | Let's burn inside of those
letters using the Burn tool.
| | 06:33 | This is probably the most successful of
the effects because it really gives you
| | 06:37 | this nice cowhide brand, don't you know?
| | 06:40 | Let's change the blend mode from Normal
to Multiply, and then I'll Alt+Drag or
| | 06:45 | Option+Drag that fx icon onto
brand #5 in order to complete the effect.
| | 06:49 | It's a little strong in my opinion, so I'll
change the Fill value to let's say 80%, like so.
| | 06:55 | Switch back to my Marquee tool.
| | 06:56 | Press the F key couple of times, and zoom in.
| | 06:59 | And that is the final effect with
the letters branded into the cowhide.
| | 07:03 | I know I was going pretty fast there,
but the whole reason is I'm trying
| | 07:06 | to demonstrate to you that
what you now have is a lean, mean,
| | 07:11 | image-branding machine.
| | Collapse this transcript |
| 004 Capturing effects with layer comps| 00:00 | In this movie, I want to show you how
you quickly and easily mix and match
| | 00:03 | layers using layer comps,
| | 00:05 | so you look like you're an
absolute pro when you're showing off your
| | 00:07 | work to other people.
| | 00:08 | So here I'm working inside of my brand
file, and I've got all these different
| | 00:13 | versions of my branded type effect
that go with these various versions of the
| | 00:18 | textured backgrounds.
| | 00:19 | But I have to make sure that I get it right.
| | 00:21 | In other words, brand # 5 goes with
cowhide, but it doesn't go with any of
| | 00:24 | the other backgrounds.
| | 00:25 | So let's say I want to show off
that really cool brand against the
| | 00:29 | corrugated cardboard.
| | 00:30 | So I'll turn on the corrugate layer there,
and that completely covers up cowhide,
| | 00:34 | so that's fine.
| | 00:35 | But obviously, this
branded type doesn't go with it.
| | 00:38 | I can't remember which one does.
| | 00:39 | Maybe it's brand # 3, so I'll go ahead and turn that on,
and then I've got to turn off brand # 5.
| | 00:45 | That looks to me like the wrong brand.
| | 00:46 | In fact, I'm positive it's the one
that goes burlap, and I could confirm that
| | 00:50 | by turning on burlap and turning off corrugate.
And sure enough, that is the right combo there,
| | 00:55 | but that's not what I want to show the person.
| | 00:57 | So I turn on corrugate,
and then I try brand # 2.
| | 01:00 | That looks to be right.
| | 01:01 | Now I turn off brand # 3--there you go.
| | 01:04 | That's the one I wanted to show you.
| | 01:05 | Well, that's a very
awkward experience, obviously.
| | 01:08 | And yet, inside of this file--check this out.
| | 01:10 | I'll go ahead and Shift+Tab away my panels.
| | 01:12 | I can just press a key and move from one
of these brands to the next one, to the
| | 01:17 | next one, and so on, just from the
keyboard--without doing anything.
| | 01:22 | So what this does is it not only does a
great job of showing off these effects
| | 01:27 | that I have created, but it also makes
me look like an absolute professional,
| | 01:31 | it gets rid of awkward experience, and so on.
| | 01:33 | So, what is it I'm doing?
| | 01:34 | Well, I'll Shift+Tab to bring back my
panels, and I'm going to go up to the
| | 01:37 | Window menu, and I'm
going to choose Layer Comps.
| | 01:40 | That brings up the Layer Comps panel,
and you can see that I've set up an item
| | 01:44 | for each one of the background.
| | 01:45 | So there is Rock, there is Corrugate,
there is Burlap, there is Rhino, and Cowhide--
| | 01:49 | one a piece for each one of
these textured backgrounds.
| | 01:53 | If I click on one of them, nothing happens.
| | 01:55 | The reason is what you've got to do
is click in front of the layer comp.
| | 01:58 | So if I click in front there, it
goes ahead and switches to the rock
| | 02:01 | texture background.
| | 02:02 | Notice actually it turns on all the
backgrounds, because rock covers up
| | 02:05 | everybody else. And it also turns off
all the brands except for brand # 1.
| | 02:10 | Then if I switch to Corrugate by
clicking in front of it, Photoshop goes ahead
| | 02:14 | and automatically switches to brand
#2, as you can see, and it turns off the
| | 02:18 | Rock layer and exposes Corrugate underneath,
and then Burlap drills down another layer.
| | 02:22 | As you can see right there, Burlap is
turned on, brand #3 is turned on, all the
| | 02:25 | other brand layers are turned off.
| | 02:27 | Rhino turns on brand #4.
| | 02:28 | It turns off all the textures except
Rhino and Cowhide, because Rhino covers up
| | 02:32 | Cowhide, and then we have
Cowhide at the very end.
| | 02:36 | So, how in the world do you create
these things, because they're really wicked-
| | 02:40 | useful, as you might imagine.
| | 02:41 | Well, let's go ahead and grab a few of them.
| | 02:42 | I will click on, let's say Rhino and
then Shift+Click on Corrugate and grab
| | 02:46 | these guys and throw them in the trash.
| | 02:48 | So we're throwing the middle group in the trash.
| | 02:50 | So now we just have a layer comp
for Rock and Cowhide, and that's it.
| | 02:55 | If we want to create something else--
let's say I want to create a new layer comp
| | 02:59 | for Rhino--I would turn on the rhino layer,
| | 03:01 | I would turn off brand #5,
| | 03:02 | I would turn on brand #4, so that
everything is set up the way I need it to be.
| | 03:06 | Then I would drop down to the Page icon
at the bottom of the Layer Comps panel,
| | 03:10 | click on it, and I would name this one "Rhino."
| | 03:12 | Now what I suggest you do is you go
ahead and turn on Visibility so that
| | 03:17 | Photoshop is keeping track of which
layers are visible and which aren't, and
| | 03:20 | then I would also go
ahead and turn on Appearance.
| | 03:23 | That includes the layer style, and
every single one of these layers has a layer
| | 03:27 | effect applied to it.
| | 03:29 | But it also goes ahead and saves any
opacity that you might've applied and the
| | 03:34 | blend mode as well, if you have any blend mode.
| | 03:36 | Now, in the case of Rhino, it has a lowered
Fill Opacity value, as you may recall
| | 03:41 | from our previous movie.
| | 03:42 | So I want that information to
be tracked by this layer comp.
| | 03:45 | So we'll turn on Appearance. Turn on Visibility.
| | 03:48 | Generally speaking, you want to
leave Position off, because that's the
| | 03:51 | horizontal vertical position of the
layer, and you really don't need to track
| | 03:54 | that--in most cases anyway.
| | 03:56 | Go ahead and click OK,
and now you saved off Rhino.
| | 03:59 | Notice here if I switch to the brand
#4 layer, that's the Rhino brand that I
| | 04:04 | have that Fill Opacity set to 65%.
| | 04:05 | I also have a Blend mode,
Multiply. Forgot about that.
| | 04:08 | So it's a good thing that I
am tracking that appearance.
| | 04:10 | Now, Rhino, of course, is in the wrong
position in the Layer Comps stack.
| | 04:14 | If I want to be working through these
various texture effects in the order they
| | 04:18 | appear inside of my composition--
that's not necessarily all that important.
| | 04:23 | You don't have to work that way.
| | 04:24 | You can change the order of layer comps
anyway you want. But I do want them to
| | 04:28 | appear in that order,
| | 04:29 | so I'll just go ahead and drag Rhino to
a different location here, and now I'll
| | 04:33 | create a new one for Burlap, just
by turning on and off a few layers.
| | 04:37 | Go ahead and click on this Page icon
at the bottom of Layer Comps panel, and
| | 04:41 | I'll name this guy "Burlap," of course.
| | 04:42 | Then I'll turn on corrugate, turn on
brand #2, turn off brand #3, click on
| | 04:47 | little Page icon, call this "Corrugate."
| | 04:50 | You might think, "Well, gosh!
| | 04:51 | You are doing a fine job of turning on
and off these layers now that you're not
| | 04:55 | pretending that you're having problems."
| | 04:57 | Well, that's the point.
| | 04:58 | When you are in front of somebody,
and you're trying to show them the
| | 05:02 | various layer combinations, of course
you start getting nervous, you make
| | 05:05 | mistakes, that kind of thing.
| | 05:06 | Not only that, you want a real clean experience,
| | 05:09 | so you're not seeing the half
dozen layers get turned on and another
| | 05:13 | half dozen get turned off.
| | 05:14 | You want to just bing, go from one group
of layers to another group of layers in
| | 05:18 | one single operation, and that's what
layer comps allow you to do. Click OK.
| | 05:22 | Now I'm going to drag Corrugate to below Rock.
| | 05:25 | I'll drag Burlap to below Corrugate.
| | 05:28 | Now I can just cycle through these
different layer comps, by the way, by clicking
| | 05:31 | on these arrow icons.
| | 05:32 | So if I click in the Right Arrow icon
I'll move to the next layer comp, like so.
| | 05:37 | If I click in the left one, I'll move to
the previous one--fairly a no-brainer, I think.
| | 05:42 | What if you want to move between
these layer comps from the keyboard?
| | 05:45 | Why then, that's when you
assign a keyboard shortcut.
| | 05:48 | So I'll go up to the Edit menu, and
I'll choose Keyboard Shortcuts in order to
| | 05:52 | bring up the Keyboard Shortcuts dialog box.
| | 05:54 | You will want to go ahead and switch
your Shortcuts from Application Menus to
| | 05:57 | Panel Menus, like so.
| | 05:59 | Then scroll down the list until you
come to Layer Comps, twirl it open by
| | 06:03 | clicking on the little triangle, and
then you've got these two items right here:
| | 06:07 | Next Layer Comp. And I've gone ahead
and pre-assigned with my machine, the
| | 06:11 | machine I'm running on here, a
keyboard shortcut of Ctrl+Shift+Alt+F12.
| | 06:15 | That's mash your fist F12.
| | 06:16 | That would be Command+
Shift+Option+F12 on the Mac.
| | 06:19 | Then for Previous Layer Comp, I
have the same thing, but F11.
| | 06:23 | So Ctrl+Shift+Alt+F11 on the PC,
Command+Shift+Option+F11 on the Mac.
| | 06:27 | Go ahead and assign whatever keyboard
shortcut you like. And by the way, these are
| | 06:31 | keyboard shortcuts that come along
with my dekeKeys, for those of you who have
| | 06:35 | worked inside of my other courses.
| | 06:37 | These keyboard shortcuts have already
been set up for you if you loaded dekeKeys.
| | 06:41 | Then you can go ahead and save your
changes by clicking on this little Save As
| | 06:45 | icon, the little floppy disk with the
green arrow next to it, and then you can
| | 06:48 | name your new keyboard shortcuts and click OK.
| | 06:51 | Anyway, I'm just going to cancel out,
because I've already created these
| | 06:54 | keyboard shortcuts in advance.
| | 06:56 | Then I can just switch to the Full Screen
mode by pressing the F key a couple of times.
| | 07:00 | So you don't have to have any
panels up on-screen, and then I can press
| | 07:04 | Ctrl+Shift+Alt+F12 in order to
move forward through my layer comps.
| | 07:09 | This would Command+Shift+Option+F12 on
the Mac0. Or the same darn thing, F11, in
| | 07:14 | order to move backward through
my layer comps, as you can see.
| | 07:17 | So if you want to make a quick and
easy experience out of switching layers
| | 07:22 | inside of Photoshop, whether for your own
purposes to keep track of where you are
| | 07:26 | inside of a composition or so that
you can show variations off to a client,
| | 07:31 | remember that you have layer
comps here inside Photoshop.
| | Collapse this transcript |
| 005 Rendering type in gold| 00:00 | This is Deke McClelland, here to
welcome you to Deke's Techniques.
| | 00:04 | This week we're going to render text in gold.
| | 00:07 | Now, a few words about gold as a material.
| | 00:09 | When polished like this, it's highly
reflective, so that we have these lustrous
| | 00:12 | shadows and highlights
interacting with each other.
| | 00:15 | It's a little bit yellow.
| | 00:17 | You already know that.
| | 00:18 | But here's what a lot of
people forget: it's a soft metal.
| | 00:21 | We should not see any hard, chiseled forms;
| | 00:23 | we should see softly
contoured forms, as we do here.
| | 00:27 | Now, I was able to pull off this effect
using layer effects and nothing more--no
| | 00:31 | fancy filters, no Smart Objects
--so that this editable text.
| | 00:34 | Are you curious how I
did it? I don't blame you.
| | 00:36 | I'm curious how I did it.
| | 00:38 | Let me show you, as we go for
the gold, here inside Photoshop.
| | 00:43 | In this movie, I'm going to show you
had to take these white letters--and
| | 00:47 | this is live editable text inside of
Photoshop, and we're going to render
| | 00:51 | these letters in gold.
| | 00:52 | And what I like about this effect is not
only does it have the coloring of gold,
| | 00:57 | as well as the shine and the highlights
and the shadows and the contouring and
| | 01:01 | the volumetric forms--after all,
gold letters would have depth--but also
| | 01:05 | there's a softness to this effect.
| | 01:07 | Because after all, gold is a soft metal.
| | 01:09 | You're not going to have hard,
chiseled forms if you're working with gold.
| | 01:13 | Now, I'm going to go ahead and switch
back to my starting point here, zoom
| | 01:16 | out and press Shift+Tab in order
to bring up the right-side panels.
| | 01:19 | Notice that my live text layer is active.
| | 01:22 | Most of what we're going to be doing
inside of this movie will accomplish using
| | 01:26 | layer effects, so drop down to the fx icon.
| | 01:29 | And I want to start by
adding a Color Overlay effect.
| | 01:32 | And the color that I'm going to dial--
I'll click on the color swatch in order to
| | 01:35 | bring up the Color Picker dialog box--
and the values that I landed on are 50 for
| | 01:40 | the H value and then 85% for Saturation,
and then finally, 100% for Brightness.
| | 01:45 | Click OK to accept that effect.
| | 01:47 | Now, that's going to look a little bit garish--
| | 01:49 | after all, gold isn't bright yellow
like this. So I'll reduce the Opacity value
| | 01:53 | to 35%, so that we have just a glint of
yellow, and then I will change the blend
| | 01:58 | mode from Normal to Multiply.
| | 02:00 | Now, that's not going to
change the effect on-screen.
| | 02:02 | I'm just doing that in case I decide to
set other overlay options behind that.
| | 02:07 | Next, I'm going to add a drop shadow,
not because that necessarily communicates
| | 02:10 | the appearance of gold, but I do
one add some depth to this effect.
| | 02:14 | So I'll click on Drop Shadow. Black is fine.
| | 02:16 | I'll raise the Opacity value to
100%, change that Angle value to 120 degrees.
| | 02:22 | That's where I'm going;
| | 02:23 | you can choose to go your
own direction if you like.
| | 02:24 | Because Use Global Line is turned on,
that's going to change the direction of
| | 02:28 | all of the directional effects.
| | 02:30 | Distance and Size I've got
set to 10 pixels a piece.
| | 02:33 | Spread is set to 0%--that's just fine.
| | 02:36 | Now then, to really get that gold
effect, we need to switch over to Bevel and
| | 02:40 | Emboss, so I'll click on Bevel and Emboss,
I'm going to raise the Depth value to
| | 02:44 | 250% let's say, and I'll also
take the Size value up to 35 pixels.
| | 02:49 | I want the direction to be Down for
this particular effect, and I'm going to
| | 02:53 | switch the Techniques from Smooth to
Chisel Hard, so that we have some very hard
| | 02:58 | chiseling going on.
| | 02:59 | Now, this would be just fine if I
were trying to create letters that were
| | 03:03 | rendered in marble, or some other very
hard substance where I would have these
| | 03:08 | kinds of edge lines going
on inside of my letter forms.
| | 03:12 | That's not the effect I would get
with gold, however, so in order to soften
| | 03:16 | up that effect so we don't have those
harsh ridges, I'm going to take that
| | 03:19 | Soften value up to five pixels, which
ends up blurring the effect quite nicely I think.
| | 03:24 | Now, it doesn't look like it's rendered in
gold because we don't have the right coloring.
| | 03:29 | So I'm going to drop down here to
the Highlight mode, click on its color
| | 03:32 | swatch, and I'm going to change the
color values to 45 for the H value, 50 for
| | 03:37 | S, and 100 for Brightness, and then
I'll click OK in order to dial in that
| | 03:42 | shade of orange there.
| | 03:43 | And I'll raise the Opacity value to
100%, and I'll change the Highlight Mode
| | 03:47 | from Screen to the brightest-of-all
-bright modes, Linear Dodge (Add).
| | 03:53 | Then I'll do something
similar with the Shadow Mode.
| | 03:55 | I'll go ahead and dial in a different
color by clicking on its color swatch, and
| | 03:59 | here inside the Color Picker dialog box,
I'm going to change the HSB values to
| | 04:03 | 45, 100, and 30 respectively, so
I get this deep shade of brown.
| | 04:08 | Click OK. And then I'm going to change
the Shadow Mode from Multiply to the
| | 04:13 | darkest of the darkening modes, Linear Burn.
| | 04:15 | Then finally, I'm going to take the
Opacity value from 75% up to 85%, like so.
| | 04:21 | And the other thing I need to do is
fool around with this Altitude value.
| | 04:25 | The altitude is the angle of the light
source in the sky, and right now it's too low.
| | 04:29 | It's too close to the horizon, so we're
getting this very dramatic effect here.
| | 04:33 | I want something a little softer, so I'm
going to take that value up to 60 degrees.
| | 04:37 | And finally, I want a little more
action associated with the Gloss Contour, so
| | 04:41 | I'm going to click the down-pointing
arrowhead, and I'm going to change it to
| | 04:45 | Ring-Double, so go and click on that and
then turn on the Anti-aliased check box
| | 04:49 | just to smooth over any harsh transitions.
| | 04:52 | Now, this final effect is optional.
| | 04:54 | You may end up finding that this gold
effect is exactly what you're looking for.
| | 04:57 | But if you want to burn the effect in a
little bit, add a little bit of drama to
| | 05:00 | the colors, then click on
Satin in order to make it active.
| | 05:04 | Now, so far, that just
ends up burning the letters.
| | 05:07 | It doesn't look good at all.
| | 05:08 | What you need to do is click on the
color swatch to bring up the Color Picker
| | 05:11 | dialog box, change the Hue value to 50,
then the Saturation value to 85, and
| | 05:17 | then the Brightness value
to 50% as well. Click okay.
| | 05:19 | Multiply is fine for a blend mode.
| | 05:22 | You want the Contour set, by the way,
if you click the down arrowhead, you want
| | 05:25 | it set to this guy, Gaussian,
which I believe is the default setting.
| | 05:28 | And you can experiment with turning
the Invert check box off, in which case
| | 05:33 | you'll get a kind of glow on the inside
of the letters, or back on in order to
| | 05:36 | deepen the shadows inside the letters.
| | 05:39 | And then you can go ahead and drag the
Satin effect around directly inside of
| | 05:43 | the image window, in order to
position it the way you want.
| | 05:47 | Now, in my case, I went ahead
and dialed in a few values here.
| | 05:50 | I changed the Angle value to 35
degrees, I changed the Distance value to 12
| | 05:54 | pixels, and then finally the
Size value to 20 pixels, like so.
| | 05:59 | Then I clicked OK in order
to accept that layer style.
| | 06:02 | Now finally, I wanted add a little bit
more in the way of dramatic highlights,
| | 06:07 | like sparkles on the letters, so I'm
going to add a new layer by pressing
| | 06:10 | Ctrl+Shift+N, or Command+Shift+N on the
Mac. And I'll call this layer "sparkles"
| | 06:15 | and then click OK. And now I'll select
my Brush tool, either by clicking on it
| | 06:19 | or pressing the B key, and I'll press
the X key in order to switch my foreground
| | 06:23 | and background colors so
the foreground color is white.
| | 06:26 | And I've got a very soft brush, incidentally.
| | 06:28 | If I right-click here inside the image
window, you can s value
| | 06:31 | is 50 pixels--you might
want to go larger or smaller.
| | 06:34 | But the Hardness definitely wants to be set to 0%.
| | 06:36 | All right, now I'm going to go ahead
and actually increase the size of my brush
| | 06:40 | a little bit, so I'm taking it up to 90
pixels by pressing the Right Bracket key
| | 06:44 | a few times. And I'm going to click on
this edge of the D right there and this
| | 06:47 | edge of the O, and then on the other
side of the O as well, and then on this
| | 06:52 | side of the outer edge there of the G.
And then I might reduce the size of my
| | 06:57 | cursor a little bit and click a
little lower on the D in this region and
| | 07:01 | click a little lower inside the G as well in.
| | 07:03 | And then finally, I'm going to go
ahead and zoom in a little bit, press the
| | 07:07 | M key to switch back to my
Rectangular Marquee tool--the reason being
| | 07:11 | because I don't want any of this
sparkle here to spill over into the L. So
| | 07:14 | I'm going to select this region
around the stem of the L, and I'm going to
| | 07:17 | press the Backspace key, or the
Delete key on a Mac, in order to get rid of
| | 07:21 | that spill, like so.
| | 07:22 | Then I'll click off the
selection to deselect that area.
| | 07:25 | Now of course this harsh edge doesn't
look right at all, but neither do any of
| | 07:29 | the other sparkle areas.
| | 07:30 | They need to be confined to the interior
of letters, and I'm going to do that by
| | 07:34 | adding a layer mask.
| | 07:35 | You should be able to pull it off
using a clipping mask, but you can't.
| | 07:38 | So, the better way to work is to
press the Ctrl key, or the Command key on
| | 07:41 | a Mac, and click on that T
thumbnail that's associated with your live
| | 07:45 | editable text layer.
| | 07:47 | Then, with the sparkles layer still
active, drop down to the Add Layer Mask icon
| | 07:51 | and click on it in order to
mass that affect. And we are done.
| | 07:55 | I'm going to press the F key a couple
of times in order to switch to the Full
| | 07:58 | Screen mode, and that is the final gold
effect, achieved almost entirely using a
| | 08:03 | collection of layer effects, along
with live editable type, inside Photoshop.
| | Collapse this transcript |
| 006 Creating a hammered metal background| 00:00 | Hey gang! This is Deke McClelland, here to
welcome you to Deke's Techniques.
| | 00:04 | Now, you may recall last week I
showed you how to render type in gold.
| | 00:08 | In the background, I featured a
hammered metal surface texture.
| | 00:12 | It's entirely synthetic.
| | 00:13 | It's something you can create in
Photoshop in about five minutes, frankly, and I
| | 00:17 | am going to show you how to do it
inside of this movie. Here it is.
| | 00:21 | Now, the approach is this.
| | 00:22 | You start off with a dummy Smart Object.
| | 00:24 | It doesn't matter what's in it.
Then you apply the Clouds filter and then
| | 00:27 | Difference Clouds and then Glass, and
then you top it off with a Rusted Metal
| | 00:32 | pattern overlay effect.
| | 00:33 | Now the great thing about this approach,
notice these highlights and shadows.
| | 00:37 | Photoshop creates those automatically.
| | 00:39 | If you want to update that effect and
rearrange the highlights and shadows,
| | 00:42 | then all you have to do is go to the Layers panel
and double-click on Clouds or Difference Clouds.
| | 00:47 | That's it! Here, let me show you exactly how it works.
| | 00:53 | In this movie, I am going to show you
how to create a hammered metal effect.
| | 00:56 | It's a very easy effect to pull
off, quite satisfying as well, and
| | 01:00 | it's entirely synthetic, meaning
that it doesn't rely on any form of
| | 01:04 | base photographic image.
| | 01:05 | In fact, you create it out of thin air.
| | 01:07 | All you need is a layer filled with some color,
| | 01:09 | it doesn't really matter what.
| | 01:11 | Now, I've used this technique to create
the background behind these heavy metal
| | 01:14 | letters, and I will show you how to
create those letters in another movie,
| | 01:17 | so get ready for that.
| | 01:19 | I also used this technique to create
the background behind my gold letters.
| | 01:23 | So you can see just how
versatile this technique is.
| | 01:26 | Every time you apply it,
you get different results:
| | 01:29 | you get these wonderful lustrous
highlights and shadows and shines and so forth.
| | 01:34 | They're generated entirely
automatically for you, after which point you can
| | 01:38 | infuse the effect with any color you like.
| | 01:40 | So, I am going to start off
inside of this composition.
| | 01:42 | All we're seeing is some editable
text against a transparent background.
| | 01:45 | I am going to press Shift+Tab to bring
up my right-side panel, so I can see the
| | 01:49 | Layers panel, and the next thing I
am going to do is create a new layer.
| | 01:52 | So I will press Ctrl+Shift+N, Command+
Shift+N on the Mac in order to bring up
| | 01:56 | the New Layer dialog box. And I'll
call this layer "blackness," and click OK.
| | 02:01 | Then I will drag the blackness layer
below the editable text layer, like so.
| | 02:04 | I'm going to turn off that text layer,
because right now we don't need it.
| | 02:08 | Then I am going to fill
the layer with any old color,
| | 02:10 | it really doesn't matter which.
| | 02:12 | Currently my foreground and
background colors are set to black and
| | 02:15 | white respectively.
| | 02:16 | That's very important, by the way.
| | 02:17 | So you might want to go ahead and
press the D key to ensure that you have
| | 02:21 | the default colors.
| | 02:22 | Then I am going to press Alt+
Backspace or Option+Delete on the Mac to fill
| | 02:25 | that layer with black.
| | 02:26 | Now, this technique relies heavily on a
trio of filters, and to keep everything
| | 02:31 | as flexible as possible, we want to
apply those filters as Smart Filters.
| | 02:35 | So let's go ahead and convert this
layer to a Smart Object by right-clicking on
| | 02:38 | it and choosing Convert to Smart Object.
| | 02:41 | Then go up to the Filter menu,
choose Render, and choose Clouds.
| | 02:46 | Again, you need to make sure that
your foreground color is set to black,
| | 02:48 | your background color is set to white, so
that you get this black-and-white clouds effect.
| | 02:52 | This is actually random fractal noise.
| | 02:55 | So every time you apply the Clouds
Filter, you'll get a different result.
| | 02:58 | Then go up to the Filter menu, choose
Render, and choose Difference Clouds, which
| | 03:02 | applies that same Clouds effect, of
course randomly, set to the Difference blend
| | 03:07 | mode, and you'll get an effect
that looks something like this.
| | 03:10 | Now, in order to convert what we're
seeing here to hammered metal, you again go
| | 03:14 | up to the Filter menu, choose
Distort and then choose Glass.
| | 03:17 | Now, the default settings create a
kind of frosted glass effect, as if you're
| | 03:22 | looking through a shower door,
or something along those lines.
| | 03:25 | Make sure that Texture is set to Frosted.
| | 03:27 | That's the default setting,
but that's what we want.
| | 03:29 | Scaling should be 100% as well.
| | 03:31 | Then I want you to take the Distortion
value up to something in a range of 18,
| | 03:36 | like so, and that ends up creating
a lot of contrast inside the effect.
| | 03:40 | Then in order to transform this
from looking like modeled glass to
| | 03:44 | hammered metal, tab to the Smoothness
value and take it down to 2, and you
| | 03:48 | get this effect here.
| | 03:49 | Again, it might look a little
different, because it's a random effect.
| | 03:52 | Click OK in order to except that modification.
| | 03:55 | Now, I don't need this filter mask,
so I am going to right-click on it and
| | 03:58 | choose Delete Filter mask. And then
finally, what I want to do is I want to
| | 04:02 | infuse this metal effect here with a
little bit of rust, and I'm going to do
| | 04:06 | that by adding a pattern overlay.
| | 04:08 | So drop down to the FX icon,
click on it, choose Pattern Overlay.
| | 04:13 | Then inside the Pattern Overlay
dialog box, go ahead and click this
| | 04:15 | down-pointing arrowhead
next to the word Pattern.
| | 04:18 | The pattern we're looking for
is the one called Rusted Metal.
| | 04:21 | If you don't see it, then click on the
right-pointing arrowhead right there and
| | 04:24 | choose Patterns in order to
load the Patterns library.
| | 04:27 | You'll get this dialog box. If you want
to append these patterns to your existing
| | 04:31 | ones, then click Append.
| | 04:32 | If you just want to
replace everything, click OK.
| | 04:34 | Then select that Rusted Metal pattern.
| | 04:37 | It doesn't really blends seamlessly, but
that's not going to turn out to be a problem for us.
| | 04:40 | Now, click off that pop-up panel to hide it.
| | 04:43 | I want you to change the blend mode
from Normal to Soft Light, and that'll give
| | 04:47 | us this sort of soft infusion of
that rust effect, which comes and goes.
| | 04:51 | So it's a variable effect, meaning that
some areas are more rusty than others.
| | 04:56 | Then I want you to reduce the
Opacity value to 25% and click OK.
| | 05:01 | So we have this just slight infusion of color.
| | 05:04 | Now then, if you don't really like
the effect, all you have to do is
| | 05:07 | double-click on either Clouds or Difference
Clouds, and that will regenerate the effect.
| | 05:12 | So notice if I double-click on Clouds,
I don't bring up a different dialog box;
| | 05:15 | I just re-apply those clouds, and that
varies the distribution of highlights and
| | 05:19 | shadows in the image.
| | 05:21 | You can get a different kind of
distribution by double-clicking on
| | 05:24 | Difference Clouds as well.
| | 05:25 | So double-click on either of those as
many times as you want, until you come up
| | 05:29 | with an effect that you like.
| | 05:31 | I think something like
this looks pretty darn good.
| | 05:34 | Notice it looks as if we have multiple
light sources that are being shined onto
| | 05:38 | this background all at the same time.
| | 05:41 | That, friends, that's all there is to it.
| | 05:42 | That's how you create a hammered
metal background inside Photoshop.
| | Collapse this transcript |
| 007 Creating heavy metal type| 00:00 | In this movie, I am going to show
you how to create this heavy metal text
| | 00:03 | effect that you see here.
| | 00:04 | This technique is a little more
involved than the other ones, but it's
| | 00:07 | well worth the effort.
| | 00:08 | I am going to start off in this
document where I have some white text set
| | 00:11 | against that hammered metal background.
| | 00:13 | I am going to press Shift+Tab to bring
up my Layers panel, and for the moment,
| | 00:17 | I'm going to the turn off the text layer.
| | 00:18 | We are going to create a repeating
pattern that's going to serve as the wire
| | 00:23 | mesh inside of the letters.
| | 00:25 | So go ahead and switch to the Rectangle tool
down here toward the bottom of the toolbox.
| | 00:29 | Then click this down-pointing
arrowhead up here in the options bar, turn on
| | 00:33 | Fixed Size, and I want you to set both the
Width and Height values to 50 pixels apiece.
| | 00:38 | Then press the Enter key, or the Return
key on the Mac, to accept that change.
| | 00:41 | Press the D key and then the X key in
order to establish white as the foreground
| | 00:46 | color and click anywhere inside the
image in order to create a new rectangle.
| | 00:51 | Now, this is a vector-based shape.
| | 00:52 | Let's go ahead and rename it by double
-clicking on its name and calling it
| | 00:56 | "square" here inside the Layers panel.
| | 00:58 | The next step is to switch to the Line
tool, which you do from the options bar.
| | 01:02 | So go ahead and click on that guy and
then change the Weight value to 12 pixels.
| | 01:07 | Then I want you to make sure
that this first icon is selected.
| | 01:10 | Notice it says, "Create new shape layer."
| | 01:12 | Drop down to the image window once
again and drag above one of the corners to
| | 01:17 | below one of the corners, like so.
| | 01:19 | You want to make sure that you're tracing
exactly across the corners of the square.
| | 01:23 | Press the Shift key in order to
constrain the angle of your drag to
| | 01:27 | exactly diagonal, like so.
| | 01:28 | Now, you are initially going to get a white line,
| | 01:31 | so what I would like you to do is
double-click on the white thumbnail that's
| | 01:34 | associated with your new shape layer,
which we might as well go ahead and
| | 01:37 | rename lines, like so.
| | 01:39 | Then double-click on its thumbnail.
| | 01:41 | That will bring up the Color Picker
dialog box and change the color to black by
| | 01:44 | dragging down to the bottom-left corner.
| | 01:46 | Click OK in order except that modification.
| | 01:49 | This time we want to add another
line to this existing shape layer,
| | 01:53 | so go up to the options bar and click
on the second icon to the right of the
| | 01:57 | Weight value that says Add to shape area.
| | 01:59 | Go ahead and click that guy and then
drag from an opposite corner to another
| | 02:03 | opposite corner like so, and press
the Shift key as you do so in order to
| | 02:06 | constrain the angle of
your drag to exactly diagonal.
| | 02:10 | So you want to get those lines as
lined up as possible. All right.
| | 02:13 | The next thing to do is to go back over
here to the Layers panel and Ctrl+Click
| | 02:17 | or Command+Click on the vector mask for square.
| | 02:20 | That will go ahead and convert that
square shape to a selection outline, like so.
| | 02:25 | The next thing you need to do just to
get everything right, you need to go ahead
| | 02:28 | and click on some layer that's
not a vector-based shape layer.
| | 02:31 | So I am clicking on my blackness Smart
Object, and I will go up here to the Edit
| | 02:35 | menu, and I will choose to Define Pattern.
| | 02:38 | Let's go ahead and name this new
pattern "wires", and then click OK.
| | 02:41 | Now you can go ahead and
hide both those shape layers--
| | 02:44 | we don't need them anymore--and
press Ctrl+D, or Command+D on the Mac, to
| | 02:47 | deselect the image.
| | 02:48 | Turn on your type layer if
you're working along with me.
| | 02:51 | Click on that type layer to make it active.
| | 02:53 | Then drop down here to the fx icon.
| | 02:56 | Click on it and choose Stroke,
because we need to add a big, thick stroke to
| | 03:00 | our letters. And I want that stroke to be
black, so make sure the color is set to black.
| | 03:04 | The Size value should be 10 pixels and the
Position, instead of Outside, should be Center.
| | 03:10 | Now I want to turn on Pattern Overlays,
| | 03:12 | so go ahead and click on it. And for the
Pattern option, click the down-pointing
| | 03:15 | arrowhead and choose that pattern you
just created, which in my case is called
| | 03:18 | wires, and you will get this effect
right here that's way too big. But notice
| | 03:22 | the lines more or less mesh up with each other--
| | 03:24 | not exactly, but it's going
to work out good enough for us.
| | 03:26 | I will change the Scale value from 100% to 25%.
| | 03:30 | Then click OK in order to accept that change.
| | 03:34 | Now, we need to convert what
we're seeing to a selection outline.
| | 03:37 | Let me show you how that works.
| | 03:38 | I am going to turn back on my square
layer, the one that's filled with white,
| | 03:41 | and I'm been a Shift+Click on that
vector mask thumbnail right there in order to
| | 03:45 | turn the vector mask off.
| | 03:47 | What that does is it creates a
field of white in back of my letters.
| | 03:50 | Now I am going to switch over to the
Channels panel, and I am going to Ctrl+Click
| | 03:54 | or Command+Click on RGB. In order to load
everything that's white as a selection,
| | 03:59 | everything that's black is deselected.
| | 04:01 | That's exactly the opposite of what I want.
| | 04:03 | So go up to the Select menu
and choose the Inverse command.
| | 04:06 | Now, I've selected everything that's
black and deselected everything that's white.
| | 04:10 | Switch back to the Layers panel and
turn off that white later, the one that's
| | 04:13 | called square, and turn off your text layer.
| | 04:16 | We are now going to create a new
layer by pressing Ctrl+Shift+N--
| | 04:19 | Command+Shift+N on the Mac.
| | 04:21 | I am going to call this
guy "outlines" and click OK.
| | 04:24 | Now we are going to fill the selection--
| | 04:26 | you don't want to deselect this area yet--
| | 04:28 | fill the selection with black, and in
my case black is my background color,
| | 04:31 | so I will press Ctrl+Backspace, or Command+
Delete on the Mac, in order to fill the selection.
| | 04:37 | Press Ctrl+D, or Command+D on the
Mac, in order to deselect the image.
| | 04:41 | Now, we are going to add a trio of layer effects.
| | 04:43 | Click the fx icon down here at the bottom
of the Layers panel. Choose Bevel and Emboss.
| | 04:48 | And here's the settings I want to you apply.
| | 04:50 | All these options are fine as is:
| | 04:52 | that is, Style, Inner Bevel
Techniques, Smooth, Depth, 100%;
| | 04:55 | Those are default settings.
| | 04:56 | Direction can be Up.
| | 04:58 | I am going to change the Size value to 2 pixels,
| | 05:00 | so we are taking that down quite a bit.
| | 05:02 | My Angle value is 120 degrees by
default and Altitude is 30 degrees.
| | 05:06 | So it's exactly what I want.
| | 05:07 | I am not concerned about the Gloss Contour.
| | 05:09 | In fact, all I am going to do is raise
the opacity for both the Highlight mode
| | 05:13 | and the Shadow mode to 100%.
| | 05:15 | They're white and black by default.
| | 05:17 | Screen and Multiply, as well.
| | 05:18 | That's exactly what I want.
| | 05:20 | Now I am going to switch over to the
Drop Shadow, and I'm going to increase its
| | 05:23 | Opacity value to 100%. Black is default,
| | 05:26 | so that's fine, too.
| | 05:27 | The Blend Mode is set to
Multiply, which is what I want.
| | 05:30 | An Angle value of 120 degree is fine.
| | 05:32 | Distance should be 10 pixels.
| | 05:34 | Spread should be 0, and Size
should be 10 pixels as well.
| | 05:38 | Then finally I'm going to add a
little bit of rust effect by switching to
| | 05:42 | Pattern Overlay, and I am going to
click the down-pointing arrowhead next to
| | 05:45 | Pattern, and I'm going to choose Rusted Metal.
| | 05:48 | If you don't see Rusted Metal, then you
need to click this right arrow icon and
| | 05:52 | choose Patterns in order to
load the Patterns library.
| | 05:54 | But I can see mine, so I will just go
ahead and click on it to select it.
| | 05:57 | Notice it gives us this kind
of over-the-top rusty effect.
| | 06:01 | That's a little too much for my taste,
| | 06:02 | So I am going to change the
Blend Mode from Normal to Overlay.
| | 06:05 | Then I'm going to reduce
the Opacity value to 50%.
| | 06:08 | Now you might look at this and say,
"Well, that's weird Deke, because you just
| | 06:11 | got rid of the effect entirely.
| | 06:13 | All we're seeing is black now."
| | 06:15 | Well, click OK in order to
accept that modification.
| | 06:17 | Then let's change the
Fill value right there to 0%.
| | 06:20 | That way we are not seeing any of the
black fill associated with this layer;
| | 06:24 | we are only seeing the
layer effects and nothing more.
| | 06:27 | Now, I want to bolster those strokes,
| | 06:29 | so I need to reload the stroke
from that original text layer.
| | 06:32 | So I'm going to turn off my
outlines layer for a moment.
| | 06:35 | I am going to turn on that type layer
once again and turn on the white later,
| | 06:39 | which is called square with the layer
mask turned off, and then I am also going
| | 06:42 | to turn off its pattern overlay.
| | 06:44 | So we're just seeing the stroke.
| | 06:46 | Switch over to the Channels panel,
Ctrl+Click or Command+Click on RGB.
| | 06:51 | Actually, you can Ctrl+Click or
Command+Click on any of the channels.
| | 06:54 | That will go ahead and select
the wide area, deselect the black:
| | 06:57 | exactly the opposite of what we want.
| | 06:59 | So go to the Select menu and choose Inverse.
| | 07:01 | Now we are selecting the black stroke,
deselecting the background. Switch back
| | 07:05 | to Layers, turn off your type layer,
turn off that layer of white, turn back
| | 07:10 | on the outlines layer.
| | 07:11 | Make sure it's selected, because we
want to create the new layer on top of it.
| | 07:15 | Press Ctrl+Shift+N, or Command+Shift
+N on the Mac, to make a new layer.
| | 07:18 | We will name this guy "border" and click OK.
| | 07:21 | Now press Ctrl+Backspace, or Command+
Delete on the Mac, in order to fill the
| | 07:25 | selection with black, because black, in my
case at least, is the background color.
| | 07:29 | Press Ctrl+D, or Command+D on the Mac, to
deselect that image, and now I want you
| | 07:34 | Alt+Drag or Option+Drag the fx that's
next to the outlines layer onto the border
| | 07:39 | layer in order to copy all of those effects.
| | 07:42 | Reduce the Fill Opacity value to 0%
like so and then turn off Pattern Overlay,
| | 07:47 | because we don't need more
rust added to this effect.
| | 07:50 | You end up getting this final heavy metal text.
| | 07:52 | I am going to press the F key a couple
of times, and there we have it, created
| | 07:56 | using a combination of a custom pattern,
in order to create this wire mesh inside
| | 08:01 | of the letters, as well as loading the
stroke and the pattern effect from the
| | 08:04 | Channels panel, filling those selections
with black, and then applying a variety
| | 08:09 | of layer effects with the
Fill Opacity value set to 0.
| | Collapse this transcript |
| 008 Creating a molten letter effect| 00:00 | Hi! This is Deke McClelland.
| | 00:02 | Welcome to Deke's Techniques.
| | 00:03 | Today, I am going to show you how to
create molten type inside of Photoshop.
| | 00:07 | So notice that the centers of these
letters are nice and dark and toasted and
| | 00:12 | burnt, and then the outsides are
still on fire and smoldering, and we have
| | 00:17 | these little ripples going on
through the letters as well.
| | 00:20 | This is accomplished using a
combination of four layer effects.
| | 00:23 | I placed that inside of a Smart Object,
then apply two applications of the
| | 00:27 | Ripple filter and another of Bas
Relief, which is one that you don't get to
| | 00:32 | apply to text very often.
| | 00:33 | This is an approach that's equally
applicable to hot type and neon type and any
| | 00:38 | other kind of type where the outside of the
letters are bright and the inside is dark.
| | 00:43 | I am going to show you how to
create this effect starting right now.
| | 00:49 | Over the course of the next couple of
movies, I am going to show you how to
| | 00:52 | create text that looks like it's on fire, just
absolutely caught up in some kind of inferno.
| | 00:57 | But before we add the flames, I need to
show you how to create the hot embers of
| | 01:01 | type, these guys right there.
| | 01:03 | So it almost appears like we have
a very hot, rippling neon effect.
| | 01:08 | What's interesting about both of
these effects, by the way, both of these
| | 01:11 | techniques involve live editable type.
| | 01:13 | So you can actually edit that type if you
want to, without getting your fingers burned.
| | 01:17 | I am going to switch to this rather
nondescript document here, the usual white
| | 01:22 | text against the black background. And I
am going to press Shift+Tab to bring up
| | 01:26 | my right side panels.
| | 01:27 | I do have a layer of editable text,
and we are going to start things off by
| | 01:31 | adding a few layers effect, and then
we will add a trio of Smart Filters.
| | 01:35 | So step one is to go down to the fx
icon and choose Color Overlay, and I am
| | 01:40 | going to change the color by clicking
on the color swatch. And I am going to
| | 01:43 | change the H, S, and B values to
30 for Hue, and then Saturation and
| | 01:48 | Brightness are both 100%. Click OK.
| | 01:51 | That's it. We now have orange text.
| | 01:53 | Now I am going to turn on the Inner
Glow effect, and I am going to change to
| | 01:56 | color by clicking on the color swatch,
and I am going to enter these values:
| | 01:59 | a Hue value of 50, a Saturation value of
100%, and a Brightness value of 100% as well.
| | 02:05 | Then I will go ahead and click OK.
| | 02:07 | We want to raise that Opacity value to
100%, and I am going to switch to screen
| | 02:12 | to the hottest of the brightening mode,
which is Linear Dodge (Add), and I am going
| | 02:17 | to raise the size value just a
couple of clicks to 7 pixels.
| | 02:20 | Now I am going to turn on the Outer
Glow effect, change its color, by clicking
| | 02:24 | on the color swatch, to a Hue value of 15%
which is an orangish red, sort of a scarlet color.
| | 02:30 | Raise the Saturation value to 100%.
Brightness should be 100% as well. Click OK.
| | 02:35 | I am going to take the Opacity value to 100%,
and I want the size value to be 10 pixels as well.
| | 02:41 | Next, we want to introduce a little bit of
darkening inside the center of the letter.
| | 02:45 | I am going to do that using the Satin effect.
| | 02:47 | So I will turn on Satin. Multiply is fine
Most of these default settings are fine.
| | 02:52 | The Contour should be set to Gaussian as it is.
| | 02:55 | However, I need to change that color.
| | 02:57 | So I will click on the color swatch,
and I will go ahead and dial in a
| | 03:00 | dark scarlet this time.
| | 03:01 | So a Hue of 15, Saturation
of 100%, Brightness of 50%.
| | 03:07 | Click OK. Take the Opacity value up
to 100%, and then you can go ahead and
| | 03:12 | drag around inside the letters if you want
to, in order to create a custom Satin effect.
| | 03:17 | Notice how things are
changing on the fly for me.
| | 03:20 | Or you can just dial in the settings
that I came up with, which were an Angle
| | 03:23 | value of 90 degrees, a Distance of 6,
and then a Size value of 13 pixels, and
| | 03:28 | that's it for the layer effect.
| | 03:30 | Go ahead and click Ok in
order to accept that modification.
| | 03:33 | So, this is what my original
letters looked like; they were white.
| | 03:36 | This is what they look like
subject to that handful of layer effects.
| | 03:40 | Now that's a pretty cool neon effect.
| | 03:43 | In a lot of ways it's not strictly speaking
neon, but it has that sort of quality to it.
| | 03:48 | However, the letters do not look
like they are stressed, like some sort of
| | 03:51 | heat is attacking them.
| | 03:53 | In order to create that effect,
we have to apply a few filters.
| | 03:56 | Well, if you want to apply filters to
editable text, then you need to convert
| | 04:00 | that text to a Smart Object by
right-clicking on the text layer and choosing
| | 04:04 | Convert to Smart Object.
| | 04:05 | Now, the text is inside a protective container.
| | 04:08 | We can apply as many
nondestructive filters as we like,
| | 04:11 | starting with--I am going to go up to
the Filter menu--and I will choose Ripple
| | 04:14 | command, and I am going
to switch my Size to Large.
| | 04:18 | I believe it's Medium by default.
| | 04:19 | I will switch it up to Large, and then I am
going to take the Amount value down to 15%.
| | 04:24 | So we have just a little bit, as you
can see here, a little bit of wiggle
| | 04:28 | associate with these letters.
| | 04:29 | Then I will click OK.
| | 04:31 | Now, I want to add a little bit
of additional ripple as well,
| | 04:34 | so I will go up to the Filter menu and
choose that very first command, Ripple, or
| | 04:38 | I could press Ctrl+F--Command+F on the Mac.
| | 04:40 | I will drag my characters
upwards, so I can see what I am doing.
| | 04:43 | I will change the Size value to
Medium this time around, and I am going to
| | 04:47 | increase the Amount value to 50%.
| | 04:49 | So we get this sort of effect here, a
little more ripple going on, and the
| | 04:53 | ripple is designed to introduce sort
of that smoke effect when the hot air is
| | 04:58 | refracting the light.
| | 04:59 | That's the kind of effect we are going for here.
| | 05:02 | Click OK in order to accept that modification.
| | 05:04 | Now, notice to the right of the word
Ripple there is little settings icon,
| | 05:08 | this double slider icon. Go ahead and
double-click on the top one of the two
| | 05:11 | in order to bring up the Blending Options
dialog box, and I want to reduce the Opacity to 50%.
| | 05:17 | So we get a 50-50 mix of our two ripple effects.
| | 05:21 | The Mode should remain normal, by the way.
Click OK and then I want to apply one
| | 05:25 | more filter. But before I do, I will
press the D key, just to confirm that I
| | 05:29 | have the default foreground and background.
| | 05:32 | Black for foreground, white for background.
| | 05:34 | Then go up to the Filter menu, choose
the Sketch command, and I want you to
| | 05:37 | choose the very first
filter in the list, Bas Relief.
| | 05:41 | The default settings are fine.
| | 05:42 | I believe these are them, by the way,
a Detail value of 13, a Smoothness value of 3.
| | 05:48 | Let's go ahead and change the lighting
from Bottom to Top, to really make it
| | 05:53 | look as if we are
lighting from the bottom upward.
| | 05:56 | However, that's what this filter
calls Top, so, fair enough.
| | 05:59 | Click OK in order to accept that effect,
and we end up getting something that
| | 06:03 | looks kind of like we have
rendered the letters in steel.
| | 06:05 | That's not what I want,
| | 06:06 | so I will go over to the Settings icon,
the double slider. Double-click on it.
| | 06:10 | That brings up the Blending Options dialog box.
| | 06:13 | I am going to switch that Mode from
Normal to Overlay like so in order to
| | 06:17 | produce this effect here, and click OK.
| | 06:20 | Then we don't need the Filter mask,
so just to tidy things up, I will
| | 06:23 | right-click on that Filter mask
thumbnail and choose Delete Filter mask, and
| | 06:26 | that is the effect, folks.
| | 06:27 | I will go ahead and press
the F key a couple of times.
| | 06:30 | That's how you create a hot, fire-y,
glowing effect inside of Photoshop using a
| | 06:34 | combination of layer effects and Smart Filters.
| | 06:37 | In the next movie, I am going to
show you how to light this type on fire
| | 06:40 | using real flames.
| | Collapse this transcript |
| 009 Setting type on fire| 00:00 | In this movie, we are going to take
those hot glowing letters that we created in
| | 00:03 | the last movie, and we are
going to set them on fire, like so.
| | 00:06 | So we are going to end up
with this raging inferno.
| | 00:09 | Now this is real fire, by the way--that
is, photographs of actual fire, as opposed
| | 00:15 | to some sort of synthetic filtered effect.
| | 00:17 | I experimented with the lot of
the effects that are out there.
| | 00:19 | There are all kinds of recipes that you
can find, but at the end of the day, I
| | 00:23 | just didn't find any of
them to be terribly credible.
| | 00:26 | There is nothing for emulating
fire like real actual flames.
| | 00:30 | So I ended up putting
together this file right here.
| | 00:33 | It's based on a photograph from
Transition of the Fotolia Image Library, and the
| | 00:39 | file from which I grabbed this flames
happens to be number 14771929, for what it's
| | 00:45 | worth. And I mention that because
the file costs between one and seven bucks,
| | 00:49 | depending on the resolution.
| | 00:51 | So it's quite affordable, but there
are all sorts of other stock images of
| | 00:54 | flames. Or, of course, you can
capture your own if you like.
| | 00:57 | Anyway, notice that I am calling this
file Five and a half fires, and reason is
| | 01:01 | because flames number two at
positions--that is, number two and four--are
| | 01:06 | repeats of each other.
| | 01:07 | So I don't even have unique flames in
all cases, and yet this ends up creating a
| | 01:13 | terribly credible effect.
| | 01:15 | Now, I could just go ahead and grab one
of these flames, plop it into the other
| | 01:18 | composition into my hot glowing letters,
and then set it to the Screen mode, in
| | 01:22 | which case I'd drop out the darks and
keep the lights. But if I do that, then the
| | 01:26 | flames are going to end
up overwhelming the letters.
| | 01:28 | So what I want is these tendrils of flame
that interact really well with each other.
| | 01:33 | So I want to select just the
brightest details, and I am going to do that
| | 01:37 | using a luminance mask.
| | 01:38 | So I will press Shift+Tab in
order to bring up my right-side panel.
| | 01:41 | So I will switch over to the Channels
panel, and I want to show you the three
| | 01:44 | channels we have to work
with inside of this RGB image.
| | 01:47 | We have the green channel, which most
closely resembles a grayscale version of
| | 01:51 | the image. And it's ideally suited to
our purposes because if we convert this
| | 01:55 | channel to a selection, we are just
going to select the lightest details;
| | 01:58 | we are not going to select the background.
| | 02:00 | If I were to work from blue, I
wouldn't select enough of the details
| | 02:03 | because it's too dark.
| | 02:04 | If I worked from red, I would select too much.
| | 02:07 | So the just-right channel in this case is green.
| | 02:10 | So I am going to Ctrl+Click on the
PC, or Command+Click on the Mac, on that
| | 02:14 | channel in order to load this as a
selection outline. Then I will switch back to
| | 02:17 | the RGB image, switch over to the
Layers panel, and press Ctrl+Alt+J--or
| | 02:21 | Command+Option+J on the Mac--to jump
this selection to a new layer. And I will
| | 02:25 | call it "flames," and I will click OK.
| | 02:28 | Now, just to save myself time,
because I really need to bring each one of
| | 02:32 | these flames over independently so
that I can mix them together inside the
| | 02:36 | larger composition.
| | 02:37 | So I am going to do a little work in
the background here before I bring the
| | 02:41 | flames over, just like so.
| | 02:42 | I am going to start things off by
setting the blend mode for this layer to
| | 02:45 | Screen, which will end up brightening all the
flames just a little bit, as you can see there.
| | 02:50 | I am going to turn off the Background
layer as well because we don't need it.
| | 02:54 | Then I am going to zoom out a
little bit here so that I can take in the
| | 02:57 | large world of flames, and I am going
to select the Lasso tool by clicking
| | 03:01 | on it or pressing the L key.
| | 03:03 | And now I am going to drag generously
around all of the right-side flames here.
| | 03:08 | So I am selecting everything but the
farthest-left flame, as you can see.
| | 03:11 | And notice I have got some pretty big
gaps between the flames to work with,
| | 03:15 | so I am taking care of to make sure I
am not slicing any flame. And then I am
| | 03:19 | going to press Ctrl+Shift+J, or Command+
Shift+J on the Mac, and what that does is
| | 03:25 | it moves those flames to a new layer,
leaves the one flame behind on that flames
| | 03:30 | layer, and now creates a
new bunch of layers here.
| | 03:33 | This is called layer 2.
| | 03:34 | You know what I ought to do because
these layer names are going to update on me,
| | 03:38 | I am going to call this guy "layer 1,"
and you will see why in a moment.
| | 03:42 | I am going to call this guy "layer 2."
| | 03:44 | From now on, Photoshop should automatically
name the other ones layer 3, layer 4, and so on.
| | 03:49 | All right, I am going to grab these flames,
all of the right-side flames from the third
| | 03:54 | flame on, and I will press Ctrl+Shift
+J, or Command+Shift+J on the Mac, to
| | 03:57 | create the layer 3. Awesome!
| | 03:59 | Notice each one of these layers
is coming in with the Screen mode.
| | 04:02 | So that work will be done for me.
| | 04:03 | So I am trying to sort of
simplify the process a little bit.
| | 04:06 | Go ahead and drag around the fourth
flame on over. Ctrl+Shift+J, Command+Shift+J
| | 04:10 | on the Mac, in order to create layer 4.
| | 04:13 | Go ahead and drag around these guys, like so.
| | 04:15 | I think I clipped off a
little bit of flame right there,
| | 04:18 | so I will Alt+Drag or Option+Drag
around it, and then press Ctrl+Shift+J,
| | 04:22 | Command+Shift+J on the Mac,
in order to create a layer 5.
| | 04:24 | Then finally drag around this final flame,
press Ctrl+Shift+J or Command+Shift+J
| | 04:29 | on the Mac to create a layer 6. All right!
| | 04:31 | I got it. That's awesome!
| | 04:32 | I am going to click on one,
Shift+Click on other to select them all and
| | 04:35 | press Ctrl+G, or Command+G on the Mac,
to group them together, and I am going
| | 04:39 | to call this group "flames."
| | 04:41 | So I don't really care that it contains
a bunch of layers that are called layer
| | 04:45 | 1, layer 2, and so on, because I
know they are all flames now.
| | 04:48 | Now, I am going to get my Move tool by
selecting that top tool in the toolbox,
| | 04:52 | or I can press the V key, and
I am going to grab my flames.
| | 04:55 | I am going to drag them up onto that
Glowing embers tab right there. Wait for it.
| | 05:00 | So wait for Photoshop to switch to this
image window and then drag back into the
| | 05:04 | Image window and drop in order to move
my flames into place, and notice that
| | 05:08 | brought over the entire group. All right!
| | 05:10 | Now we have got to move these various
flames into the desired positions here,
| | 05:14 | so I am going to twirl open. Go ahead
and click on layer 1 to make it active.
| | 05:18 | Even though I am not even sure
I can see layer 1 at this point,
| | 05:20 | let's go ahead and drag it over and see.
There it is. And I will move it into
| | 05:24 | position, although it's sort of
snapping around, thanks to the fact that I have
| | 05:27 | got the Move tool selected.
| | 05:28 | So you know what I am going to do is I
am going to switch to the Marquee tool,
| | 05:31 | which I can get by pressing the M key,
and I am going to Ctrl+Drag the flame
| | 05:34 | instead, or Command+Drag on a Mac, so
that I don't have that clipping any more.
| | 05:38 | I will switch to layer 2
inside the Layers panel.
| | 05:41 | Ctrl+Drag or Command+Drag this flame into place.
| | 05:44 | Switch to layer 3. Ctrl+Drag or Command+
Drag this layer into place as well.
| | 05:48 | And you know what I want to do,
| | 05:49 | I want to go ahead and move
the flames below Firetype.
| | 05:53 | So I will collapse the Firetype layer,
so that I am no longer seeing its Smart
| | 05:57 | Filters, and I am going to drag the
flames group down below like so, so that
| | 06:01 | the letters are covering up the
flames because I don't want the flames to
| | 06:04 | overwhelm the letters. All right!
| | 06:06 | Now I am going to scroll over just a
little bit, click on layer 4, Ctrl+Drag, or
| | 06:10 | Command+Drag, that layer into place,
and switch to layer--what am I at?
| | 06:14 | Layer number 5 and Ctrl+Drag or Command
+Drag it into place as well. And then
| | 06:19 | finally, grab layer 6, which is way
outside of the canvas, and go ahead and move it
| | 06:24 | into place right about, I believe, there.
| | 06:26 | I am just kind of eyeballing these
various layers so that they blend into place
| | 06:29 | with each other, so that we are
filling in the gaps between the letters.
| | 06:33 | Now this isn't really the effect I am
looking for, unless the fire is coming
| | 06:36 | underneath the letters, like there
is some fire source that's down here
| | 06:40 | somewhere. But I want the letters
themselves to look like they are on fire,
| | 06:43 | so I am going to click on the flames
group right there, and I am going to add a
| | 06:46 | layer mask to it by clicking on the Add
Layer Mask icon down here at the bottom
| | 06:50 | of the Layers panel. And then I will
click on my Gradient tool in order to
| | 06:53 | select it, make sure that I have a
black-to-white gradient going--which I do--
| | 06:57 | and I will just draw a very small
gradient from the bottom of the letters up,
| | 07:01 | very slightly, like so.
| | 07:02 | Now, I need to do a little hand masking.
| | 07:04 | So I will grab the Brush tool.
| | 07:05 | I have got a very soft brush going.
| | 07:07 | You can see, if I right-click, the
Size is 70 pixels, for what that's
| | 07:10 | worth. Hardness is 0%.
| | 07:12 | And what that allows me to do is just
create this kind of quick and dirty mask
| | 07:16 | like so. And I will just drag around
these areas that I don't want to have fire in
| | 07:21 | them. And you might look at this and say, wow!
| | 07:24 | That doesn't look like flames at all.
| | 07:25 | In other words, it doesn't look like
this area flames which looks realistic, or
| | 07:29 | this area where the flames are declining.
| | 07:31 | Well, let's work on that a little.
| | 07:33 | Having painted away some of those
regions there that need to go away, I will
| | 07:36 | switch to the Smudge tool, which I can
get from the Blur Tool flyout menu right
| | 07:41 | there, and then I can just sort of
smear in some flame tendrils like so.
| | 07:45 | Nothing terribly fancy here, by the way.
| | 07:48 | I am not trying to create little curling flames.
| | 07:50 | You could throw on an application or
something like the Ripple filter if you
| | 07:54 | felt like it, but I will show
you what I think is more effective.
| | 07:57 | Where we have real flame transitions,
where they are really transitioning the
| | 08:01 | black, you end up with these red
colors showing up. But were you mask away
| | 08:06 | the flames, you end up with this sort of black-
yellow mix that just doesn't look right at all.
| | 08:10 | So I am going to switch to layer 6
here--that is, the top layer in the flame
| | 08:14 | stack--and I am going to add a new
layer by pressing Ctrl+Shift+N or
| | 08:18 | Command+Shift+N on the Mac. And I am
going to call this "redness" and click OK.
| | 08:23 | And I am going to switch to the
Brush tool once again, which I can get by
| | 08:26 | pressing the B. And if I press the Alt
key, or the Option key on the Mac, while the
| | 08:29 | Brush is selected, then I can get the
eyedropper. Click and hold in order to
| | 08:34 | select the color that you like, and in my
case, that lifts this color right here.
| | 08:39 | You know what? I am going to modify it a
little because I came up with the better
| | 08:42 | color mix that I like
| | 08:43 | that was 13 for H, 93 for Saturation,
believe it or not, and 41 for the Brightness.
| | 08:50 | And then I am just going to set in
painting inside some of these regions that
| | 08:55 | look a little, sort of blackish.
And that's going to give me just solid, full-
| | 08:59 | on red, which isn't going to look right, but we
will apply a blend mode in just a moment here.
| | 09:03 | So I will just click at the bottom of some of
these letters here in order to red things up.
| | 09:06 | That looks pretty good. Now I am going to change the
blend mode for that layer from Normal to Multiply,
| | 09:12 | and you end up burning in the
effect quite nicely I think.
| | 09:15 | Now if you feel like you have gone too
far at any point in time, you can click
| | 09:18 | on that layer mask once again.
And then, still armed with your Brush tool, you
| | 09:21 | can go ahead and switch the
foreground and background color
| | 09:23 | so white is your foreground color, and
you can paint some of the flames back in
| | 09:27 | like so. And you might find that to be
acceptable, especially if you have got a
| | 09:32 | little bit of red going on
underneath there in order to support it.
| | 09:35 | However, I went too far,
| | 09:36 | so I will press the X key to switch back to
black and paint that area away. All right!
| | 09:41 | This looks pretty good, but the
problem is it looks like the backs of the
| | 09:45 | letters are on fire.
| | 09:46 | It doesn't look like the letters
themselves are experiencing any flame whatsoever.
| | 09:51 | So, a couple of things I am going to do about that.
| | 09:52 | First of all, I am going to click on
that Firetype layer to make it active, and
| | 09:56 | this is the Smart Object layer that
contains the actual editable type.
| | 10:00 | I am going to add a layer mask to it
by clicking on this Add Layer Mask icon
| | 10:03 | down here at the bottom of the Layers
panel. And I will get my Gradient tool
| | 10:06 | once again. And this time I am going
to draw a big gradient, like so, just to
| | 10:11 | make the tops of the letters slightly
translucent. And I feel like they might
| | 10:15 | want to be a little more translucent still,
| | 10:17 | so I will draw yet another gradient.
| | 10:20 | I will keep trying until I get it right.
| | 10:21 | That looks pretty good.
| | 10:22 | Then I am going to go ahead and twirl
close this flames group, grab it, and then
| | 10:27 | right-click over in this empty region
in order to bring up the shortcut menu,
| | 10:31 | choose Duplicate Group, and I am going
to call this guy "hotter," and click OK.
| | 10:35 | Then I will move that in front of the
letters, which will absolutely overwhelm
| | 10:40 | the letters until I assign a blend
mode. And the Blend mode I am going to
| | 10:44 | assign, I will click on Pass Through and choose
Hard Light in order to create this effect here.
| | 10:48 | Now that looks awesome to me, but the
letters are a little bit overwhelmed.
| | 10:51 | So I will go ahead and grab those
letters once again, and I will press
| | 10:55 | Ctrl+Alt+J, Command+Option+J on the Mac,
to duplicate this layer and name it.
| | 11:00 | And I will call this new layer "support," and
click OK and then move it to the top of
| | 11:04 | the stack, and then I will change its
blend mode from Normal to Soft Light.
| | 11:09 | And we end up with this effect here.
| | 11:10 | Now, I will go ahead and press the F key
a couple of times in order to switch to
| | 11:13 | the Full Screen mode, and the result is
text that we have set on fire using real
| | 11:17 | flames here in Photoshop.
| | Collapse this transcript |
| 010 Using an anti-edge mask| 00:00 | Hi! This is Deke McClelland.
| | 00:02 | Welcome to Deke's Techniques.
| | 00:03 | This week we are going to take this
guy right here, who is obviously my twin, and
| | 00:08 | we're going to unsharpen him, because
he is just a little bit too tactile I
| | 00:14 | think. And we're going to do that
using an Inverted High Pass Filter, set
| | 00:19 | inside of an anti-edge mask. And I
know that sounds absolutely backward
| | 00:24 | compared to every sharpening
technique out there, because as I say, we are
| | 00:28 | trying to unsharpen him.
| | 00:29 | Here, let me show you. All right!
| | 00:33 | This image from Warren Goldswain of
the fotolia image library has been
| | 00:37 | stressed on purpose.
| | 00:39 | It's over-sharpened with a reason.
But let's imagine that we've decided it's in
| | 00:43 | need of a little bit of cosmetic TLC.
And we want to unsharpen the image,
| | 00:47 | not blur it, but rather, extract some
of the sharpness. And we want to extract
| | 00:51 | that sharpness just inside of the anti-edges.
| | 00:55 | So it's exactly the opposite approach
that we would apply when sharpening an image.
| | 00:59 | Here's how it works.
| | 01:00 | For starters, I am going to press
Ctrl+Alt+J--Command+Option+J on a Mac--to jump
| | 01:04 | this image to a new layer, and I'm
going to call it High Pass because that's
| | 01:08 | the filter we'll be applying initially.
| | 01:10 | Then I'll click OK.
| | 01:11 | Now, I'll go up to the Filter menu, and
I'll choose Other, and I'll choose High
| | 01:15 | Pass. And I'm going to apply a
pretty big Radius value of 20 pixels, and
| | 01:19 | basically what's going on with High
Pass is it looks for these 20-pixel halos
| | 01:24 | around all the edges inside of the image.
| | 01:26 | It keeps them more or less intact, and
everything that falls outside of those
| | 01:30 | halos ends up going to gray, which
works beautifully when combined along with
| | 01:34 | the Contrast filter.
| | 01:35 | So I'll go ahead and click OK, and
then the filter you usually apply, were we
| | 01:39 | sharpening this image, we would go up
to the Blend Mode pop-up menu, and we
| | 01:43 | would change the blend mode from Normal
to Overlay and we get this enhanced edge
| | 01:47 | effect here, which is somewhere
between a sharpening and a clarity effect.
| | 01:52 | However, we want exactly the opposite of that.
| | 01:54 | So press the Escape key if you're
working on a PC, so that that Blend mode
| | 01:58 | option is no longer active, and then
press Ctrl+I--or Command+I on a Mac--to
| | 02:03 | invert that layer, and now notice that
we're reversing the sharpness of the image.
| | 02:07 | Problem is, if we just let things go here,
we've got a lot of weird little sharp
| | 02:13 | edges left behind as you can see here.
| | 02:15 | So, we have a lot of pockmarks.
| | 02:16 | In order to get rid of those pockmarks,
we need to create an anti-edge mask, and
| | 02:21 | here is how that works.
| | 02:22 | Step number one is to go ahead and
turn off that High Pass filter, click
| | 02:26 | on Background and make it active again,
and then switch over to the Channels panel.
| | 02:30 | The next step is to grab the green
channel and drag it to little Page icon down
| | 02:34 | here at the bottom of the Channels
panel in order to create a copy of it. And I
| | 02:38 | am going to go ahead and rename that
channel "anti-edge," like so. All right!
| | 02:42 | So the third step is to go up to the
Image menu and choose Adjustments and
| | 02:47 | then choose Levels.
| | 02:48 | What we want to do here--I'll go ahead
and zoom out a little bit--we want to
| | 02:52 | get rid of all the obvious non-edges
inside the image, by which I mean I'm going
| | 02:57 | to go ahead and increase the
contrast of the image dramatically.
| | 03:00 | I'll take the Black point value up to 50,
| | 03:02 | so anything with the Luminance level of
50 or darker is going to become black.
| | 03:05 | And I am going to take the White point
value down to 140, which means anything
| | 03:10 | with the Luminance level of 140 or
brighter is becoming white, which means we're
| | 03:14 | losing all sorts of detail inside this
image, which is exactly what we want.
| | 03:17 | We're not harming the image, after all;
| | 03:19 | we are making a mask.
| | 03:20 | So now go ahead and click OK, and then
I am going to grab my Brush tool, which I
| | 03:25 | can get by pressing the B key.
| | 03:28 | I think I have 50%
Hardness going on. Indeed, I do.
| | 03:31 | I just went ahead and right-clicked
with the brush to check out my settings
| | 03:33 | here, and this is going to work out beautifully.
| | 03:35 | Now, I want to make sure that white is
my foreground color, as it is, and then I
| | 03:39 | am going to paint away the
stuff that I do want to sharpen;
| | 03:43 | in other words, these things are
not going to be counted as edges.
| | 03:46 | So I want to get rid of any of the
blemishes, in other words, inside of the
| | 03:50 | image right upfront.
| | 03:51 | Anything that I leave behind is going
to end up being counted as an edge, and
| | 03:54 | therefore it's going to be protected from
my Reverse High Pass effect. All right!
| | 03:59 | So this looks pretty darn good to me.
| | 04:01 | I can always change my mind later, by the way,
once we apply this as a layer mask. All right!
| | 04:05 | Step number four:
| | 04:06 | go up to the Filter menu, choose
Stylize, and choose Find Edges, which will
| | 04:11 | go ahead and trace all of the edges inside
of the image with little, tiny black outlines.
| | 04:16 | Now, they're not thick enough, and I
can see that I've got a few other little
| | 04:20 | sort of shnivels going on
up here in his forehead,
| | 04:22 | so I'll paint those away, maybe over
here in the side and the bridge of his nose
| | 04:26 | as well, down his jaw--do
whatever cleanup you want to.
| | 04:29 | Now, these edges are far too thin;
| | 04:31 | I need to thicken them up, and I
can do that with step number five:
| | 04:34 | go to the Filter menu, choose
Other, and then choose Minimum.
| | 04:39 | What Minimum means is that you're
going to expand the minimum luminance level
| | 04:42 | which is black. Maximum would expand the
maximum one, which is white. All right!
| | 04:47 | So go ahead and choose Minimum, and
let's take that value up to 3 pixels where
| | 04:51 | this image is concerned.
| | 04:52 | It really depends on resolution of the image,
| | 04:54 | so you'll want to go higher for
high-res images, lower for low-res, 3 pixels or
| | 04:58 | so works out very nicely for this one.
| | 05:00 | Remember that value, because it
sets in motion the future values.
| | 05:04 | Go ahead and click OK at this point. All right!
| | 05:05 | Now, we're ready for step number six.
| | 05:07 | Go up to the Filter menu, choose Noise,
and choose Median, because notice here
| | 05:12 | that we have these big squares all over the
place, because we blew up the square pixels.
| | 05:16 | Well, now we need to round them off,
and that's exactly what the Median
| | 05:19 | filter does--especially if you match the
exact same value you just applied a moment ago.
| | 05:24 | So I applied 3 pixels worth of Minimum.
| | 05:26 | I follow it up with 3 pixels worth of
Median. Click OK. Step number seven,
| | 05:30 | you go up to the Filter menu, you
choose Blur, and you choose Gaussian Blur,
| | 05:34 | because these edges are too stiff and
rigid right now. And I'll enter twice the
| | 05:39 | last couple of values that I have entered.
| | 05:41 | So instead of 3, I am going to enter 6
pixels. Click OK in order to apply that
| | 05:45 | effect, and we are done.
| | 05:46 | That is an anti-edge mask.
| | 05:48 | Basically, it's just the reverse of
an edge mask, for those of you who have
| | 05:52 | created an edge mask with
me in the past. All right!
| | 05:54 | Let's go ahead and load this guy up, by
Ctrl+Clicking or Command+Clicking on that
| | 05:59 | channel to load it as a selection
outline, switch back to the RGB image, then
| | 06:03 | switch to the Layers panel, turn on that
High Pass layer once again, click on it
| | 06:08 | to make it active, and then finally go
ahead and express the selection outline as
| | 06:11 | a layer mask by clicking on the Add
Layer Mask icon down here at the bottom of
| | 06:16 | the Layers panel, and we end
up getting this effect here.
| | 06:18 | I'll zoom in so that you can see
things a little more clearly here.
| | 06:22 | I am going to switch to the
Rectangular Marquee tool as well.
| | 06:25 | So if I were to Shift+Click on a
layer mask, that will turn it off.
| | 06:28 | So this is what the effect looked like
before without an anti-edge mask, and
| | 06:33 | this is what it looks like now:
| | 06:35 | a heck of a lot better.
| | 06:35 | Now, we do still have some rough
transitions, at least some very abrupt
| | 06:39 | transitions, between the smooth
areas and the unsmooth areas.
| | 06:44 | So what you might want to do at
this point is reduce the opacity.
| | 06:47 | I am going to take my Opacity value down
to 70% by pressing the 7 key, and I end
| | 06:52 | up getting this effect here.
| | 06:54 | So if I turn off the layer, you can see
this is the before version of the image
| | 06:58 | with these pretty sharp, harsh
transitions inside of the skin, and this is the
| | 07:03 | after version of the image.
| | 07:04 | It's a subtle difference;
| | 07:05 | it's not a complete cosmetic alteration.
| | 07:08 | However, it delivers a big bang for
the buck because you can pull off those
| | 07:12 | anti-edge masks and this inverted
High Pass effect lickety-split here
| | 07:18 | inside Photoshop.
| | Collapse this transcript |
| 011 Blending textures onto a face| 00:00 | Hi! This is Deke McClelland.
| | 00:02 | Welcome to Deke's Techniques.
| | 00:04 | This week we are going to take this
portrait shot right here, which has a lot
| | 00:07 | of open skin real estate--which is
very important for this effect to work, by
| | 00:11 | the way--and we are going to
map onto it a couple of textures.
| | 00:14 | There is an alabaster texture in the
background, which I apply using the Hard Mix mode.
| | 00:18 | Now Hard Mix, by default, is a walking
disaster, until you combine it with a
| | 00:24 | lower Fill Opacity value,
which makes it quite useful.
| | 00:27 | Then we will blend in those patterns
and a couple of passes, once using the
| | 00:31 | Screen mode, again using the Multiply
mode, combined with some variations on the
| | 00:36 | Luminance Exclusion slider bars,
inside the Advance Settings portion of the
| | 00:41 | Layer Style dialog box.
| | 00:43 | Here, let me show you how it works.
| | 00:47 | In this movie, I will show you one of
the many ways to map one or more textures
| | 00:51 | onto a person's face, and the
advantage of this approach is that it doesn't
| | 00:54 | involve any masking whatsoever;
| | 00:56 | we are relying entirely on blend
modes and advanced blending options.
| | 01:00 | And the great thing about using
such parametric effects, and when I say
| | 01:04 | parametric effects I mean you can
change your mind anytime you want to, because
| | 01:08 | you are relying on some sort of
parameters inside the software, some sort of
| | 01:12 | adjustable parameters.
| | 01:13 | And so what that means is I can make
any changes I want anytime I want.
| | 01:18 | For example, I could grab these two
carving layers here, by clicking on one
| | 01:22 | Shift+Clicking on the other here
inside the Layers panel, and then I can
| | 01:25 | Ctrl+Drag them downward if I wanted to
change the way that this pattern maps
| | 01:30 | onto this woman's face.
| | 01:32 | And Photoshop just automatically
responds to my modifications on the fly.
| | 01:36 | So, let's see how this works.
| | 01:37 | I am going to switch over
to this base image here.
| | 01:40 | And notice that I have this portrait
shown of a woman, captured by Jason Stitt.
| | 01:44 | All of these images come from the
fotolia image library, incidentally.
| | 01:47 | I am going to go ahead and turn on the
alabaster layer, which comes from Luciana
| | 01:52 | de Faviari, and what I would like to do
is map this texture onto the face in the
| | 01:58 | background, which means that I want
the dark details to darken up her face, I
| | 02:01 | want the light details to lighten up her face.
| | 02:04 | So I will go ahead and click in the
Blend Mode pop-up menu here, and I can
| | 02:08 | choose from essentially any
of these middle settings here.
| | 02:11 | Anything from Overlay all the way down
to Hard Mix, these are the contrast modes.
| | 02:16 | So, you usually start with Overlay,
give it a try, see how it fares.
| | 02:19 | I don't like it so much in this case;
| | 02:21 | it sort of overwhelms the image.
| | 02:22 | If that's the case, you can either
reduce the opacity if you like, or you can
| | 02:26 | switch down the blend mode.
| | 02:28 | And Soft Light tends to be a lesser blend mode.
| | 02:31 | It favors the background image more
than the active layer, and it results in
| | 02:35 | less saturated colors than Overlay,
and so we get this effect here, which is
| | 02:40 | acceptable, but not
exactly what I am looking for.
| | 02:42 | And quite surprisingly, the blend
mode I ended up landing on is this guy
| | 02:46 | right there, Hard Mix.
| | 02:47 | Now, that's initially going to
completely overwhelm the image.
| | 02:50 | We are going to be left with no
more than eight colors, and that's it.
| | 02:53 | In our case, we are only left with four
colors--red, yellow, white, and black--
| | 02:57 | and it looks terrible.
| | 02:59 | But Hard Mix is one of what I
call the 'Fill Opacity Eight'.
| | 03:03 | It's one of the eight blend modes
inside of Photoshop that responds differently
| | 03:08 | to fill than it does to opacity.
| | 03:09 | So, for example, if I were to take the
Fill value down to 30% let's say, this
| | 03:14 | still is a garbage-y effect.
| | 03:16 | It doesn't look any good at all.
| | 03:17 | So I will go ahead and raise that
Opacity value up to 100% once again.
| | 03:22 | Instead, I will change the Fill value,
the Fill Opacity value, to 30%, and
| | 03:27 | notice that we get a completely different,
and utterly lovely, effect right here.
| | 03:33 | And just so as you know, in case you
are not already aware, you can change the
| | 03:37 | Opacity value without it being active
just by pressing a couple of keys, and
| | 03:42 | you can do that same thing with Fill Opacity,
but you press Shift along with one or two keys.
| | 03:46 | So give that a try if you like. All right!
| | 03:48 | Now I am going to switch to
the carving layer, turn it on.
| | 03:51 | And this photograph comes
to us from Vatislav Danelyne.
| | 03:54 | And the problem with this particular
image is it's quite busy, and so it
| | 03:59 | requires a more advanced approach;
| | 04:01 | we can't just slam on a single
contrast mode and get away with it.
| | 04:04 | I will try Overlay, but as you can see,
that doesn't really do what I am looking for.
| | 04:08 | I really want to darken up the dark
areas more than this, and I don't want to go
| | 04:12 | any lighter with the light areas.
| | 04:14 | So I want independent shadow and
highlight control, which is not something you
| | 04:17 | get with the contrast modes.
| | 04:18 | You can try something else, like Hard
Light, that absolutely overwhelms the image.
| | 04:23 | If you go up to Linear Light, it's
really going to get bad, and you can try if
| | 04:27 | you like, you can try Hard Mix, and we
could reduce the Fill value to 30%, just
| | 04:32 | to give it a try, but that's not
nearly what I am looking for either.
| | 04:35 | So, let's go ahead and undo all this stuff.
| | 04:38 | I will return the Fill value to 100%.
| | 04:39 | I will restore the blend
mode to Normal, like so.
| | 04:43 | And what we need to do is take two
different approaches to this layer.
| | 04:46 | First, we are going to modify the
shadow detail, and then we will blend in
| | 04:50 | the highlight detail.
| | 04:51 | So I will press the Escape key so the
Blend mode is no longer active here on the
| | 04:54 | PC--not an issue on the Mac.
| | 04:56 | And I will press Ctrl+J, or Command+J on
the Mac, just to create a copy of that layer.
| | 05:01 | Turn it off. We'll come back to it in a moment.
| | 05:03 | Click on the original layer right there,
and let's start by applying the darkest
| | 05:07 | details, burning in those
shadow details on this layer.
| | 05:11 | So I will switch the blend mode from
Normal to Multiply, which is your when-in-
| | 05:15 | doubt darkening mode inside Photoshop.
| | 05:17 | And that ends up actually looking pretty good.
| | 05:21 | I'd like to bring through, however,
some of the highlights from her face, so
| | 05:26 | that again she is not getting too
overwhelmed, and I am not mushing the whites
| | 05:30 | of her eyes too much.
| | 05:31 | So in order to do that, I will double-
click in this empty region to the right
| | 05:35 | of the word "carving," in order to
bring up the Layer Style dialog box, and I
| | 05:39 | will direct your attention down here
to the Luminance Exclusion slider bars,
| | 05:44 | which are called This
Layer and Underlying Layer.
| | 05:47 | So the This Layer slider bar allows
you to exclude either shadows inside the
| | 05:53 | active layer or highlights.
| | 05:55 | The Underlying Layer slider bar allows
you to force through shadows here on the
| | 06:00 | left-hand side or highlights here on
the right-hand side from the layers
| | 06:04 | underneath the active layer.
| | 06:05 | And so I what I want to do is force
through some color, so I am going to go
| | 06:09 | ahead and drag this white slider
triangle over to the left until I see a
| | 06:15 | luminance level of 120 right there.
| | 06:16 | Now you can't dial in your own numbers;
| | 06:18 | you just have to drag these guys around.
| | 06:20 | And what this is saying is if a
luminance level inside of the lower layers
| | 06:26 | inside of this image, if it's 120 or
brighter--and 128 is a medium gray, just to
| | 06:32 | give you a sense--so basically all the
brightest colors, where they exist, they
| | 06:35 | are going to force through
the active layer, temporarily.
| | 06:38 | These are all temporary modifications;
| | 06:40 | you can come back and change
your mind anytime you like.
| | 06:42 | What we end up with, however, is some
very jagged transitions between the opaque
| | 06:47 | pixels and the transparent ones.
| | 06:49 | And so to taper off that transition so
that we have some softness there, you
| | 06:53 | press the Alt key, or the Option key on
the Mac, and you drag the right half of
| | 06:58 | that triangle away, like so.
| | 07:00 | So you can break the triangle in two
by Alt+Dragging or Option+Dragging it,
| | 07:04 | and then I will take this guy up to 240,
and we create the soft transition that
| | 07:09 | you see now on screen.
| | 07:10 | That's all I am going to do on this layer.
| | 07:12 | Click OK in order to accept that modification.
| | 07:13 | Now, let's take a separate
swing at the highlight details.
| | 07:18 | I will turn on the top carving layer,
click on it to make it active, and I will
| | 07:22 | switch from the Normal mode to the
Screen mode, like so, and that is really
| | 07:27 | overwhelming the image. That's no good at all.
| | 07:28 | So I will double-click on the empty
portion of that layer once again to bring up
| | 07:33 | the Layer Style dialog box, complete
with the Luminance Exclusion slider bars
| | 07:37 | down here at the bottom.
| | 07:39 | And this time around, I am going to
drop out some of the darkest colors on the
| | 07:43 | active layer by dragging this black
slider triangle over to the right until I
| | 07:47 | see 190, which means that anything that
has a luminance level of 190 or darker
| | 07:52 | on the active layer
turns transparent on the fly.
| | 07:56 | Again, it's a temporary modification;
| | 07:58 | you can change your mind later if you want to.
| | 08:00 | That also delivers some very
ragged transitions. Don't want that.
| | 08:03 | I want to soften the transitions.
| | 08:05 | So I will go ahead and Alt+Drag or
Option+Drag the left half of this black
| | 08:10 | triangle down to 100, like so.
| | 08:13 | So anything that's 100 or darker
becomes absolutely transparent, 190 or
| | 08:17 | higher is opaque--subject to the
screen blend mode--and anything in between
| | 08:22 | is slowly dropping off.
| | 08:24 | Now then, we still have some pretty
harsh transitions, and I still want to bring
| | 08:27 | through some shadow detail in the
underlying image, so I am going to drag the
| | 08:31 | black slider triangle associated with
the Underlying Layer slider bar, I am
| | 08:35 | going to drag it over all
the way to 220, actually.
| | 08:38 | That's where I'll start.
| | 08:40 | And then I will Alt+Drag or
Option+ Drag the left half of that slider
| | 08:44 | triangle down to about 90 right
there, like so, in order to achieve the
| | 08:50 | effect you see on screen.
| | 08:51 | Click OK in order to confirm your changes.
| | 08:54 | Now, I want you to understand--this
is very important--you can change your
| | 08:57 | mind anytime you want.
| | 08:58 | All you have to do is double-click on
that layer once again, and you will once
| | 09:02 | again see the values that you applied.
| | 09:05 | And of course, you can modify
them to your heart's content.
| | 09:07 | All right, I am going to cancel out
because my heart is already so content.
| | 09:11 | The only thing left to do is to go
ahead and turn on these text layers, which I
| | 09:14 | will, in order to complete this little
bit of artwork that I have created here.
| | 09:19 | And I will fill the screen with the
image, and that is one of the many ways to
| | 09:23 | wrap photographic textures
onto faces inside Photoshop.
| | 09:28 |
| | Collapse this transcript |
| 012 Rendering a face as a cave painting| 00:01 | In this movie I'm going to show you how
to take this digital photograph that's
| | 00:03 | captured by Jason Stitt of the fotolia
image library, and we're going to render
| | 00:08 | it out as a smoky prehistoric cave
painting, as rendered by our ancient ancestors
| | 00:14 | using no pixels whatsoever
tens of thousands of years ago.
| | 00:18 | So we're going to start things off
inside this two-layer image. I'll go ahead
| | 00:22 | and press Shift+Tab to bring up the
right-side panels and zoom out a little bit.
| | 00:26 | We've got a portrait shot on top, and
then in the background I've got this rock
| | 00:29 | wall from Stricker, also of
the fotolia image library.
| | 00:33 | So I want to go ahead and apply a
few filters to this portrait layer.
| | 00:36 | So I am going to convert it to a
Smart Object by right-clicking on it and
| | 00:40 | choosing Convert to Smart Object.
| | 00:42 | Then I'll make sure that my foreground
and background colors are set to black
| | 00:45 | and white respectively. And if they
aren't for you, then just go ahead and press
| | 00:49 | the D key. Then go up to the Filter
menu and choose Sketch, and all of these
| | 00:54 | filters in the Sketch submenu, they
respond to the active foreground and
| | 00:58 | background color, so that's why we had
to be using black and white. And then go
| | 01:01 | ahead and choose Chalk & Charcoal.
And inside the big filter gallery, I'll go
| | 01:06 | ahead and zoom out so that I can see
more of the image at a time, and notice that
| | 01:10 | we have three sliders.
| | 01:11 | Charcoal Area determines the amount
of dark stuff that the filter creates,
| | 01:15 | Chalk Area is the amount of light
stuff, and then Stroke Pressure is the
| | 01:20 | amount of contrast.
| | 01:21 | So I am going to raise my Charcoal
Area to 15 because I want an awful lot of
| | 01:25 | darkness, and then I'll going to tab to Chalk
Area, and then I'll going to take it down to one.
| | 01:29 | So we just have a few highlights
because we want this very dark feeling to our
| | 01:34 | cave, and then a Stroke
Pressure of one is just fine.
| | 01:37 | Then click OK in order to apply that filter, and
| | 01:39 | you'll get this effect here.
| | 01:41 | We don't need the filter mask, so right-
click on it and choose Delete Filter Mask.
| | 01:45 | Now my problem with this effect--what I
love about it, by the way, is that we've
| | 01:50 | got these highlights and these shadows
and then these gray areas. And we'll be
| | 01:53 | able to drop out the gray areas using a
Contrast Blend Mode, as you'll soon see.
| | 01:57 | But in the mean time, I'm not really
sure that I think these little sort of
| | 02:01 | diagonal strokes are all that credible.
| | 02:04 | They don't really add anything to the
mix here, and they're not going to look
| | 02:07 | right against the rock wall anyway.
| | 02:09 | So I am going to get rid of them by
going up to the Filter menu and choose
| | 02:13 | Blur and choosing Gaussian Blur. And a
Radius value of six pixels is going to
| | 02:17 | work fine. Click OK and then finally I need to
go ahead and render her against the rock wall.
| | 02:23 | In other words, I need to
apply a displacement map.
| | 02:26 | So I am going to click on the background
layer to make it active, right-click on
| | 02:30 | it, and then choose Duplicate Layer.
And I'll change the Document to New because
| | 02:35 | we have to create the displacement map
inside of a new image window. And I'll
| | 02:39 | call this guy "wall displace" let's say,
click OK and then go up to the Image
| | 02:45 | menu, choose Mode, and choose Grayscale.
And this is a very important step. If you
| | 02:50 | leave your image as an RGB image, then
Photoshop only takes into account the red
| | 02:55 | and green channels when creating the
displacement map, and it actually makes a
| | 02:58 | pretty big mess of things.
| | 03:00 | So choose Grayscale, click Discard in
response to that alert message, and then
| | 03:05 | finally make sure you've got just the
background layer. You should have a flat
| | 03:08 | image as I do; if not, you'd go up to
the Layer menu and choose the Flatten
| | 03:12 | Image command. And then finally go the
File menu and choose the Save command and
| | 03:17 | make sure the Format is set to PSD and
then go ahead and save that document.
| | 03:22 | All right, now I'll switch back to my
composition at hand, and I'll click on that
| | 03:26 | portrait layer once again,
| | 03:27 | go up to the Filter menu, choose Distort >
Displace. And this time around I want
| | 03:32 | the Horizontal Scale value to be 20, as
I've set it here, and the Vertical Scale
| | 03:36 | value to be 10, which is the default setting.
| | 03:39 | The radio buttons down here at the
bottom of the dialog box don't matter.
| | 03:42 | Click OK, find that displacement map
you just saved a moment ago, and then go
| | 03:47 | ahead and open it, and you'll end up
adding a bunch of crags to her face, so that
| | 03:51 | her face is actually aligning to the
contour of the background texture, which is
| | 03:55 | absolutely what we want. That's perfect.
| | 03:58 | Now then, I'm going to change the
blend Mode from Normal to Overlay, and
| | 04:03 | that's half the battle.
| | 04:04 | You could stop there if you want to
because now you are getting this nice
| | 04:08 | effect where you're burning her face
into the background. So wherever you're
| | 04:11 | going to have dark stuff, that's going
to darken up the background--in her eyes,
| | 04:14 | for example and then the light stuff
along her cheek, the highlights, are going
| | 04:19 | to lighten up the background, and all
that gray stuff is just going to drop away.
| | 04:23 | And we get this very nice effect,
but I think it's a little bit over the top,
| | 04:26 | because if this was really an ancient
smoky cave, some of this paint would've
| | 04:30 | died away over time.
| | 04:32 | So what I am going to do is drop down
here to the Add Layer Mask icon, click on
| | 04:36 | it, and then go up to the Filter menu,
choose Render, and choose Clouds, just to
| | 04:43 | crate some random variation
in the opacity of her face.
| | 04:46 | Now I want to add a little bit of
smokiness around the edges, so I am going to
| | 04:49 | zoom out a little bit here.
| | 04:51 | I am going to switch to my Background layer.
| | 04:52 | I am going to copy it to a new layer by
pressing Ctrl+J, or Command+J on the Mac,
| | 04:58 | and then I am going to set
that new layer to Multiply,
| | 05:01 | so that we're burning in
that background quite a bit.
| | 05:03 | Now I don't want that much burn, so I
am going to add a layer mask down here at
| | 05:07 | the bottom of the Layers panel, and
then I am going to switch to my Brush tool.
| | 05:11 | And if I right-click inside of the
image window, you'll see that I have a very
| | 05:15 | large brush here: 700 pixels.
| | 05:17 | So it's quite huge.
| | 05:19 | The Hardness, however, is 0%--that's
very important. And then I am going to go
| | 05:23 | ahead and paint in some blackness
toward the center of the photograph like so,
| | 05:29 | so that I am just getting the darkness, the
burn of the Multiply effect around the edges.
| | 05:33 | I might paint up here a little bit more.
And if I feel like I went too far with
| | 05:37 | the erasing some of that darkness, as
I might have here, then I press the X
| | 05:41 | key in order to switch my foreground color to
white and I paint in some more darkness, like so.
| | 05:46 | All right, once I've finished up--
this looks pretty good to me--
| | 05:49 | I will go ahead and switch back
to the Rectangular Marquee tool.
| | 05:52 | Now my only problem with this effect
is that we're kind of losing her nose.
| | 05:54 | The eyes look great to me.
I like the fact that they're a little bit
| | 05:58 | diffused and slightly menacing as well.
And I can see the mouth just fine, but
| | 06:02 | her nose is dropping away.
| | 06:04 | So I am going to go ahead and select
that portrait layer, and I'm going to jump
| | 06:07 | it by pressing Ctrl+J, Command+J on
the Mac, to create another copy. And that
| | 06:11 | actually looks pretty good,
but that's a little bit too much for my taste.
| | 06:14 | So I am going to do a couple of things here.
| | 06:16 | First of all I'm going to change the
blend mode from Overlay to Soft Light,
| | 06:19 | so we are backing off the effect
slightly. And also we're losing some of the
| | 06:23 | color contrast, so that we're not
blowing away the colors, we're not ending up
| | 06:27 | so many yellows, for example. Then I
am going to click on this layer mask
| | 06:31 | thumbnail here inside the Layers panel
to select it, and I am going to go ahead
| | 06:35 | and fill the entire layer mask for now
with black by pressing Ctrl+Backspace, or
| | 06:40 | Command+Delete on the Mac, because, for
me anyway, black is the background color.
| | 06:46 | And then I am going to grab my Brush
tool once again, and it's set to this big, huge
| | 06:50 | soft brush; that's just fine.
| | 06:51 | White is my foreground color.
| | 06:52 | I am just going to paint in this area
around the nose and her cheeks and so
| | 06:57 | on, and that's it--just a little bit right
there. Switch back to the Rectangle Marquee tool.
| | 07:01 | Notice this is the difference here.
| | 07:03 | This is what the effect looks like
without that nose layer essentially right there.
| | 07:07 | I will go ahead and it "nose highlight,"
or something like that, and this is what
| | 07:11 | the composition looks like with
that layer, and that's it folks.
| | 07:14 | I'm going to press the F key a
couple of times here in order to switch to
| | 07:17 | the Full Screen mode, zoom in, and that is a
person rendered as a prehistoric cave painting,
| | 07:23 | thanks to a combination of Chalk &
Charcoal, Gaussian Blur, a displacement map
| | 07:28 | and the Overlay, Multiply, and Soft
Light modes here inside Photoshop.
| | Collapse this transcript |
| 013 Creating a reflection in shattered glass| 00:00 | Hi! This is Deke McClelland.
Welcome to Deke's Techniques.
| | 00:04 | Now, as those of you who have been
watching regularly know, I am on something of a
| | 00:08 | face effect kick lately,
and today is no exception.
| | 00:11 | I am going to take this regular, old,
everyday, average photograph of a woman's
| | 00:16 | screaming her brains out, and I am going
to reflect it into some shattered glass,
| | 00:20 | which she may be responsible
for shattering with her scream.
| | 00:24 | Or I also imagined, what if she is like
this sepia tone that's trapped behind the
| | 00:29 | glass and she is screaming to get out.
| | 00:32 | Either way, I think you are going to find
this to be a very interesting technique
| | 00:37 | as soon as we get started, which will be now.
| | 00:41 | In this movie, I am going to start
with this cracked glass image from Andrey
| | 00:44 | Semenov, and I am going to add this
model from Ollie, both with the Fotolia image
| | 00:49 | library, and I am going to eventually
create this effect here, where either this
| | 00:53 | model is shouting or singing so loudly
she is being reflected into this glass
| | 00:58 | that she shatters it.
| | 00:59 | Or I kind of thought of her as being
a sepia tone that's trapped behind the
| | 01:03 | glass and screaming to get out.
| | 01:05 | So either way, let's start with
this simple two-layer image here.
| | 01:09 | Eventually, I want to apply a Free Form
distortion, and I also want to apply a
| | 01:12 | couple of filters, and I
want to do so nondestructively.
| | 01:13 | So I am going to right-click on that top
layer and choose Convert to Smart Object.
| | 01:19 | Next, I am going to change the blend
mode from Normal to Multiply in order to
| | 01:23 | burn her into the background.
| | 01:25 | She is a little bit too opaque for my taste,
| | 01:27 | so I am going to press the Escape key
here on the PC so that the Multiply mode
| | 01:30 | is no longer active, and I will dial
in 65 on the keyboard to reduce the
| | 01:34 | Opacity value to 65%.
| | 01:36 | Now I am going to go ahead and zoom out
a couple of clicks, and I will go up to
| | 01:41 | the Edit menu, and I will choose
Free Transform, or you can press Ctrl+T,
| | 01:45 | Command+T on the Mac.
| | 01:46 | As you may recall when you are working
with a Smart Object, any transformation
| | 01:50 | you apply is nondestructive.
| | 01:52 | You can go back and change
your mind later and so on.
| | 01:54 | So you have a lot of latitude.
| | 01:56 | I am going to go ahead and press the
Ctrl key, or the Command key on the Mac,
| | 01:59 | and drag outward on that top-left point in
order to stretch the top of her head outward.
| | 02:05 | You might also Ctrl+Drag or Command+
Drag on the Mac out on these two other
| | 02:10 | corner handles as well like so, just
to add a little bit of extra flare.
| | 02:14 | When you get the effect you are looking
for, press the Enter key or the Return
| | 02:17 | key on the Mac in order to accept that change.
| | 02:18 | Now, I am going to zoom back in, and the
next effect that I want to apply is the
| | 02:23 | Twirl filter, of all things.
| | 02:26 | So I will go up here to the Filter menu, and I
will choose Distort, and I will choose Twirl.
| | 02:31 | What I want to do is just twirl her
counter-clockwise ever so slightly.
| | 02:35 | So I am going to change the Angle
value to -20 as I have already in advance.
| | 02:39 | Then I will click OK in
order to apply that effect.
| | 02:43 | You can see that that's
spins her head even farther.
| | 02:46 | Now, that's too far.
| | 02:47 | In fact, I didn't mean to go that far.
| | 02:49 | That was a wrong value, which
is the beauty of smart filters.
| | 02:52 | I will go ahead and double-click on
Twirl, and I will change that value to -10.
| | 02:56 | It wasn't -20 I wanted.
That's way too much.
| | 02:59 | Click OK to accept that change, and I get
this more, I think, desirable effect here.
| | 03:03 | I am going to right-click on that filter
mask thumbnail and choose Delete Filter
| | 03:07 | Mask to get rid of it.
| | 03:08 | Now, I want a little bit of
double-reflection effect.
| | 03:11 | If you have ever looked in an old
mirror, a mirror that's been hanging around
| | 03:15 | for a long time, or it's a cheap
mirror, or it's a cracked mirror,
| | 03:18 | you will notice that there is a double-
reflection effect because the top of the
| | 03:22 | glass and the bottom of the glass are
both reflecting your image, and that's the
| | 03:25 | effect I want to impart.
| | 03:27 | So I am going to double-click on the
slider icon over here on the right side of
| | 03:30 | the Layers panel in order to bring
up the Blending Options dialog box.
| | 03:33 | I am going to change the Opacity value
to 50% so we get that double-reflection
| | 03:38 | effect over here at the top of the image.
| | 03:40 | Down here at the bottom of the image,
there is no double reflection, because the
| | 03:43 | twirled images are aligned with each other.
| | 03:45 | I will click OK to accept that modification.
| | 03:47 | The next effect I am going
apply, under the Filter menu,
| | 03:51 | I will choose Sharpen, and then I will
choose Smart Sharpen, and I am going to
| | 03:54 | dial in these values right here:
| | 03:56 | an Amount of 300%, a Radius of 1.5
pixels, Remove is set to Lens Blur, and More
| | 04:01 | Accurate is turned off.
| | 04:03 | That's going to suit me just fine.
| | 04:04 | I will click OK in order
to accept that modification,
| | 04:07 | and that way we are just sharpening up
the detail since it needs to compete with
| | 04:11 | this fairly highly focused cracked glass.
| | 04:14 | Now I will go over to the slider icon,
here to the right of the words Smart Sharpen,
| | 04:19 | double-click on it to bring up the
Blending Options dialog box, and change the
| | 04:22 | mode from Normal to Luminosity, which
is just the good follow-up mode after
| | 04:27 | applying a sharpening effect inside Photoshop.
| | 04:30 | Now I will go ahead and accept that effect.
| | 04:32 | The next step is to reveal some of the
brightest highlights inside of the glass,
| | 04:35 | and I will do that by double-
clicking in this empty area here inside the
| | 04:39 | reflection layer in order to bring up
the Layer Style dialog box. And I want to
| | 04:43 | force through the
highlights and the underlying layer,
| | 04:46 | so I will drag this white slider
triangle over to the left just a little bit,
| | 04:50 | until I get a value of 245. And then I
will press the Alt key or the Option key
| | 04:54 | on the Mac and drag the left side of
that white slider triangle down to 180 like
| | 05:01 | so, and then I will click OK.
| | 05:03 | You can see how that goes ahead and
reveals these white highlights in the background.
| | 05:07 | Next, I want to darken
the image up a little bit,
| | 05:10 | actually, increase the contrast fairly
significantly, and I want to infuse the
| | 05:14 | image with a little bit of sepia tone.
| | 05:16 | So I am going to drop down to the black-
white icon at the bottom of the Layers
| | 05:19 | panel, press the Alt key, or the Option
key on the Mac, and click on that icon and
| | 05:24 | then choose Hue/Saturation to
bring up the New Layer dialog box.
| | 05:28 | Let's go ahead and call this new layer
colorize and turn on Use Previous Layer to
| | 05:32 | Create Clipping Mask check box.
| | 05:34 | Click OK and then here inside the
Adjustment panel, turn on the Colorize
| | 05:38 | checkbox, and I want you
to take the Hue value to 35
| | 05:41 | degrees and the Saturation value to 65% like so.
| | 05:45 | Then go ahead and hide the Adjustments panel.
| | 05:47 | You don't want to change that Lightness value.
| | 05:49 | What you do want to do is go up
here to the blend mode pop-up menu and
| | 05:52 | change the setting from Normal to Hard Light
in order to achieve this effect right here.
| | 05:57 | Now the final effect I want
to apply is a gradient overlay.
| | 06:01 | However, if I apply the gradient
overlay as the layer effect directly to the
| | 06:05 | reflection layer or to the colorize
layer, it's going to get mixed in with the
| | 06:08 | colorize effect, and that's not what I want.
| | 06:10 | I just want a straight mix of a black-to-white
to black-to-white gradient, as you will see.
| | 06:15 | It's going to ripple a
little bit across the image.
| | 06:18 | I want a straight mix of that gradient
along with the underlying image, and so in
| | 06:22 | order to pull that off effectively,
I need to create a dummy layer.
| | 06:25 | Here is how I am going to make it.
| | 06:27 | I will drop down to the black-
white icon once again and Alt+Click or
| | 06:31 | Option+Click on it here at the bottom
of the Layers panel, and I will choose
| | 06:34 | Brightness/Contrast, because anytime I am a
dummy layer, that's not going to do anything,
| | 06:39 | that's not going to serve any purpose but
to hold some other element in the image,
| | 06:43 | I use Brightness/Contrast.
| | 06:45 | That way I can just
easily locate what's going on.
| | 06:48 | Anyway, I will go ahead and choose that command,
and I will call this dummy like so, and
| | 06:53 | then I will click OK. That just tells
me once again it's a dummy layer.
| | 06:55 | Do not make any modifications of
brightness or contrast, just leave those
| | 06:59 | values alone so that the adjustments layer is
effectively not doing anything to the layers below.
| | 07:04 | The next thing you want to do is click
the fx icon at the bottom of the Layers
| | 07:07 | panel and choose Gradient Overlay,
and I am going to click on the Gradient bar
| | 07:12 | and make some modifications.
| | 07:14 | First, I am going to press the Alt key,
or the Option key on the Mac, and drag
| | 07:17 | this white color stop so that I
am making a copy of it at 35%.
| | 07:22 | So the Location value is now 35%, as you can see.
| | 07:25 | Now I am going to make a duplicate of
the black color stop by Alt+Dragging it or
| | 07:29 | Option+Dragging it over to the right,
until I hit a location value of 65%, and
| | 07:35 | that's all I am looking for--
| | 07:36 | black-to-white to black-to-
white gradient. Click OK.
| | 07:39 | Next, I am going to change the blend
mode to Hard Mix, of all modes, which ends up
| | 07:43 | giving us just a tragic effect right there.
| | 07:46 | However, as soon as I reduce the
Opacity value, which is analogous to the Fill
| | 07:51 | Opacity value inside the Layers panel
where Hard Mix is concerned, I end up
| | 07:55 | getting a much more effective mix.
| | 07:57 | Then finally I am going to change that
Angle value to 70 degrees like so and click OK.
| | 08:02 | That is my final effect, by the way.
| | 08:05 | Now you could go ahead and try to add a
displacement map in order to distort the
| | 08:09 | image into the highlights and shadows.
| | 08:12 | Where this image is concerned, I
just didn't find it to be a very
| | 08:15 | effective technique,
| | 08:16 | so that's why I ignored the
displacement map this time around.
| | 08:18 | What I do have, however, I think is
a very effective, fairly scary image.
| | 08:23 | I will go ahead and press the F
key a couple of times and zoom in.
| | 08:26 | That is at least one way to map a
reflection into shattered glass here
| | 08:30 | inside Photoshop.
| | Collapse this transcript |
| 014 Creating a face in a tree| 00:00 | In this movie, I am going to start
with this tree from Piotr Skubisz of the
| | 00:03 | Fotolia image library, and I'm going to
add this guy's face from Warren Goldswain.
| | 00:08 | And then I am going to warp the face
around the tree, I am going to add a
| | 00:11 | displacement map, a few other effects,
and we are going to end up mapping the
| | 00:15 | face into the tree, like so.
| | 00:17 | If you take a look at the Layers
panel here, you'll see that there's not
| | 00:20 | all that much going on.
| | 00:21 | There is trio of smart filters, a
couple of layer effects, a single adjustment
| | 00:25 | layer, and then this
additional bit of bark layer up top here.
| | 00:29 | But it does involve a little bit of
manual labor because we've got a couple of
| | 00:33 | manually generated layer masks.
| | 00:35 | So let's see how it's put together.
| | 00:37 | I am going to start by grabbing this
tree layer here and converting it to
| | 00:40 | a displacement map.
| | 00:41 | So I'll right-click on it and then
choose Duplicate Layer, and I'll send the
| | 00:45 | image to a new document, and I'll go
ahead and call it tree displace and click OK.
| | 00:50 | And then I'll go up to the Layer menu
and choose Flatten Image because the image
| | 00:55 | has to be flat to serve as a displacement map.
| | 00:57 | Then I'll go up to the Image menu,
choose Mode, and choose Grayscale. And then
| | 01:01 | after clicking the Discard button, I'll
go up to the File menu and choose the
| | 01:05 | Save command, and then I'll make sure
the format is set to psd, and I'll click on
| | 01:09 | the Save button in order to
save out that displacement map.
| | 01:12 | All right, back to the image at hand.
| | 01:14 | The first thing I want to do to this
guy's face is warp it onto the tree.
| | 01:18 | So I am basically warping the face
onto an orthogonal cylinder, as you'll see.
| | 01:23 | But because I want to make sure that
this is a nondestructive transformation and
| | 01:27 | that all my filters are nondestructive
smart filters, I need to convert the face
| | 01:31 | to a smart object by right-clicking on
it and choosing Convert to Smart Object.
| | 01:35 | Now, I'll go up to the Edit Menu,
choose Transform, and then choose Warp.
| | 01:39 | I am going to change the style of warp up
here in the Options Bar to Arch, like so.
| | 01:44 | Now that's way too pronounced of an effect,
| | 01:47 | so I am going to change this Bend
value to five, and then I am going to tap to
| | 01:52 | the Horizontal value, and add a
little bit of horizontal perspective by
| | 01:54 | increasing that value to 5% as well.
| | 01:57 | Then I'll press the Enter key a
couple of times on the PC, the Return key a
| | 02:00 | couple of times on the Mac, in order to
apply that modification. You can go back,
| | 02:04 | by the way, if you want to
change your mind anytime you like,
| | 02:07 | you just go back up to the Edit Menu,
choose Transform and choose the Warp
| | 02:10 | command again, and you will see
your previously applied settings.
| | 02:14 | Anyway, I am going to Escape out of there.
| | 02:16 | Next I want to go ahead
and apply a displacement map.
| | 02:19 | So I'll go up to the Filter Menu, and
I'll choose Distort, and I'll choose
| | 02:22 | Displace, and I want my Horizontal and
Vertical Scale values to each be seven.
| | 02:27 | I'll click OK, and then I'll find that
tree displace pattern, and I'll click Open
| | 02:32 | in order to displace the
guy's face into the tree bark.
| | 02:35 | All right, now to get a sense of what
that looks like, I'm going to go out to
| | 02:38 | the blend mode pop-up, and I am going to
change it from normal to linear light like so,
| | 02:43 | so that we can just basically see us
we're working along here, how the face is
| | 02:47 | going to map into the tree.
| | 02:49 | I also want to get rid of that filter mask,
so I am going to right-click on that
| | 02:52 | thumbnail there in the Layers panel,
and I'll choose Delete Filter Mask.
| | 02:56 | All right, the next step is to reduce the
impact of this effect a little bit and
| | 03:00 | suck some of the color out of the
guy's face, because we really want him to
| | 03:04 | ultimately be grayscale.
| | 03:06 | So press the D key in order to confirm
that the foreground and background colors
| | 03:10 | are black and white respectively, then
go out to the Filter Menu, choose Sketch,
| | 03:14 | and choose Chalk & Charcoal.
| | 03:16 | These are the values that
I want to apply, by the way.
| | 03:19 | I'll go ahead and drag this
guy up so that we can see him.
| | 03:21 | I'm deemphasizing the shadows by
reducing the Charcoal Area value to zero, I'm
| | 03:26 | emphasizing the highlights by
increasing the Chalk Area value to its maximum
| | 03:30 | of 20, and then I'm basically balancing the
contrast by setting this Stroke Pressure to 1.
| | 03:36 | Click OK to accept those values, and
you'll end up getting this effect here.
| | 03:39 | That's too much, in my opinion, so I'll
double-click on that slider icon to the
| | 03:44 | right of Chalk & Charcoal to bring up
the Blending Options dialog box, and I am
| | 03:48 | going to reduce the Opacity value to 50%.
| | 03:51 | The next step is to breathe a little
life into these shadows, because I want
| | 03:55 | these irises and other shadow
details to appear contoured, not to just
| | 04:00 | appear absolutely black.
| | 04:01 | So to add some contours to the shadows,
I'll go up to the Filter Menu, choose
| | 04:06 | Other, and then choose High Pass, and I
am going to set the High Pass value to
| | 04:10 | 20.0 pixels as you see here.
| | 04:11 | Notice that does open up the irises and
the eyebrows and so forth. It also gives
| | 04:15 | us some highlights around the details,
around the brow and the nose and the
| | 04:19 | nostrils and the lips and the chin.
| | 04:21 | Now, I'll go ahead and click OK
in order to accept that effect.
| | 04:24 | That's too much once again, so I'll
double-click on the slider icon associated
| | 04:27 | with High Pass to bring up the Blending
Options dialog box, and I'll change this
| | 04:32 | Opacity value to 50% as well.
| | 04:34 | All right, next I want to suck all of
the color out of this guy's face, and I am
| | 04:38 | going to do that by pressing the
Alt key or the Option key on a Mac,
| | 04:41 | clicking this black-white icon at
the bottom of the Layers panel, and then
| | 04:45 | choosing the Hue/Saturation command.
| | 04:47 | In response to this dialog box, I am
going to call this layer "desaturate," and then
| | 04:52 | I am going to turn on Use Previously
Layer to Create Clipping Mask, and then
| | 04:56 | I'll click OK in order accept that change.
| | 04:59 | Now because this adjustment layer is
clipped inside the face, we're going to
| | 05:02 | affect just the face and not the
tree in the background. I'll reduce the
| | 05:05 | saturation value to -100,
and you can see that just gets rid of
| | 05:09 | those aberrant skin tones, and I say aberrant
because they're not part of the tree tones.
| | 05:15 | Now, I'll go ahead and
hide the Adjustments panel.
| | 05:17 | The next step is to mask this guy.
| | 05:19 | So I'm going to click on the face
layer to make it active, click on the Add
| | 05:23 | Layer Mask Icon down here at
the bottom of the Layers Panel.
| | 05:26 | I'll go ahead and grab my Brush Tool.
And if I right-click in the Image Window,
| | 05:30 | you can see that I've got an 80-pixel
brush. You can change the size as much
| | 05:34 | as you want, but the Hardness value is set to
0%, which is going to work quite nicely for us.
| | 05:39 | I'm painting with black, so I am just
going to go ahead and paint away the area
| | 05:43 | above his brow like so.
| | 05:44 | We don't want any of his hair,
obviously, and then I am going to paint away his
| | 05:48 | sideburns over here on right-hand side,
| | 05:51 | increase the size of my cursor by pressing
the right bracket key a couple times,
| | 05:55 | paint into his cheek--which is
going to work out pretty nicely for us--
| | 05:58 | paint down along his chin and jaw line,
then pain over into the cheek just a
| | 06:03 | little bit, and then over into the eye.
| | 06:06 | I am going to reduce the size of my
cursor a little bit because I want to get
| | 06:09 | rid of that highlight on
the left side of that eye.
| | 06:12 | Now, I'll increase the size of my cursor a
little and paint up into this region.
| | 06:15 | Now what we need to do to see what
we've accomplished here is Alt+Click or
| | 06:19 | Option+Click on the Layer Mask icon
there in the Layers panel, and now I am going
| | 06:23 | to go ahead and just sort of lasso
around this area generally in order to sort
| | 06:27 | of slice through this area of black.
| | 06:30 | I'll go up to the Select menu and
choose the Inverse command, or press
| | 06:33 | Ctrl+Shift+I, Command+Shift+I on a Mac.
And then, because black is my foreground
| | 06:37 | color, I'll press Alt+Backspace or
Option+Delete to fill that area with black.
| | 06:42 | All right, that's good enough.
| | 06:44 | I am going to Alt+Click or Option+
Click on that Layer Mask thumbnail again to
| | 06:48 | escape back out so that we
can see the larger RGB image.
| | 06:52 | Now what I want to do is reduce the
darkness of those shadows, because we really
| | 06:56 | shouldn't have a shadow that's any
darker than the organic shadows that are
| | 07:00 | already found inside the tree.
| | 07:01 | So I am going to lighten the shadows by
clicking on his face to make it active,
| | 07:05 | and then go to fx, choose Color Overlay,
and click on the red color swatch. And now, I'll
| | 07:11 | click inside the tree
someplace in order to lift the color.
| | 07:14 | This time I've got whatever this color
is right here, 58, 97, 11, where the H, S,
| | 07:19 | B values are concerned.
| | 07:20 | What I ended up coming up with--and you
can go your own way here if you like--but
| | 07:24 | I ended up coming up with 50,
90, and 12 for the H, S, B values.
| | 07:29 | As you can see, that goes ahead and lifts
the darkest colors--actually, it goes ahead
| | 07:33 | and throws a bunch of brown all over the place.
| | 07:35 | We'll take care of that in a second.
Click OK and change the Blend Mode
| | 07:39 | from Normal to Lighten,
| | 07:40 | and that way we're only hiding the
shadow details. We are just brightening those
| | 07:44 | shadows ever so slightly.
| | 07:45 | It's a pretty subtle effect, actually.
| | 07:47 | Next, we are going to give them some
sculpted contours around his cheek and his
| | 07:50 | jaw line using a common, everyday,
average drop shadow, except our application
| | 07:55 | will be a little unusual.
| | 07:57 | I'll change the Opacity value to 50%,
and the angle value is fine at 135 degrees.
| | 08:02 | I am going to set the distance to 40
pixels, and then I'll raise the size value
| | 08:07 | to 30 pixels like so, and I'll click OK
in order to accept that modification.
| | 08:11 | You can see that gives him this nice
dark shade here in his cheekbones and down
| | 08:16 | below his jaw line as well. And if you
want to emphasize that, you can grab your
| | 08:20 | Brush Tool once again--and I'll switch back to my
layer mask--right-click inside the image
| | 08:24 | window, maybe take the
Hardness value up to let's say 35%.
| | 08:29 | Press the Enter key or the Return
key to accept that modification.
| | 08:32 | Make sure that the foreground color is
black and then paint under the jaw line
| | 08:36 | like so, just to make sure that we're
getting a nice deep groove in that jaw.
| | 08:41 | Then if you want to paint the
cheekbone out a little bit, you press X key in
| | 08:44 | order to switch the foreground color
to white and then paint the cheek out.
| | 08:48 | So you can make modifications
like that on the fly as you like.
| | 08:51 | Now the final thing I want to do here
is map the colors of the bark onto his
| | 08:56 | face, because we've lost some of those bark hues.
| | 08:58 | So I am going to Ctrl+Click, or on a
Ma, Command+Click, on that layer mask
| | 09:02 | thumbnail in order to load
it as a selection outline.
| | 09:05 | I'll drop down to the tree layer, and
I'll go up to the Select Menu, choose
| | 09:09 | modify, and choose Expand.
| | 09:11 | I am going to set the Expand By value to
30 pixels, click OK, and that goes ahead
| | 09:15 | and then shifts that selection outline
outward 30 pixels all the way around.
| | 09:19 | Then I'll press Ctrl+Alt+J, or Command+
Option+J on a Mac, in order to jump that
| | 09:24 | selection to a new layer, and I am
just going to call it "color" and click OK.
| | 09:28 | Now, I'll take that color layer and
move it to the top of the stack, so that it
| | 09:32 | covers up everything that we've done,
and I'll change the Blend Mode setting
| | 09:35 | from Normal to Darken.
| | 09:37 | Then I'll reduce the Opacity value to 50%
and press the Enter key, the Return on a Mac.
| | 09:43 | That gives us a more naturalistic
effect, but it's too naturalistic.
| | 09:47 | In other words, we don't have any
highlights left now that are indicating that
| | 09:51 | the nose is jutting out and that the
eyes are nice and bright and so forth.
| | 09:55 | So I am going to add a layer mask to
this layer as well by clicking on the Add
| | 09:59 | Layer Mask icon at the bottom of Layers panel.
| | 10:01 | I'll go ahead and grab my Brush tool,
I'll press the X key in order to swap the
| | 10:05 | foreground or background colors so
that the foreground color is black, and I'll
| | 10:08 | paint into the eyes like so. And then
I'm going to paint across the nose and the
| | 10:15 | brow a little bit and the top of the
chin and the top of the nose, and I might
| | 10:20 | add a little bit of
highlight to the cheeks as well.
| | 10:22 | You know what? There is just one more
modification I want to make. I want to see
| | 10:26 | a little bit of the grooving of the
bark coming through the shadow detail,
| | 10:30 | so I am going to something over here
to this layer, whatever it's called these
| | 10:34 | days. Let's go ahead and expand that
a little bit. It's called face.
| | 10:37 | I'll double-click on this empty region
of that layer in order to bring up the
| | 10:41 | Layer Style dialog box, and I'll
drag this white slider triangle that's
| | 10:45 | associated with the underlying layer
slider down to 225, and then I'll Alt+Drag
| | 10:50 | or Option+Drag the left half of that
triangle all the way down to 50, like so.
| | 10:56 | Now you can see the groove
starting to show up inside those shadows.
| | 11:00 | I think that gives us a more realistic
effect in so far as things go, of course.
| | 11:04 | I'll click OK in order to accept
that modification, and that is it folks.
| | 11:07 | So go and press the F key a couple of
times and zoom in to the hundred percent
| | 11:11 | zoom level and that is how, or at least
one way how you create a face in a tree
| | 11:17 | here inside Photoshop.
| | Collapse this transcript |
| 015 Building a synthetic star field| 00:00 | Hi, gang! This is Deke McClelland
here to welcome you to Deke's Techniques.
| | 00:04 | This week I am going to show you how
to create classic, synthetic star field
| | 00:08 | effect inside of Photoshop,
and here is how it works.
| | 00:11 | We start with a base layer, convert it
to a Smart Object, and then apply the Add
| | 00:15 | Noise and Gaussian Blur Filters.
| | 00:17 | Then we go ahead and differentiate
the stars from each other using a levels
| | 00:21 | adjustment layer and place all of that
inside of yet another Smart Object.
| | 00:26 | Then I apply the obligatory Lens Flare
filter and create some space gas using clouds
| | 00:32 | and blend it all together, and the
result is an infinite universe that you can
| | 00:36 | create on the fly and edit as much as you want.
| | 00:39 | You can customize it for the web, for print,
for whatever you like. Here, let me show you.
| | 00:47 | In a future movie, I am going to show
you how to create wicked ray trace 3D type
| | 00:52 | using the Repousse feature, which
is new to Photoshop CS5 Extended.
| | 00:56 | But in this movie, I want to show you
how to create the background, and notice
| | 01:00 | that I have got this star field background--
| | 01:01 | It's entirely synthetic, by the way--
and the advantage of using the star field
| | 01:06 | background where 3D text is concerned
is that I don't have to bother somehow
| | 01:10 | reconciling the perspective of the
text with the background, because the
| | 01:14 | background, after all, is relatively infinite.
| | 01:17 | Now notice what we have here is this
star field as well as a classic lens flare
| | 01:22 | effect, a little bit of space gas as
well. And this is all created entirely
| | 01:26 | from scratch, by the way, using a few of
Photoshop's oldest and most rudimentary filters.
| | 01:32 | So let me show you how it works.
| | 01:33 | I am going to switch over to this
startlingly complex image right here.
| | 01:37 | It's just all black, as you can see.
| | 01:39 | I am going to press Shift+Tab to bring
up my right-side panels and notice its a
| | 01:43 | background--it's all we got--filled with back.
| | 01:46 | Now I am going to apply some filters to
this blackness here, and because I want
| | 01:49 | to reserve the right to edit my filter
settings later, I am going to convert
| | 01:52 | this background into a Smart Object,
by right-clicking on it and choosing
| | 01:56 | Convert to Smart Object.
| | 01:57 | It's going to come in as layer 0.
| | 01:59 | I think we can have a better name.
| | 02:00 | I will go ahead and change it to utterly black.
| | 02:03 | And the first filter I want to apply
is under the Filter menu. Go to Noise
| | 02:08 | and go to Add Noise.
| | 02:10 | These are the settings I am going to use:
an Amount value of 25%, Distribution
| | 02:13 | set to Gaussian so we have a little
more contrast between our lightest and
| | 02:17 | darkest luminance levels, and
| | 02:18 | then turn on Monochromatic so
that we don't have any random color
| | 02:21 | variations. Then click OK.
| | 02:23 | Now I am going to right-click on that
filter mask and choose Delete Filter Mask
| | 02:27 | because we are not using it.
| | 02:28 | Now the Add Noise command
deliver single-pixel noise.
| | 02:31 | We need to increase the size of the
noise a little bit, by going up to the
| | 02:34 | Filter menu, choosing Blur,
and then choosing Gaussian Blur.
| | 02:38 | And I am going to take
that value up to 2 pixels.
| | 02:40 | I am working in a low-resolution
image, by the way; it's just 1,300 pixels
| | 02:43 | wide, 520 pixels tall.
| | 02:46 | If you are working in a much larger
image that you want to print at 300 pixels
| | 02:50 | per inch or something along those lines,
then you will want to work with a
| | 02:52 | larger Radius value,
something in the 4 to 6 range.
| | 02:56 | Two is good for us, so click OK
in order to accept that effect.
| | 02:58 | Now, the next thing we need to do is
make our stars a little crisper here,
| | 03:02 | because we just have this
sort of smeary noise going on.
| | 03:06 | And a great way to firm up detail after
applying Gaussian Blur is to follow it
| | 03:10 | up with a levels adjustment layer.
| | 03:12 | So I am going to press the Alt or
Option key, click and hold on the Black/White
| | 03:15 | icon at the bottom of the Layers panel,
choose the Levels command. Because I
| | 03:19 | have Alt or Option down, I
have the New Layer dialog box.
| | 03:22 | I am going to call this
guy "starmaker" and click OK.
| | 03:25 | And now I am going to change my
black and white point values as so.
| | 03:30 | I am going to change the black point
value to 40, and then I am going to
| | 03:33 | press Tab a couple of times to
advance to the white point value, and I am
| | 03:36 | going to change it to 46.
| | 03:38 | Now, these are great settings for screen work.
| | 03:40 | If you are going to print this image,
you are going to get some dot gain and
| | 03:44 | some of your stars are going to fill in.
| | 03:46 | So for print work you want to
reduce both of these values.
| | 03:48 | For example, you might want to take
the black point value down to 35 and the
| | 03:52 | white point value down to something like 41.
| | 03:55 | But of course this is a video, so it's
designed for screen, so I am going to go
| | 03:58 | with the values I showed you: 40 for the
black point, 46 for the white point.
| | 04:02 | Go ahead and hide that Adjustments panel now.
| | 04:04 | Now I am going to turn off the
starmaker layer for a moment, because I want to
| | 04:07 | add a little bit of blue bounce down
here in the lower left-hand corner. And if I
| | 04:13 | have starmaker turned on, we are
not going to get good feedback.
| | 04:15 | So I will click on utterly black in
order to make it active, drop down here to
| | 04:19 | the fx icon, choose Gradient Overlay.
| | 04:22 | Inside the Gradient Overlay dialog box
I am going to click on the gradient bar,
| | 04:26 | and then I am going to double-click on
the white color stop in order to edit it,
| | 04:29 | and I am going to enter these HSB values.
For H, I will enter 215, then we have
| | 04:33 | got 65 for S, and a 100 for blue.
| | 04:36 | Click OK to accept those values then
click OK to escape the Gradient Editor.
| | 04:40 | Now I am going to change the Blend
mode to Linear Dodge, and I am going to
| | 04:44 | change the Opacity value to 50%.
| | 04:47 | Finally, I am going to
change that Angle value to -100,
| | 04:50 | so we get a little bit of bounce
down here in the lower-left region.
| | 04:53 | That's too much, so I am going to drag
the gradient down and to the left like
| | 04:58 | so--pretty far, as you can see there--
and then finally I will click OK.
| | 05:02 | Now then, notice if I turn the Levels
Adjustment layer back on we get a very
| | 05:06 | gruesome effect, because the starmaker
layer is affecting not only the results
| | 05:12 | of these filters but also the layer
effect, and I don't want that. And the way
| | 05:16 | you avoid that, by the way, is by
pressing the Alt key or the Option key on the
| | 05:20 | Mac and clicking the Horizontal line
between the layer and its adjustment layer
| | 05:24 | like so, and that goes ahead and
combines the two into a clipping mask, and that
| | 05:29 | way the Gradient Overlay effect is protected.
| | 05:32 | Now the next thing I want to do is
add a lens flare, but if were to heap a
| | 05:35 | lens flare effect onto this existing
Smart Object, it would also be affected by
| | 05:39 | the adjustment layer.
| | 05:40 | I don't want that, so I am going to go
ahead and group these two guys into a
| | 05:44 | Smart Object, by clicking on one,
Shift+Clicking on the other like so.
| | 05:47 | And because I want this new Smart Object to
be called starmaker, I will right-click
| | 05:51 | on the starmaker layer and
choose Convert to Smart Object.
| | 05:54 | Now, before I choose a lens flare filter,
I want you to notice how the stars tend
| | 05:58 | to collect along the edges, and
what we need to do is crop those away.
| | 06:02 | So I am going to do that because I
want to apply a nondestructive crop.
| | 06:05 | I am going to go up to the Image menu,
and I am going to choose Canvas Size, and
| | 06:09 | then I am going to make sure the
Relative checkbox is turned on, and I am going
| | 06:13 | to enter, for both the Width and Height
values, -100 like so, and then click OK.
| | 06:18 | Now Photoshop is going to warn me
that we are going to lose something.
| | 06:21 | That's not true. Click Proceed.
| | 06:23 | For one thing, we are working with a
Smart Object, which we just cannot harm, but
| | 06:27 | also, the canvas size does not clip layers.
| | 06:29 | And now you'll see that those little
clusters of stars along the edges are gone.
| | 06:33 | Now go up to the Filter menu, choose
Render and choose Lens Flare, and this is
| | 06:38 | exactly the flare I want to apply, by the way.
| | 06:40 | Notice that I have got the flare
moved over to the right-hand side.
| | 06:43 | You can drag it around as
much as you want in this preview.
| | 06:46 | Change the Brightness value to 100%;
Lens Type is 50-300 mm zoom, which is the
| | 06:51 | default setting; click OK; and you end up
getting this effect right here. All right,
| | 06:55 | now we don't need the filter mask
once again, so I will right-click on it,
| | 06:58 | choose Delete Filer Mask.
| | 06:59 | I am not happy with the introduction
of all of this wacky color here, so I am
| | 07:03 | going to colorize the layer by
pressing the Alt or Option key, clicking the
| | 07:06 | Black/White icon, and choosing Hue/Saturation.
| | 07:08 | I am going to call this
layer colorize. Click OK.
| | 07:12 | Then I will turn on the Colorize
checkbox--very important--and I am going to
| | 07:16 | enter this very hue value of 220--that
works out great--and then I am going to
| | 07:21 | raise the Saturation value to 40, like so.
| | 07:23 | Done with that panel.
This is exactly the effect I want.
| | 07:26 | Now what you need to do is go
ahead and change your foreground color--
| | 07:30 | assuming your background color is white, which
is what you want, change your foreground color.
| | 07:34 | Inside the color panel, make sure that
you are seeing the HSB sliders, and the
| | 07:38 | values you want are these right here: 220 for
Hue, 100% for Saturation, 25% for Brightness.
| | 07:44 | We are going to create a new
layer by pressing Ctrl+Shift+N, or
| | 07:47 | Command+Shift+N on the Mac.
| | 07:48 | I will call it clouds because we are
going to create essentially a layer of
| | 07:52 | space gas using the Clouds filter.
| | 07:54 | Now go up to the Filer menu, choose
Render, and choose Clouds, and you will get
| | 07:59 | some random fractal noise
effect, as we are seeing here.
| | 08:02 | Finally, what you want to do is click
on the Blend mode pop-up menu and change
| | 08:06 | it from Normal to Multiply
in order to get this effect.
| | 08:10 | There you have it, your everyday, average,
synthetic star field technique, complete
| | 08:14 | with space gas, the kind of basic
Photoshop technique that every working
| | 08:19 | designer should know.
| | Collapse this transcript |
| 016 Making 3D type with Repouss?| 00:00 | Hey, gang! This is Deke McClelland.
| | 00:02 | Welcome to Deke's Techniques.
| | 00:04 | This week I am going to show you how to
create 3D type using Repousse, which is
| | 00:08 | part of Photoshop CS5 Extended.
| | 00:10 | Now note, if you want to follow along
with this movie, you have to own Photoshop
| | 00:14 | CS5 Extended, not the
standard version of the software.
| | 00:18 | Having said that, the great thing about
Repousse is that it limits your reliance
| | 00:22 | on imported 3D wireframes, so that you
can directly extrude text layers and
| | 00:27 | shape layers and so on.
| | 00:29 | In our case, we are going to start with
a shape layer and then we are going to
| | 00:31 | rotate that layer in 3D space.
| | 00:34 | We are going to slide it
forward and backward along the Z axis.
| | 00:38 | We are going to drag it
along the X and Y axis as well,
| | 00:42 | possibly scale it if we need to, and
we are going to go ahead and color the
| | 00:46 | surfaces of the letters as well as the
beveled edges and the extruded edges, and
| | 00:50 | then finally--and this might
be the most important step--
| | 00:54 | we are going to get rid of the jagged
edges around the letters using ray tracing.
| | 01:00 | So we will apply the Ray Tracing feature
that's available to you inside of the 3D panel.
| | 01:04 | I am going to show you how this and all of
those other options work inside of this movie.
| | 01:10 | In this movie, I am going to show you
how to create beautifully executed 3D type
| | 01:15 | inside of Photoshop using Repousse,
which only exists inside Photoshop CS5
| | 01:20 | Extended. But notice that we get all
this wonderful shading going on inside the
| | 01:25 | type--beautifully rendered as well--
using something called Ray Tracing, which
| | 01:29 | takes a while for Photoshop to render.
| | 01:31 | So be prepared for a period
of waiting inside of Photoshop.
| | 01:35 | And I will even go so far as to say
you want to wander away from your machine
| | 01:39 | while the rendering is occurring,
because it's going to take a good five to ten
| | 01:42 | minutes, and that's even
inside of a low-resolution file.
| | 01:45 | If I go up to the Image menu and choose
Image Size, you will see that this file
| | 01:49 | measures a scant 1,200
pixels wide by 420 pixels tall.
| | 01:53 | I can see the entire image here
on screen at the 100% view level.
| | 01:57 | If you decide to work at a higher
resolution, then be prepared to wait a longer
| | 02:00 | period of time for the ray tracing. All right!
| | 02:02 | We are going to start off
inside of this file here.
| | 02:04 | It's got some life type set
against that star field background.
| | 02:07 | I'll press Shift+Tab in order to bring up my
right-side panels and zoom out a little bit.
| | 02:11 | Now Repousse wants to convert your
type to pixels. There's no way around that.
| | 02:15 | You can't apply Repousse to
a Smart Object, for example.
| | 02:18 | So if you want to retain your original
editable type, then you need to duplicate it.
| | 02:22 | Now, I am going to go over to my Layers
Panel flyout menu, click on it, and choose
| | 02:25 | panel Options. And if you're working
along with me, I suggest you turn this
| | 02:29 | final check box off, "Add 'copy'
to Copied layers and Groups."
| | 02:33 | That way you won't append the word 'copy'
after your layer name when you duplicate it.
| | 02:37 | All right! I am just going to cancel out
because it was already deselected for me.
| | 02:40 | And then I am going to press Ctrl+J,
or Command+J on the Mac, to duplicate
| | 02:43 | that type to a new layer, and I am going to
turn off the original editable text layer.
| | 02:48 | Now go up to the 3D menu.
Again, you'll only see it
| | 02:51 | if you own Photoshop CS5 Extended; the
standard version does not have this menu.
| | 02:56 | Then drop down to Repousse
and choose Text layer.
| | 02:59 | Photoshop is going to tell you that it
needs to convert the text to pixels.
| | 03:03 | Go ahead and click Yes, because there is
no way around that, and then a moment
| | 03:06 | later, up will come the Repousse dialog box.
| | 03:09 | Now, you can safely ignore
most of the settings for now.
| | 03:12 | The only options I want you to
change are the Depth setting.
| | 03:15 | Let's go ahead and reduce that to 0.5
like so, and you may get a little bit of
| | 03:19 | delay because Photoshop is
updating your image in the background.
| | 03:23 | There is no preview check
box that you can turn off.
| | 03:25 | It's always previewing the effect.
| | 03:28 | Then I want you to add a little bit of a
bevel by changing the Height value to 1
| | 03:32 | and the Width value to 2.
| | 03:34 | By the way, this isn't the amount of bevel
at the width and height edges of the letters.
| | 03:38 | This is rather, if you were looking at a
cross section of the bevel, how tall it
| | 03:42 | is and how wide it is.
| | 03:44 | After having done that, don't do
anything else inside this dialog box.
| | 03:47 | Just go ahead and click OK in order
to apply the effect, and you'll get
| | 03:50 | something along these lines.
| | 03:52 | Now, we can edit the text directly inside
of the Image window using the 3D tools.
| | 03:57 | So drop down here to the Object Rotate
tool--it should be your default tool--and now
| | 04:01 | just go ahead and drag
inside of the image like so.
| | 04:04 | Now, as you drag your type, you are going
to have nothing to compare it to, by default.
| | 04:08 | That's a Preference setting, by the way,
and you could change that if you want to
| | 04:11 | see the type and the background at the
same time, but we're just going to work
| | 04:14 | with the default settings.
| | 04:15 | Once you get your type looking about
like this, I want to see the under side of
| | 04:19 | the letters, then go ahead and release.
| | 04:21 | Now, we need to scale the text
and move it into a better position.
| | 04:24 | So I am going to start things off by
switching to this tool right here, the
| | 04:27 | Slide 3D Object tool,
located up here in the Options bar.
| | 04:30 | You can also choose it, by the way, from
this flyout menu. And using this tool, I
| | 04:35 | am going to drag down in order to
increase the size of the letters, and then I
| | 04:39 | am going to drag over to the right as well
in order to scoot them over to the right.
| | 04:44 | Now, that's not quite the effect that
I'm looking for, not exactly anyway.
| | 04:47 | So, I am going to move the text a little
farther over like so, and then I'm going
| | 04:52 | to grab the next door tool right here
which is the Drag-the-3D-Object tool, and
| | 04:57 | I will drag my text over to the left
and down slightly as well, and this looks
| | 05:00 | like a pretty good position to me.
| | 05:02 | You can fool around with your text
a little while longer, using all of
| | 05:05 | these various tools that are located up here
in the Options bar, to your heart's content.
| | 05:10 | Anyway, as I say this works for me.
| | 05:12 | Now I am going to bring up my 3D panel,
and the easiest way to bring up the 3D
| | 05:16 | panel is to double-click on the
thumbnail that's associated with your 3D object.
| | 05:21 | So just go ahead and double-
click that thumbnail. Up comes 3D.
| | 05:24 | It will say 3D (Scene).
| | 05:26 | You can also, however, go to the Window
menu and choose the 3D command if you prefer.
| | 05:30 | Now, we want to change the colors
of a few of the faces of our text.
| | 05:34 | So I'm going to start off with
this guy right there, dimension Front
| | 05:37 | Inflation Material.
| | 05:38 | Now, for purposes of this movie, we are
going to steer clear of materials because
| | 05:42 | they fairly complicate the process.
| | 05:44 | We are just going to go with flat colors.
| | 05:46 | So what I'd like you to do is click on
this little sphere right there in order
| | 05:50 | to bring up your Material Selector and
select this one, the one that's called
| | 05:54 | No Texture when you hover over it, and that
will go ahead and render in the background.
| | 05:58 | Then click on this little color
swatch next to the word Diffuse in order to
| | 06:02 | bring up the Color Picker dialog box.
| | 06:04 | And the values that I am going to
enter, feel free to go your own way,
| | 06:07 | but I am going to change the H value to
215, the S value to 65, and the B value
| | 06:13 | to 50, like so, in order to
dial in the shade of blue.
| | 06:16 | Click OK and you should see the face of
your letters change in the background.
| | 06:20 | Now, I am going to click on dimension
Front Bevel Material, and I am going to
| | 06:24 | change it to No Texture as well, and
then I'll click on the color swatch next
| | 06:27 | to Diffuse, and I'll change these
values to 50, which is a shade of yellow.
| | 06:32 | And we want a pale yellow,
| | 06:33 | so we'll dial down Saturation to 15%, and I'll
increase the Brightness value to 100%. Click OK.
| | 06:40 | Then finally, we want to
change the extruded edges.
| | 06:43 | So I will click on dimension Extrusion
Material, then I'll click on my sphere,
| | 06:47 | change it to No Texture once again,
click on the color swatch next to Diffuse in
| | 06:51 | order to bring up the Color Picker dialog box,
| | 06:53 | dial in 215 for the Hue value, 65 for
the Saturation value, and then finally for
| | 06:59 | Brightness, I am going to
take down that down to 15.
| | 07:01 | Click OK in order to accept that modification.
| | 07:04 | At this point, if you go ahead and
hide the panel for a moment and zoom in,
| | 07:08 | you'll be alarmed how horrible this
effect looks. And I think this is where most
| | 07:13 | people run into a kind of stumbling
block when they are applying 3D for the
| | 07:17 | first time inside of Photoshop.
| | 07:19 | You look at the results and you think, "My gosh!
| | 07:21 | This program is terrible.
| | 07:23 | Why is it delivering these horrible
hideous jagged edges, whereas everything else
| | 07:27 | inside of Photoshop is so beautifully rendered?"
| | 07:30 | Well, that's because so far we are
working in a kind of Draft mode.
| | 07:33 | We haven't applied the ray tracing
which is necessary in order to see the
| | 07:37 | finished result, and we
are going to do right now.
| | 07:40 | By bringing up the 3D panel once
again, by double-clicking on that layer
| | 07:44 | thumbnail, and what you need to
do is click on the word Scene.
| | 07:47 | This is a very difficult option to find.
| | 07:49 | You click on Scene, and then you will
notice this option right here called
| | 07:53 | Quality, and you'll change it from
Interactive (Painting)--and what it means
| | 07:57 | is that everything is going to update very
quickly as you are working on the object.
| | 08:01 | But we are done positioning the object
and defining the materials and so forth,
| | 08:05 | so you can go ahead and choose Ray
Traced Draft, and I recommend that over final
| | 08:09 | files when you're really sure you are
done. That's like a very long process.
| | 08:15 | It takes about twice as long to apply.
| | 08:17 | But Draft goes relatively quickly by comparison.
| | 08:20 | It takes maybe five minutes.
| | 08:22 | So go ahead and click on Ray Traced
Draft, and you'll see this grid sort of whip
| | 08:27 | across the image, and you see
things get better very, very quickly.
| | 08:31 | What I don't want you to do--
| | 08:32 | this is very important--do not click
anywhere inside of Photoshop because if you
| | 08:37 | do, you'll interrupt the process.
| | 08:39 | So you can't do anything
else while this is happening.
| | 08:41 | You can switch to a different application
if you want to, and get some work done there.
| | 08:45 | But what I really suggest you
do is walk away from the machine.
| | 08:48 | Go get a cup of coffee, because as long
as that cursor is spinning, that means
| | 08:53 | that Photoshop is working. All right!
| | 08:55 | Now, thanks to the modern
miracle of video editing, I'm done.
| | 08:59 | Your process will take longer than this,
but I can tell I am done because now I
| | 09:03 | have my familiar arrow cursor.
| | 09:05 | I'll go ahead and hide the 3D panel
because now I want to add a little bit of
| | 09:08 | faux lining to the scene
with a gradient overlay,
| | 09:11 | which is easier to do than actually
playing with the lights at this point.
| | 09:16 | So go down to the fx icon and choose
Gradient Overlay, and then I am going to
| | 09:19 | change the gradient as follows.
| | 09:21 | I am going to click on this color bar here,
| | 09:23 | double-click on the first color swatch
and change the Brightness value to 60,
| | 09:27 | click OK, and then I am going to
Alt+Drag or Option+Drag that color stop till I
| | 09:32 | see a location value of about 15%.
| | 09:35 | I'll double-click on it, and I'll change
the Brightness value this time around to 15.
| | 09:39 | Click OK once again.
| | 09:42 | I'm going to click on this little
midpoint skew, that diamond, and I am going
| | 09:45 | to change the Location value to 35%. Then I
will click OK in order to accept that modification.
| | 09:50 | I am going to change the Angle value
to 115 degrees, and I am going to change
| | 09:55 | the Blend mode from Normal to Overlay
and reduce the Opacity value to 60%. Click
| | 10:01 | OK to accept that modification.
| | 10:03 | And here's the final 3D type,
beautifully executed, wonderful highlights and
| | 10:07 | shadows going on here,
| | 10:09 | thanks to the power of Repousse
here inside Photoshop CS5 Extended.
| | Collapse this transcript |
| 017 Casting 3D shadows and reflections| 00:00 | Now that I have shown you how to
project type into 3D space using Repousse,
| | 00:03 | which is part of Photoshop CS5 Extended,
I'm going to show you how to take the
| | 00:07 | same text, albeit subject to a
different color scheme, and I'm going to use
| | 00:11 | it to cast some shadows and
reflections onto another 3D object.
| | 00:15 | Now, you'll need the Extended version of
Photoshop CS5 to take advantage of these features.
| | 00:19 | I'll start work inside of this file,
in which I've gone ahead and created a
| | 00:23 | rectangle that's pretty much
exactly centered around this text.
| | 00:27 | I press Shift+Tab to bring up the
right-side panels, and I'm going to turn off
| | 00:30 | my Text layer, which is just an FPO
object, just there for placement, and I'll
| | 00:35 | turn on the Repousse version of that
very same layer, so that text that we
| | 00:39 | projected in the 3D space in the previous movie.
| | 00:42 | Now I'll go ahead and grab this
rectangle and move it directly below the
| | 00:45 | Repousse text. And with a rectangle
layer selected--and notice that it's a
| | 00:50 | vector-based path outline
because this is a shape layer--
| | 00:52 | I'll go up to the 3D menu, choose
Repousse, and choose Selected Path.
| | 00:56 | Photoshop will tell me that it
has to rasterize that layer.
| | 00:59 | I don't have any choice there.
| | 01:00 | It's got to be converted to pixels.
| | 01:02 | So I'll click on the Yes button.
| | 01:03 | And then just to save myself some time,
I'll drop down to this View option
| | 01:07 | here, click on it, and notice down here at
the bottom of the list is the word dimension.
| | 01:12 | That word dimension comes from the
Layers panel, because this dimension type
| | 01:16 | right there is called Dimension.
It's the Dimension layer, it has some 3D
| | 01:19 | rotation settings associated with it,
and I can duplicate those settings just by
| | 01:23 | choosing that layer name.
| | 01:25 | Now, I'll go ahead and dial in a few
different numerical options, 0.2 for the
| | 01:29 | Depth, 1 for the Height setting for the
Bevel, and 0.5 for the Width setting for
| | 01:34 | that Beveled edge, and
I'll go ahead and click OK.
| | 01:37 | And that's all the work that we
have to do inside of that dialog box.
| | 01:40 | Now, I'm going to zoom out a click, so
that I can take in more of my image at
| | 01:43 | a time, and I'm going to press the F key to
switch to the full screen mode right there.
| | 01:48 | Now, I'm not happy with the way that the
rectangle is colored, so I'll go ahead
| | 01:51 | and double-click on its thumbnail
there inside the Layers panel to bring up
| | 01:54 | the 3D panel, and I'll click on the very top
material, which is the front edge of the rectangle,
| | 01:59 | click this down-pointing arrowhead next
of the black circle, and what you want
| | 02:03 | to do, if you're following along
with me, you want to click this right
| | 02:05 | pointing arrow head and choose Default
(for Ray Tracer) in order to load some
| | 02:10 | additional materials.
| | 02:11 | Then you would click the Append button.
| | 02:13 | I've already done that in advance,
however, so I'll just go ahead and scroll
| | 02:16 | down the list, to this guy right there,
which is Metal Gold, and I'll click on it.
| | 02:20 | It's a great texture.
| | 02:21 | I don't like the color though, so I
can switch out the color if I want to by
| | 02:25 | clicking on that color
swatch next to the word diffuse.
| | 02:27 | Now, I'll change the Hue value 215,
I'll change the Saturation to 65, and the
| | 02:33 | Brightness to 50. Then I'll click OK
in order to accept that shade of blue.
| | 02:37 | Obviously, you can go your own way;
| | 02:39 | you can select any color you like.
| | 02:41 | Now, I'm going to change the color
of the beveled edge right there.
| | 02:44 | I click the down-pointing arrowhead
next to the black sphere, I'll scroll up the
| | 02:48 | list, and I'll click on this item, No Texture.
| | 02:51 | And then I'll click on its color swatch
and I'll change it to a shade of pale
| | 02:55 | yellow by dialing in a Hue value to 50
degrees, a Saturation value of 15%, and
| | 03:01 | then finally a Brightness value
of 100% like so, and I'll click OK.
| | 03:06 | And finally, I'm going to click on
this Extrusion Material, the third item in
| | 03:10 | the list, which is the extruded edge,
and I'm going to click the down-pointing
| | 03:13 | arrowhead, and this time I will
choose Satin Black, and that's it.
| | 03:17 | Now, this object is properly colored.
| | 03:19 | I'm going to go ahead and hide the 3D
panel, and let's move this object around in
| | 03:23 | 3D space just a little bit by
grabbing the 3D Object Pan tool.
| | 03:27 | So go ahead and select the tool, and
then I'll drag this rectangle down a little
| | 03:31 | bit, and notice that I can't see the
other 3D object--actually, I can't see any
| | 03:35 | of the other layers as I'm working.
| | 03:37 | And that, to my way of
thinking, is a real problem.
| | 03:39 | So in order to see everything at the same
time, I'm going to go up to the Edit menu--
| | 03:44 | if you're working on a Mac, you'd go
to the Photoshop menu--then you choose
| | 03:47 | Preferences, and then you choose 3D,
and that will bring up the 3D panel inside
| | 03:52 | the Preferences dialog box.
| | 03:53 | Turn off the Auto Hide Layers check
box. Why in the world that's on by
| | 03:57 | default, I have no idea.
| | 03:58 | Click OK, and now, if you drag the
rectangle around, you'll be able to see
| | 04:03 | the other layers at the same time, which is
really the only way to work, I have to say.
| | 04:07 | Now, notice when I'm using the Pan tool,
I am moving the object side to side as
| | 04:12 | well as up and down, and that
of course, make perfect sense.
| | 04:15 | But what if you want to move it in 3D?
| | 04:17 | In another words, you want
to move it back and forth.
| | 04:19 | Why then, one way to work is to go ahead
and switch to the next tool over, which
| | 04:23 | is the Slide tool, and that allows you
to move the object, once again, side to
| | 04:28 | side if you want to. But if you drag up,
you'll move the object away from you,
| | 04:31 | and if you drag down, you'll move it towards you.
| | 04:33 | Now, at this point, I want these two
objects to interact with each other.
| | 04:37 | Currently, they're completely
independent 3D layers, and that means that we are
| | 04:42 | seeing the dimension layer on top of
the rectangle layer, regardless of their
| | 04:46 | positioning in 3D space.
| | 04:48 | If we want to integrate the two
objects into the same scene so that we can
| | 04:51 | cast shadows and create reflections
and so forth, then you need to go and
| | 04:55 | select both of the layers.
| | 04:56 | So I'll Shift+Click on dimension, and
you know what, I'm going to take a moment
| | 05:00 | to get rid of this gradient overlay.
| | 05:01 | I'm just going drag that layer effect down
to the Clouds layer, just for safekeeping,
| | 05:06 | just so that I'm moving it out of the
stack for the moment. And now with these
| | 05:10 | two layers selected, I'll go up to the
3D menu and I'll choose merge 3D layers,
| | 05:14 | and that actually puts the
two layers in the same scene.
| | 05:17 | But now, we'll see how these two
objects are positioned with respect to each
| | 05:21 | other in 3D space, which may surprise you.
| | 05:24 | So I'll go ahead and choose that
command, and we may find that the rectangle
| | 05:28 | cuts through the text, or in this case,
| | 05:30 | it's all the way in front of the text,
which is a little bit of a surprise.
| | 05:35 | So what I need to do is now move these
two meshes--the text and the rectangle
| | 05:39 | are independent meshes--independently
of each other, by double-clicking on that
| | 05:44 | thumbnail right there in
order to bring up the 3D panel.
| | 05:47 | And then I'm going to switch over to
the next group of options by clicking on
| | 05:51 | this icon here, Filter By Meshes, and
that will show me my two independent meshes:
| | 05:56 | rectangle and dimension.
| | 05:57 | And now I'll drop down here to these
tools along the left side of the panel,
| | 06:01 | go ahead and click and hold on the third
tool down, and then select 3D Mesh Slide Tool.
| | 06:07 | It's very important that you're
working with one of the mesh tools, because
| | 06:09 | otherwise you edit the entire scene.
| | 06:11 | The Mesh tools allow you to edit the
independent meshes independently of each other.
| | 06:15 | All right. I'll go ahead and hide that 3D panel for a
moment, so I can better see what I'm doing.
| | 06:20 | Notice when I hover over the
rectangle, it's active, and when I hover over
| | 06:24 | the text, it's active.
| | 06:25 | So you need to pay attention
to that cyan highlight there.
| | 06:28 | I'm going to go ahead and hover over
the rectangle and drag it up in order to
| | 06:32 | move it backward like so, and you can
see that is going behind the text.
| | 06:36 | And once the text stops getting cut, then
you know the two objects are touching each
| | 06:41 | other, and that's exactly
what I want. All right.
| | 06:44 | Now, notice this little widget up here.
| | 06:45 | It can be very useful for fine-tune changes.
| | 06:48 | You've got this little block here which
allows you to scale the object, along a
| | 06:52 | specific axis, so this red axis right there,
| | 06:54 | that's the x axis for what it's worth.
| | 06:56 | Then next door we have this rotation
icon right there, and at the far end of the
| | 07:01 | widget, that cone let's says move
the object along the axis once again.
| | 07:05 | So I'm going to start by dragging along
this block here in order to scale the
| | 07:10 | object widthwise, to make it wider, and
then I'm going to go ahead and drag along
| | 07:15 | the cone in order to move
the object to the right.
| | 07:18 | You can see how this is a
very specific modification.
| | 07:22 | I'm modifying the X placement of this
object and preserving the Y and Z placement.
| | 07:26 | Next, I'm going to go ahead and drag
down on the blue cone to move the object
| | 07:31 | down as well, like so.
| | 07:33 | Photoshop calls this the Z axis, by the way.
| | 07:35 | So red is X, green is Y and then blue is
Z, and that's because we're working with
| | 07:40 | Cartesian coordinates, for
what that's worth. All right.
| | 07:43 | Now, you may look at this and say,
"I don't care for working with Cartesian
| | 07:46 | coordinates. Why don't we have any shadows or
reflections going on inside of our illustration?"
| | 07:52 | And the reason is, of course,
because I need to ray trace.
| | 07:55 | So I'm a switch to the Marquee tool by
pressing the M key, and then I'm going to
| | 08:00 | go ahead and collapse my right-side panels.
| | 08:02 | I'm going to bring up my 3D panel once
again, and I'm going to switch over to the
| | 08:06 | Scene settings by clicking this first
icon, make sure Scene is selected, and then
| | 08:10 | I'm going to change the Quality from
Interactive (Painting) to Ray Traced Draft.
| | 08:15 | And as soon as I do, I'll see that
grid pass over my image as Photoshop is
| | 08:20 | ray tracing the scene.
| | 08:21 | Now I can already see that I
have a little bit of a problem.
| | 08:23 | Notice those little black
edges at the bottom of the letters.
| | 08:26 | I don't want those, so I'm going to
click inside the scene to interrupt the ray
| | 08:30 | tracing. And I just happen
to know from trial and error,
| | 08:33 | the problem is Infinite Light 2.
What's happening is the light is actually in
| | 08:36 | back of the rectangle, and the
rectangle is casting a shadow on to the text.
| | 08:40 | So if I just go ahead and turn that
guy off there, then I'll reinitiate the
| | 08:44 | ray tracing, and I'll also get rid of that
under lighting, which is creating that dark edge.
| | 08:49 | Now, you'll have to wait a few minutes
for the ray tracing to occur, because it
| | 08:52 | is computationally intensive.
| | 08:54 | What we're going do inside this video
is go ahead and fast-forward the process.
| | 08:58 | Now, the ray tracing is done, so I'll go
ahead and hide my 3D panel once again,
| | 09:02 | expand my right-side panels, and grab
that gradient overlay and throw it back
| | 09:06 | there from the clouds layer
back on top of the rectangle layer,
| | 09:10 | the layer that's now called
rectangle, so we have this nice colorful
| | 09:13 | artificial lighting. Because Gradient
Overlay is a 2D layer effect, it doesn't
| | 09:17 | require new ray tracing.
| | 09:19 | So all I have to do is press the F key
to switch to the full screen mode and go
| | 09:22 | ahead and zoom in on my final illustration.
| | 09:25 | And that's how you merge 3D objects,
so you can use one to cast shadows and
| | 09:29 | reflections onto another, here
inside Photoshop CS5 Extended.
| | Collapse this transcript |
| 018 Adjusting 3D light sources| 00:00 | In this movie, I am going to show you
how to adjust 3D light sources inside
| | 00:04 | Photoshop CS5 Extended.
| | 00:05 | Now, it's a little bit tricky, as you're
about to see, and it's the kind of thing
| | 00:08 | that will become easier as you gain
more experience with the program, but it's
| | 00:12 | incredibly important.
| | 00:14 | Just as photography is ultimately the
art of capturing light, so, too, when
| | 00:18 | you're trying to create a natural
credible 3D scene inside of Photoshop,
| | 00:23 | the success of that scene
really hinges on how you light it.
| | 00:26 | So I am going to be showing you
ultimately three things: how to convert the
| | 00:30 | default infinite lights that Photoshop
gives you to more dramatic spotlights,
| | 00:34 | how to move lights in 3D space--
| | 00:36 | that's the tricky part--and then finally,
how to adjust the softness of shadows.
| | 00:40 | And over time we'll take this scene
that we've managed to create so far, with
| | 00:43 | these very hard shadows--notice that--
to this much more dramatic scene I think,
| | 00:48 | with these softly dropping off shadows
that also do a great job of communicating
| | 00:53 | the texture in your materials. All right!
| | 00:55 | So I am going to switch
to our image at hand here.
| | 00:58 | I am going to go ahead and press the F
key in order to switch to the Full Screen
| | 01:02 | mode, so that I have a lot of room to
work, because I am going to need it,
| | 01:05 | because your lights are going to be way out there.
| | 01:07 | Then I am going to press Shift+Tab
to bring up my right-side panels and
| | 01:11 | double-click on the thumbnail for my 3D
layer in order to bring up the 3D panel.
| | 01:16 | Notice down here at the bottom, I've got
a handful of lights, three lights in all.
| | 01:20 | These are the default lights that
Photoshop gives you, and they are all infinite
| | 01:24 | lights, as you can see.
| | 01:25 | I've got one of them turned off currently.
| | 01:27 | Now, first thing I need to do is go
ahead and switch out of Ray Tracing,
| | 01:31 | because if I try to edit my lights
while Ray Tracing is on, then I am going to
| | 01:34 | have a ton of delays.
| | 01:36 | So I'll go ahead and scroll up to the
top of the list, click on Scene, then
| | 01:40 | change the Quality Setting from Ray
Traced to Interactive (Painting). All right!
| | 01:44 | Next, I am going to go ahead and scroll
down the list and click on the final light,
| | 01:48 | Infinite Light 3, and I am also going
to turned off Infinite Light 1, just so I
| | 01:51 | can focus on this one and only one light,
| | 01:53 | so I can figure out what I'm doing here.
| | 01:56 | Notice if I go ahead and switch to one
of the lighting tools--so this is the
| | 02:00 | Light Rotate tool by default, and
this will be the fourth tool in the list.
| | 02:04 | That's where your Lining tools are.
| | 02:05 | Go ahead and click on that guy in order
to make it active, and you will see your
| | 02:09 | light sources out here in the Image window.
| | 02:11 | I am going to go ahead and
collapse the Layers panel here
| | 02:14 | so I have a little more room to work,
and this guy, I am not even sure where
| | 02:18 | it is. Oh, it's this one right here, and I can
tell because it's the only one that's turned on.
| | 02:22 | It has this ray coming out from it, which
shows me that it is the active light right now.
| | 02:27 | I am going to go ahead and switch
the Light Type from Infinite to Spot,
| | 02:30 | so I have got a spotlight going, and
spotlights give you the best interaction
| | 02:35 | when you're working with them,
inside of the Image window.
| | 02:37 | So that you can see how they're
actually hitting the object itself.
| | 02:40 | You can see how the light is ultimately
intersecting with the object to a point.
| | 02:45 | Now, we are not getting
too much light on the scene.
| | 02:47 | We'll address that in a moment.
| | 02:49 | Let's go ahead and increase that
intensity value from 0.3 to 0.6, and I'm also
| | 02:55 | going to change the softness.
| | 02:57 | So, I'll click on the word Softness
there to highlight that value, and I'll
| | 03:00 | change it to 22%. These are just values that I
came up with as I was working inside the scene.
| | 03:04 | Feel free to go your own way.
| | 03:06 | Then I'll press the Enter
key to accept that setting.
| | 03:09 | Now this guy is way out here, over to the side.
| | 03:11 | I am going to have to zoom out a
little farther to even find it.
| | 03:14 | There is my spotlight, and right
now I have got my Light Rotate tool.
| | 03:18 | And so I can drag around in order
to rotate that light if I want to.
| | 03:22 | I can also try to move it using one
of these tools up here, either the Drag
| | 03:26 | tool or I can use the Slide tool
instead. And Drag, as you may recall, that
| | 03:31 | tools can let you move the light back and
forth, so left and right, as well as up and down.
| | 03:36 | So I will go ahead and try to drag
it around and see what I come up with.
| | 03:38 | That's better, but I really want it to be
highlighting the left side of the scene.
| | 03:42 | So I am going to try using the Slide
tool for a moment here, and I'll go
| | 03:45 | ahead and drag it either forward in order to
bring the light out, or I could move upward
| | 03:51 | in order to bring the light in, like so.
| | 03:53 | You can also use this widget if you want to,
| | 03:56 | either by dragging on the cones in
order to move the light, or you can drag on
| | 04:00 | these little arcs right here
in order to rotate the light.
| | 04:03 | What I am going to tell you is that
you'll get a lot of use out of the X-rotate,
| | 04:08 | which is the red one, and the
Z-rotate, which is the blue one.
| | 04:12 | Those are going to produce pretty big effects.
| | 04:14 | You are not going to see much if you
use the Y-rotate, which is the green one,
| | 04:18 | because you are just basically
rotating the light around in a circle there.
| | 04:21 | Anyway, I came up with some numerical
values, just to try to get the same results.
| | 04:25 | So with either the Drag or the Slide
tool selected here, I'm going to change
| | 04:30 | the X value, for starters, to 400, and I
will press the Enter key to accept that value.
| | 04:35 | I'll click on Y to make it active, and
I will change this value to -700, and
| | 04:39 | press Enter again, and then I will
click on the Z value and change it to -50.
| | 04:44 | And I'll end up getting
this placement right here.
| | 04:46 | Now, the light is not rotated in the
right position, so I will switch over to
| | 04:50 | the Rotate tool here in the options bar, and
then I'll click on the X value once again.
| | 04:54 | It's a little bit ponderous,
| | 04:56 | I have to warn you, but if you've ever
lit a real-life scene, you know how
| | 04:59 | much time you spend doing it.
| | 05:01 | I'll go ahead and change that X
value to 0 and press Enter once again.
| | 05:05 | I'll click on Y, and I will change
that guy to 1200, and then I'll click on Z,
| | 05:11 | and I'll change this one to -600, and
in case you're wondering where in heck I
| | 05:14 | got these values, of course, trial and
error. I just worked with the scene in
| | 05:18 | order to figure this out. All right!
| | 05:20 | Now, let's go ahead and turn on
what is called Infinite Light 1.
| | 05:23 | We are going to switch it to a spotlight.
| | 05:24 | I'll go ahead and click on the eyeball to
turn it on there, and there is that light.
| | 05:29 | Let's go ahead and switch it out to
a spotlight as well, like so, and its
| | 05:33 | Intensity is just fine, but I am going
to change the Softness value to 28 for
| | 05:36 | this guy. And then notice Hotspot,
| | 05:38 | notice what happens when I hover over
the Hotspot value. See that little icon
| | 05:42 | over here to the right-hand side.
| | 05:44 | It shows you what the hotspot is.
| | 05:46 | If I just hover over Falloff,
it shows me what the falloff is.
| | 05:49 | So just pay special attention to that.
| | 05:51 | I am going to raise that Falloff value
to 55, in order to create a wider arc
| | 05:56 | for that light, and then I'm going to enter
some values up here in the Options bar once again.
| | 06:00 | I am going to click on that Slide tool--
or the Drag tool, either one--and I am
| | 06:04 | going to enter an X value this time
of 1,000. And for Y, I'll change that
| | 06:08 | value to -550, and then for Z, let's
go ahead and try a value of 200 here.
| | 06:14 | And I am working from piece of paper, of
course. I wrote these things down, so forgive me.
| | 06:18 | Now I am going to switch over to the Rotate
tool, because I want to enter the position,
| | 06:22 | the coordinates for the Rotation.
And I'll change that X value this time around
| | 06:26 | to -100, and you can see that I went
ahead and rounded off these values, just for
| | 06:31 | the sake of convenience.
| | 06:32 | What little convenient it provides.
I'll change the Y value to 500, and then I
| | 06:36 | will go ahead and click on Z, and
I'll change it to -500, like so.
| | 06:41 | We end up getting some pretty good
coverage on both the far left-hand side of
| | 06:44 | the scene and the far
right-hand side of the scene.
| | 06:46 | We need a fill light for the middle,
and it's going to be, of course, what was
| | 06:50 | formerly Infinite Light 2.
| | 06:52 | I will go ahead and turn that on.
| | 06:53 | Now, this guy is in totally the wrong position.
| | 06:56 | He is down here at the bottom of the scene.
| | 06:58 | He's backlighting the scene as
well, and that's not what we want.
| | 07:01 | I want it to be coming down and in from the top,
| | 07:04 | so I am going to have to do
a fair amount of work here.
| | 07:06 | I will go ahead and change the Light
type once again to Spot, and this time I am
| | 07:10 | going to raise the Intensity to 0.8, and
I'll change the Softness value to let's
| | 07:15 | say 25%, and I'm going to slightly
increase the Falloff from 45 degrees, which
| | 07:20 | is the default, to 50 degrees.
| | 07:23 | Now, comes the fun part.
| | 07:24 | We have got to drag this guy around
to figure out where in the world it is.
| | 07:27 | Currently it's shining toward us, and
that's not really very easy to figure
| | 07:32 | out, but now he's I think he's shining away from me now,
if I just kind of rotate this guy around.
| | 07:38 | I am just dragging around with the Rotate tool.
| | 07:40 | I am not sure I am doing the scene that
much good, but let's go ahead and try to
| | 07:43 | drag it to a different location.
| | 07:44 | I'll go ahead and get that Drag tool up
there in the Options bar, and I'll move
| | 07:48 | this light upward, and notice it's
rotating around as I move it, and now let's
| | 07:53 | go ahead and try to work with the Slide tool.
| | 07:55 | See if we drag it forward or
backward, that's going to do any good.
| | 07:59 | This guy is a problem so far,
| | 08:01 | so I'll go ahead and rotate it
around using the widget here.
| | 08:04 | So I just did an X-rotate. Now let's try
doing a Z-rotate and see if that gets us anywhere.
| | 08:09 | The light is too far out is the problem.
| | 08:11 | So it's too far away from the scene.
| | 08:12 | Let's go ahead and change its positioning here.
| | 08:15 | So notice that my Slide tool is active.
| | 08:17 | I will go ahead and enter an
X-value this time around of 600--
| | 08:20 | let's try that out--and a Y value of -650.
| | 08:25 | Then finally, watch me jump in the air there.
| | 08:27 | Now, I have got the Z value selected,
and I'll change it to 0 and see if that
| | 08:32 | brings it down to earth a little bit. It does.
| | 08:34 | I'm very optimistic at this point.
| | 08:36 | I'm going to go ahead and switch over
to my Rotate tool, and I'll highlight that
| | 08:40 | X value, and I'll change it to 0, and
then I'll highlight the Y value, and I'll
| | 08:45 | change that guy to 600.
| | 08:46 | That should help us out, and then I'll
go ahead and click on Z to make it active.
| | 08:51 | And I will change this value to -300, and
we end up lighting the middle of the scene.
| | 08:55 | That's awesome. All right!
| | 08:57 | So at this point if you want to, you
could tidy things up by renaming your lights.
| | 09:01 | They shouldn't be called infinite lights really,
because they are not. They're all spotlights.
| | 09:05 | So you could just double-
click on one of these guys.
| | 09:07 | It's just like renaming a layer.
| | 09:08 | Just change this one.
| | 09:10 | I will go ahead and double-click on the
words, and change it to spot 1 and then
| | 09:14 | I will double-click and the
other one and change it to spot 2.
| | 09:16 | So it's up to you if you want to do
this kind of housekeeping, but it might
| | 09:20 | help you out in the future if you're
trying to keep track of what's going on.
| | 09:22 | So I will change this one to spot 3,
and then I will scroll up the list to the
| | 09:26 | top here, click on Scene, and of
course what we need to do is ray trace.
| | 09:30 | So I am going to switch to my
Rectangular Marquee tool to get rid of those
| | 09:34 | wireframes that indicate my lights.
And now I'll go to the Quality Setting and
| | 09:37 | change it from Interactive to Ray Traced.
| | 09:40 | And you can see now as Photoshop is
going through in ray tracing the scene, that
| | 09:44 | we are getting these nice diffuse shadows.
| | 09:47 | It's a much better effect.
| | 09:48 | I also think it's a more dramatic
effect and a more credible effect as well.
| | 09:52 | Now, as usual, ray tracing takes a few
minutes, so you'll just have to sit back
| | 09:56 | and watch it happen, or leave
the room and get a cup of coffee.
| | 10:00 | We, of course, are going to go
ahead and speed up this process.
| | 10:04 | And here is the final ray
tracing according to Photoshop.
| | 10:06 | Now, it still needs a little
extra drama in my opinion.
| | 10:09 | I'll go ahead and zoom in here.
| | 10:11 | I would like these
shadows to be a little darker.
| | 10:13 | Not quite as gray, either.
| | 10:15 | So I am going to hide my 3D panel,
bring back my Layers panel here, and notice
| | 10:19 | that I've gone ahead and created a
gradient overlay effect in advance.
| | 10:22 | And I find effects and adjustment layers
to be exceedingly useful in combination
| | 10:27 | with these 3D effects.
| | 10:29 | So I will go ahead and turn on the
gradient overlay and notice that we get these
| | 10:32 | very nice dark shadows as
a result, and that's it.
| | 10:36 | I'm going to press the F key in order to
switch to the Full Screen mode, and here
| | 10:39 | is my final 3D scene with more
dramatic spotlights--differently positioned
| | 10:43 | lights of course, as well--and finally,
softly focused shadows, here inside
| | 10:48 | Photoshop CS5 Extended.
| | Collapse this transcript |
| 019 Masking highlights and shadows| 00:00 | Hey gang! This is Deke McClelland.
| | 00:02 | Welcome to Deke's Techniques.
| | 00:04 | This week we're going to take this
woman here who you may recall from such
| | 00:07 | movies as "Blending a texture onto a face"
and "Rendering a face as a cave painting"
| | 00:12 | and we're going to select our shadows
and highlights independently and then
| | 00:15 | merge her against this background.
| | 00:17 | Now, this is a great demonstration of
some quick and dirty masking techniques
| | 00:21 | inside of Photoshop, plus as an added bonus
| | 00:23 | I'll show you how to use a Color Range
command, not only to generate a selection
| | 00:27 | outline, but also to
directly generate a layer mask.
| | 00:30 | Here, let me show you how it works.
| | 00:34 | In this movie, I'm going to show you a
quick and dirty way that happens to work
| | 00:37 | great for isolating highlights and
shadows in a person's face for example, and
| | 00:42 | then merging those details
with an underlying image.
| | 00:45 | And in our case what we're going to do
is we're going to take this portrait shot
| | 00:48 | from Jason Stead, and we're going to
merge the highlights and shadows into the
| | 00:51 | sand dune background from Vladimir
Wrangel--both with the Fotolia Image Library--
| | 00:56 | and we're going to end up achieving
this effect right here with the dunes
| | 00:59 | cutting through her eyes, as you can see.
| | 01:01 | So it's almost as if a bright highlight
as being cast on to her eyes, and then we
| | 01:05 | have these dunes over
here on the left-hand side.
| | 01:08 | We also have this wonderful interaction,
in my opinion anyway, of highlights and
| | 01:12 | shadows over here on the
right side of the image.
| | 01:15 | So we're getting some
very dark, lustrous details.
| | 01:18 | And that's a function of having two
different layers, one of which is set to
| | 01:21 | Highlights, the other set to Shadows,
with different layer masks applied that
| | 01:25 | we'll be creating using the Color Range command.
| | 01:28 | So let's get to it.
| | 01:29 | I'm going to switch over
to my original image here.
| | 01:31 | I'm going to go ahead and turn on this
Portrait layer, and I'm going to rename
| | 01:34 | it Highlights because
that's the purpose it will serve.
| | 01:37 | Then I'll press Ctrl+Alt+J or
Command+Option+J on the Mac to bring up the New
| | 01:40 | Layer dialog box, and I'll call this new
layer Shadows and then click OK in order
| | 01:45 | to jump the image to a new layer.
| | 01:47 | Now I'm going to turn off the
Shadows layer. Click back on Highlights.
| | 01:51 | Let's go ahead and isolate some of those
highlights using the Color Range command.
| | 01:55 | So I'll go up to the Select menu and
choose Color Range, and that brings up this
| | 01:59 | Color Range dialog box right here.
| | 02:01 | Now by default, this the
way you should see things.
| | 02:03 | You should have Selection turned on
like so, and then the Selection Preview
| | 02:07 | option should be set to None so that
you're seeing the full-color image out
| | 02:11 | here in the background.
| | 02:12 | Now the first thing I'm going to do is
click somewhere on her cheek in order
| | 02:15 | to lift the key color--that is, a color
upon which the entire selection will be based.
| | 02:20 | Now, you can see that I'm selecting
some of those bright colors in the skin
| | 02:23 | region here inside of this inset mask.
And wherever the mask appears black,
| | 02:28 | that's where the image will be deselected.
| | 02:30 | Because we're going to convert this
selection to a layer mask, wherever we're
| | 02:33 | seeing white will reveal the layer,
wherever we see black will conceal the layer.
| | 02:38 | I want to go ahead and open
up this mask a little bit,
| | 02:40 | so I'm going to increase the Fuzziness
value. And notice as I do, I'm expanding
| | 02:45 | the area that gets selected inside the image.
| | 02:47 | So in my case, I'm going to take that
Fuzziness value up to 90 luminance levels,
| | 02:51 | so the selection is drifting away
from that key color, 90 luminance levels
| | 02:55 | brighter, 90 luminance levels darker
as well. And it's tapering across that
| | 02:59 | region of luminous level,
| | 03:00 | so we're getting that nice
organic natural transition.
| | 03:04 | Now, I'll click OK.
| | 03:05 | Make sure your Invert check box is
turned off, by the way, and then click OK in
| | 03:08 | order to generate a selection outline.
| | 03:10 | Now to convert that selection outline to
a layer mask, drop down to the bottom of
| | 03:14 | the Layers panel and click on the Add
Layer Mask icon. And now we've managed to
| | 03:18 | mask some of the brighter
highlights inside the image.
| | 03:21 | Notice I didn't get the whites of the
eyes entirely, because I wanted to dim
| | 03:26 | them away just a little bit.
| | 03:28 | The great thing about Color Range
is you don't have to keep all of the
| | 03:30 | brightest highlights or all of the
darkest shadows; you can choose some
| | 03:34 | highlights or shadows in between.
| | 03:36 | Now, because I want to merge these
highlights with the background and keep them
| | 03:39 | nice and bright, I'm going to go up to
the Blend mode pop-up menu, and I'm going
| | 03:43 | to choose the when-in-doubt
brightening mode, which is Screen, and I'll end up
| | 03:47 | getting this affect here.
| | 03:48 | So it's almost as if I put the two
images in different projectors and I'm
| | 03:51 | shining them at the same screen.
| | 03:53 | That's the kind of
brightening effect I'm achieving here.
| | 03:56 | I'm going to go ahead and turn on the Shadows
layer. Click on it to make it active as well.
| | 04:00 | The thing about working with the
Color Range command the way we did just a
| | 04:03 | moment ago where you choose Color Range
and then you start clicking around is,
| | 04:06 | you're kind of working blind
because you have no idea how your selection
| | 04:11 | outline is really going to
manifest itself as a layer mask.
| | 04:14 | If you want to get an idea, here's what you do.
| | 04:16 | Cancel out. Create your layer mask in advance.
| | 04:19 | So with that Shadows layer active, I'll
drop down to the Add Layer Mask icon and
| | 04:24 | click on it here inside the Layers panel.
| | 04:26 | I'm also going to assign the blend mode
that I eventually want to use, which is
| | 04:30 | going to be the ultimate darkening mode.
| | 04:32 | I'll go up to the Blend mode pop-up
menu and choose it. It's Linear Burn.
| | 04:36 | So we're really going to burn
the heck out of those shadows.
| | 04:39 | However, I don't want to
keep this much of the image.
| | 04:41 | I don't want to burn the
entire thing into that background,
| | 04:43 | so I am going to create a layer mask.
| | 04:45 | But the beauty of working this way
is whereas Color Range is normally a
| | 04:49 | Composite Selection tool--so it looks
that the Composite View of the image--
| | 04:53 | when you have layer mask selected, it
only looks at the active layer and that's it.
| | 04:58 | So I'm going to go up to the Select menu,
choose the Color Range command again,
| | 05:02 | and this time now notice that it's
automatically masking an area and it's showing me
| | 05:06 | the result of that mask.
| | 05:08 | So instead of delivering a selection
outline this time around, it will deliver
| | 05:12 | layer mask, which is totally awesome.
| | 05:14 | I'm going to click inside that iris,
which currently looks like a bright area
| | 05:18 | because of that sand dune
highlight that's running through it.
| | 05:21 | But in the original image on that one
layer it's actually a very dark color.
| | 05:25 | So as soon as I click on it, you'll
see that I'm selecting just the darkest
| | 05:28 | colors inside the image, and
they're showing up as white inside of this
| | 05:32 | layer mask preview.
| | 05:33 | I'm now going to increase my Fuzziness
value to, let's say, 130 works out pretty
| | 05:38 | well for this effect, and that's it.
| | 05:40 | Now, you can add more key colors if you want to.
| | 05:42 | You can go ahead, and Shift+Click on
colors if you like, Shift+Drag inside the
| | 05:47 | image in order to lift
multiple colors at a time.
| | 05:49 | Of course, that lifts way
too many colors in my case,
| | 05:52 | so I'm going to reset things by
just clicking in that iris once again.
| | 05:55 | Actually, that's more like the pupil.
| | 05:56 | I'll click out here in the
iris a little bit to grab that.
| | 05:59 | Then I'll click OK in order, not to
create a Selection Outline, but in order to
| | 06:04 | automatically generate a layer mask.
| | 06:06 | Now, of course you can edit those layer masks
to any degree you like, but in my case I'm done.
| | 06:11 | I'm going to turn on my text layers that
I've created in advance here, press the
| | 06:15 | F key a couple of times in order to
switch to the Full Screen mode, and that is
| | 06:19 | the quick and dirty, but elegant and
highly automated way to select and isolate
| | 06:23 | highlights and shadows inside an image.
| | Collapse this transcript |
| 020 Masking glass| 00:00 | In this movie, we're going to take
these champagne glasses from Julian
| | 00:03 | Rovagnati, set against this sunset
beach background from MPH--both of the
| | 00:08 | Fotolia Image Library--
| | 00:10 | and we're going to create this seamless,
and I think credible, composition right here.
| | 00:15 | So, let's get to work.
| | 00:16 | I'm going to switch back to our
original image here, and I'm going to turn
| | 00:19 | on that Glasses layer.
| | 00:21 | Now, when you're masking glass your
first and foremost concerned about merging
| | 00:25 | the highlights and shadows of the
glassware with the background independently.
| | 00:30 | It would be nice if you could do it
all at once just by choosing one of the
| | 00:33 | contrast blend modes, for example.
| | 00:35 | I could go up to the Blend mode pop-up menu
and change it from Normal to let's say Overlay.
| | 00:41 | But that doesn't cut it in our case,
not even sort of, because we've got
| | 00:45 | this white background.
| | 00:46 | So we're going to have to mask the
shadows and highlights independently, as I say,
| | 00:50 | which is almost always what
you're going to do with glassware.
| | 00:54 | And one or the other is
going to be easier to do.
| | 00:56 | In our case, because we have a white
background, we can easily drop it out and
| | 01:00 | maintain the shadows just by going up to
the Blend mode pop-up menu and changing
| | 01:04 | it from Overlay in my case to Multiply.
| | 01:06 | And we get this effect right
here, and it looks awesome.
| | 01:09 | Problem is while we're
keeping the shadows, which is great,
| | 01:12 | we don't have any highlights
associated with this glassware whatsoever, and we
| | 01:16 | don't have any of the coloring
associated with the champagne. Somehow we need
| | 01:19 | to retrieve those elements.
| | 01:21 | That's going to be harder, as I say
because we're working with a white background.
| | 01:25 | Now, we're going to create some
duplicates of the layer, so I'm going to press
| | 01:28 | Ctrl+J, or Command+J on the Mac, in order
to create a copy of the layer, and I'm
| | 01:32 | going to name that top one Multiply,
because that's the blend mode that we're
| | 01:36 | going to leave set, where
this layer is concerned.
| | 01:39 | And then I'm going to
turn it off for the moment.
| | 01:41 | We can come back to it later.
| | 01:43 | Now I'll drop back down to the Glasses
layer, and I'll change its Blend mode from
| | 01:46 | Multiply back to Normal. And what we need
to do now is mask away that background.
| | 01:50 | And believe it or not, the best way to
mask out this specific background is to
| | 01:55 | use the Magic Wand tool. And I know it
seems like blasphemy, but it actually
| | 01:59 | turns out to be true. So you can go to your Quick
Selection tool flyout menu. Choose the Magic Wand tool.
| | 02:04 | It is going to work much better, by the
way, than the Quick Selection tool. Take my
| | 02:08 | word for it. So grab that Magic Wand tool.
| | 02:10 | I've got my Tolerance set to 12, and
that's 12 luminous levels lighter and darker
| | 02:15 | on a channel-by-channel basis than the
pixel that I click on. The Contiguous
| | 02:19 | check box must be turned on, by the way,
so that we select just the whites of the
| | 02:23 | background and we don't select
into the highlights inside the glass.
| | 02:26 | Anti-alias should be
turned off, believe it or not.
| | 02:29 | It's just that anti-alias adds a
little glint of smoothness to the edges,
| | 02:34 | but it's a bad algorithm, as applied to the
Magic Wand tool, for continuous tone images.
| | 02:40 | So I'm going to click in this
background like so, and then I'm going to
| | 02:43 | Shift+Click in the lower
region of the background.
| | 02:45 | And now I want to mask that background
away, and I'm going to do that by dropping
| | 02:49 | down here to the Add Layer Mask icon at
the bottom of the Layers panel, and I'm
| | 02:52 | going to Alt+Click or Option+Click on
it, and that masks away the selected area.
| | 02:57 | Now, I still have some problems.
| | 02:58 | You can see these little vertical
lines on the left- and right-hand sides.
| | 03:02 | I'm going to zoom out, Alt+Click or
Option+Click on the layer mask thumbnail to
| | 03:06 | view it independently of the image,
| | 03:08 | press the M key to grab my Marquee
tool, and then I'm just going to go ahead
| | 03:12 | and select these areas by dragging
and then Shift+Dragging around. And my
| | 03:16 | foreground color happens to be
black, so I'll press Alt+Backspace or
| | 03:20 | Option+Delete on the Mac in order
to fill that region with black.
| | 03:23 | Now I'll click off the selection in
order to deselect it. And notice if I zoom
| | 03:27 | in here that I have a few little
blemishes left over that I might as well
| | 03:32 | clean up in advance, so I'm going to
do that using the Brush tool. And I can
| | 03:36 | select the Brush tool from the
toolbox or press the B key.
| | 03:39 | I'm going to right-click inside of my
image window, just to confirm that the
| | 03:42 | hardness is 100%, which it is for me.
And then I'll go ahead and click on that
| | 03:47 | area that should be black, press the
X key in order to switch the foreground
| | 03:51 | color to white, and then click
that area that ought to be white.
| | 03:54 | You might need to do some additional
spot work inside of your own image, but
| | 03:58 | that's enough for this one.
| | 03:59 | All right, now I'm going to go ahead and
Alt+Click or Option+Click on that layer
| | 04:02 | mask thumbnail again in order
to restore the full-color image.
| | 04:06 | Now, these edges are by no means good.
| | 04:09 | They are very jagged, as you can see,
here, so they need a little bit
| | 04:13 | of additional work.
| | 04:14 | And I'm going to modify this layer mask
using the Refine Mask command. So, make
| | 04:19 | sure the layer mask thumbnail is
active, as it is for me. Then go up to the
| | 04:23 | Select menu and choose the Refine Mask command.
| | 04:26 | I want you to set your View to On
Layers, so you can see each and every layer
| | 04:30 | composited against the other ones.
| | 04:32 | And then what we're going to so is
we're going to raise the Smooth value to 10,
| | 04:37 | just to go ahead and smooth off that
edge. That also adds a little bit of blur.
| | 04:42 | And to get rid of that and choke the
edge inward, I'm going to take the Shift
| | 04:46 | Edge value down to -100 like so,
and we get a much better transition.
| | 04:51 | Now, it's not absolutely perfect quite
yet, and we're going to work on that.
| | 04:55 | For example, I'm going to grab my
Rectangular Marquee tool, which is active.
| | 04:59 | I'm going to go ahead and select
from about there, along that edge of the
| | 05:03 | glass, up to here, because that's where my
problem edge is occurring there. Do you notice that?
| | 05:08 | And now my layer mask, by the way, is still
active, so I'm not going to hurt the image itself.
| | 05:13 | I'll go on to Edit menu and I'll
choose Free Transform. You can also press
| | 05:17 | Ctrl+T, Command+T on the Mac. And I'm
going to drag this edge inward, and notice
| | 05:22 | how that fixes this edge right there.
| | 05:25 | Now, I will go ahead and press the Enter
key--or the Return key on the Mac--click
| | 05:28 | off the image, and we end up
getting this really great effect.
| | 05:32 | Now, I expected there to be a problem
and there wasn't because my background
| | 05:37 | color is set the black, but if you end
up exposing a little bit of weirdness
| | 05:40 | over in that area on the right side of
your transformation, then you would just
| | 05:45 | covered it up with some black.
| | 05:46 | You would just scrub it away.
| | 05:47 | Anyway, this looks great to me, so I'm
going to go ahead and zoom out a little
| | 05:50 | bit and center my image.
| | 05:52 | Now, we still have some problem edges
here and there, but it's really nothing to
| | 05:55 | worry about because bear in mind that
we're going to have three copies of this
| | 05:59 | image altogether that are set to
different blend modes, and so they're
| | 06:03 | effectively going to
compensate for each other. All right,
| | 06:05 | so I'm going to take this guy and I'm
going to set it to the screen mode by
| | 06:08 | going up to the Blend mode pop-
up menu and changing it to Screen.
| | 06:12 | And that's too much. That's kind of an
over-the-top affect, so we'll change the
| | 06:15 | opacity to 50%, and then I'll turn
Multiply back on so we can see how the layers
| | 06:21 | are blending together. And it's
looking pretty darn good. Not perfect.
| | 06:24 | I'd like to bring back some of the
color that's associated with the champagne.
| | 06:28 | So, I'm going to go ahead and duplicate
the active layer once again by pressing
| | 06:31 | Ctrl+J, or Command+J on the Mac.
| | 06:33 | I'll call the top one Screen, just
so that I know what's going on there,
| | 06:37 | and then I'll call this one Soft Light,
because we're going to change it to the
| | 06:41 | Soft Light mode. I'll press the 0 key
to restore the opacity to 100%, and I'll
| | 06:46 | change the mode from Screen to Soft
Light, and we get this effect here. So, you
| | 06:50 | can see how the various layers
are building on top of each other.
| | 06:52 | I'll just turn off the bottom two for a moment.
| | 06:55 | There is Multiply by itself, there's
screen added to multiply, and this is what
| | 06:59 | happens when we add a little bit of soft light.
| | 07:02 | Now, it's looking pretty darn good.
| | 07:04 | Notice, for example, that we have these
nice highlights bouncing off the bottom
| | 07:07 | portion of the glass, along the side of
the left-hand glass as well. But also we
| | 07:12 | lose the highlights up here in the top
of the glass, and it's as if the top
| | 07:16 | of the glass is somehow filled
with this light gas or something.
| | 07:19 | It doesn't look right at all.
| | 07:21 | So what we're going to do is we're
going to take advantage of a knockout layer.
| | 07:24 | And so, for starters, I'm going to
select these two layers because they're the
| | 07:28 | ones that are adding this bit of gas at
the top of the glasses, and I'm going to
| | 07:32 | group them together by pressing Ctrl+G,
or Command+G on the Mac. And I'm going to
| | 07:36 | call this group Knockout group, like so.
| | 07:40 | And then I'll twirl it open, click on
the top of the two layers, and I might as
| | 07:44 | well make my Layers panel a little wider,
so that we can see those names. And then
| | 07:48 | I'm going to press Ctrl+Shift+N, or
Command+Shift+N on the Mac, to create a new
| | 07:51 | layer, and I'm going to
call it Knockout and click OK.
| | 07:54 | And here's what we're going to do.
| | 07:57 | We're going to grab the Gradient tool--
which you can get by pressing the G
| | 08:00 | key--and I'm going to advance from
this foreground to background gradient to
| | 08:05 | this one right here, Foreground to
Transparent. And it really doesn't matter what
| | 08:09 | the foreground color is.
| | 08:11 | I'm just going to drag like so,
essentially, in order to create this gradient
| | 08:17 | that's descending downward from opacity
to transparency at the top of the image.
| | 08:22 | And it's covering up that sort of
gas area at the top of the glasses.
| | 08:26 | Next, I'm going to double double-click
in this empty area to the right of the
| | 08:29 | Knockout layer in order to bring up
the Blending Options. And I'm to change
| | 08:34 | the Knockout setting from None to Shallow.
Now initially that's not going to do anything.
| | 08:38 | You have to follow that up with a
modification to the Fill Opacity. So, as I
| | 08:42 | take that Fill Opacity value down,
notice that it's cutting through that gas at
| | 08:48 | the top of the glasses.
| | 08:50 | So I took the value down to 0%,
and the gas is completely gone now.
| | 08:54 | Now I'll click okay, and what we're
basically doing is we're cutting through
| | 08:59 | everything inside of this
Knockout group using this dark gradient.
| | 09:03 | Now then, I want to bring back the
highlights through these regions of the
| | 09:07 | glasses, and I'm going to do
that using the Eraser tool.
| | 09:10 | So I'll click on the Eraser here in
the toolbox--or I could press the E key--
| | 09:14 | and notice that if I right-click, I've
set my Hardness to 0%, my Size is at 200
| | 09:20 | pixels, although you can change that to taste.
| | 09:22 | And now I'll just go ahead and erase
through these highlights like so in order
| | 09:27 | to restore the highlights at the
top of the glasses. All right,
| | 09:30 | it's all looking pretty good. The last thing
that I want to do is adjust the focus of
| | 09:34 | the background, because it looks a
little strange that the champagne glasses are
| | 09:38 | in such sharp focus, and we essentially
have infinite focus in this scene because
| | 09:43 | the background--all the way back to
the very end--is in focus, as well.
| | 09:47 | So I'm going to click on that Beach
layer, and I'm going to right-click on it and
| | 09:52 | choose Convert to Smart Object,
because we want to apply a Smart Filter.
| | 09:56 | And next I'll go up to the Filter
menu, and I'll choose Blur, and I'll choose
| | 09:59 | Gaussian Blur, and I'm going to apply a
Radius of five pixels, like so. Click Ok.
| | 10:05 | Now, I want the scene to be a little
more in-focus toward the bottom because
| | 10:09 | that's the foreground area,
| | 10:11 | so I'll click inside of my filter mask
and I'll grab my gradient tool. And I'm
| | 10:15 | going to switch to that very first
gradient foreground and background, and then
| | 10:19 | I'll drag for about here at the horizon
line down in order to restore the focus
| | 10:24 | as the beach comes toward us.
| | 10:26 | And that is my final effect, achieved
using a combination of the Magic Wand tool
| | 10:31 | a layer mask, the Refine Mask command,
a few blend modes, and a Knockout group,
| | 10:36 | here inside the Photoshop.
| | Collapse this transcript |
| 021 High key high contrast| 00:00 | Hey gang! This is Deke McClelland.
Welcome to Deke's Techniques.
| | 00:04 | This week we're going to take this
image and convert it to a high-key, high-
| | 00:08 | contrast portrait shot like this one
here, in which I've selectively clipped
| | 00:12 | some of the shadow detail
but nary a single highlight.
| | 00:16 | So we have this wonderful volumetric detail.
| | 00:18 | Let me show you exactly how it works.
| | 00:23 | In this movie, I'm going to show you
how to take a standard portrait shot, like
| | 00:26 | this one from Jason Stitt of the
Fotolia Image Library, and we're going to
| | 00:30 | selectively convert it to a high-key,
high-contrast effect like this one here.
| | 00:35 | And you can see that I'm turning
entire regions of this portrait black.
| | 00:39 | So I'm selectively clipping the black
inside the hair, inside what was formerly
| | 00:43 | that purple sweater, inside the
pupils of the eyes as well. So we have all
| | 00:48 | kinds of bright details.
| | 00:49 | However, we still have volumetric form
in shading, so I'm not actually clipping
| | 00:54 | anything to white inside of this shot.
| | 00:56 | I don't have any blown highlights
in other words. So it's a very careful,
| | 01:00 | effective technique.
| | 01:01 | I'm going to switch back to my original
image here, and let's see how to build things up.
| | 01:05 | The first step is to convert the image
to black and white, so I'm going to press
| | 01:09 | the Alt key, or the Option key on the
Mac, and click this black-white icon at the
| | 01:13 | bottom of the Layers panel, and I'm
going to choose Black & White to bring up
| | 01:16 | the New Layer dialog box.
| | 01:17 | I'll go ahead and call it B&W and click OK.
| | 01:20 | And then the next step is to work with
the sliders inside the Adjustments panel.
| | 01:24 | Now, regardless of skin tone,
regardless of race, creed, what we think of this
| | 01:28 | color, all that jazz, we're
all actually orange people.
| | 01:32 | So the biggest differences you're going
to make are to the reds and yellow sliders.
| | 01:36 | So if you want to brighten up a face,
any face, then you go ahead and increase
| | 01:41 | both red and yellow.
| | 01:43 | And so I'm going to take red up to 130
and I'm going to take yellow up to 100 in
| | 01:48 | order to brighten up the face fairly
significantly as you can see in the
| | 01:51 | background. Then I'm going to blast the
greens because the greens are going to
| | 01:56 | help light up the background.
| | 01:58 | I want to essentially blow out that
background, so it's entirely white.
| | 02:01 | I'm going to take the cyans
up a little bit, not too high.
| | 02:05 | If I go too high with the Cyans value,
you can see that I end up creating some
| | 02:08 | pretty harsh transitions inside the hair.
| | 02:10 | So I'm going to take that value down
to 40, where this image is concerned.
| | 02:14 | Then I'll tab my way to the Blues
value. Crank that all the way up.
| | 02:18 | And then finally the Magentas value is
responsible for the sweater, so notice
| | 02:23 | if I take the value higher, I'm
brightening the sweater. If I sync it down like
| | 02:27 | so to its minimum value of -200, I'll
send that sweater to black, which is
| | 02:32 | exactly the effect I'm looking for.
| | 02:34 | So I've already managed to get a lot of
work done with this one adjustment layer.
| | 02:39 | The next step is to start in with some
dodge and burn. And the Dodge and Burn tools
| | 02:44 | are static tools. They make permanent
modifications to pixels inside the image.
| | 02:48 | So what you need to do is take what you've
done so far and duplicate it to a new layer.
| | 02:52 | And the keyboard shortcut
for that is Ctrl+Shift+Alt+E, or
| | 02:55 | Command+Shift+Option+E on the Mac.
| | 02:58 | We'll go ahead and merge all the
visible layers onto a new layer, and I'll go
| | 03:02 | ahead and call this one D&B--
of course for Dodge and Burn.
| | 03:06 | And now I'm going to grab my Dodge tool.
| | 03:08 | I'm going to zoom out a little, too, so
I can take in the entire image. And I'm
| | 03:11 | going to grab that Dodge tool,
increase the size of my cursor pretty
| | 03:14 | dramatically here, and then say
that we're painting inside the face.
| | 03:19 | And I want to brighten the face up
pretty significantly, as you can see,
| | 03:22 | so I'll go ahead and
paint around here and there.
| | 03:25 | And all the while, incidentally, I've
got the Range set to Midtones.
| | 03:29 | The Exposure is set to 50%.
| | 03:31 | And you may find as you work with the
Dodge tool that 50% is a little bit much.
| | 03:35 | You can tone that down if you want to
by pressing a number key. For example,
| | 03:38 | if I press the 3 key,
| | 03:40 | I'll knock that down to 30%, and then
I'll be able to apply some more modest
| | 03:44 | changes to this image.
| | 03:46 | Anyway, once I get to the
point where I'm pretty happy,
| | 03:48 | I'll go ahead and shift over to the
Burn tool, which is going to darken up the
| | 03:52 | details. And 50% is going to work
out pretty beautifully for this effect.
| | 03:56 | I'm going to have to scrub, however, a few
times inside the hair in order to darken it up.
| | 04:01 | And I may find actually as I paint
inside the hair that I'm not able to paint
| | 04:06 | away the hair--make it as black as I
want to in other words--unless I go ahead
| | 04:11 | and change the settings that are at
work here inside the Options Bar.
| | 04:14 | So right now I'm burning the midtones,
which means I'm darkening the middle
| | 04:18 | luminance levels inside the image.
| | 04:20 | If I want to darken the darkest stuff,
which is all that's left inside the hair,
| | 04:24 | then I would have to switch this
option to Shadows. And then I'm going to be
| | 04:28 | able to make that area absolutely
black, which is what I'm looking for.
| | 04:32 | And then also it helps to protect the
face as you can see, even though I'm
| | 04:34 | painting into the face, I'm
not really doing anything to it.
| | 04:38 | So I'm just limiting my modifications
to these very dark regions. All right.
| | 04:42 | then I'll switch back to my Midtones
once again. And I might darken some of
| | 04:46 | these edges just a little bit to add
some volumetric form, just to make sure
| | 04:51 | that her face is sloping away at the
edges and that the lighting is sloping as
| | 04:54 | well, and that we're maintaining
some of the natural shading as well.
| | 04:58 | And once you get to a point such as this--
you can go as for as you want to of course--
| | 05:02 | but once you get to a point that
you're happy with, go ahead and grab your
| | 05:05 | background layer, your original image
and jump at by pressing Ctrl+Alt+J or
| | 05:10 | Command+Option+J on the Mac.
| | 05:12 | And I'm going to call this layer Color,
and I'll click OK, and I'm going to drag
| | 05:15 | the Color layer to the top of the stack.
| | 05:18 | And then I'll go up to my blend mode
pop-up menu and change it from Normal to
| | 05:21 | Color in order to restore some of
the original color to this image.
| | 05:25 | Now I like the original colors on the
inside of the image, but I don't really
| | 05:30 | want that blue around her hair, and I don't
want this magenta around her sweater either.
| | 05:34 | So I'm going to add a layer mask by
clicking on the Add Layer Mask icon down
| | 05:37 | here at the bottom of the Layers panel.
| | 05:39 | And then I'll switch over to my Brush tool,
which I can get by pressing the B key as well.
| | 05:44 | Now I'll increase the size of my cursor a
little bit by pressing the Right Bracket key.
| | 05:48 | I am also going to right-click inside
the image window and show you that I have
| | 05:51 | the hardness cranked all the way up to
100%, and that way I'm not introducing any
| | 05:55 | softness in this mask, and I won't
have sort of colors wandering in and out.
| | 06:00 | I want to make some very
definite decisions here. All right,
| | 06:03 | so now with black as my foreground color
I'll go ahead and just paint into these
| | 06:07 | regions in order to paint these colors away.
| | 06:11 | And I might as well paint all the way
into the background over there, and then
| | 06:13 | I'll paint over here as well on the
right side of the image up into the hair,
| | 06:18 | just to make sure that I don't have any
color showing up in that region at all.
| | 06:23 | Now, it looks like my mask is a
little bit of a mess, and if you feel like
| | 06:26 | cleaning it up--I know I need to paint down
here a little better, so that looks pretty good.
| | 06:30 | But then I'm going to Alt+Click or
Option+Click inside that layer mask, just
| | 06:34 | so that I can view the mask by itself and
clean up any of those rough areas outside.
| | 06:38 | The fact that we have these scalloped
edges around the image, that's not a problem.
| | 06:42 | All right, so I'm going to Alt+Click or
Option+Click once again inside that layer mask in
| | 06:46 | order to return to the full-color image.
| | 06:47 | Finally, I'll create a new layer by
pressing Ctrl+Shift+N, Command+Shift+N on the
| | 06:51 | Mac, and I'll call it
Gradient and then click OK.
| | 06:54 | And I'll press the L key to switch to
the Lasso tool, and I'm going to Alt+Click
| | 06:58 | like so, in order to create a straight-
sided polygonal outline. And then I'll
| | 07:04 | Shift+Drag around this
area to select it as well.
| | 07:07 | And I'm going to go ahead and create a
gradient inside that background, so I'll
| | 07:12 | click on my Gradient tool to make it
active. And currently my gradient is set to
| | 07:16 | Foreground/Background,
which is exactly what I want.
| | 07:18 | I don't want, however, this Reflected Gradient.
| | 07:21 | I want to be working with the
linear gradient, so I'll select that.
| | 07:24 | And I want to change my foreground
color, and I might as well lift the color
| | 07:28 | from her face, because I want to
have that kind of warmth going on in the
| | 07:31 | background as well.
| | 07:32 | So I'll press the I key to get my
eyedropper, and then I'll click on one of
| | 07:36 | the sort of darker, warmer color, such as--that
region of her forehead there looks pretty good.
| | 07:41 | And I might want to modify the Hue
values a little bit here in the Color panel.
| | 07:44 | I'm going to change the H value to 25
degrees and then the Saturation to 45% and
| | 07:49 | finally, the brightness to 75%.
| | 07:51 | And then I'll press the G key to
switch back to the Gradient tool and draw a
| | 07:56 | gradient down, about like that.
I'm pressing the Shift key to constrain the
| | 08:00 | angle of the gradient to exactly
vertical for what that's worth.
| | 08:03 | And then I'll press Ctrl+D or
Command+D on the Mac to deselect the image.
| | 08:06 | Now of course that looks terrible,
and that's because I haven't set the
| | 08:09 | blend mode properly.
| | 08:10 | So I'll go up to the Blend Mode pop-up
menu there in the Layers panel, and I'll
| | 08:14 | change it to Multiply in order to drop
out those lights and sink the colors into
| | 08:19 | the black background.
| | 08:20 | And that is the final effect, folks.
| | 08:22 | I'm going to go ahead and switch to
the Full Screen mode and zoom in on the
| | 08:25 | image. And there you have it, a method
for creating a high-key, high-contrast
| | 08:29 | portrait shot inside Photoshop.
| | Collapse this transcript |
| 022 Simulating sub-pixel rendering| 00:00 | Hey gang! This is Deke McClelland.
| | 00:02 | Welcome to Deke's Techniques.
| | 00:04 | This week, I have got a special treat
for you web designers who are struggling
| | 00:08 | with little type inside of Photoshop.
And you try those different anti-aliasing
| | 00:12 | settings up in the Options bar--
| | 00:13 | you know, Sharp and Crisp and Smooth and
Strong--and they all look like garbage.
| | 00:18 | One possible solution is to take
advantage of a little thing called
| | 00:22 | subpixel rendering.
| | 00:24 | Now this is such an arcane topic that
even folks who are comfortable saying the
| | 00:29 | word anti-aliasing dare not to speak it.
| | 00:32 | I am going to show you exactly how
subpixel rendering works, and how to simulate
| | 00:37 | it in Photoshop, and make you absolutely
king of the nerds inside this movie.
| | 00:43 | All right. So this movie is all about how to
simulate subpixel rendering inside of
| | 00:48 | Photoshop. But first of all, I need to
give you an idea of what I'm talking about.
| | 00:52 | Subpixel rendering is a
variety of anti-aliasing,
| | 00:54 | an anti-aliasing is a method for
mapping curvature on to square pixels and
| | 01:00 | achieving somewhat smooth results.
| | 01:02 | For example here, imagine that this
gray checkerboard is the pixel grid, and we
| | 01:07 | are trying to map this smooth
mathematical character definition onto that grid.
| | 01:12 | Well, obviously the pixels cannot do curves,
| | 01:16 | so somehow we have to map curves onto squares.
| | 01:19 | Now back in the old days before anti-
aliasing was conventional--and we are
| | 01:23 | talking back in the days before
24-bit monitors were routinely available--
| | 01:27 | pixels were either turned
on or off, and that's it.
| | 01:31 | So for example, if a pixel mostly fell
inside the character definition, then it was on.
| | 01:36 | If it mostly fell outside the
character definition, it was off. And that's
| | 01:40 | all there was too it. All right!
| | 01:41 | Then comes along anti-aliasing.
And this time I have made my pixel grid blue in
| | 01:47 | order to demonstrate progress.
| | 01:48 | And anti-aliasing is available
routinely inside of Photoshop.
| | 01:52 | What we see is if a pixel is 100%
inside the letter form, then it's opaque.
| | 01:57 | If it's 100% outside, then it's transparent.
| | 01:59 | If it's 50% in and out, then it's 50% opaque.
| | 02:03 | If it's just 10% in, then
it's 10% opaque, and so on.
| | 02:07 | So the opacity of a pixel is linked to its
intersection inside of that character outline.
| | 02:12 | All right! Now let's take a look
at the way subpixel rendering works.
| | 02:16 | It's specifically designed to
accommodate flat-panel monitors,
| | 02:20 | so not CRT tubes, not those big deep
old TV set kind of things, but rather flat
| | 02:25 | screens. And on a flat screen,
specifically in LCD let's say, a single pixel looks
| | 02:31 | like this red, green, blue
stripe thing that I've drawn here.
| | 02:35 | So you have a series of very thin
color components. And so each pixel has red
| | 02:42 | and green and blue, stripes of each, and
when they're firing at full intensity,
| | 02:47 | then the pixel ends up looking white,
because it blur together, and when they
| | 02:51 | are not firing at all,
they look black, and so forth.
| | 02:53 | So what pixel rendering does is it
takes advantage of the fact that you really
| | 02:58 | have three slim pixels in one.
| | 03:01 | So I will go ahead and turn on this final
item, so you can see what that looks like.
| | 03:06 | Notice now, if a pixel falls entirely
in a character outline, it is opaque.
| | 03:09 | If it's entirely outside the outline
then it's transparent. But now I'll go
| | 03:13 | ahead and zoom in here.
| | 03:14 | In between you have this gradient,
this fading gradient of color essentially.
| | 03:19 | Notice that this is
entirely a horizontal effect.
| | 03:23 | Each pixel is uniform vertically.
| | 03:25 | So we are just seeing this little bit of
color fade horizontally across the pixels.
| | 03:30 | So for example if I was talking about
one of these pixels over here on the
| | 03:33 | left-hand side of the character, that
blue component would be very dark, and then
| | 03:38 | the green component would lighten up a
little bit, and the red component would
| | 03:41 | lighten up even more.
| | 03:43 | So what we get is much smoother
character outlines, especially when you're
| | 03:46 | working with very small type. But you get
a little bit of color fringing as well.
| | 03:50 | Now at this point you might wonder,
all right, if this is the way to do type--
| | 03:54 | especially small type--why in the
world doesn't Photoshop support it?
| | 03:57 | Well, it would be extremely
misleading for Photoshop to support it,
| | 04:00 | because after all, this effect that
I am demonstrating here only works
| | 04:05 | with live, vector-based type.
| | 04:06 | Now Photoshop gives you editable,
vector-based type; that's no problem.
| | 04:11 | However, there's no way to convey that
type from Photoshop to the web because
| | 04:15 | JPEG, PNG, and TIFF do not
support live, editable type,
| | 04:19 | so it wouldn't be possible to build that
information into those file formats.
| | 04:22 | However, you can simulate the effect in
order to smooth out your very small type
| | 04:28 | outlines, and let me show you how that works.
| | 04:30 | I am going to switch over to this file
right here. And that sample text is just
| | 04:34 | some text that I was working with
that I actually had to use for my own
| | 04:37 | website, and you can see here Nack and
Hughes--these are product managers of
| | 04:40 | Photoshop, by the way--
| | 04:42 | when a text is rendered
large, it's quite legible.
| | 04:44 | It looks great, so no problems there.
| | 04:46 | However, I'll switch over to
the right-hand side of my image.
| | 04:49 | As soon as the type becomes small,
it really starts breaking down quite a
| | 04:53 | bit. And notice that we don't have
any such thing, where this type is
| | 04:58 | concerned, as a 100%-opaque pixel.
| | 05:01 | Everything is getting cut into to some
degree or other, and we are really losing
| | 05:05 | information in some of the character forms.
| | 05:07 | Notice smushy bar inside of this E, and so forth.
| | 05:10 | There's all kinds of weird aspects of this type.
| | 05:13 | So I could--one of the things you can do
by the way, I'll go ahead and switch to
| | 05:17 | this anti-alias layer, because
that's the one I am working on right now.
| | 05:20 | One of the things you can do is you can
press the T key to switch over to your
| | 05:23 | Type tool, and then you can try out
these different anti-aliasing modes.
| | 05:28 | And really, I am not going to
tell you how they work here.
| | 05:29 | None is just going to turn Anti-
aliasing off, and everybody else is just
| | 05:34 | going to switch out the
character forms a little bit.
| | 05:36 | The thing to do is just try them out.
| | 05:38 | I wouldn't really put too much stake
in the names; just try out a different
| | 05:41 | effect and see if it ends up working out better.
| | 05:44 | In our case, if I try out Sharp, I am
going to get more opaque character forms;
| | 05:48 | however, it's not necessarily going
to be exactly what I'm looking for.
| | 05:52 | And using this technique that I'm about
to show you, you'll get better effects.
| | 05:56 | So I'll just go ahead and restore
the type that I had before the crisp
| | 05:59 | anti-aliasing, and I'll go ahead and move
down here to this other type that I have set up
| | 06:05 | that's the exact same size, just so
that we can compare and contrast.
| | 06:08 | Now, the idea here is I am going to have
to represent the type differently inside
| | 06:12 | each of the color channels:
| | 06:13 | red, green, and blue.
| | 06:15 | That means I need duplicates of this
layer here, which is the demo type layer.
| | 06:20 | However, I don't want to have three
copies of that layer that I have to edit
| | 06:23 | independently later if I
want to make some changes,
| | 06:26 | so of course I'm going to
resort to a Smart Object.
| | 06:29 | So I'll go ahead and right-click on the
empty portion of that demo type layer
| | 06:33 | there in the Layers panel, and I
will choose Convert to Smart Object.
| | 06:36 | So that's the first step. And I'll go
ahead and name this guy green, let's say,
| | 06:41 | and I'll double-click on it, double-
click on an empty area to bring up the Layer
| | 06:45 | Style dialog box. And over here in
these little channels checkboxes that you
| | 06:49 | never use inside of Photoshop--
but we will in this case--
| | 06:52 | I am going to turn off red
and I'm going to turn off blue.
| | 06:55 | And we will just leave green turned on,
and this will be basically our central
| | 07:00 | information for the type. And then I
will go ahead and click OK. And after all
| | 07:04 | we are working with green by default
for the background here because green is
| | 07:08 | that central component
inside of the pixel. All right!
| | 07:11 | Next thing I am going to do is press
Ctrl+Alt+J, or Command+Option+J on the Mac,
| | 07:15 | in order to jump this type, and I am
going to name this guy blue, and then I'll
| | 07:19 | click OK. And I'll double-click on it,
and I'll go ahead and turn off G this
| | 07:25 | time and turn on B. And this is the
effect that's going to appear a little bit
| | 07:29 | over on the right-hand side, because
that's where the blue component is, and I
| | 07:32 | will go ahead and click OK.
| | 07:35 | I now want to follow this
up with the Smart Filter.
| | 07:37 | I am going to go up to the Filter menu,
choose Blur, and choose Motion Blur.
| | 07:42 | And I am going to enter an Angle value of
0 degrees. That's exactly what I want
| | 07:46 | because subpixel rendering is entirely
a horizontal effect. And I am going to
| | 07:50 | change the distance to 1 pixel.
| | 07:52 | I wish I could go lower; I can't.
| | 07:54 | That's as low as you can go with this filter.
| | 07:56 | So a distance of 1 pixel. Click OK.
That will give you just a little bit of
| | 08:01 | yellow highlight around the edges. All right.
| | 08:03 | Let's go ahead and collapse that guy.
| | 08:05 | I'm going to click on
the green layer once again.
| | 08:07 | Ctrl+Alt+J. Command+Option+J on the Mac.
| | 08:09 | Let's call this guy red. Click OK.
| | 08:11 | I'm going to drag it above blue right
there, and now I'm going go up to the
| | 08:16 | Filter menu and I'm given to choose the
command that is exactly the opposite of
| | 08:21 | Motion Blur inside of Photoshop. And believe it
or not, that command is Sharpen > Smart Sharpen.
| | 08:28 | However, what you've got to do
is enter a few specific settings.
| | 08:31 | Make sure the amount value
is at 100%. Very important.
| | 08:34 | The Radius needs to be 1, that
same radius effectively that we used
| | 08:38 | inside Motion Blur.
| | 08:39 | Remove needs to be set to Motion Blur.
| | 08:41 | So change it from Lens Blur, which is
what you normally use as to sharpen images
| | 08:45 | in Photoshop, to Motion Blur, and then
make sure the Angle value is set to 0
| | 08:49 | degrees, More Accurate needs to be off--
as almost always where this filter is
| | 08:54 | concerned. Click OK in order to apply
that effect. Oh and I forgot to change
| | 08:59 | the channel that's being affected here.
| | 09:01 | I'll double-click on this layer in order
to bring up the Layer Style dialog box,
| | 09:04 | turn on R, turn off G, click OK,
and there you have the effect.
| | 09:10 | So that is colorful anti-aliasing
that's associated with subpixel rendering, as
| | 09:16 | simulated here in Photoshop.
| | 09:17 | Now this is not strictly speaking the
same effect because I can't splice pixels
| | 09:22 | the way that a web browser
or and operating system can.
| | 09:26 | However, it is once again a
halfway-decent simulation.
| | 09:29 | I am going to press the M key to switch
back to my Rectangular Marquee tool.
| | 09:33 | And just to get a sense, this isn't going to
result that well on video but you'd be
| | 09:36 | able to see it on screen if
you are following along with me,
| | 09:39 | what you want to do is just zoom out
a little bit, so that you can see your
| | 09:43 | original grayscale text and your
subpixel rendering simulation at the same time.
| | 09:48 | What you should see is smoother text
where the subpixel rendering is concerned.
| | 09:53 | I'm just going to go ahead and grab
that anti-alias layer there and drag it
| | 09:57 | down a little bit, so I can see both
of these layers at the same time here
| | 10:00 | at the 300% view size.
| | 10:02 | Now one last thing that I want to
mention is this is an editable effect.
| | 10:05 | So you may look at this and think,
okay now I still have three layers, and I
| | 10:09 | have to edit each one independently. Not so,
if you want to make it change your text.
| | 10:14 | All you have to do is double-
click on any one of these layers.
| | 10:17 | They are all linked to the same smart object.
| | 10:19 | So I will go ahead and double-click
in the thumbnail for the blue layer--
| | 10:22 | it really doesn't matter--and
that's going to go ahead and open up my
| | 10:24 | Smart Object, which contains the
edible type, and let's say that I don't
| | 10:28 | want that semicolon right there,
so I will go ahead and edit that out.
| | 10:31 | And maybe I want to change the
anti-aliasing mode right here.
| | 10:34 | I'll go ahead and switch it from Crisp
to Smooth this time in order to see what
| | 10:38 | that effect looks like.
| | 10:39 | Once I'm done, I'll just go ahead and close
the Smart Object, click Yes to save my changes--
| | 10:45 | on the Mac you would click the Save
button--and that will go ahead and update
| | 10:48 | your text, all three layers of text,
here inside the larger composition, and
| | 10:53 | that's how you simulate subpixel
rendering here inside Photoshop.
| | Collapse this transcript |
| 023 Fixing chromatic aberrations in Photoshop| 00:00 | Hey gang! This is Deke McClelland.
| | 00:02 | Welcome to Deke's Techniques.
| | 00:04 | This week's technique is for
you photographers out there.
| | 00:06 | I'm going to show you how to defeat
transverse chromatic aberrations, and I'm
| | 00:10 | going to show you what these
aberrations are and why they occur inside the
| | 00:14 | movie. But first, I want you to get a
sense of what they do to your images.
| | 00:17 | Here is a photo that I captured of
Ponte Rialto in Venice, and it looks
| | 00:21 | pretty good in so far as things go,
but that arrow points to a big problem right there.
| | 00:26 | And I've gone ahead and zoomed in to
that region of the image the old-fashioned
| | 00:30 | way by printing the image at a low resolution.
| | 00:33 | Now, see that color fringing, the red
and the green around the windows, and the
| | 00:36 | pink and the blue around the statue?
| | 00:38 | That color wasn't really there.
| | 00:40 | It was invented by the camera.
But fortunately, because these are transverse
| | 00:45 | chromatic aberrations, you can get
rid of them in Photoshop. Here is how.
| | 00:49 | All right, before I show you how to
correct for chromatic aberration inside
| | 00:53 | Photoshop and Camera RAW, I want you to
understand what it is and why it occurs.
| | 00:58 | So the specific kind of chromatic
aberration we'll be discussing is transverse
| | 01:01 | chromatic aberration, or transverse CA.
| | 01:04 | This is a kind of chromatic
aberration that you'll run into all the time.
| | 01:08 | It's very, very common, and it's also
extremely correctable, as you're about to see.
| | 01:13 | Now, check out my very complex diagram here,
and you'll see that we have this blue lens.
| | 01:19 | That's what this thing is supposed to
be over here. That's the camera lens.
| | 01:22 | And then this gray
rectangle, that's the image sensor.
| | 01:25 | And this white line is
light coming into your camera.
| | 01:29 | So the white is focused by the lens, and
in this case, when it goes right through
| | 01:33 | the center of the lens, it's
accurately focused onto the image sensor.
| | 01:36 | But as the light moves toward the outside
of the lens, then it starts to break apart.
| | 01:42 | And what's happening here is that the
lens is focusing the wavelengths of light
| | 01:45 | differently--and by
wavelengths of light I mean color.
| | 01:48 | So that color is
beginning to break up right there.
| | 01:52 | And then finally, as we move out toward
the perimeter, the effect becomes even worse.
| | 01:55 | Now this is a gross exaggeration, by the way.
| | 01:58 | This would be a diagram of what happens
if you were to pull a frame from a VHS
| | 02:03 | movie that was shot using a plastic
lens that you found in the garbage can.
| | 02:06 | But still, this is the kind of problem that
occurs, and it becomes worse as the lens
| | 02:13 | becomes cheaper, essentially.
| | 02:14 | So, inexpensive cameras have more
problems with transverse chromatic aberration
| | 02:19 | than state-of-the art cameras
with achromatic lenses and so forth.
| | 02:24 | And then just for fun, I'll go ahead
and show all the different varieties of
| | 02:27 | light going into the camera, different
placements, that is, where the lens is concerned.
| | 02:31 | Now something I want you
to understand about this.
| | 02:33 | You might hear tips and tricks
for avoiding chromatic aberration.
| | 02:37 | For example, one school of thought has it
that you want to avoid radical focal lengths.
| | 02:42 | So, extreme wide angle or extreme
telephoto is going to make your transverse
| | 02:46 | chromatic aberration worse, and that's true.
| | 02:49 | However, transverse CA is
not affected by aperture,
| | 02:53 | so it does not matter what
you have the aperture set to.
| | 02:56 | Taking the aperture down a few stops does not
reduce the effects of this sort of color fringing.
| | 03:02 | However, Photoshop does.
| | 03:04 | So let me show you how that works.
| | 03:06 | I'm going to switch over to
this image, which I shot in Venice.
| | 03:10 | And if you take a look at the image,
it looks just fine from this far away.
| | 03:14 | But if we start zooming in,
particularly if we start zooming in on one of the
| | 03:19 | edges of this image, like I'll zoom
into the top of the image here, and you'll
| | 03:22 | start seeing that we have some color
fringing. And this is transverse CA that
| | 03:27 | we're seeing right here.
| | 03:28 | So basically, this brick up here,
this terracotta, whatever it is, it's
| | 03:33 | uniform in color--it's a uniform beige--
| | 03:35 | and yet we have got these weird green edges
going on, and some hints of red edge as well.
| | 03:40 | And then if I go to one of the other
extreme edges of this image--I'll just go
| | 03:45 | ahead and scroll to the
far left side of the image--
| | 03:48 | you can see that we have really
severe color fringing problems.
| | 03:52 | We've got this green edge around this
window, this red edge, and this little
| | 03:56 | figurine right here has basically
something like a violet face, and it's got this
| | 04:01 | cyan thing behind it, and so forth, and
that's what we're trying to eliminate.
| | 04:05 | Well, when I'm correcting for chromatic
aberrations inside of Photoshop, what I
| | 04:09 | like to do is split up the image a
little bit, so I can see some of the extreme
| | 04:15 | portions of the image.
| | 04:17 | By the way, if I were to scroll to the
middle of the image, you would see that
| | 04:21 | we don't have any chromatic
aberrations going on in this region, or very few
| | 04:25 | chromatic aberrations.
| | 04:26 | I think I have a little bit of green
there, a little bit of red there as well.
| | 04:30 | But as we move toward the center
of the image, the effect goes away.
| | 04:33 | Anyway, I'm going to move back outside
here, and I'm going to go ahead and create
| | 04:37 | a split view by going up to the Window
menu and choosing Arrange, and then I'll
| | 04:41 | choose this command, New Window for
image X here, the image that I have opened.
| | 04:46 | Now, I'll go ahead and choose that command
and now we have a new view into this image.
| | 04:50 | And now I'm going to go ahead and
zoom in on that image by pressing Ctrl+1,
| | 04:53 | Command+1 on the Mac, to switch to the
100% view, and 100% or larger is the zoom
| | 04:58 | ratio that you want to use when you're
trying to evaluate chromatic aberrations.
| | 05:02 | And then I'm going to go up to the
Arrange Documents icon up here in the
| | 05:05 | applications bar and I'm going to
switch to a 2 Up display like so, so that I
| | 05:10 | can see both of my images at the
same time, though I want to move them.
| | 05:14 | I don't know why Photoshop always
does that and puts images in the wrong
| | 05:17 | windows. But this way, with this guy
over here on the left-hand side and this
| | 05:21 | guy over here on the right-hand side, I
have a pretty good sense of what's going on.
| | 05:25 | And I'll press Shift+Tab to hide my
right-side panel so I've a little bit
| | 05:28 | more room to work here.
| | 05:30 | Then go up to the Filter
menu and choose Lens Correction.
| | 05:33 | Now the Lens Correction command is the
command that allows you to compensate for
| | 05:37 | chromatic aberrations inside Photoshop,
but one big important note before you
| | 05:41 | choose that command: do not crop your image yet.
| | 05:45 | This needs to happen before
you crop or straighten the image.
| | 05:49 | You have to be working from that
original image file at its original proportions
| | 05:53 | for the command to work.
| | 05:54 | All right, so I'll go ahead and choose
the command and of course, you need to
| | 05:57 | do some more zooming,
| | 05:58 | so don't think you're done
zooming inside the software.
| | 06:01 | You've got to zoom in inside the preview as well.
| | 06:03 | While you work, you're only going
to see the in-dialog-box preview.
| | 06:07 | We'll just be able to use the other
views we created a moment ago to get a sense
| | 06:11 | of how good of a job we did
after we click the OK button.
| | 06:14 | Now switch to Custom, because this way
you can dial in your own corrective
| | 06:18 | modifications, and then notice that we
have three Chromatic Aberration controls.
| | 06:23 | We've got Red/Cyan, red versus cyan,
because they're complementary colors.
| | 06:26 | We've got Green/Magenta
and we've got Blue/Yellow.
| | 06:29 | Well, when I'm working with these
controls, what I like to do is take a look at
| | 06:33 | the image and get a sense of what's going on.
| | 06:35 | And the worst offenders, where this image
is concerned, I think, are these aberrant
| | 06:41 | colors around these window frames
right here, around these shutters.
| | 06:44 | And notice that we've got a green
edge on the left-hand side and a kind of
| | 06:47 | reddish edge over on the right-hand side.
| | 06:51 | So that tells me that I should be
using the Green/Magenta control, and notice
| | 06:54 | they're in the same order as
the control name, Green/Magenta.
| | 06:58 | So if I were to increase the value, I'll
increase make the edges worse. Notice that.
| | 07:03 | I'll increase the green on
left and the magenta on right.
| | 07:07 | What I want to do is counteract, so I
should go with a negative value, and of
| | 07:10 | course, I can see that as
I work through the control.
| | 07:13 | I'll go ahead and take this
value down to an even number.
| | 07:16 | I'll take it down to -30, let's say.
| | 07:18 | You can see the detail jump around like
crazy, because what Photoshop is doing
| | 07:22 | is independently scaling the color channels.
| | 07:25 | It's actually doing a
kind of spherical distortion.
| | 07:28 | All right, now I need to see what
kind of edges are left here, what sort of
| | 07:32 | aberrant colors are left.
| | 07:33 | I'm noticing that where my figurine is
concerned that he's got a purple face and
| | 07:38 | the cyan in the background.
| | 07:39 | Well, I don't really have a purple/cyan control,
| | 07:41 | so I'm going to have to somehow
split the difference between Red/Cyan and
| | 07:44 | Blue/Yellow, but I am noticing
that the cyan appears in back, so it's
| | 07:50 | actually opposite order.
| | 07:51 | So I need to apply a positive
correction. And I ended up finding out that +15
| | 07:56 | worked out pretty nicely.
| | 07:58 | And then I'll go ahead and tap down
to Blue/Yellow, and I would go ahead and
| | 08:02 | take it up as well.
| | 08:04 | Obviously, you can just play with
these controls and see what ends up working
| | 08:07 | for you. But in my case, I
also took this one up to 15.
| | 08:10 | So I've got 15 for Red/Cyan, I've
got -30 for Green/Magenta, and I've got
| | 08:15 | +15 for Blue/Yellow.
| | 08:17 | And then basically what I would do is
click the OK button in order to apply my
| | 08:22 | modifications. But before I do that,
I just want you to see one more thing.
| | 08:25 | You can turn off this Preview
checkbox if you want to, to get a sense of a
| | 08:29 | before and after, but you can
also do that by pressing the P key.
| | 08:32 | So press the P key to turn the Preview off,
| | 08:35 | so you'll see the original problem
image and then press the P key again to turn
| | 08:39 | the Preview on, and you'll see the
image jump to a different location like you
| | 08:42 | just did, and you should
see your problems correct.
| | 08:46 | All right, now click the OK button in
order to apply my modification, and I
| | 08:50 | can see now that it did correct the
image quite nicely on both the far
| | 08:54 | left-hand side of the image--
| | 08:56 | It's not 100% corrected, because this
figurine still has a purple face, but you
| | 08:59 | know what, I don't know, maybe
the figurine did have a purple face.
| | 09:02 | I never got that close to it,
but based on this line right here which has some
| | 09:06 | purple and cyan around it, it's pretty
apparent that I didn't totally correct
| | 09:09 | the problem. But that's about as good
as I'm going to do with lens correction.
| | 09:13 | Meanwhile, if I press Ctrl+Z or Command+Z
on the Mac to undo the effect, I can
| | 09:18 | see that I had quite a bit of fringing
around this window right here, a bunch of
| | 09:22 | green and a bunch of red there,
and I'll go ahead and zoom in so you can see
| | 09:25 | that problem in more detail.
| | 09:27 | So there it was before.
| | 09:29 | If I press Ctrl+Z or Command+Z again to
reapply the filter, you can see that the
| | 09:33 | windows are in much, much better shape.
| | 09:35 | That, my friends, is how you correct
for transverse chromatic aberration
| | 09:39 | inside Photoshop.
| | Collapse this transcript |
| 024 Fixing chromatic aberrations in Camera Raw| 00:00 | All right, so in the previous
movie I showed you how to correct for
| | 00:02 | chromatic aberrations, specifically
transverse chromatic aberration, using
| | 00:06 | the Lens Correction filter.
| | 00:08 | In this movie, I am going to show you
how to correct with more control, even
| | 00:12 | though you have fewer controls
to work with inside of Camera RAW.
| | 00:16 | So just to very quickly
review what we did last time,
| | 00:19 | you go on to the Filter menu.
| | 00:20 | You choose Lens
Correction here inside Photoshop.
| | 00:23 | You go ahead and zoom in on a detail,
some area that has problems inside of the
| | 00:28 | image, which is going to be
some area near the outside,
| | 00:32 | near the perimeter of the image.
| | 00:34 | And then you switch over to the Custom
panel, here inside the dialog box and
| | 00:39 | notice that you have
three controls to work with.
| | 00:41 | I went ahead, where this image is
concerned, and change the Green/Magenta Fringe
| | 00:45 | to -30 and then I balanced things out
a little bit by changing the other two
| | 00:49 | controls, Red/Cyan and Blue/Yellow, to 15.
| | 00:53 | So I did most of the work using Green/Magenta.
| | 00:56 | The irony is that Green/Magenta does not exist.
| | 00:59 | That's the one control that does not exist
inside of Camera RAW. You have Red/Cyan.
| | 01:04 | You have Blue/Yellow.
| | 01:05 | However, they work very differently,
so we're able to correct the image just
| | 01:10 | using two controls instead of one,
and you'll see we have greater control.
| | 01:14 | Anyway, I am going to click OK in order
to accept that modification, and we end
| | 01:18 | up correcting the image.
| | 01:19 | All right, now let's see how to correct
the image inside of Camera RAW, and this
| | 01:22 | is the same way it works
inside of Lightroom as well.
| | 01:25 | I'll go over to my Mini Bridge here
inside of Photoshop and I've got this
| | 01:29 | Rialto bridge.dng file.
| | 01:31 | So this is a RAW image that was
captured using my Olympus E-30.
| | 01:35 | You could, however, work with a
JPEG or a TIFF image as well.
| | 01:39 | So, I've got my bridge inside the Mini Bridge--
| | 01:41 | how's that for thematic consistency?--
and I'll right-click on that image and I'll
| | 01:45 | choose Open in Camera Raw.
| | 01:47 | And that's the way you'll want to work as well.
| | 01:49 | So I'll go ahead and choose that
command and the image obviously loads.
| | 01:53 | I'll go ahead and zoom in on that
same portion of the image over there.
| | 01:57 | And why don't we just go ahead and zoom to 200%?
| | 02:01 | And then I'll scroll over to
that region of my photograph.
| | 02:05 | And we can see that the image is
riddled with these aberrant color fringes that
| | 02:11 | appear around these sort of shuttered
windows here as green and red, and then
| | 02:15 | around this figuring here, the statue.
| | 02:17 | It appears sort of purplish on
one side and cyan on the other side.
| | 02:21 | Now notice we've got these
Temperature and Tint controls.
| | 02:24 | This is very important because
that's the way that Camera Raw operates on
| | 02:29 | chromatic aberrations as well, is by
evaluating temperature and tint information,
| | 02:33 | as opposed to strictly channel-
based RGB information, by the way.
| | 02:37 | Because technically speaking, we don't
have any channels at this point where a
| | 02:42 | RAW image is concerned.
| | 02:43 | So Temperature allows you to
cool down the image or warm it up,
| | 02:47 | so send it to either more blue or more yellow.
| | 02:50 | And then Tint is a perpendicular
color access that allows you to compensate
| | 02:55 | for the Temperature control and you
can make the image more green or more
| | 02:58 | magenta, essentially.
| | 02:59 | Now what I typically do at this point,
just for the sake of seeing those
| | 03:03 | chromatic aberrations in all their glory,
I go ahead and crank Vibrance to the roof.
| | 03:08 | I'll take it to 100%, and then I take up the
Saturation value as well. I'll take it to 20.
| | 03:12 | Now, I am not going to
leave those controls there.
| | 03:14 | I just want to be able to see those
chromatic aberrations as clearly as possible.
| | 03:19 | All right, next you go ahead and
switch to this panel, Lens Corrections.
| | 03:22 | So it has the same name as the filter.
| | 03:24 | And then drop down here to Chromatic Aberration.
| | 03:26 | Make sure that your manual controls,
you need to click on the Manual tab
| | 03:30 | to switch over to it.
| | 03:31 | And you'll see these two
Chromatic Aberration sliders.
| | 03:34 | So we've got Red/Cyan. We have Blue/Yellow.
| | 03:35 | We do not have Green/Magenta.
| | 03:38 | Now the way to really think about
these controls is Fix Blue/Yellow Fringe is
| | 03:43 | your temperature control, so that Blue/
yellow slider we saw just a moment ago,
| | 03:47 | and Red/Cyan is analogous to the Tint control.
| | 03:50 | All right, so I am going to
start things off with Red/Cyan.
| | 03:53 | Now, I was telling you when we were
working with the Lens Correction filter that
| | 03:57 | if the green is over here on the left-
hand side and the red is over here on
| | 04:00 | the right-hand side, then they're in the same
order as Green/Magenta inside of that dialog box.
| | 04:06 | Well, we don't have that here, and the
logic doesn't really apply anymore.
| | 04:09 | In this case, what I recommend you do,
we have a special little trick that you
| | 04:14 | want to take advantage of.
| | 04:15 | Instead of just dragging this control
back and forth, which you can do, in
| | 04:18 | order to just figure out,
| | 04:20 | if I go this direction
why the effect gets worse,
| | 04:23 | so if I go this direction it gets better.
| | 04:25 | You can do that if you want to.
| | 04:26 | But here is an even better way to work.
| | 04:28 | While you're dragging this slider
control here, go ahead and press the Alt key
| | 04:31 | on the PC or the Option key on the
Mac, and then you'll get this kind of
| | 04:35 | monochromatic view of your image.
| | 04:37 | And if you see any form of color
fringing going on around those edges, then
| | 04:41 | that's bad, as we're seeing right now.
| | 04:43 | And if you drag the other direction
while you still have Alt or Option down,
| | 04:46 | then the image will become more monochromatic.
| | 04:49 | And as soon as it's absolutely
monochromatic around those edges, whatever the
| | 04:53 | color you're seeing on screen doesn't matter.
| | 04:55 | You want to see just that one color around
the edge detail, then that's a good thing.
| | 04:59 | That means you've wiped out those aberrations.
| | 05:01 | So at a Red/Cyan Fringe value of -30,
I get some very good results there.
| | 05:07 | All right, so I went
ahead and release the control.
| | 05:09 | That returns me to the full color image.
| | 05:10 | We've still got a problem with the figurine.
| | 05:12 | It still has a very blue
face and some cyan in the back.
| | 05:16 | And I can help eliminate that problem--
not entirely get rid of it, but I can
| | 05:19 | help eliminate it--by Alt+Dragging or
Option+Dragging this control right there.
| | 05:23 | And notice that again I am
looking for a monochromatic image.
| | 05:27 | I don't want to see a bunch of fringes around
the edges like I do now with a negative value.
| | 05:32 | So I am going to take this
value into the positive territory,
| | 05:35 | and I am actually going to take it up to
+15, and that pretty much does the trick.
| | 05:39 | All right, now having gotten rid of the
color fringing and there is still some
| | 05:44 | color in this figurine, but as I said
in the previous movie I didn't really see
| | 05:48 | the figurine up close.
| | 05:49 | I don't know what colors are really there.
| | 05:51 | I don't know if it's plain white and
these are sort of grayer shadows or if
| | 05:55 | they're really colorful
shadows as they look here.
| | 05:57 | So it's not really all that important.
| | 05:59 | All right, now before we switch back
to the Basic panel, which we'll do in a
| | 06:01 | second, I want to show you that you
can also preview your adjustments here
| | 06:05 | inside this dialog box by
pressing the P key once again.
| | 06:08 | You can also turn off that check box
right there at the top of the dialog box.
| | 06:12 | But I am just going to press the P key
in order to turn off the preview, notice
| | 06:16 | we're just previewing the
effects of this one panel.
| | 06:18 | So we're still seeing the hyper-
saturated colors in other words.
| | 06:21 | This is the old chromatic
aberrations, the bad ones.
| | 06:25 | And then I'll press the P key in order
to invoke the preview and we'll see our
| | 06:29 | adjustments or compensation.
| | 06:30 | It looks very good.
| | 06:32 | So now I am going to switch back to
the Basic panel, and the reason I am doing
| | 06:35 | this is I don't really want
the high Vibrance and Saturation.
| | 06:38 | So I'll return the Saturation value to
0, and I'll reset the Vibrance to what
| | 06:42 | I had come up with before, which is 65.
| | 06:45 | Now, if you want to open the image
inside of Photoshop, which I do, then you'd
| | 06:48 | want to click on the Open Image button.
| | 06:50 | If you want the option to revisit
Camera RAW any time you like, then press the
| | 06:53 | Shift key in order to change that
button to Open Object and then click on it.
| | 06:58 | And what that'll do is open the image
as a Smart Object with the option to
| | 07:02 | return to the Camera RAW just by
double-clicking that thumbnail,
| | 07:05 | that smart object thumbnail
there inside the Layers panel.
| | 07:08 | All right, I am going to hide the Mini
Bridge so I can better see what I am doing.
| | 07:10 | Now just because we've worked inside
of Camera RAW and we've taken a more
| | 07:15 | sophisticated approach to getting
rid of the chromatic aberrations
| | 07:18 | doesn't mean that's going
to completely do the trick.
| | 07:21 | It may well be that you still have a
few aberrations to deal with, in which case
| | 07:25 | you can now throw on the Lens Correction filter.
| | 07:27 | So that's what I am going to do.
| | 07:29 | I am going to go ahead and
zoom in on this detail once again,
| | 07:32 | and maybe zoom in a little farther to
200%, so I can better see what I am doing.
| | 07:36 | And then I'll go up to the Filter
menu and choose Lens Correction.
| | 07:39 | Now because I am working with the Smart
Object, Photoshop is going to apply this
| | 07:43 | filter as a Smart Filter, and I can
edit its settings any time I like as well.
| | 07:47 | So I'll go ahead and choose Lens Correction.
| | 07:49 | Once again, I've got to zoom in here,
| | 07:51 | always zoom in when we're trying
to figure out chromatic aberrations.
| | 07:54 | Go ahead and zoom in to 200% in my case.
| | 07:57 | I'll switch over to Custom, and the
only adjustment I am going to make is to
| | 08:01 | take that Blue/Yellow Fringe
value and knock it down to -20.
| | 08:06 | Now you may say, well, Blue/Yellow,
that was available inside of Camera RAW, so
| | 08:09 | why are you using it again
here inside of Lens Correction?
| | 08:13 | Why don't you try to get something
done with Green/Magenta, which was
| | 08:15 | the missing control?
| | 08:16 | Well, as I was telling you,
inside of Camera RAW those are really
| | 08:20 | Temperature and Tint controls--
| | 08:22 | that is Blue/Yellow is
Temperature, Red/Cyan is Tint.
| | 08:25 | Here inside of Lens Correction we're
taking advantage of the independent
| | 08:29 | Red, Green, and Blue color channels, which
have now been rendered out inside of Photoshop.
| | 08:33 | Anyway, that gets us closer to what I
am looking for. Then I would click OK in
| | 08:38 | order to accept that modification,
| | 08:39 | and we end up with this corrected image here.
| | 08:42 | And that is what I consider to be the
best approach to wiping out chromatic
| | 08:47 | aberrations inside Camera RAW and Photoshop.
| | Collapse this transcript |
| 025 Correcting red-eye like a pro| 00:00 | Hey gang! This is Deke McClelland.
| | 00:01 | Welcome to Deke's Techniques.
| | 00:03 | Today's topic is red eye.
| | 00:05 | Now this happens to be a
photograph of my ten-year-old son.
| | 00:09 | Doesn't he look just like my twin or something?
| | 00:11 | Now many of you may be thinking, "Red eye?
Really, that's going to be our topic Deke?
| | 00:15 | I mean, I am a studio
photographer and I don't get red eye.
| | 00:19 | Isn't that a big surprise?"
| | 00:20 | Well, possibly not with your professional shots.
| | 00:23 | But when you are out there with a
point-shoot camera or you've got your cell
| | 00:26 | phone and it's got a tiny little
strobe and the strobe bounces into the
| | 00:30 | dilated eyes at night and right back
into the lens element, then you got
| | 00:33 | yourself a problem.
| | 00:34 | We're going to fix this problem the
right way--not using the red eye tool, but
| | 00:37 | rather using a Channel Mixer function,
and here is the big skill I am going to
| | 00:41 | impart: how to mask and nail
red eyes every single time.
| | 00:45 | It looks ghoulish and scary, but it's
actually very safe, as you'll see, and
| | 00:49 | we end up absolutely nailing that red
eye, getting rid of it, making those
| | 00:53 | pupils nice and black.
| | 00:55 | Here is how it works. All right!
| | 00:58 | So many folks I imagine might regard red
eyes as a rinky-dink problem, like this
| | 01:02 | isn't going to happen with professional tools.
| | 01:05 | However, you still want to get great
results out of your image--even if you shot
| | 01:10 | it with a rinky-dink camera or a cell
phone or something along those lines.
| | 01:14 | You want to get the best results you can,
which is why I have come up with what
| | 01:17 | I consider to be the best
approach to red eye that there is.
| | 01:20 | Now I shot this image with a point-and-
shoot of my eldest son Max, and it's at
| | 01:25 | night, so his eyes are quite dilated
and the strobe is maybe a couple of
| | 01:30 | millimeters away from the lens, so
that light enters his eyes and comes right
| | 01:35 | back out into the lens element.
| | 01:37 | As a result, we see his vivid
red retina lit up like crazy.
| | 01:42 | Now red eye is one of those problems that I
don't consider to be an aesthetic problem.
| | 01:47 | In other words, I think it actually looks good.
| | 01:48 | Just because it's not the way that we
see images in real life, I have actually
| | 01:52 | come to appreciate red eye quite a bit.
| | 01:54 | But it may be in your case that you
want to wipe it out and you want to make
| | 01:58 | the eyes looks more natural, nice
and black, have nice big black pupils for example.
| | 02:03 | What you don't want to do is take
those beautiful eyes and turn them in
| | 02:06 | ashtrays, which is what happens
with a lot of red-eye techniques,
| | 02:10 | especially if you decide to rely on an
automated tool like this one right here,
| | 02:15 | It's available from the Healing Brush
flyout menu and it's the Red Eye tool.
| | 02:19 | I'm going to go ahead and demonstrate it
here by zooming in on this image a little bit.
| | 02:22 | And I'm also, to preserve
the original image here,
| | 02:25 | I'm going to jump it by pressing
Ctrl+Alt+J, Command+Option+J on a Mac.
| | 02:29 | And I will call this new layer Max,
because that's my older son's name, and
| | 02:33 | we'll turn it off for a
moment just to keep it around.
| | 02:36 | Then I'll click in the background
layer once again, and this tool is very
| | 02:39 | easy to use by the way.
| | 02:40 | All you do is you click near the
pupil, within six pixels is what
| | 02:43 | you're supposed to do, of that bright
red pupil, and then it is immediately
| | 02:48 | filled up like an ashtray.
| | 02:50 | It's basically what happens,
because I think this effect looks awful.
| | 02:54 | But I'm going to click on the other pupil
just to prove my point here, fill it up too.
| | 02:58 | Then I'm going to zoom in on one of
these pupils, and you can see if you look
| | 03:01 | closely, we've got a very black inner
pupil with this sort of munched highlight
| | 03:06 | there, and then we have this
sort of outer corona of darkness.
| | 03:11 | This is the ash at the edge of the ashtray.
| | 03:14 | What's happened is we've decided to go
and singe the iris a little bit just for
| | 03:18 | fun, and then we've got this sort
of blackness above the eyelashes.
| | 03:23 | Bleh! I prefer the red eye, is what I am saying.
| | 03:27 | So, that's what you can do automatically.
| | 03:29 | Obviously, that takes ten seconds of your time.
| | 03:31 | You're done. But of course, you
ruin the image in the process.
| | 03:33 | Here is the better way to work.
| | 03:34 | It does take more time.
| | 03:35 | It involves masking, but of course,
because we want to select those eyes as
| | 03:39 | accurately as possible,
| | 03:40 | I am going to go to the Max layer here,
and I'm going to switch away from the
| | 03:44 | Red Eye tool just by pressing the M
key in order to get the Rectangular
| | 03:47 | Marquee tool, and I'll go to the
Channels panel, and I just want you to see
| | 03:50 | what these channels look like.
| | 03:52 | This image is not going to win
any awards in terms of quality.
| | 03:56 | I'll go to the red channel here for a moment.
| | 03:58 | You can see that go figure his eyes are bright,
| | 04:01 | his pupils are bright here in the red channel.
| | 04:03 | That's no surprise.
| | 04:05 | Then we go to the green channel.
| | 04:07 | Look at that detail inside of his face.
| | 04:09 | It's just wretched.
| | 04:10 | But he does have good
pupils inside of this channel.
| | 04:13 | They are nice and dark.
| | 04:15 | Then the blue channel gets reddier or still.
| | 04:17 | We've got all this sort of
weirdness going on inside of his flesh,
| | 04:21 | but we have some fairly nice dark black
pupils with a little bit of gloss on them.
| | 04:27 | So that's good news.
| | 04:28 | Now, we also have a lot of comparative detail.
| | 04:31 | The red channel is extremely bright
where the pupils are concerned and the blue
| | 04:36 | channel is extremely dark.
| | 04:37 | So we can compare those two
channels in order to mask this image.
| | 04:41 | So I am going to go back to the RGB
composite, then go to Image menu and choose
| | 04:45 | the Calculations command, and then
these are the settings that I recommend you
| | 04:50 | use when trying to mask red eye.
| | 04:52 | You want your first channel--and I am
assuming you have got a flat image file here.
| | 04:56 | This is probably not something
elaborate layered composition that you're working on.
| | 05:00 | But I am going to make sure to set
both of these layers, by the way, to the
| | 05:04 | same layer, so Max.
| | 05:05 | So we're working on the Max layer in both cases.
| | 05:08 | The first channel should be red.
| | 05:10 | So that's Source 1 set to Red.
| | 05:12 | Source 2 set to Blue, and then
go ahead and change Blending.
| | 05:17 | By default, it's set to Multiply.
| | 05:19 | I want you to change it to
Difference, and you'll end up getting this
| | 05:23 | horrific effect here.
| | 05:24 | It's very scary and
ghoulish and wonderful. All right!
| | 05:26 | So that's Red, Blue, both Invert checkboxes
off, Difference, 100% Opacity. End of story.
| | 05:33 | You're sending the result to a new channel.
| | 05:35 | Those are all default settings by the way.
| | 05:36 | Click OK and now what we need
to do is exaggerate the contrast.
| | 05:41 | So I am going to go up to the Image
menu and choose Adjustments and then choose
| | 05:45 | Levels. Or you can press Ctrl+L,
Command+L on a Mac, and then you just want to
| | 05:50 | drag these sliders around,
| | 05:51 | the white point and the black point,
until you enhance the contrast as much
| | 05:55 | as humanly possible.
| | 05:57 | You can step on the detail pretty
good where this effect is concerned,
| | 06:01 | but I'll take this to about 100,
the white point down to 100.
| | 06:04 | So, any luminance level of 100 or
lighter is going to be changed to white.
| | 06:08 | Then I'll bring up the black point to
let's say something like 20, so that any
| | 06:14 | luminance level of 20 or darker is
becoming black. And he is more ghoulish
| | 06:18 | still; he is an absolutely
certifiable zombie at this point.
| | 06:21 | I'll click OK in order to accept that.
| | 06:23 | That's what we want, of course.
| | 06:26 | Now at this point what I would suggest
you do is go ahead and take advantage of
| | 06:30 | that overlay brushing technique,
which those of you who've seen my masking
| | 06:34 | videos, you know all about it.
| | 06:35 | But I'll go ahead and grab the Brush tool,
just so that you all know all about it.
| | 06:39 | I'll grab the Brush tool, which you can get by
pressing the B key, and then what we want here--
| | 06:44 | I'll go and right-click in order to
bring out this little Brush panel--
| | 06:47 | we want a smaller brush.
| | 06:49 | probably something with radius of
about 50 pixels will probably work.
| | 06:52 | Hardness needs to be 0%. Very important.
| | 06:55 | Then I'll go up to the Options bar here and
change the Blend Mode from Normal to Overlay.
| | 07:01 | That way, we'll preserve the
brightest and the darkest details, and we're
| | 07:05 | basically painting inside the lines. All right!
| | 07:07 | So my foreground color is
black. That's important.
| | 07:09 | I can see that down here at
the bottom of the toolbox.
| | 07:11 | So I will begin painting like so,
around his eye and you don't want to
| | 07:15 | paint into the eye.
| | 07:16 | You just want to paint
around it as you see me doing.
| | 07:19 | Then I am going to take a second pass,
and that should pretty well take care of it.
| | 07:22 | Then I'll move over to the other
one and paint around it as well.
| | 07:26 | Well, the reason we're not using the
Elliptical Marquee tool in order to select
| | 07:29 | these pupils, even though they are round,
is because the color is leaking in a
| | 07:34 | random way into the eyelashes.
| | 07:37 | It's just a fact of this image and
other sort of ratty little snapshots that
| | 07:42 | you'll run into will have that problem as well.
| | 07:44 | This is pretty common.
| | 07:45 | Anyway, I went ahead and painted
around there a couple of times.
| | 07:48 | Now I'm going to press the X key to make
my foreground color white, as you see it
| | 07:51 | there, and I'm going to paint inside
of those pupils like so. And notice I'm
| | 07:56 | getting a nice drift into the eyelashes,
especially on the left-hand side, a
| | 08:01 | little bit on the right-hand side as well.
| | 08:03 | Now I want to go ahead and wipe out
those highlights--that is, I want to make sure the
| | 08:06 | highlights remain selected.
| | 08:09 | So I'm going to reduce the size of my
brush a little bit, and I'm doing that by
| | 08:12 | pressing the Left Bracket key. And then
I'm going to right-click and I'm going
| | 08:16 | to increase that Hardness value to 100%.
| | 08:18 | This is also very important, by the way.
| | 08:21 | Change the Mode back from Overlay to
Normal, because we're trying to make these
| | 08:25 | black details white this time around.
| | 08:28 | Then white is still my foreground color.
| | 08:30 | I need to further reduce the size of
my brush, so I'll press the Left Bracket
| | 08:32 | key a couple of more times, paint that
little detail away, paint that little detail away,
| | 08:37 | so those highlights will be
inside the selected region.
| | 08:40 | He is just looking so scary inside of
this mask, but that's what you want.
| | 08:43 | I'll go and zoom in again, and then
I'm going to grab just my Rectangular
| | 08:47 | Marquee tool, and I'll
select one of the eyes like so.
| | 08:51 | Notice that I'm well within the black
area there and I'll Shift+Drag around
| | 08:55 | the other one like so.
| | 08:57 | And then, I'll go up to the Select menu
and I'll choose the Inverse command--or
| | 09:01 | you can press Ctrl+Shift+I, Command+
Shift+I on a Mac--and then you want to fill
| | 09:04 | the selected region with black.
| | 09:06 | So black is my background color.
| | 09:08 | I'll press Ctrl+Backspace here on the PC,
or Command+Delete on the Mac. All right!
| | 09:13 | Now we need to load this guy as a
selection, and you do that by going over here
| | 09:18 | to the Channels panel, so you'll have
to see the Channels panel on screen, and
| | 09:21 | then Ctrl+Click or Command+Click on that new
channel, which is called Alpha 1 by default.
| | 09:27 | Switch back to the RGB image like so.
| | 09:29 | Switch back to the Layers panel, and now
we're going to add an adjustment layer.
| | 09:33 | From here on, it's pretty standard stuff.
| | 09:35 | But here is the command.
| | 09:37 | You go ahead and choose down here
from this black-white icon at the bottom
| | 09:41 | of the Layers icon,
| | 09:42 | go ahead and choose Channel Mixer,
and that allows us to bring in information
| | 09:46 | from the green and blue
channels into the red Channel.
| | 09:49 | So by default, we're working on the red channel.
| | 09:52 | You can see that right
here, Output Channel is Red.
| | 09:54 | We don't want any red in the red channel,
so change the Red value right there to 0.
| | 09:59 | Then press the Tab key to go down here
to the green value. Take it up to 50%.
| | 10:04 | Press Tab to go to the
blue value. Take it up to 50%.
| | 10:07 | So in other words, we're grabbing 50%
of the blue channel and 50% of the green
| | 10:11 | channel, and we're merging them
together to create a new red channel where the
| | 10:15 | pupils are concerned, and then that's it.
| | 10:18 | Go and press the Enter key or the
Return key on a Mac in order to accept
| | 10:19 | your modifications. All right!
| | 10:22 | Now I still have a little bit of redness,
this sort of red halo around each one
| | 10:26 | of my pupils, and I don't want that.
| | 10:29 | If you end up seeing an effect
like that, here is what you do.
| | 10:31 | Make sure that your layer mask is
selected here inside the Layers panel, and
| | 10:35 | then go up to the Filter menu, and go ahead
and choose Blur, and choose Gaussian Blur.
| | 10:41 | I would suggest in this case, a
Radius value of about 2 pixels is going to
| | 10:46 | work pretty nicely.
| | 10:47 | You just want to evaluate how big that
halo is, and 2 pixels is probably about
| | 10:51 | right. And then I'll click OK
in order to accept that blur.
| | 10:54 | Now it's blurring both in and out, by
the way, so we're blurring the halo a
| | 10:59 | little bit, but it's still quite evident.
| | 11:01 | So next what you need to do--
and this has to be your very next step--
| | 11:04 | go up to the Edit menu and choose Fade
Gaussian Blur, and then inside the Fade
| | 11:10 | dialog box, you want to change
the Mode from Normal to Screen.
| | 11:13 | So we're exclusively brightening with
the Gaussian Blur effect, and notice that
| | 11:16 | moves those pupils outward just a
little bit, and then click OK in order to
| | 11:21 | accept that modification.
| | 11:22 | Now what we have, we'll go ahead and
zoom back out, is very strong, crisp, black
| | 11:27 | pupils at this point.
| | 11:28 | Compare that to what we got with the
Red Eye tool, which look like that.
| | 11:32 | These are the ashtray pupils.
| | 11:34 | Perhaps I need to zoom in again.
| | 11:35 | These are the ashtray pupils right
there that were created by the Red Eye tool,
| | 11:39 | and these are the nice crisp
pupils that we created using a much more
| | 11:44 | deliberate approach that involves
masking the pupils and then applying the
| | 11:49 | Channel Mixer adjustment layer.
| | 11:51 | That's how you fix red eye
like a pro inside Photoshop.
| | Collapse this transcript |
| 026 Turning a photo into an ink drawing| 00:00 | Hey gang! This is Deke McClelland.
Welcome to Deke's Techniques!
| | 00:04 | This week I am going to show you how to
take this fellow here and turn him into
| | 00:07 | an ink drawing, and it's so simple.
| | 00:09 | It's just a matter of Gaussian Blur,
Smart Blur, High Pass, Note Paper, another
| | 00:13 | round of Gaussian Blur, a levels
adjustment layer, the multiply blend mode, and a
| | 00:17 | little bit of luminance blending and
we end up getting this terrific effect.
| | 00:21 | Here, let me show you exactly how it works.
| | 00:24 | All right, here's how it's going to work.
| | 00:27 | We are going to start with this
guy here who comes to us from Warren
| | 00:30 | Goldswain of the Fotolia Image Library, and
notice that I have got him on an independent layer.
| | 00:35 | There is some notebook paper with an inky
frame behind him. That also comes from Fotolia.
| | 00:40 | I am going to turn him back on here.
| | 00:42 | And we're going to ultimately convert
him into this ink drawing here, and when I
| | 00:46 | say ink drawing, I am using quote
fingers, because it looks like a combo of a
| | 00:51 | little bit of ink, maybe some
photocopying, that kind of thing. But we do have
| | 00:55 | some nice line elements going on
inside of there, and I think this eyebrow
| | 00:59 | treatment just rocks.
| | 01:00 | You can see that it's a combination of
Smart Filters working together and a few
| | 01:04 | other effects as well.
| | 01:05 | All right, so let's switch
back to the image at hand.
| | 01:07 | Now the first step is to grab this guy
here, right-click on him there inside the
| | 01:11 | Layers panel and choose Convert to
Smart Object, the reason being I want to
| | 01:15 | apply editable Smart Filters.
| | 01:17 | That way not only is he protected,
but also at the end I can show you the
| | 01:22 | contribution of those filters, how they work.
| | 01:25 | All right, now I am going to press
Ctrl+J, or Command+J on a Mac, to make a
| | 01:28 | copy of that layer.
| | 01:30 | It's linked to the exact same Smart
Object, so if you decide to retouch this
| | 01:33 | guy, just double-click on one of these
thumbnails, make your modifications, and
| | 01:37 | both layers will update.
| | 01:38 | All right, I am going to
turn off the bottom portrait.
| | 01:40 | We will come back to it in a moment.
| | 01:42 | Now we're going to create our--again,
in quote fingers--ink drawing here.
| | 01:46 | I am going to go up to the Filter menu,
and I am going to choose Blur, and I am
| | 01:50 | going to choose Gaussian Blur,
and that might seem like a strange place to
| | 01:53 | start, but what we're going to be doing
is telling Photoshop to trace all of the
| | 01:57 | details inside of the image. And if we
don't blur things upfront, we are going
| | 02:01 | to end up tracing way too much, all
kinds of pores and basically other blemishes
| | 02:06 | on this guy's face. I mean we all have them.
| | 02:08 | So I am going to go ahead and choose the
command, and notice my radius value is one pixel.
| | 02:12 | That's all we need. Click OK.
| | 02:13 | All right, the next step is to use a
filter I never ever, ever, use. I don't
| | 02:20 | really recommend it, but it works
very well for this purpose here.
| | 02:23 | I will go up to the Filter menu,
choose Blur and choose Smart Blur.
| | 02:27 | I experimented with the Surface Blur filter;
| | 02:30 | it just didn't do the trick.
| | 02:31 | So we're going with Smart Blur,
which is hardly smart, by the way.
| | 02:34 | It ends up creating these whacky effects.
| | 02:36 | You can see this is hardly a blur effect
that's going on inside the dialog box here.
| | 02:41 | But again, it ends up reticulating the
edges in such a way that the final effect
| | 02:46 | works out pretty nicely.
| | 02:47 | I am going to set the Radius
to 3.0, the Threshold to 10,
| | 02:50 | so we're blurring inside of that threshold.
| | 02:52 | In other words, we're leaving the better
details in good shape, so we're not blurring them.
| | 02:57 | And then the Quality should be set to High.
| | 02:59 | By default it's set to
Low, which is just screwy.
| | 03:02 | Why would you want low quality?
| | 03:03 | And then Mode should be Normal.
| | 03:05 | Click OK in order to apply that filter.
| | 03:07 | It's not going to look all that
different, though it is going to take forever.
| | 03:10 | It's very slow filter.
| | 03:11 | Now, I'll go up to the Filter menu.
| | 03:13 | This time around I am going to go ahead
and choose Other and choose High Pass,
| | 03:17 | and this is one of the really
key filters for this effect.
| | 03:20 | Basically, you're going through
and delineating details like crazy.
| | 03:25 | If you're new to High Pass Filter, if
you've never used it, it looks like it
| | 03:28 | just makes the image entirely gray,
but what it really does is make the
| | 03:31 | non-details gray and keep the
details in fairly good shape.
| | 03:35 | I am going to set the Radius to 2.0.
| | 03:37 | Now all these values you can monkey
with as you're applying them to your own
| | 03:41 | image, but this is what I came up
with for this one. I'll click OK.
| | 03:45 | Next, the fourth filter that we're going
to apply here is another filter I never
| | 03:49 | use. Oh, by the way, before you
apply it, make sure to press the D key to
| | 03:54 | establish your default colors of black
for the foreground and white for the
| | 03:57 | background; otherwise, you'll
get a weird colored effect.
| | 04:00 | Then go up to the Filter menu,
choose Sketch, and choose Note Paper.
| | 04:05 | Now, Note Paper is basically
simplifying this effect, and you can get the
| | 04:09 | simplified effect that we're looking for here.
Notice it's turning the image gray for me.
| | 04:13 | For you, the Graininess and the Relief
values are probably cranked up like this,
| | 04:18 | which is great if you want to make
the guy look like he's etched in bark or
| | 04:22 | something. I don't know what.
| | 04:23 | But I'm going to go ahead and take
Relief down to 0 and take Graininess down to
| | 04:26 | 0 as well. Leave Image Balance at 25.
Just about any other setting will totally
| | 04:31 | mess things up, but you can experiment
with it, and see how it messes things up.
| | 04:36 | And then click OK in order to apply
that effect, and we end up getting this
| | 04:41 | weird sort of stark effect here that
doesn't look anything like an ink drawing.
| | 04:45 | It doesn't look like we're
going down the right road at all,
| | 04:47 | but you'll see in a moment; we are.
| | 04:49 | And then finally what I like to do at
this stage, because if you zoom in on your
| | 04:53 | effect, you're going to see that you've
got some very jagged edges, because the
| | 04:56 | Note Paper filter applies a Threshold
effect--that is to say either the pixels
| | 05:01 | turn white or they turn gray in this case.
| | 05:04 | What we need to do is soften things up
a little bit, and we're going to do that
| | 05:08 | by going to the Filter menu, choosing
Blur, and again choosing Gaussian Blur, so
| | 05:12 | right where we started. And I'm going
to apply a Radius of 1 pixel, once again
| | 05:17 | the exact same radius. Click OK.
| | 05:19 | Now, that blurs the pixels in and out.
| | 05:22 | I just want to blur outward, and I want
to darken things up as well obviously.
| | 05:25 | So I am going to double-click on
this little slider icon over here on the
| | 05:29 | right-hand side that's next
to the words Gaussian Blur.
| | 05:32 | That's going to bring up the Blending
Options dialog box, and I'm going to change
| | 05:36 | the Mode from Normal to Multiply.
| | 05:39 | So we're multiplying that
blur into the background.
| | 05:42 | We still have some jagged edges this way,
but we have a little bit of bleed into
| | 05:47 | that "paper" that's behind there.
| | 05:50 | All right, I'll click OK. And just
because we're cluttering up this Layers panel
| | 05:55 | like crazy here, I am going to right-
click inside this little Filter Mask and I
| | 05:58 | am going to choose Delete Filter Mask,
just to tidy things up. All right!
| | 06:02 | The next step is to darken up to
this grayness here and make it black.
| | 06:07 | So I am going to press the Alt key, or
the Option key on the Mac, click and hold
| | 06:10 | that Black/White icon down there at the
bottom of the Layers panel, choose the
| | 06:14 | Levels command, and that's going to
bring up the New Layer dialog box, because I
| | 06:17 | have the Alt or Option key down.
And I am going to go ahead and call this new
| | 06:20 | layer Contrast and turn on Use
Previous Layer to Create Clipping Mask, very
| | 06:25 | important. Click OK.
| | 06:27 | Then you'll find yourself
inside the Adjustments panel.
| | 06:29 | I want you to drag that black point
right there, that Black slider triangle, to
| | 06:33 | the beginning of the histogram--so in
other words, the beginning of these lumps here.
| | 06:37 | And for me, that's somewhere in the
neighborhood of let's say 130, just to round things off.
| | 06:43 | And then I'm going to click inside
this Gamma value right there, the one that
| | 06:47 | says 1.00, and I'm going to press
Shift+Down Arrow three times in order to
| | 06:51 | darken the mid tones.
| | 06:53 | So we're darkening the effect overall,
and I'll go ahead and hide the Adjustments
| | 06:57 | panel, because we're done with it.
| | 06:58 | Now let's go and zoom out
to check out what we've done.
| | 07:02 | I want to multiply him into the
background, in other words burn him into the
| | 07:05 | background, lose that white and keep the black.
| | 07:08 | So I'll click on the Portrait layer to
make it active, then I'll go up to the
| | 07:11 | Blend Mode pop-up menu and change it
from Normal to Multiply, and I end up
| | 07:15 | getting this effect.
| | 07:16 | Now if you look at it, you might
figure it kind of passes for an ink drawing at
| | 07:21 | this point, but who on earth
would draw an image like this?
| | 07:25 | Why would you draw basically trace
around the mouth and not fill it in, trace
| | 07:30 | around the eyes, and not fill them in,
trace around the hair like this and make
| | 07:34 | it look like he's got a bald patch or
something and not fill it in? You wouldn't.
| | 07:38 | You'd fill those areas in, so we need
to do so as well, and that's why I've got
| | 07:43 | this other layer sitting around here,
this other copy of that Smart Object.
| | 07:46 | I am going to go ahead and turn it on by
obviously clicking its eyeball, and then
| | 07:51 | I will click on the Portrait layer in
order to make it active. And I am going to
| | 07:55 | go ahead and change this guy to the
Multiply blend mode as well, by going up
| | 07:59 | here to Blend Mode pop-up
menu, choosing Multiply.
| | 08:02 | And then finally, I want to draw up
out the light details, just keep the dark
| | 08:05 | details there, and so I will double-
click on the empty portion of that layer to
| | 08:10 | bring up the Layer Style dialog box,
and then I'll go to the This Layers slider
| | 08:14 | bar right there, and I will drag this
white slider triangle all the way down, in
| | 08:20 | my case to about 95. See that value
| | 08:22 | that's changing right there?
| | 08:24 | So what this is saying is anything
with a Luminance level of 95 or lighter is
| | 08:27 | now invisible on this layer.
| | 08:30 | That gives us some very harsh transitions,
so let's soften things up by pressing
| | 08:34 | the Alt key, or the Option key on the
Mac, and dragging the right half of that
| | 08:39 | white triangle to 180.
| | 08:40 | So you can see 180 after the slash,
and we end up getting this effect here.
| | 08:45 | I will click OK in order to accept
that modification, and that is the final
| | 08:49 | version of the effect.
| | 08:50 | But I want you to have a sense
for why we did the things we did.
| | 08:53 | Now, I think both the final Gaussian
Blur filter, I think that makes perfect
| | 08:57 | sense, and Note Paper, you saw how it worked,
| | 09:00 | so why don't we see the
contribution of the other three?
| | 09:03 | I am going to click on this eyeball here,
and drag down to turn off those three
| | 09:07 | first filters we applied, and you can
see, without High Pass, Smart Blur, or
| | 09:12 | Gaussian Blur, we end up getting
this pretty darn cool effect right here.
| | 09:16 | So this is a little meta-technique for you.
| | 09:18 | If you want to get this effect, you just
need to apply those two filters, and of
| | 09:21 | course, run through the other steps as well.
| | 09:23 | But you end up getting this
high contrast photocopy effect.
| | 09:27 | If you want to trace the lines,
that's what High Pass is there for.
| | 09:30 | I'll go ahead and turn it
on so you can get a sense.
| | 09:32 | But if it was just up to High Pass,
we would have way too much detail.
| | 09:37 | This guy looks like I drew
him with an Etch-a-Sketch.
| | 09:41 | I'm just that good.
| | 09:42 | Then in order to simplify things,
so we don't have quite this degree of
| | 09:46 | granularity of the iron filings on
this guy's face, I use Smart Blur.
| | 09:52 | So if you turn that on, you're going
to see that smoothes out some of the
| | 09:54 | details inside of his face.
| | 09:56 | It also gives us some of
these etched details as well.
| | 09:59 | So it does these sort of strange
horizontal carvings in different places,
| | 10:03 | which are pretty cool.
| | 10:04 | Actually, I think that's pretty nice,
ultimately, where this effect is concerned anyway.
| | 10:09 | And then finally, Gaussian Blur, that
very first application of Gaussian Blur,
| | 10:13 | just helped to simplify the details
that much more, so that he doesn't have too
| | 10:17 | much in a way of sort of
pockmarks inside of his face.
| | 10:21 | And that's going to help you out as
well. It doesn't matter what kind of person
| | 10:24 | you're trying to trace, whether the
young or old or what have you, this
| | 10:28 | technique is going to
produce some pretty nice effects.
| | 10:30 | So I am going to go ahead and press the
F key a couple of times in order to fill
| | 10:33 | the screen with this guy, and that is
how you create an ink drawing, in quote
| | 10:38 | fingers, here inside Photoshop.
| | Collapse this transcript |
| 027 Turning a photo into a pencil sketch| 00:00 | All right, you may recall in the
previous movie I showed you how to create
| | 00:02 | an ink drawing effect.
| | 00:04 | In this movie, I'll show you how to
convert an image into a pencil sketch.
| | 00:07 | Now you'll see here in the Layers
panel that this involves quite a few
| | 00:11 | Smart Filters working together, which is why
we are going to use the ink drawing effect,
| | 00:15 | that ink drawing technique that I
showed you in a previous movie, as a jumping
| | 00:19 | off point, just to save a
little bit of time and effort.
| | 00:22 | And in fact, I am going to
start from this file here.
| | 00:24 | So it's the exact same ink drawing
technique that we saw in the previous
| | 00:28 | movie, with two exceptions: I have
switched out the background and I've also
| | 00:32 | created a third copy of that smart
object, and I have gone ahead and masked the
| | 00:36 | eyes and the teeth.
| | 00:37 | If I Alt+Click or Option+Click on that
layer mask thumbnail, you can see what
| | 00:40 | the mask looks like.
| | 00:41 | So I just went ahead and grabbed the
eyes, grabbed the teeth. That's it.
| | 00:45 | I'll go ahead and return to the image
here. And I set this layer to the Screen
| | 00:48 | Blend mode and I reduce
the Opacity value to 50%.
| | 00:52 | So those are the only differences; otherwise,
this is the exact same technique we saw before.
| | 00:57 | Now I am going to go ahead and click
on that top portrait layer, the one that
| | 01:00 | contains all of the Smart Filters, and I
am going to start things off by turning
| | 01:04 | off the Smart Blur filter.
| | 01:06 | We don't need it for this effect. And by
turning off that filter, I create a lot
| | 01:10 | more reticulation, a lot more edges,
inside of this image, and that's what I want
| | 01:15 | for this sort of graphite effect.
| | 01:17 | All right, next what I am going to do
is I am going to grab my background
| | 01:20 | right there, my background layer,
and I am going to create a duplicate of it,
| | 01:23 | because I need to use it as both a
Displacement map and a Bump map as well, a texture map.
| | 01:29 | So I'm going to go ahead and grab
that guy and I am going to Alt+Drag or
| | 01:32 | Option+Drag it onto the page icon,
| | 01:34 | that little page icon down
there at the bottom of Layers panel.
| | 01:37 | I am going to set the Document
option to New, so that I'm putting this
| | 01:41 | background inside of a new image,
and I'll click OK. There it is.
| | 01:45 | Now I'll go up to the Image menu, choose
Mode, and then choose Grayscale, and that
| | 01:50 | will go ahead and get rid of the colors.
I'll click on the Discard button, if you
| | 01:53 | end up seeing it there. And that's basically it.
| | 01:56 | Now at this point we have a flat image,
which is what we need, so that's good.
| | 01:59 | If you don't have a flat image, if you
are working along with a different file,
| | 02:03 | then what you need to do is go up to the
Layer menu and choose the Flatten Image
| | 02:06 | command. But as I say, mine is already flat.
| | 02:09 | And then you go up to the File menu,
choose Save As, and go ahead and name this
| | 02:14 | guy. I am going to call mine Gray Paper,
because that's what it is, and you want
| | 02:18 | to save it in the Photoshop
format, the native PSD format.
| | 02:22 | Click the Save button and
you're done with that step.
| | 02:25 | All right, I am going to return to the
drawing at hand here, and I am going to
| | 02:27 | click on that portrait layer once again,
and I'll go to the Filter menu, choose
| | 02:31 | Artistic and then choose Underpainting.
| | 02:34 | What this command allows us to do is
basically add some darkness to the image.
| | 02:39 | So we are going to get a little bit
of a wash effect, too, as if we wet the
| | 02:43 | pencil or the charcoal,
something along those lines.
| | 02:45 | Now the values I want to apply
are these that you see right here.
| | 02:48 | So Brush Size of 2, Texture Coverage
10, Scaling 100%--this refers to the
| | 02:53 | texture by the way--and a Relief value of 5
will probably work out just fine for us.
| | 02:59 | But we don't want to use the
Sandstone texture--or I believe the default is
| | 03:02 | Canvas--because after all, that bears no
resemblance to the texture of the paper
| | 03:06 | that we're working with.
| | 03:08 | So instead, what you do is you click
this little down-pointing arrowhead right there
| | 03:11 | and you choose Low Texture, and then
you go ahead and find that image you just
| | 03:15 | saved out--in my case Gray paper.psd--
and you open it up, and you will get a very
| | 03:20 | different texture effect there
| | 03:22 | that will match the texture at hand,
| | 03:24 | that will match the background.
| | 03:25 | Then go ahead and click OK in order to
accept that effect, and it's going to mess
| | 03:29 | things up. Don't worry
about that too much right now.
| | 03:31 | I'm going to drag Underpainting below
Gaussian Blur, like so, so that it appears
| | 03:36 | right after Note Paper
| | 03:38 | and then right before Gaussian Blur.
And then I am going to double-click on its
| | 03:42 | little slider icon right there, and
that's going to bring up the Blending
| | 03:46 | Options dialog box.
| | 03:47 | And I am going to change the mode from
Normal to Multiply, so that we're burning
| | 03:51 | in that effect that we've just
got done applying. All right!
| | 03:54 | Click OK. So that brings back all that
reticulation, which of course we want. All right!
| | 03:58 | Now we want a little bit of a
crosshatch effect, and there is nothing for
| | 04:01 | creating crosshatch like the crosshatch filter.
| | 04:04 | It's one of the few old gallery
effect filters that I actually like.
| | 04:07 | You go up to the Filter menu and you
choose Brushstrokes and then you choose
| | 04:11 | this guy right there, Crosshatch.
| | 04:14 | These are the settings I want to apply
right there, so a Stroke Length of 20,
| | 04:18 | I am going to take the
Sharpness up a little bit,
| | 04:20 | I am going to take that to
two, and then the Strength of 1.
| | 04:22 | Now, I don't believe any of these are
the defaults settings, but these are
| | 04:26 | the numbers that I'm applying, and you can
get a sense of what that's going to look like.
| | 04:29 | We are going to be burning in
the effect in just a moment.
| | 04:32 | So I'll click OK, because otherwise it
kind of lightens up everything, gets rid
| | 04:35 | of that reticulation. Don't want that,
so we'll double-click on the little slider icon
| | 04:39 | once again, and then inside the Blending
Options dialog box, once it comes up on
| | 04:44 | screen, go ahead and change the mode
from Normal to Multiply. And we end up
| | 04:49 | getting this effect added to all the
other ones, which is perfect of course.
| | 04:53 | Click OK in order to accept that.
| | 04:55 | I am going to zoom in just a little bit,
so that we can see things a little more
| | 04:59 | up close and personal here.
| | 05:00 | This is getting to be too dark, and I
think we'll be able to see things better if
| | 05:03 | I go ahead and take care of this
levels adjustment layer right here.
| | 05:07 | So I am going to double-click on the
thumbnail for this adjustment layer to
| | 05:11 | bring up the Adjustments panel,
| | 05:13 | and I am going to reduce its value
right here to about 20 is what I am looking
| | 05:17 | for, this black point value.
| | 05:19 | And notice that once again we're setting
the black point at the beginning of the
| | 05:23 | histogram, where the lump
start. And that's great!
| | 05:26 | The other values are fine as is.
| | 05:27 | I'll go ahead and hide that panel, and
now I'll return to the portrait layer
| | 05:32 | right there, and I am going to apply
one last filter--and this time this is a
| | 05:35 | Displacement map--so that we're
basically matching the texture.
| | 05:40 | We're taking this pencil sketch and mapping it to
the background texture itself, in other words.
| | 05:45 | So I'll go up to the Filter menu,
choose Distort and choose Displace, and I have
| | 05:50 | reduced the Horizontal and Vertical
Scale values to 3 and 3. So 3 apiece.
| | 05:55 | The other options don't matter. Click OK
and then find that Gray paper file that
| | 05:59 | you saved, or whatever you called the
grayscale version of your background, and
| | 06:03 | then click Open in order to apply it,
and you'll see that you get a little bit
| | 06:09 | of extra texture in your image. So I'll go
and zoom in a little bit here on this guy's eye.
| | 06:13 | This is before, and then this is after.
| | 06:16 | So you can see that it's doing a better job.
| | 06:18 | It's a pretty subtle effect, but it's
doing a better job of merging those pencil
| | 06:22 | lines into the background. All right!
| | 06:24 | I am going to go ahead and
zoom out a little bit here.
| | 06:26 | Now, that takes care of that layer.
| | 06:28 | Now I want to take a couple of these
filters and duplicate them onto this
| | 06:32 | portrait layer right here, the one
that's multiplied into the background. And so
| | 06:36 | I am going to do that by, for
example, pressing the Alt or Option key.
| | 06:40 | That's very important so
that you can duplicate a filter.
| | 06:43 | And then I'm going--with that key
down--I am going to go ahead and drag
| | 06:46 | Crosshatch down and drop it
onto this portrait layer like so.
| | 06:51 | Now we'll go ahead and
apply that Crosshatch effect.
| | 06:54 | It's going to darken things up
considerably, as you're seeing here, and that's
| | 06:58 | because it also brought
over its Multiply Blend mode.
| | 07:00 | This time we don't want it, so double-
click on the new little slider icon there,
| | 07:05 | and once the dialog box comes up on
screen, go ahead and change the mode to
| | 07:08 | Normal and then click OK.
| | 07:10 | Now, I also want to bring over Displace,
so I'll press the Alt or Option key
| | 07:14 | again and drag Displace and drop it
onto that portrait layer. And it's possible
| | 07:21 | that you might get a dialog box asking
you to relocate that Gray paper file, but
| | 07:25 | in my case, I didn't, so that's good.
| | 07:27 | And then just to reduce clutter inside
the panel, I am going to right-click on
| | 07:31 | this Filter Mask and choose Delete
Filter Mask, just to get rid of it there.
| | 07:35 | And then finally, I don't think the
color works this time around, so I'm going
| | 07:39 | to convert this guy to grayscale. And I
am going to do that by pressing the Alt
| | 07:43 | or Option key yet again, dropping down
here to this little Black/White icon,
| | 07:47 | click on it and then go
ahead and choose Hue/Saturation.
| | 07:51 | So make sure you have Alt or
Option down, choose that command.
| | 07:54 | Let's go ahead and name this nosat,
because I'm going to remove the saturation.
| | 07:59 | Turn on Use Previously
Layer to Create Clipping Mask.
| | 08:01 | Very important, so that we only
affect this layer and none of the others.
| | 08:05 | Click OK and then take that
Saturation value down, here inside the
| | 08:09 | Adjustments panel, go ahead and
reduce that Saturation value to -100 and
| | 08:15 | close the panel, and we are done.
| | 08:16 | This is the final version of the effect.
| | 08:18 | Go ahead and fill the screen with the
image, so that we can go ahead and check
| | 08:21 | it out. And some of the details I love.
| | 08:23 | Check out his clothing here. The fabric
is rendering just beautifully, and we've
| | 08:28 | got some nice crosshatching
going on inside of his face.
| | 08:32 | We have a little bit of wetness, as
you can see around the shadow details.
| | 08:35 | I think it looks really great.
The multifilter way to convert an image into a
| | 08:39 | pencil sketch, here inside Photoshop.
| | Collapse this transcript |
| 028 Creating a seamlessly repeating pattern| 00:00 | Hey gang! This is Deke McClelland.
Welcome to Deke's Techniques.
| | 00:03 | This week I am going to show you how
to create a seamlessly repeating tile
| | 00:07 | pattern inside Photoshop.
| | 00:09 | Now it could be anything.
| | 00:10 | It could a texture.
| | 00:11 | It could be a bump map, what have you.
| | 00:13 | In my case, I am creating some
custom gift wrap. So imagine this.
| | 00:17 | You get a very tiny gift--
| | 00:19 | that way you can print it out
on your desktop printer, right?--
| | 00:22 | and then wrap the gift in this
paper, and you will save on bows!
| | 00:27 | That's some thinking I am doing on
your behalf here, and I am going to show
| | 00:31 | you how it works exactly inside this movie.
| | 00:35 | All right, so as I say this is our gift
wrapping pattern right here, but trying
| | 00:40 | to wrap your brain around how to
approach such a pattern is anything but obvious
| | 00:43 | inside of Photoshop.
| | 00:44 | So, I will be providing you with some tips
and tricks as we work through the process.
| | 00:48 | I will say upfront, however, that the
most essential tool in our arsenal for
| | 00:53 | evaluating the seams in a
pattern is the Offset filter.
| | 00:57 | One of the older and more
obscure features inside the software,
| | 00:59 | it's absolutely
indispensable for our purposes right now.
| | 01:02 | So I am going to switch over to this
composition that I have assembled here.
| | 01:06 | And I should say upfront, just FYI, it
measures 600 pixels X 600 pixels tall.
| | 01:11 | So it's going to be a square pattern tile.
| | 01:13 | Your pattern tiles can be rectangular.
| | 01:16 | It's not a problem. Any size image is
going to work for you, but you do have to
| | 01:19 | make sure that the left side of the
pattern of the tile matches up with the
| | 01:24 | right side, and the top
matches up with the bottom.
| | 01:26 | Well, things look pretty good.
| | 01:28 | I have got this gold
ribbon and then this red ribbon.
| | 01:30 | I downloaded both of them from the
Fotolia Stock Image library. And the red
| | 01:34 | ribbon in particular looks like
it's going to match exactly.
| | 01:37 | It looks like it was designed to work
inside of a pattern tile, and then a gold
| | 01:42 | ribbon looks like it present a little
bit of work, because of the wonky angle of
| | 01:47 | this ribbon over here on the
right-hand side, but I should be able to work
| | 01:50 | through things pretty easily. Well, let's see.
| | 01:53 | You go up in order to judge how this
image is going to fair, because as I say,
| | 01:57 | it measures 600 pixels X 600
pixels tall. There is no more to it.
| | 02:00 | The layer does not happen to
be any larger than the canvas.
| | 02:04 | So what you do is you go up to the
Filter menu, you choose Other, and you
| | 02:07 | choose Offset. And by the way, the fact that
the layer is exactly the same size of the image,
| | 02:12 | that's very, very important for your purposes.
| | 02:14 | You do want to make sure that your
images are cropped to fit inside the canvas.
| | 02:19 | All right, anyway, I am going to choose
the Offset command, and what it allows you
| | 02:22 | to do is, for one thing, you are just
moving pixels around, just as if you had
| | 02:27 | dragged them to a different
location--with one big exception.
| | 02:30 | The undefined areas, rather than just
revealing the checkerboard transparency in
| | 02:36 | the background, get filled
with wrapped-around pixels.
| | 02:40 | So Photoshop is essentially
wrapping the image around itself.
| | 02:44 | And as a result, we are seeing the seams.
| | 02:46 | There is the seam between the
horizontal portions of the ribbon, and then there
| | 02:49 | is the seam between the
vertical portions of the ribbon.
| | 02:51 | So that's interesting. Apparently, this
thing is not lining up worth beans.
| | 02:57 | And by the way, notice I have changed the
Horizontal value and Vertical values both
| | 03:01 | of them to 300 pixels, so
half the size of the image.
| | 03:05 | And you don't have to do that; any
number of pixels works out just fine, but I
| | 03:08 | just want you to
understand what's going on there.
| | 03:10 | So what I decided was that gosh, the gold
ribbon is in worse shape than I thought it was.
| | 03:16 | The red ribbon looks like it's going
to be, as I say, it's going to be great.
| | 03:18 | So, why don't we just go ahead and cover up
these seams? As opposed to trying to fix them,
| | 03:23 | let's just cover them up with the red ribbon.
| | 03:25 | So I am going to cancel out of here
for a moment, cancel out of the Offset
| | 03:29 | Filter, and I am going to turn on the
red ribbon layer, and I am going to go
| | 03:33 | ahead and set it to the Multiply Blend
mode, so that I can see through it to the
| | 03:37 | underlying gold layer there.
| | 03:39 | And then I will go ahead and click on
gold once again, go back to Offset by
| | 03:44 | choosing Other and Offset, and the
reason I am doing this is I now want to go
| | 03:48 | ahead and line up the gold ribbon
with the red ribbon. And the values that I
| | 03:52 | figured out would work are
-250 for horizontal and then for vertical
| | 03:58 | positive 210. And notice what that
does is it puts the scene from the gold
| | 04:02 | ribbon right behind the red ribbon.
| | 04:04 | Now, don't worry about the fact that the gold
ribbon is getting cut off all over the place.
| | 04:08 | It's seamlessly repeating.
| | 04:10 | We know that part seamlessly repeats
because it fit together in the first place,
| | 04:14 | so that's not going to be any
problem whatsoever. Anyway, we are just
| | 04:17 | worried about this area.
| | 04:18 | So I will click OK, and now what I have
got to do is drop out the whites in the
| | 04:23 | red ribbon layer and leave the red
portions of the ribbon absolutely opaque.
| | 04:29 | So what I need to do is change
the blend mode back to Normal here.
| | 04:33 | And I am going to go ahead and double-
click on the empty portion on this red
| | 04:37 | ribbon layer and then I will go down
here to this layer slider, and I will drop
| | 04:42 | out the whites by dragging this guy
down to 140--is what I figured out worked.
| | 04:47 | So anything with the luminous level on
this layer of 140 or brighter is going
| | 04:51 | to turn transparent.
| | 04:52 | And we are going to see
through the gold ribbon blow.
| | 04:54 | Problem is, we have got some real choppy
edges where the red ribbon is concerned.
| | 04:59 | Now normally, you would try to
Alt+Drag that white slider triangle in half
| | 05:04 | so that you would get some better transitions,
but that's not going to help us in this case.
| | 05:08 | So what I am going to do is I am going
to duplicate that red ribbon layer, and I
| | 05:11 | am going to duplicate it by
Alt+Dragging or Option+Dragging it.
| | 05:15 | Notice if you Alt+Drag or Option+Drag a layer
inside the Layers panel to a different
| | 05:18 | location, you will copy it, as
indicated by that little copy cursor there.
| | 05:23 | So I went ahead and created a copy below
gold ribbon. Now what I need to do is reset it.
| | 05:28 | I will go ahead and double click on it,
and drag this white slider triangle
| | 05:31 | back up to 255, so the entire layer is
absolutely opaque. And that hasn't done us any good.
| | 05:37 | That's because we can't
see through the gold ribbon.
| | 05:40 | All right, let me back out here for a
moment, and I will go ahead and turn
| | 05:43 | off the top red ribbon,
| | 05:45 | go ahead and select gold ribbon, and I am
going to change its blend mode to Multiply,
| | 05:50 | so that we can see that red ribbon in
the background. The only portions that are
| | 05:54 | getting messed up are the portions
that are going to get covered in just a
| | 05:56 | moment when I turn red
ribbon back on. See that?
| | 06:00 | So now we are absolutely covering
those seams in the gold ribbon. Awesome!
| | 06:05 | All right, but here is the big problem.
| | 06:08 | I think the red ribbon is going to
repeat seamlessly. I don't know it for a fact
| | 06:13 | until I check it out with the Offset filter.
| | 06:15 | Well, now we have three layers that
we need to offset together that we have
| | 06:19 | to contend with here.
| | 06:20 | So, click on one, Shift+Click on the other,
and of course we have only done this a
| | 06:24 | million times in this technique so far.
| | 06:26 | What we are going to do is go to the
Layers Panel menu, and we are going to
| | 06:29 | convert this guy into a Smart Object.
| | 06:31 | That way we can filter all
three layers at the same time.
| | 06:34 | So go ahead and choose Convert to Smart
Object and then go up to the Filter menu,
| | 06:40 | choose Other, and choose Offset.
| | 06:43 | And I have to say, one of the
brilliant things about Smart Objects inside a
| | 06:46 | Photoshop is that they take these
version 1.0 filters and make them
| | 06:50 | non-destructive, which is totally awesome.
| | 06:52 | Anyway, I will choose Offset, and I am
going to go ahead and enter 300 and 300,
| | 06:57 | just half the dimensions of this
image. And I can see right away that I was
| | 07:03 | totally wrong about this red ribbon.
| | 07:05 | It doesn't repeat worth beans.
So, interesting, in a bad way. Anyway, click OK in
| | 07:11 | order to accept that modification.
| | 07:12 | So now it dawns on me, well in that case,
I might as well, if I have got to fix
| | 07:16 | these darn ribbons anyway,
| | 07:17 | I might as well make the gold ribbon
go in front over here on the left-hand
| | 07:21 | side, and the red ribbon be in front down
here at the bottom, so that they are interlaced.
| | 07:26 | And I went ahead and set
these layers up in advance.
| | 07:29 | I am going to tell you how I created
these layers, how I actually fixed the
| | 07:33 | seams, in a separate video that's
available to members of the lynda.com
| | 07:38 | Online Training Library.
| | 07:40 | So those of you who are members,
check out the next video in this series and
| | 07:43 | you will see how I put these layers
together, but for now I am just going to
| | 07:46 | turn them on for you here.
| | 07:48 | There is the red ribbon layer, which is
a bit of red ribbon that I found in the
| | 07:53 | original image. And then I masked it.
| | 07:55 | And I am going to Shift+Click on this
layer mask to turn it on, so that you will
| | 07:58 | see that I masked this layer.
| | 08:00 | And we get this nice sort of seamless
ribbon action going on except for right
| | 08:04 | there, this little
single pixel of anti-aliasing
| | 08:07 | that was not accounted for.
| | 08:09 | So I created this layer of white.
| | 08:11 | It's just a cover-up layer, and so as
soon as I turned on, you can see that
| | 08:15 | little edge goes away.
| | 08:16 | All right, and then let's go check this guy out.
| | 08:20 | I created this gold layer right there,
so it's a piece of the gold ribbon that I
| | 08:26 | actually skewed at a different angle
and it looks terrible. And I also, by the
| | 08:32 | way, I went ahead and
scaled it a little bit, too.
| | 08:33 | So I upsampled it, so it's got
all of these wretched edges going on.
| | 08:37 | Well, then I turned around
and created a layer mask.
| | 08:41 | It's a hack layer mask, but it works.
And then I decided, you know what, these
| | 08:46 | ribbons should be casting shadows on
to each other, so I created this grads
| | 08:49 | layer right there. I will go ahead and zoom
out so that we can see it in both the locations.
| | 08:53 | And I will turn on the grads layer and
you can see that there are just these
| | 08:56 | tiny little gradients that are casting shadows.
| | 08:58 | As I say, if you want to see how I
actually made this work, what commands I used
| | 09:03 | and so forth, then check out the next
video where I discuss how to fix scenes
| | 09:08 | in a repeating tile pattern in the
lynda.com Online Training Library.
| | 09:13 | But anyway, now I want to
make this into a pattern.
| | 09:15 | So what you do is you go up to the
Edit menu and you choose Define pattern.
| | 09:20 | You don't have to select anything.
| | 09:21 | It will work from the composite image.
| | 09:23 | Just choose Define pattern, and it's
grabbing the name from the name of the image.
| | 09:28 | I am just going to change it to
two ribbons. Click OK and that's it.
| | 09:32 | Now, I am going to create this big, huge
image, so just press Ctrl+N, Command+N
| | 09:36 | on the Mac to create a new image.
| | 09:37 | It matches 3600 pixels wide by 3600 pixels tall--
| | 09:40 | in other words six times the width, six
times the height--so we will be able to
| | 09:44 | fit in a total of six times six,
so 36 different pattern tiles.
| | 09:48 | Click OK in order to create this
new image, and then we are way too far
| | 09:52 | zoomed out at this point. But that's okay.
| | 09:53 | Drop down here to the black white icon
at the bottom of the Layers panel.
| | 09:57 | Choose the Pattern command, and it
should automatically go ahead and grab the
| | 10:01 | last pattern you created.
| | 10:02 | If you want to drag a pattern around,
you can, like so. But otherwise, just
| | 10:06 | click OK and you will see that it
repeats brilliantly and seamlessly and so
| | 10:12 | forth. And if that's not big enough,
because 3600 pixels by 3600 pixels at 300
| | 10:18 | pixels per inch is only a foot,
and you are not going to be able to wrap
| | 10:21 | anything with that--unless it's a
very small box--but if you want it to be
| | 10:25 | bigger, why then you could just go up
to the Image menu, choose the Canvas Size
| | 10:28 | command, and dial in anything you want.
| | 10:31 | I will switch to Inches
and I will say, you know what,
| | 10:33 | I want this to be 36 inches wide--
| | 10:35 | that's three feet, of course--by
24 inches tall. That's two feet.
| | 10:39 | Click OK and look at that. Photoshop
automatically fills in the difference
| | 10:45 | with more pattern tiles.
| | 10:46 | So there you have it.
| | 10:47 | That's how you create a seamlessly
repeating pattern tile for gift wrap or any
| | 10:52 | other purpose here inside Photoshop.
| | Collapse this transcript |
| 029 Repairing seams in a repeating pattern| 00:00 | All right, as promised in the previous
movie, in this movie I am going to show
| | 00:03 | you how to repair seams
in a repeating pattern tile.
| | 00:06 | What I am looking at here is that
midway point in the previous movie, in the
| | 00:10 | previous composition, where I'd gone
ahead and assembled the two ribbons inside
| | 00:14 | of a Smart Object subject to the Offset filter.
| | 00:18 | What I am going to do now, you can see
that we have these bad seams in the red
| | 00:22 | ribbon that are covering up,
incidentally, the bad seams in the gold ribbon, and
| | 00:27 | what I want to do is put a little bit
of gold ribbon over here on the left-hand
| | 00:30 | side and fix the red
ribbon down here at the bottom.
| | 00:33 | So I'll switch over to the red ribbon
image, and this is a stock image from the
| | 00:37 | Fotolia Image library.
| | 00:40 | Notice that it's got some extra width.
This original version of the image has a
| | 00:44 | little bit of extra ribbon associated
with it. And the good news here is that
| | 00:48 | this is a fairly uniformly
horizontal strip of ribbon.
| | 00:52 | So what I am going to do is select just
slightly up with my rectangular marquee
| | 00:55 | tool--notice that. I am selecting into
the antialiasing at the top and then I
| | 01:01 | am selecting down across the bottom,
like so, all the way to the left-hand side
| | 01:06 | of the image, but I'm not selecting
the little bit of antialiasing below the
| | 01:10 | ribbon. Just above.
| | 01:12 | The reason will become evident in just a moment.
| | 01:14 | All right, I'll go up to the Edit menu
and choose the Copy command, or press
| | 01:17 | Ctrl+C, Command+C on the Mac. Ten I
am going to switch back to the previous
| | 01:21 | composition and I'll go to the Edit menu
and choose the Paste command, or Ctrl+V,
| | 01:25 | Command+V on a Mac, just to
paste that guy into place.
| | 01:28 | I'll go ahead and zoom in a little
bit, so I can better see what I'm doing.
| | 01:32 | I'll put the ribbon in a place that it looks
like it wants to be. How about right there?
| | 01:37 | That looks pretty darn good. And I'll
move over here. Now I need to go ahead and
| | 01:42 | of course mask this ribbon, and so I'll
go ahead and select an area like this
| | 01:47 | little vertical area.
| | 01:48 | So this is not the world's
toughest mask, by the way.
| | 01:51 | With this layer selected, let's go
ahead and call it 'red ribbon', why don't we?
| | 01:55 | With this layer selected, I'll drop
down to the layer mask icon, the one
| | 01:59 | that says Add Layer Mask, and instead of
clicking on it, I'll Alt+Click or Option+Click.
| | 02:04 | If you Alt+Click or Option+Click on
that little mask icon, then you go ahead and
| | 02:08 | mask that portion of the ribbon away.
| | 02:10 | All right, now I am going to grab my
Brush tool--which I can get by pressing the B
| | 02:13 | key--and I've got a little brush going.
So its Size is 25 pixels, Hardness 0%, I
| | 02:19 | want it to be nice and soft for this
effect, and my foreground color is black so
| | 02:24 | that I can paint into the ribbon.
| | 02:27 | Because I am painting away the ribbon I
should say, and I am painting in the bow from
| | 02:30 | the Smart Object below.
| | 02:31 | All right, that looks good. Now the
only thing--well, there's two parts that
| | 02:35 | are kind of messy at this point--
| | 02:37 | actually three things.
Three things are a problem.
| | 02:39 | You can't see one of the problems very
well. Basically, this bit of ribbon just
| | 02:43 | begins abruptly, but the texture of the
ribbon is so indistinct at this point
| | 02:47 | that we can't really tell.
| | 02:48 | But we might as well be careful.
| | 02:50 | So I am going to go ahead and grab my
Gradient tool, which I can get by pressing
| | 02:53 | the G key, and I am going to create the
gradient around this area here. But just
| | 02:57 | to test how big that ribbon is, I'll
Ctrl+Click on it or Command+Click on its
| | 03:01 | thumbnail there inside the Layers panel.
And that just draws a selection around
| | 03:05 | the opaque portion of the layer. And I
can see that starts right there and I know
| | 03:09 | that my greeting wants to end right there.
| | 03:11 | So I'll press Ctrl+D or Command+D on a
Mac once I've positioned my cursor in
| | 03:15 | order to deselect the image.
| | 03:16 | Then I'll drag from about this point
to here. And by the way, I neglected to
| | 03:21 | mention a very important thing that I did
in advance here. I'll go ahead and release.
| | 03:25 | That takes care of that, by the way.
| | 03:26 | We've got this gradient, so that we are
partially masking away the right side of
| | 03:30 | the ribbon, so it's fading into place.
| | 03:32 | But the reason it's working is because I've
set my gradient--up here in the Options bar--
| | 03:36 | I've set it to foreground and
transparent, so that I'm not wiping out any other
| | 03:40 | portions of my layer mask.
| | 03:42 | All, right, so I just painted
in a little bit of black there.
| | 03:44 | All right, the other problem is that
this little bit of antialiasing at the top
| | 03:48 | here covers part of the gold ribbon.
| | 03:50 | So I am just going to select very
carefully into that gold ribbon using my
| | 03:54 | Rectangular Marquee tool.
And so I can see what I am doing,
| | 03:58 | I'll press Ctrl+H, Command+H on
a Mac, to hide that selection.
| | 04:01 | Then I'll check that my
layer mask is selected. It is.
| | 04:04 | My foreground color is black, so I'll
press Alt+Backspace here on a PC, or Option+
| | 04:08 | Delete on the Mac, to fill
that selected area with black.
| | 04:11 | Now we've got a nice transition there.
| | 04:13 | All right, the one remaining bad part
of this red ribbon, notice that all of a
| | 04:17 | sudden we have a little bit of
antialiasing at this point down here.
| | 04:20 | Okay, so what I am going to do--that's
from the Smart Object below. That's from
| | 04:24 | the original version of the ribbon.
| | 04:25 | So I am going to select this area
quite carefully, once again with the
| | 04:28 | Rectangular Marquee tool.
| | 04:29 | It's amazing how much you
can get done with this tool.
| | 04:32 | I am going to go ahead and select
that region, and then I'll create a new
| | 04:35 | layer above red ribbon.
| | 04:37 | So I'll go ahead and
select the red ribbon layer.
| | 04:39 | Create a new layer by pressing
Ctrl+Shift+N, Command+Shift+N on the Mac.
| | 04:42 | Let's just call this white because
that's what it's going to be filled with, and
| | 04:46 | I'll press Ctrl+Backspace, or
Command+Delete, to fill that region with white
| | 04:50 | because white is my background color.
| | 04:52 | All right, so that takes care
of the red ribbon. It looks lovely.
| | 04:55 | All right now, let's get
some gold ribbon action going.
| | 04:58 | I'll switch to my original gold ribbon image.
| | 05:01 | The longest length of gold
ribbon is up here at the top.
| | 05:03 | So I am going to grab it like so and
Ctrl+C, Command+C on the Mac, to copy it,
| | 05:08 | switch back to my composition, Ctrl+V,
Command+V, in order to paste it and then
| | 05:13 | I'll go up to the Edit menu and choose
Free Transform--Ctrl+T, Command+T on a Mac,
| | 05:18 | for what that's worth.
| | 05:20 | I'm going to right-click inside of the
bounding box and choose Rotate 90 degrees CW or
| | 05:25 | CCW. It doesn't even matter,
just I'll choose one of them.
| | 05:28 | It will rotate the guy 90 degrees, and I'll
press the Enter key, or the Return key on a
| | 05:32 | Mac, in order to apply my modification.
| | 05:34 | Then I'll move this guy into place and
I am going to actually going to apply
| | 05:38 | two passes of Free Transform in a
row, which is not normally something I
| | 05:42 | recommend you do. But the rotate-90-degree
commands, they are actually nondestructive.
| | 05:46 | They just move pixels to different locations
they don't rewrite pixels, so no harm done so far.
| | 05:52 | Anyway, I am going to go ahead and
grab this portion of the ribbon that's
| | 05:55 | covering up the gold bow and just
delete it, just get rid of it. And actually, I
| | 05:59 | didn't get rid of enough, so I'll
slide it over some more and delete that.
| | 06:02 | No need to mask that away quite yet.
| | 06:05 | Then I'll click off. I'll press the
5 key to reduce the opacity of this layer
| | 06:09 | to 50%, so I can see through it to
the layer below. And basically, what I have to do
| | 06:14 | is sort of shift it a little bit.
I've got to skew it and resize it a little
| | 06:18 | bit so that it totally covers up the
gold ribbon in the background because it's
| | 06:22 | going at this kind of wacky angle.
| | 06:25 | So I'll go up to the Edit menu, choose
Free Transform--Ctrl+T, Command+T on a Mac--
| | 06:30 | and I am going to Alt+Drag, or Option+
Drag, this top handle right there in order
| | 06:34 | to scale both sides out from the center.
| | 06:36 | And then I am going to Ctrl+Drag or
Command+Drag this side handle in order to
| | 06:40 | skew this layer just a little bit.
| | 06:44 | I might actually Ctrl+Drag this corner
handle in order to distort the ribbon out
| | 06:49 | a little bit and Ctrl+Drag this one as well.
| | 06:52 | That would be a Command+Drag of
those two handles on the Mac, by the way,
| | 06:56 | in order to move those handles independently,
so we are applying a four-point distortion.
| | 07:00 | All right, then I'll press the Enter key,
the Return key on a Mac, in order to go
| | 07:04 | ahead and apply that modification.
| | 07:05 | Now that was the destructive pass of
free transform for what that's worth.
| | 07:10 | All right, now I am going to get my
Lasso tool right here--and actually you may
| | 07:13 | feel more comfortable with
the Polygonal Lasso tool.
| | 07:16 | So I'll go ahead and grab that guy, and
I'll click around the area that should be
| | 07:20 | opaque where this ribbon is concerned.
| | 07:22 | So it's a little too big right now,
just so I have some wiggle room.
| | 07:25 | I am going to get rid of some of that
wiggle room of course, so that it fits
| | 07:29 | better, so that it looks like it
actually belongs inside of this image.
| | 07:33 | Then I'll double-click in order
to finish that polygonal selection.
| | 07:37 | I'll drop down here to the Add Layer
Mask icon. Actually, let's go ahead and
| | 07:40 | name this layer first.
| | 07:41 | We will call it 'gold ribbon' just to be tidy.
| | 07:44 | Then I'll drop down to Add Layer Mask
and click on it, and that goes ahead and
| | 07:48 | masks that portion of the ribbon.
| | 07:50 | Now it's not the most complicated mask on
earth, but actually it's going to work just fine.
| | 07:53 | All right, now I am going to the
0 key to restore the opacity back to 100%
| | 07:57 | there. And that looks pretty rotten, so
let's go ahead and grab the Brush tool,
| | 08:01 | which you can get by pressing the B key
once again. And I'll increase the size
| | 08:05 | of my brush. I am doing that by
pressing the Right Bracket key. And I'll just go
| | 08:08 | ahead and paint with black inside of
that portion of the ribbon, just to reveal
| | 08:13 | some of that sort of luminescence
that's going on there in the original
| | 08:18 | undistorted portion of the ribbon.
| | 08:20 | Then I'll go ahead and paint over on this
side as well to ensure that we have a mask.
| | 08:25 | Because if I leave that alone, if I
left it the way it was, then I potentially
| | 08:29 | create another problem seam because
you may recall that the left edge has to
| | 08:33 | match the right edge.
| | 08:34 | All right, so that looks pretty good.
| | 08:36 | I think I'm seeing a little bit of
red ribbon coming through. Yes, I am.
| | 08:40 | That's bad. So I'll reduce the size of my
cursor by pressing the Left Bracket key.
| | 08:44 | Press the X key in order to switch the
foreground and background colors and go
| | 08:48 | ahead and paint a little
bit of white into there.
| | 08:50 | But I went too far--darn it--and
so I am going to have to undo that.
| | 08:54 | That's the easiest thing to do anyway.
| | 08:56 | I'll just go ahead and paint over that again.
| | 08:57 | All right, better not to make
those kinds of mistakes, frankly.
| | 09:01 | All right, then finally, the last
thing I need to do is add those shadows.
| | 09:05 | So I'll get my Rectangular Marquee
tool, just like I did, and I'll go ahead and
| | 09:09 | select about that region there.
We actually need a new layer,
| | 09:13 | so I'll click on white to make it active.
| | 09:15 | Press Ctrl+Shift+N in order to
invoke the New Layer command.
| | 09:19 | Call it grads. Go ahead and click
OK, and let's get the Gradient tool.
| | 09:24 | Notice I'm still creating a
foreground-to-transparent gradient here.
| | 09:28 | But I have in advance set the
foreground color, which was black when we were
| | 09:33 | working inside the layer masks, but now
that I'm out of the layer mask it goes
| | 09:36 | back to the color I set it as.
| | 09:39 | It's a very dark shade of red. So it
has a Hue value 10 degrees, Saturation 50%, and
| | 09:45 | Brightness of 10%. And I'm working with HSB
sliders over here inside the Color panel.
| | 09:50 | All right, now I am going to drag in
order to create a little gradient like
| | 09:54 | so, and I am pressing the Shift key to
constrain the angle of my drag. That looks good.
| | 09:57 | Then I'll press M key to switch back
to the Marquee tool and go ahead and
| | 10:01 | marquee this region right here.
| | 10:03 | Again, I'm being careful just to
get the area that has ribbon in it.
| | 10:07 | Then I'll press the G key in order to
get the Gradient tool, and I'll
| | 10:10 | drag like so in order to fill
that little region with a gradient.
| | 10:15 | I'll press the D key in order to
deselect the image, I'll press the M key to
| | 10:19 | switch back to the Marquee tool,
and then I'm going to press the 5 key in order
| | 10:24 | to reduce the opacity of this layer to 50%.
| | 10:27 | Now my seams are totally healed.
| | 10:29 | I can go up to the Edit menu, I can
choose the Define pattern Command, I can
| | 10:34 | define this as a pattern, I can fill
another image with a repeating pattern and
| | 10:37 | we will have no seams whatsoever.
| | 10:39 | So that's one way, anyway, to fix
the seams in a repeating tile pattern
| | 10:45 | here inside Photoshop.
| | Collapse this transcript |
| 030 Creating a 3D pie chart| 00:00 | Hey, gang! This is Deke McClelland
here to welcome you to Deke's Techniques.
| | 00:03 | This week we'll be embarking on the
process of creating a 3D pie chart with all
| | 00:08 | these highlights and
reflections and shadows, the whole works.
| | 00:12 | Now, most of this work is
done in Photoshop CS5 Extended.
| | 00:15 | You will need the Extended version of
the program to take advantage of the 3D
| | 00:18 | features, but we need Illustrator's help
in order to get things started. So this
| | 00:22 | is what will be making in Adobe Illustrator.
| | 00:25 | Now it doesn't take long to make
something this incredibly boring. Once we have
| | 00:29 | made it, we will copy the graph, we'll
pasted into Photoshop as a shape layer,
| | 00:32 | we will extrude that shape player, and
we'll end up coming up with this effect
| | 00:36 | here in which the faces of the pie
chart are set to 50% opacity so we can see
| | 00:41 | through to those extruded edges.
| | 00:43 | Here, let me show you exactly how it works.
| | 00:47 | Photoshop CS5 Extended offers this
wealth of 3D capabilities and this amazing
| | 00:52 | ray tracing engine that ends up
delivering great results, as seen here.
| | 00:56 | However, it has no concept of charts and
graphs, no graphing tool whatsoever.
| | 01:02 | Why would it have one? It's Photoshop after
all. But there is a program in the
| | 01:06 | Creative Suite that does let you
graph data and that's Adobe Illustrator.
| | 01:08 | So I'm going to switch over to Illustrator here.
| | 01:12 | This is a very old feature in the software,
and I don't mean old as in venerable or wise.
| | 01:18 | I mean old as in creaky and run-down.
And you can get some really great results
| | 01:23 | out of this tool actually,
because Illustrator is so awesome.
| | 01:26 | There is so much you can do
with graphs after you create them.
| | 01:29 | But initially, they look quite
drab as you're seeing here.
| | 01:32 | Anyway, what I'm going to do is
show you how I created this graph.
| | 01:35 | You can go ahead and click on it to
select it, and then just delete the graph by
| | 01:38 | pressing Backspace key or the Delete
key on the Mac. And then I'll drop down to
| | 01:43 | this list of Graph tools right here
that starts with the Column Graph tool.
| | 01:46 | I'm going to go ahead and choose the
Pie Graph tool obviously. And then I'll
| | 01:50 | just draw a rectangle
inside the document window.
| | 01:52 | It doesn't matter how big that rectangle is;
| | 01:54 | any size will do. And you'll
end up getting a black circle.
| | 01:57 | All right, next you move over to your
little spreadsheet window here, and you
| | 02:01 | click on Import data if you have some
data to import. Or you can just enter data
| | 02:06 | into the spreadsheet if you prefer.
I'm going to import, however. And I've got
| | 02:10 | this tab-delimited text file that I've
set up in advance, so I'm going to click
| | 02:13 | on it to select it click the Open button.
| | 02:15 | Now notice that I've gone ahead and
listed my pies because we're graphing
| | 02:19 | pies in a pie chart.
| | 02:20 | I mean how clever is that? But I've
gone ahead and listed America's favorite
| | 02:24 | pies here in opposite order of their
popularity, because as soon as I click on the
| | 02:29 | check mark in order to apply my data,
| | 02:32 | Illustrator goes ahead and reorganizes
the data so that inside of the legend
| | 02:36 | Apple is on top, even though it's the
last pie listed. Why it does that?
| | 02:41 | I have no idea.
| | 02:41 | It's like a lot of things where
graphing is concerned. Only some engineer that
| | 02:46 | probably doesn't work at Adobe anymore
knows the reasons behind what's going on here.
| | 02:50 | But anyway, I'm going to go ahead
and close that spreadsheet window.
| | 02:53 | Now we have managed to
very quickly graph that data.
| | 02:57 | You can even extrude the data
inside of Illustrator if you want to.
| | 03:01 | You can create 3D effects in the
program, and let me just show you that briefly.
| | 03:04 | If you want to do such a thing, then
you go up to the Object menu and ungroup
| | 03:08 | that graph, which goes ahead and busts
up the graph, by the way, so you'll get
| | 03:12 | this alert message telling you that
you're not to be able to modify the data
| | 03:16 | anymore, which is just fine by me.
| | 03:18 | So I'll click the yes button.
| | 03:19 | And then, strangely, you want to go up to
the Object menu and choose the Ungroup
| | 03:23 | command a couple of more times in a row,
because graphs include groups inside of
| | 03:28 | groups. They are quite complicated,
and we need to bust up that group.
| | 03:32 | All right, now I'm going to grab my
Black Arrow tool here at the top of the
| | 03:35 | toolbox and marquee this pie, just to
make sure the pie and only the pie wedges
| | 03:40 | are selected. They are, that's great.
| | 03:42 | Now I'm going to get rid of the stroke
by going up to the second icon in the
| | 03:45 | control panel, clicking on
it, and switching to None.
| | 03:47 | All right, and the reason I'm getting
rid of the stroke is otherwise we would
| | 03:51 | have these black edges because when
you extrude strokes inside of Illustrator,
| | 03:56 | the stroke is all you see. Before you
apply 3D > Extrude & Bevel, unless you want
| | 04:02 | your pie wedges to fly apart from
each other and extrude independently,
| | 04:05 | you need to go back to the Object
menu and choose the Group Command.
| | 04:09 | I know. We did all that ungrouping and now
we've got to group, but that's the way it works.
| | 04:12 | So choose Group or press
Ctrl+G or Command+G on the Mac.
| | 04:16 | Then go up to the Effect menu,
choose 3D, and choose Extrude & Bevel.
| | 04:20 | Now the great thing about this dialog
box here is it's very easy to use. Turn on
| | 04:24 | the Preview check box and then just
start dragging this cube here, and you just
| | 04:28 | drag those sides in order to
rotate this object in 3D space.
| | 04:32 | However, despite its ease of use,
you don't have any ray tracing going on
| | 04:36 | inside of Illustrator.
| | 04:37 | After all, it doesn't deal
with pixels; it deals with factors.
| | 04:40 | So ray tracing is not really
going to work inside this environment.
| | 04:43 | So the upshot is even though I could
recolor this object, which would obviously
| | 04:47 | give us better results than these gray
wedges here, we are not going to get the
| | 04:51 | kind of results we saw
in Photoshop a moment ago.
| | 04:53 | So what I propose we do--I'm
going to cancel out of here.
| | 04:56 | I just want you to see that that is possible.
| | 04:58 | What I'm going to do is go up to the
Edit menu and choose the Copy command, or
| | 05:02 | press Ctrl+C, Command+C on the Mac.
| | 05:04 | Now I'm going to switch back to
Photoshop here, and I have prepared this other
| | 05:09 | version of the image here with just
the background stage and this FPO object,
| | 05:14 | just so that I can match position of
that graph we saw a moment ago. And then
| | 05:17 | I'm going to go up to the Edit menu
and choose the Paste command, or press
| | 05:21 | Ctrl+V, Command+V on the Mac.
| | 05:22 | Now, normally when I am pasting an
Illustrator graphic into Photoshop, I go
| | 05:26 | ahead and paste it as a Smart Object.
| | 05:28 | That way you can keep all your fill and
stroke attributes, and you can modify the
| | 05:32 | artwork inside of Illustrator any time you like.
| | 05:34 | However, in our case, we don't have any fill
or stroke attributes that are worth keeping.
| | 05:37 | All we have and all we need are those
pie wedges. So I'm going to say Shape
| | 05:41 | Layer and actually Smart Object
wouldn't work for this example.
| | 05:44 | So I'm going to select Shape Layer,
click OK, and you get this little guy here
| | 05:48 | all filled with black. That's it.
| | 05:50 | Now, you definitely want to take a
moment and rename this layer. Instead of
| | 05:54 | having it called Shape One, which is how
it will come in, go ahead and rename it
| | 05:58 | something like Pie, and that way all
your materials later on down the line in the
| | 06:02 | 3D panel will say Pie on them instead of
Shape One, and you'll see that in a moment.
| | 06:06 | Now I'm going to go up to the Edit menu
and choose Free Transform Path or press
| | 06:10 | Ctrl+T, Command+T on the Mac, because
this guy is way too little. And I'll
| | 06:14 | Shift+Alt+Drag or Shift+Option+Drag--
maybe not that far--but Shift+Alt+Drag or
| | 06:18 | Shift+Option+Drag one of those corner
handles in order to resize that object.
| | 06:23 | Then I'll press the Enter key or the
Return key on the Mac in order to apply my
| | 06:27 | changes. And the reason, by the way, that I
Shift+Alt+Drag, that I had those keys
| | 06:31 | down, is Shift constrains the scale so
it's proportional and Alt or Option scales
| | 06:36 | from the inside out.
| | 06:37 | All right, having done that, the next
step--and this is very important--if I go up
| | 06:42 | to the 3D menu, choose Repousse, and
then choose Selected Path, which is what
| | 06:46 | we're going to do in a moment,
| | 06:48 | the way things are, Photoshop will
go ahead and fuse all these pie wedges
| | 06:52 | together and we'll just have a circle,
which isn't going to do us any good.
| | 06:55 | So we need to move every other wedge
apart, and we're going to do that by
| | 07:00 | grabbing the Black Arrow tool down here
at the bottom of the toolbox--the Path
| | 07:03 | Selection tool, as it's known--
and then I'll go ahead and click on this top
| | 07:07 | left wedge and just kind of drag it up
a little bit like so. And then I'll grab
| | 07:12 | this wedge, the bottom-right one, and
I'm going to press Shift+Right Arrow just
| | 07:16 | to move it to the right a little, and then I'll
grab this guy and I'll move it upward like so.
| | 07:22 | I will just drag it upward, and that way
there's space between each one of the wedges
| | 07:26 | and its immediate neighbors.
| | 07:27 | They're touching in the middle, but that's
okay; that doesn't cause a problem for Repousse.
| | 07:31 | All right, now what we want to do is go
up to the 3D menu, choose Repousse, and
| | 07:36 | then choose Selected Path, and that's
going to grab that entire vector mask, even
| | 07:40 | though just one sub-path is selected right now.
| | 07:43 | Now Photoshop of course is going to
tell us that it needs to rasterize this
| | 07:47 | object. So I'll click Yes--there's
nothing else to do there--and then a couple
| | 07:50 | moments later you'll find yourself
inside the Repousse dialog box.
| | 07:54 | Now I'm going to change all materials
right there, so I'm going to click that
| | 07:57 | little All icon, and I'm going
to change them to Metal Copper.
| | 08:01 | Now if you can't find Metal Copper, then
click the right-pointing arrowhead and
| | 08:05 | choose Default (for Ray Tracer) and then
click the Append button. But in my case,
| | 08:10 | it's already available, so I'll go
ahead and choose it. And that's going to
| | 08:13 | change the color of the pie graph in
the background. It's not going to look good
| | 08:16 | or anything--it certainly doesn't look
like it's made of metal--but it's a start.
| | 08:20 | But that's because we haven't
rendered it yet, so it's fine as is.
| | 08:23 | I'm going to change the Depth value
here to 0.2, and then I'm going to
| | 08:27 | change each of the Bevel values,
Height and Width, to two, and I'm going to
| | 08:31 | change the Contour here, so instead
of having a flat bevel, we'll go with
| | 08:35 | this half-round beveled edge.
| | 08:36 | All right, so that's it. Now I'm going to click
the Apply button in order to apply my changes.
| | 08:40 | Now I want to move and rotate this
object in 3D space, so I'm going to drop
| | 08:44 | down here to my little Object Rotate
tool. And also, by the way, you might want
| | 08:49 | to go up to the 3D menu and make
sure Auto-Hide Layers For Performance is
| | 08:53 | turned off, because otherwise you not
kind of able to see your other layers for
| | 08:56 | reference as you work. And then I'm
just going to drag around a little bit in
| | 09:00 | order to move this pie graph into a
better location. And from this point on I
| | 09:06 | can continue to rotate or drag the
object, but what I prefer to do is use this
| | 09:10 | widget; it gives you more control.
| | 09:12 | So I'm going to drag on this red
arrow here to move the object to the right,
| | 09:15 | and then I'm going to drag down on the
blue arrow to move it downward like so,
| | 09:20 | and I might drag on the green arrow
a little bit to move the backward or forward,
| | 09:25 | as you seeing me do here.
| | 09:27 | And you can even, if you want to, I
might even go ahead and drag on this little
| | 09:32 | edge right there on the green arrow in order
to rotate the object in 3D space a little bit.
| | 09:38 | I think he belongs right about there.
| | 09:41 | It's little difficult to tell. I might
move it in FPO just to make sure that
| | 09:45 | I'm better matching it.
| | 09:46 | Now I'll go ahead and drag this red
arrow a little bit again. And that looks
| | 09:51 | pretty good. It looks like the graph is a little big
at this point, but we can solve a problem later.
| | 09:55 | Now one more thing I want to do at this point.
| | 09:57 | I want to bring up my 3D panel and I'm
going to do that by double-clicking on
| | 10:00 | the layer thumbnail, and then I'll click
on pie Front Inflation Material. Notice
| | 10:06 | that everything says pie. That's
because we took a moment to rename this layer;
| | 10:09 | otherwise everything would have said shape
one. And a couple of different attributes
| | 10:14 | that I'm going to apply here.
| | 10:15 | First of all, I'm going to click on the
Diffuse color swatch, and I'm going to
| | 10:19 | change the color to a Hue value of 35 degrees--
not that different--and a Saturation value
| | 10:24 | of 100%, and a Brightness value of 100%
as well, so, very vivid shade of orange.
| | 10:30 | And then I'm going to reduce the
Opacity value from 100% to 50%, so that we can
| | 10:35 | see through those faces
to the beveled edges below.
| | 10:39 | Now later, we're going to change everything.
| | 10:41 | We're going to change every single
element of this graph to 50% opacity.
| | 10:46 | But that's going to be good enough for now.
And now I'll hide that 3D panel, press
| | 10:50 | the M key to switch back to my
Rectangular Marquee tool, and go ahead and drag
| | 10:54 | that pie up above FPO and turn FPO off
for a moment. And that, my friends, is how
| | 10:59 | you graph data inside of Illustrator
and successfully extrude the data into 3D
| | 11:04 | space here inside Photoshop CS5 Extended.
| | Collapse this transcript |
| 031 Splitting and modifying 3D meshes| 00:00 | Hey gang! This is Deke McClelland.
| | 00:01 | Welcome to Deke's Techniques.
| | 00:03 | Now, Photoshop, as you may know, is
known as something of a photo editor.
| | 00:08 | So, why would we use it to
create this wicked-cool 3D pie chart?
| | 00:13 | Because we can, and because it does a
great job at creating awesome business
| | 00:17 | graphics, if you have a mind to do so.
| | 00:20 | Now, we left off in the last movie at
this point here, where all the slices are
| | 00:24 | exactly the same color. That's no good.
| | 00:26 | We need to split those slices up.
| | 00:27 | We need to move them back together,
change their depth, so we come up with this
| | 00:31 | stair-stepped pie chart right here.
| | 00:34 | You know what, let me
just show you how it works.
| | 00:36 | All right, here is the pie graph as
we last saw it in the previous movie.
| | 00:40 | In this movie, I am going to show you
how to take this single 3D object and
| | 00:44 | bust it up into its independent pie wedges, so
that we have a mesh for each and every wedge.
| | 00:50 | That means we can independently color
each of these wedges, which after all is
| | 00:55 | essential if we are going to create a pie chart.
| | 00:58 | I've gone ahead and selected the pie layer,
which is the layer that contains the 3D object.
| | 01:02 | I will double-click on its thumbnail to
bring up the 3D panel, and notice that
| | 01:06 | we have a single wedge called pie.
| | 01:08 | All right, now I am going to go up to
the 3D menu, choose Repousse, and choose
| | 01:12 | Split Repousse Meshes.
| | 01:14 | Now if any of these meshes touched
each other along an edge, then we would
| | 01:19 | have a real problem.
| | 01:20 | They wouldn't bust up properly.
| | 01:21 | They would be fused together.
| | 01:23 | But because we took the time to move
the wedges apart from each other just a
| | 01:27 | little bit, we now have our six
independent meshes, as you can see indicated by
| | 01:31 | these little cylinders here inside the 3D panel.
| | 01:34 | Now just for the sake of organization, I
want to go ahead and rename each one of
| | 01:38 | these wedges, and I just happen to know
what each one of these meshes represent
| | 01:43 | from having worked in this file several times.
| | 01:46 | So I will just go ahead
and enter each one of these.
| | 01:48 | If you have any concerns about which
mesh translates to which wedge, then what
| | 01:53 | you can do is go ahead and
turn off one of these wedges.
| | 01:57 | So I will go ahead and rename this guy.
| | 01:59 | I believe this one is
cherry, but I better confirm.
| | 02:02 | So I will turn off cherry like so, and
that goes ahead and turns off this wedge.
| | 02:07 | So sure enough, they go together, and
again I know this from having been the guy
| | 02:11 | who created this graph in the first place.
| | 02:13 | All right, the final one
goes along with key lime.
| | 02:16 | So again, that is a little
bit of an organizational step.
| | 02:19 | You can skip it if you want to, but at
your peril, because you are going to have
| | 02:23 | to come back to these things again
and again, and you don't want to be
| | 02:26 | forgetting which mesh is which.
| | 02:28 | All right, now we are going to change the
colors, and we do that by modifying the materials.
| | 02:32 | So I'll start by grabbing apple here.
| | 02:35 | I will twirl it open, click on the
Front Inflation Material, click on its
| | 02:39 | Diffuse color, and I am going to change
the Hue value to 210. So it is not an
| | 02:43 | apple-like color of course, but I'm
not really interested in matching the
| | 02:46 | colors of the pies--
| | 02:48 | that is, the traditional pies. I'm more
interested in making the pie chart make sense.
| | 02:53 | So 210 for Hue, 100% for Saturation--
| | 02:56 | that's what it was--and a
Brightness value of 70%. Click OK.
| | 03:00 | Now pumpkin is already the
right color, so I can skip it.
| | 03:02 | I will go ahead and twirl open. Tunafish here,
| | 03:04 | not the most popular variety of pie,
but we were actually very surprised it
| | 03:08 | even made the list.
| | 03:09 | I am going to click of its Diffuse
color again, and I am going to change the Hue
| | 03:13 | value to 55 degrees. Click OK and twirl that
guy closed, and I keep twirling these guys
| | 03:18 | close so that I can access these materials here.
| | 03:21 | Twirl open pecan, click on its Diffuse
color, and I will change the Hue value to
| | 03:26 | 0 degrees this time around, and I am going to
go with a Saturation value of 80% and a
| | 03:32 | Brightness value of 90%.
| | 03:33 | Click OK. Then I want to go ahead and
grab cherry and I am going to change it to
| | 03:38 | a shade of violet here by dialing in a
Hue value of 270 degrees, and I believe I want to
| | 03:44 | take the brightness value down to 90%.
| | 03:47 | Click OK, and then I will twirl that closed,
| | 03:50 | twirl open key lime, and this is one of the
rare pies that gets color that makes sense.
| | 03:54 | So I will click on its color swatch there,
change the Hue value to a shade of green, 120 degrees.
| | 03:59 | 80% for the Saturation and 70%
for the Brightness. Click OK.
| | 04:04 | All right, now if you ask me, that was a
lot of tedium, a lot of busywork having
| | 04:10 | to go in there and change all those colors.
| | 04:13 | We've still got a lot of edges.
| | 04:14 | We can see the Front Bevel.
| | 04:15 | We can see the Extrusion.
| | 04:17 | There is no Back Bevel, thankfully,
but there is a Back Inflation Material that
| | 04:21 | we are seeing through to because we
have the Opacity set to 50%, which means I
| | 04:26 | could sit there and change each one of
them independently if I wanted to, if I
| | 04:30 | wanted to go nuts. But there is a
convenience tool that's available to us, and
| | 04:34 | it's this guy right there,
the Material Drop tool.
| | 04:36 | So what you need to do is grab that
tool, move your cursor into the image
| | 04:40 | window, press the Alt key or the
Option key on the Mac, and click in order to
| | 04:44 | lift a color. And it won't
show up here inside the 3D panel;
| | 04:47 | it will show up here inside of the Options bar.
| | 04:50 | So notice I have a shade of blue
now associated with the material.
| | 04:53 | I will go ahead and click on this
beveled edge in order to change it, and then I
| | 04:57 | will click on the extruded
side to change it as well.
| | 05:00 | And you are going to have to
wait a moment for it to update.
| | 05:02 | Now, I want to do the same thing with
orange here. Even though orange is the
| | 05:06 | proper color for this pumpkin slice,
| | 05:08 | I don't have the proper opacity established.
| | 05:10 | So I will Alt+Click or
Option+Click inside of there.
| | 05:13 | I will click on the beveled edge.
| | 05:14 | With any luck, you're going to see your
edges light up as you hover over them,
| | 05:18 | but when Photoshop starts getting
a little sluggish in the memory department it
| | 05:23 | starts not necessarily
showing you all the doodads here.
| | 05:26 | Anyway, it is working, so that's good news.
| | 05:28 | I will Alt+Click or
Option+Click inside the violet area.
| | 05:31 | I will click on its beveled edge,
and then I will click on its extruded edge
| | 05:35 | in order to apply that color, and then I will
do the same thing for the red wedge right there.
| | 05:39 | Alt+Click or Option+Click on the face,
click on the beveled edge, click on
| | 05:44 | the extruded edge, Alt+Click or Option+Click
inside the green face, click on its beveled edge.
| | 05:49 | Hey! It lit up for me. Great!
| | 05:51 | And then click on its extruded edge.
| | 05:53 | So apparently Photoshop is suddenly
getting with the program, maybe because
| | 05:57 | these are smaller wedges.
| | 05:58 | Alt+Click or Option+Click on the yellow
one, click on its beveled edge, and then
| | 06:04 | click on its extruded side.
| | 06:05 | Now, isn't that wonderful?
| | 06:07 | Goes lickety-split, but here's the problem.
| | 06:10 | We are seeing through to the back, to
the back of the pie slices here, these
| | 06:14 | wedges, and they're all orange, and we can't
get to them with this Paint Bucket tool here.
| | 06:20 | So what we need to do is take
the entire pie and spin it around.
| | 06:24 | So I'm going to switch over
to this Object Rotate tool.
| | 06:27 | Just click on it. Don't start dragging
inside the image window because you will
| | 06:30 | make a mess of everything; instead, just
go up to the Options bar and note the Z
| | 06:34 | value. Write it down.
| | 06:35 | Very important because who is going to remember -15.4,
so write it down and then change that value to 180.
| | 06:42 | So you flip that guy all the way around.
| | 06:44 | It is going to look terrible.
| | 06:44 | It is going to be too far away, and of
course it is going to look like it has
| | 06:49 | this opaque back associated with it
that's made of cardboard or something.
| | 06:53 | Well, we need to change that out using our
trusty friend here, the Material Drop tool.
| | 06:59 | So I will go ahead and grab it,
Alt+Click on one of the edges there that you can
| | 07:03 | get to, click on the back of the wedge,
Alt+Click on yellow, click on the back,
| | 07:07 | Alt+Click or Option+Click on green,
click on the back, Alt+Click or Option+Click
| | 07:12 | on red and then click on the back.
| | 07:14 | So Photoshop is little
sluggish in this department.
| | 07:17 | It has to go and update everything.
| | 07:19 | Alt+Click or Option+Click on the violet
edge and then click on the back and then
| | 07:23 | Alt+Click or Option+Click on the
orange edge and click on its back.
| | 07:27 | And now though, it looks great. It is too far
away and it is backward, but it looks great.
| | 07:32 | So I will switch back to my Object
Rotate tool and I am going to dial in that Z
| | 07:36 | value that I wrote down a moment ago,
| | 07:38 | -15.4, press the Enter key or the
Return key on the Mac, and just like that, we
| | 07:44 | reestablish just like that--meaning in
a few seconds here--we reestablished our
| | 07:49 | original orientation for this pie chart.
| | 07:51 | All right, another thing that you
can do with these independent meshes is
| | 07:54 | move them independently.
| | 07:56 | So first of all, I need to squish them
back to where they go so that each one of
| | 08:01 | the wedges is touching, and then I
want to move them forward and backward.
| | 08:04 | So armed with this trusty widget right
here, first of all, if you want to move
| | 08:09 | these wedges into each other so they're
flush, then you use the blue arrow for
| | 08:15 | up and down and you use a
red arrow for back and forth.
| | 08:17 | Then when we decide to move them forward,
we are going to use the green arrow.
| | 08:22 | So I will go ahead and move up to the
blue arrow and drag down like so, and I'm
| | 08:25 | dragging the entire thing
because I have the wrong tool selected.
| | 08:28 | I will press Ctrl+Z or Command+Z on the
Mac in order to undo that movement there.
| | 08:34 | And what I want to select is this tool
right down there, the third tool down
| | 08:38 | inside the 3D panel.
| | 08:40 | Go ahead and grab it and then make sure
that you're working on the right mesh.
| | 08:43 | I wanted to modify the apples, so I
will go ahead and select it, and now I will
| | 08:48 | try the same maneuver there.
| | 08:50 | Go ahead and move it down like so,
and then I will drag the red arrowhead in
| | 08:54 | order to move it over like that. And I
might have moved it a little too far down.
| | 08:59 | You don't want these guys
squishing into each other.
| | 09:00 | You want to be able to see those
beveled edges and allow room for them.
| | 09:03 | So if you start seeing the colors kind
of merge with each other, then you know
| | 09:07 | you've moved them too close.
| | 09:09 | All right, so I will go and drag that
down, drag this guy over just little bit.
| | 09:12 | That looks pretty good.
| | 09:13 | All right, let's grab key lime now, and
that's a green wedge that's out a place.
| | 09:18 | So we only have to do this
with three of the wedges.
| | 09:20 | That's the good news. But we do have to do
with those three wedges. That's the bad news.
| | 09:24 | All right so I will go ahead
and drag it to about there.
| | 09:26 | It looks pretty good, I think.
| | 09:28 | It is hard to evaluate.
| | 09:29 | You have to do a little back-and-forthing
sometimes, and now I will go ahead
| | 09:32 | and drag the red arrow--
oh look at that, I got it.
| | 09:35 | All right, and then am I the only
person who is reminded of Trivial
| | 09:38 | Pursuit during this.
| | 09:39 | I am going to go ahead and click on
cherry this time, because that's the purple
| | 09:43 | wedge, and I will go ahead
and drag this over, like so.
| | 09:47 | And this time because I was smart
enough to just move this wedge horizontally
| | 09:54 | back when it was flat, back when it was a
shape layer, I only have to drag the red arrow.
| | 09:59 | Yay! Gosh thank you, previous self.
| | 10:02 | Anyway, now I am going to grab apple
because it still doesn't look quite right.
| | 10:05 | I am going to drag it over just a
little bit just like a pixel, and then I am
| | 10:09 | going to drag it down just a pixel, if I can.
| | 10:12 | Here we go. No, move back it up.
| | 10:14 | I was saying no because I could see
that I was a little out of kilter between
| | 10:19 | the blue wedge and the yellow one.
| | 10:20 | All right, now we want to move these
guys forward and backward. And I am going to
| | 10:23 | turn on my FPO object again, so I can
see it, my FPO layer, which is helping me
| | 10:28 | with placement, and it is not exactly
right because I changed some of the
| | 10:33 | numerical values a little bit when I
created the graphs, but that's okay.
| | 10:36 | I'm going to go ahead and grab pumpkin.
| | 10:38 | Apple stays where it is. And now I am
going to drag up on that green arrowhead
| | 10:43 | to move that wedge toward us like so,
so it's leaping out a little bit.
| | 10:48 | And then I will go ahead and grab cherry
because it's the purple one, and I will
| | 10:51 | drag up on the green arrowhead like so to move
it up even farther, so it sticks out like this.
| | 10:57 | And then I'll go ahead and select, which one?
| | 11:00 | Pecan is the highest of the various wedges.
| | 11:03 | I will drag up on the green arrowhead in
order to move it to about this location
| | 11:09 | looks pretty good to me. And then next I
will select key lime, and I will do the same.
| | 11:13 | I will go ahead and drag it up,
but not as far, so that it sort of splits the
| | 11:17 | difference between the violet wedge and
red wedge. And then finally I am going to
| | 11:22 | grab tunafish right there, which is the
yellow edge and I'm going to drag up on
| | 11:27 | the green arrow again to move
it up just slightly, like so.
| | 11:30 | And that does it.
That actually takes care of it entirely.
| | 11:34 | I am going to go ahead
and turn off that FPO layer.
| | 11:37 | I am going to switch to my
Rectangular Marquee tool, hide that 3D panel, and
| | 11:41 | that my friends is how you go about
splitting a 3D object into its independent
| | 11:45 | meshes and modifying those meshes
independently of each other here inside
| | 11:50 | Photoshop CS5 Extended.
| | Collapse this transcript |
| 032 Using the Ground Plane Shadow Catcher| 00:00 | In this video, I am going to show you
how to take advantage of what's known as
| | 00:03 | the Ground Plane Shadow Catcher.
| | 00:05 | Now, this feature is not found in the
standard version of Photoshop, which does
| | 00:09 | not have any 3D features.
| | 00:11 | It's exclusively found
inside Photoshop CS5 Extended.
| | 00:15 | I want to make that perfectly clear upfront.
| | 00:17 | Here we are looking at our progress so far.
| | 00:20 | This is the point at which we
arrived in the previous video.
| | 00:23 | So I had managed to break apart those
wedges into their independent meshes, so
| | 00:27 | that we could modify each and
every wedge independently of course.
| | 00:32 | Now then, what I ultimately want
to do is render the scene, like so.
| | 00:37 | This is the final version of the pie chart.
| | 00:40 | You can see, not only are the various
wedges casting shadows onto each other
| | 00:44 | because they are all part of the
same scene, but they're also casting
| | 00:47 | shadows onto the ground.
| | 00:49 | Normally, by default, there is no ground.
| | 00:52 | If you want to add a ground, you
either have to add it as a separate object,
| | 00:55 | which you can then integrate into
your scene, or you take advantage of this
| | 00:59 | automatic transparent ground plane
that becomes part of the 3D layer.
| | 01:04 | You can see it represented there
inside that thumbnail. All right!
| | 01:07 | So here's how it works.
I'll switch back to my image at hand here.
| | 01:10 | Step one is to make sure your 3D layer
is active, and then go up to the 3D menu
| | 01:14 | and choose Snap Object To Ground Plane.
| | 01:16 | The reason I like to do this is because you
don't really know where that ground plane is.
| | 01:21 | Photoshop does, but you don't,
and you can't see it because it's invisible.
| | 01:25 | So the last thing you want to do is
start ray tracing your scene if your object
| | 01:28 | is miles away from the ground
and it's not going to cast a shadow.
| | 01:31 | So go ahead and choose that command.
| | 01:34 | When you do, you'll probably
notice that your 3D object moves to a
| | 01:39 | different location.
| | 01:40 | In my case, it just slightly moved
there, but it's still off its mark.
| | 01:44 | So if I turn on that FPO object, you can see
that my pie layer wants to be a little higher.
| | 01:50 | Now, if I were to move it the way I
normally do in 3D space using the Object
| | 01:53 | Rotate tool or the Widget or what
have you, then I would end up moving the
| | 01:58 | object away from the ground again.
| | 01:59 | I don't want to do that. I want to
move the entire scene, ground, and all.
| | 02:02 | So to do that, you go ahead and
switch to the Move tool here, the standard,
| | 02:07 | everyday, average Move tool, which
moves the entire layer in 2D space.
| | 02:11 | So just go ahead and drag it up like so,
and it's now in the proper position,
| | 02:15 | and the ground moved
with it as well. All right!
| | 02:17 | I am going to turn off that FPO layer.
| | 02:19 | The next thing I need to do is load some lights.
| | 02:22 | If I double-click on that pie thumbnail
there, I will see here inside my 3D panel--
| | 02:27 | if I go ahead and twirl closed all
these meshes--I'll see that I have the
| | 02:31 | default Infinite Lights.
| | 02:33 | Well, I want three spotlights in order
to create some dramatic lighting here.
| | 02:38 | That would take me several minutes to
show you how I position these lights, and
| | 02:41 | we've seen that in the previous
Deke's Techniques. So, you know what?
| | 02:44 | I went ahead and saved my lights off,
so that I can load them for you.
| | 02:48 | And I did that by going up to the
flyout menu and choosing Save Lights Preset.
| | 02:53 | So you can save all the lights
associated with the scene and then be able to
| | 02:57 | bring them back later into a different scene.
| | 02:59 | The way you do that, if you want to
replace your existing lights, is you choose
| | 03:03 | the Replace Lights Presets command.
| | 03:05 | So I am going to go ahead
and choose that command.
| | 03:07 | I've got this p3l file.
| | 03:09 | That's what Photoshop saves.
| | 03:11 | I'll go ahead and load it up, and
those Infinite Lights right there will
| | 03:14 | be replaced with spots, and you'll see the
lighting change slightly in the background.
| | 03:19 | All right! So far so good.
| | 03:21 | We're almost ready to ray trace,
| | 03:23 | but we've got to do one more thing.
| | 03:24 | First of all, I am going to hide these
right-side panels just so that I have a
| | 03:28 | little more room to work.
| | 03:30 | By the way, here's the most essential
step of all and the purpose of this video:
| | 03:34 | go up to the 3D menu, and choose this
command right there Ground Plane Shadow Catcher.
| | 03:39 | Go ahead and choose the command,
and you'll be told that you're only going to
| | 03:43 | see the effects of the Shadow Catcher
when you've ray traced the scene, which
| | 03:46 | is fairly obvious, by the way, if
you're familiar with 3D in Photoshop because
| | 03:51 | you don't see shadows--
| | 03:52 | shadows are not cast by one mesh
onto another--unless you ray trace.
| | 03:57 | So go ahead and click OK.
| | 03:58 | In other words, the shadow
will not appear immediately.
| | 04:01 | What you're going to need to do next is
go to your Quality setting and change it.
| | 04:06 | This scene is going to take a
while to render, by the way.
| | 04:08 | It's pretty complicated.
| | 04:09 | So if you choose Ray Traced Draft,
it's going to take like 15-20 minutes.
| | 04:13 | If you choose Ray Traced Final, you better be
ready to completely walk away from your machine.
| | 04:18 | It might take an hour.
| | 04:19 | Anyway, I am going to choose Draft here.
| | 04:22 | For obvious reasons,
| | 04:23 | we're going to speed up this process.
| | 04:25 | But I do want you to see it run in
the background so that you can watch the
| | 04:29 | scene render in something
resembling real time, and you can see those
| | 04:33 | shadows begin to form.
| | 04:35 | They'll be somewhat noisy shadows, by
the way, because I've set the lights so
| | 04:40 | that they're casting very,
very soft shadows in many cases.
| | 04:44 | But they should be nice
dark, dramatic shadows as well.
| | 04:47 | So in a matter of seconds for me,
thanks to the miracle of video editing,
| | 04:52 | I've managed to render out this
entire scene, but it will take much longer
| | 04:56 | for you--bear that in mind.
| | 04:57 | And here comes the Shadow
Catcher in the background.
| | 04:59 | You can see it's begin to develop.
| | 05:01 | We've got these nice dark shadows.
| | 05:02 | They are a little bit noisy because
I've set the lights up so that they
| | 05:07 | have very soft shadows.
| | 05:09 | However, it ends up creating a
fairly brilliant effect I think,
| | 05:11 | definitely a dramatic one. All right!
| | 05:13 | So here's the final ray
traced version of the scene.
| | 05:16 | Now, I should mention, by the way, if
you're working along with me, pausing the
| | 05:19 | movie, and you're growing impatient
with the process, go ahead and click on
| | 05:23 | screen after the first couple
three passes because that's where the
| | 05:26 | heavy lifting is done.
| | 05:27 | Now what I find to be amazing about
this is not only the shadow detail--this
| | 05:31 | thing just looks so good--but also
notice this little blue highlight at the
| | 05:35 | bottom of the orange wedge.
| | 05:36 | That's color that's being integrated
from not this scene, not this 3D scene, but
| | 05:42 | rather one of the underlying 2D layers.
| | 05:44 | So Photoshop has really got its stuff
together where this ray tracing is concerned.
| | 05:49 | All right! Just a couple of more
things that I want to do.
| | 05:51 | I am going to hide the 3D panel,
bring back my Layers panel here.
| | 05:56 | The scene is a little light
for me. It lacks contrast.
| | 05:59 | So I went ahead and pumped up the
contrast using this levels adjustment layer.
| | 06:04 | You can see the settings
if I double-click on it.
| | 06:06 | I've gone ahead and brought this black
point value up considerably, and maybe
| | 06:11 | I'd like to back off actually for this
specific version of the scene, and drag
| | 06:16 | down on the white point slider a
little bit and darken up the scene as well.
| | 06:20 | I'll go ahead and take this Gamma value down.
| | 06:22 | So I end up getting this effect here.
| | 06:24 | So I'm just basically trying to capture
the histogram inside my black point and
| | 06:28 | white point sliders. All right!
| | 06:30 | And then I'll go ahead and add the
legend, which I went ahead and recreated
| | 06:34 | inside of Photoshop.
| | 06:35 | I didn't bring it over from Illustrator
because there's not really an efficient
| | 06:38 | means for doing that.
| | 06:39 | Then I went ahead and added this headline, too.
| | 06:41 | That is the final effect.
| | 06:43 | I am just going to go ahead and press
the F key a couple of times in order to
| | 06:46 | fill the screen with this image.
| | 06:48 | And that friends is how you take
advantage of the incredibly powerful Ground
| | 06:52 | Plane Shadow Catcher here
inside Photoshop CS5 Extended.
| | Collapse this transcript |
| 033 Creating a talk show-style curtain| 00:00 | Hey gang! This is Deke McClelland.
| | 00:01 | Welcome to Deke's Techniques!
| | 00:03 | Now you may recall over the last few
movies we've been working on this 3D pie chart.
| | 00:07 | Well, I set up the scene so the chart
appears to be entering through a kind
| | 00:10 | of talk-show curtain.
| | 00:12 | I only call it a talk-show curtain
because of The Tonight Show. It had a
| | 00:15 | curtain. Many talk shows do not have
curtains. Many non-talk shows do have curtains.
| | 00:20 | I myself do not have one, but it's
going to look like this, and we're going to
| | 00:24 | create it out of thin air
using a bunch of filters.
| | 00:27 | Here, let me show you exactly what's
going on with this curtain effect. All right!
| | 00:33 | So here is the final version of that
3D pie chart that I created inside of
| | 00:38 | Photoshop CS5 Extended.
| | 00:40 | What I'm about to show you, these
talk-show style curtains in the background,
| | 00:44 | that works inside of both
Photoshop CS5 Standard and Extended.
| | 00:48 | So I am going to go ahead and turn off
the existing curtains, and you can see
| | 00:52 | what a contribution they make.
Even though they're just phony talk-show-style
| | 00:56 | curtains, they make a big
contribution. All right!
| | 00:59 | I am going to zoom out a click here,
and I'm going to create a new layer by
| | 01:03 | pressing Ctrl+Shift+N, or Command+Shift+N
on the Mac, and I'll go ahead and call
| | 01:06 | this guy Curtains and click OK.
| | 01:09 | Then I'm going to press Ctrl+Backspace,
or Command+Delete on the Mac, in order
| | 01:13 | to fill that entire layer with the
background color, which in my case happens to be white.
| | 01:18 | It really doesn't matter
what it is at this point.
| | 01:21 | We just need some pixels in place.
| | 01:23 | Now press the D key to make sure that
the foreground color is black and the
| | 01:27 | background color is white, so you get
the right effect out of this next filter,
| | 01:30 | which you get by going to the Filter
menu and choosing the Render command and
| | 01:34 | then choosing Fibers.
| | 01:36 | Now, notice I'm not applying this
command as a Smart Filter to a Smart Object or
| | 01:40 | anything like that, because there is
not really that much point in doing so.
| | 01:45 | That would give you the option of
editing your settings later on down the
| | 01:47 | line, but we're not going to need that kind
of control, so just go ahead and choose Fibers.
| | 01:52 | I went ahead and set the Variance value to 32--
| | 01:55 | this is really up to you how much
you want to apply--and a Strength of 4.
| | 01:59 | So go ahead and apply any settings you like.
| | 02:01 | This Filter essentially applies
a kind of fractal noise pattern,
| | 02:05 | so it's always going to be random and different.
| | 02:08 | You can randomize it;
| | 02:09 | if you don't like what you see, you
can click on the Randomize button to get
| | 02:12 | a different effect.
| | 02:13 | It doesn't really matter that much, though.
| | 02:14 | Click OK to apply the setting.
| | 02:16 | Then I want you to go up to the Filter
menu, choose Blur, and choose Motion Blur.
| | 02:21 | And I am going to apply a big
helping of Motion Blur here.
| | 02:24 | We want the Angle to be 90 degrees so it goes
straight up and down, and I've increased
| | 02:28 | the Distance value to 400 pixels.
| | 02:30 | Then click OK in order to apply that change.
| | 02:34 | Now, armed with the Rectangular
Marquee tool, I'm going to drag across the
| | 02:38 | bottom portion of the image so that
I'm cleaving it just slightly under this
| | 02:43 | blue wedge, and then I am going to
press the Backspace key, or the Delete key
| | 02:47 | on the Mac, to get rid of that curtain area
down at the bottom, because we don't need it.
| | 02:51 | All right! Next, I'm going to go
ahead and select this region right there.
| | 02:56 | So this will be my left-side curtain.
| | 02:58 | I'll go ahead and select this area.
| | 03:01 | Notice that I'm going right through the O
if you're trying to get the same effect.
| | 03:05 | I'll go up to the Edit menu and choose
the Free Transform command. Or you can
| | 03:09 | press Ctrl+T, Command+T on the Mac.
And I am going to zoom in once again, so that
| | 03:14 | I can better see what I'm doing.
| | 03:16 | And up here in the Options bar, I am
going to go ahead and click on the Warp icon
| | 03:20 | in order to enter the Warp mode.
| | 03:21 | I am going to drag this bottom-right
handle to slightly open up the curtain.
| | 03:25 | And then, so that I don't have all
these sort of vertical lines all wedged
| | 03:32 | together, I'll drag the
control handle over a little bit.
| | 03:34 | See this round control handle?
Go ahead and drag it over and then take in
| | 03:38 | the opposite control handle just a little bit,
so that we're getting an even consistent effect.
| | 03:43 | I might take this control handle
up slightly as well. All right!
| | 03:47 | That'll do it. Press the Enter key, or the
Return key on the Mac, in order to apply that change.
| | 03:51 | Now to select the other side of the
curtain, and the best way to do that to make
| | 03:55 | sure you're selecting it properly is to
go up to the Select menu and choose the
| | 03:59 | Inverse command, or press Ctrl+Shift+I,
Command+Shift+I on a Mac, and that
| | 04:03 | selects everything that
wasn't previously selected.
| | 04:05 | And then just to make sure you don't
have too much stuff selected, because it
| | 04:09 | would now be pretty darn difficult
to gauge the performance of the Free
| | 04:13 | Transform command, drop down to the
curtains layer here inside the Layers panel
| | 04:18 | and I want you to press
all of the modifier keys.
| | 04:21 | So Ctrl+Shift+Alt, that's
Command+Shift+Option on the Mac, just mash your fist
| | 04:26 | on them and click on that thumbnail,
and that finds the intersection of the
| | 04:30 | previous selection and the
opaque pixels inside that layer.
| | 04:35 | Now, you've got to do
kind of a curious thing here.
| | 04:38 | You've got to press the Alt key, or the
Option key on the Mac, and basically drag
| | 04:42 | around this region, just to make
sure it's good and deselected, because
| | 04:45 | otherwise some pixels somewhere remain
selected and that creates a little bit of a problem.
| | 04:51 | Now, go up to the Edit menu and choose
the Free Transform command once again.
| | 04:56 | Press Ctrl+T, Command+T
on the Mac if you prefer.
| | 04:58 | Then let's go ahead and enter that
Warp mode by clicking on the Warp icon up
| | 05:03 | there in the options bar.
| | 05:04 | I am going to drag this handle over
just a little bit, maybe drag this control
| | 05:09 | handle over a little bit as well.
| | 05:11 | And I don't really need to drag this one up.
| | 05:13 | That's just fine. And press the Enter
key or the Return key on the Mac in order
| | 05:16 | to complete the process. All right!
| | 05:18 | Now, go ahead and click off the
curtains in order to deselect them, and I am
| | 05:22 | going to switch the Blend mode here in
the Layers panel from Normal to Multiply
| | 05:25 | to go ahead and burn those curtains in,
and you end up getting this effect here.
| | 05:29 | Now, I want to fade them.
| | 05:31 | So I'll add a layer mask by clicking on
the Add Layer Mask icon down here at the
| | 05:35 | bottom of the Layers panel, and I'll
switch over to my Gradient tool, either by
| | 05:40 | clicking on it or pressing the G key.
| | 05:42 | Make sure that you still have the same
foreground and background color, that is,
| | 05:46 | black for foreground, white for
background, and also make sure up, here in the
| | 05:50 | options bar, that the
very first item is selected:
| | 05:53 | foreground to background.
| | 05:55 | Then we'll go ahead and drag from
approximately the bottom of the curtains--
| | 05:59 | you want to cheat in a little bit
like so--and go ahead and drag up to
| | 06:03 | underneath the text.
| | 06:04 | And I've got the Shift key down to
constrain the angle of my gradient to exactly
| | 06:09 | vertical, and you end up
getting this nice mostly even fade.
| | 06:13 | Now you may see a little bit of an
edge at the bottom of the curtains.
| | 06:17 | And if you want to eliminate that edge,
then go to the Filter menu, choose the
| | 06:20 | Blur command, very important that the
layer mask is active as it is for me,
| | 06:25 | choose Gaussian Blur, and take
that Radius value really high.
| | 06:27 | I went ahead and set mine to 48
pixels and clicked OK. All right!
| | 06:31 | Now, I just want to apply a
couple of layer effects here.
| | 06:34 | I'll drop down to the FX icon, click
on it, and I am going to choose the
| | 06:38 | Color Overlay effect.
| | 06:40 | And I am going to set my color here.
| | 06:42 | I'll go ahead and click on this Color
Swatch and I am going to dial in a color
| | 06:46 | of 15 for the Hue value and 100% for
the Saturation value and then 15 for the
| | 06:51 | Brightness value, so very dark red. Click OK.
| | 06:55 | And you want your Blend mode to be set
to Color as mine is by default, because
| | 06:59 | I've changed my default settings,
but yours will probably appear as Normal.
| | 07:02 | So go ahead and choose Color.
| | 07:04 | Then the final step is to
apply a gradient overlay.
| | 07:07 | So click on Gradient Overlay, change
the Angle value here to -90 degrees, like so.
| | 07:14 | You should have a black-to-white
gradient, as you see in my case. Go ahead and
| | 07:18 | reduce your Scale value to 50% and
then go ahead and drag that gradient up
| | 07:25 | inside of the image window, so it's more
or less cutting through that headline text.
| | 07:29 | And then finally, I am going to change
that Blend mode from Normal to, once again,
| | 07:34 | Multiply in order to achieve this effect here.
| | 07:37 | If that's too much, and I think it is a
little bit heavy handed, I am going to
| | 07:41 | go ahead and take the Opacity value
down to about 50% and click OK in order
| | 07:46 | to apply that change.
| | 07:48 | That is how you create faux talk-show
curtains that drift away into nothingness
| | 07:54 | here inside Photoshop.
| | Collapse this transcript |
| 034 Assembling a flawless panorama| 00:00 | Hey gang! This is Deke McClelland.
| | 00:01 | Welcome to Deke's Techniques.
| | 00:03 | This week we'll be talking about
the Photomerge function inside of
| | 00:06 | Photoshop, which allows you to stitch together
multiple images in order to create a panorama;
| | 00:11 | however, it's less about Photomerge
because the command isn't that terribly
| | 00:15 | difficult to use, and it's more about
how you capture the shots in the first
| | 00:20 | place so they stitch together seamlessly.
| | 00:22 | So we'll start with these images here.
| | 00:24 | This is 4 of 10 that I shot an all that I
captured from Ponte Dell'Accademia in Venice, Italy.
| | 00:30 | And then we're going to go ahead and
stitched those images together into this
| | 00:33 | big seamless panorama.
| | 00:36 | The only seam that you see is in the
center there; that's because I had to tape
| | 00:39 | two printouts together. But the great
thing about having an image like this
| | 00:44 | printed out and ready to go is that
if you're feeling nostalgic for your
| | 00:47 | vacation, you can go ahead and walk
into the office with this just kind of like
| | 00:51 | wrapped around your head.
| | 00:52 | Now, you'll still have to
talk to your co-workers.
| | 00:55 | That's a drag. But they'll say things
behind your back possibly like you know,
| | 01:00 | "It's curious that Mel has had that big
piece of paper wrapped around his head
| | 01:04 | all week, but he not nearly so grouchy."
| | 01:07 | Here, let me show you exactly how it works.
| | 01:11 | In this movie, I'm going to show you
how to achieve seamless panoramas using
| | 01:14 | Photoshop's Photomerge function.
| | 01:16 | Now, many of you may feel like
you know how to use Photomerge.
| | 01:18 | It's not a particularly demanding
feature from a user perspective.
| | 01:22 | However, I do want to pass along
some tips and tricks for capturing those
| | 01:25 | component photographs so that you
achieve absolutely the best results possible.
| | 01:29 | Now, I'm starting things off with this
sort of pseudo-panorama of four independent
| | 01:34 | shots which I captured, by the way,
from Ponte Dell'Accademia, looking down The
| | 01:38 | Grand Canal in Venice, and out here in
the distance is Santa Maria Della Salute,
| | 01:42 | for what it's worth.
| | 01:43 | Now, the reason I'm showing these four
shots is I've noticed lately inside of
| | 01:48 | magazines and newspapers that there
is this trend to avoid photo stitching,
| | 01:52 | so that somehow there's a higher
degree of integrity associated with showing
| | 01:56 | each one of the photographs independently.
| | 01:57 | And while I'm a huge proponent of
integrity and following rules inside the realm
| | 02:02 | of photojournalism, I just don't buy
this one, because after all, every single one
| | 02:06 | of these images was captured by a
machine, not by some kind of magic eye, so
| | 02:10 | we're still using technology in
order to capture the environment.
| | 02:14 | When we shift things into Photoshop
and we go ahead and stitch the scene
| | 02:17 | together using Photomerge,
| | 02:18 | we're just taking advantage of another
step, another technological innovation
| | 02:23 | in order to capture the scene as we really
experienced it, so let me explain how that works.
| | 02:28 | Basically what we're looking at is a 10-
shot image here, so a 10-shot panorama.
| | 02:33 | And there's a couple of things that you
need to do. First of all, I'm standing at
| | 02:37 | the apex of the bridge.
| | 02:37 | There is no one around me, so nobody is
going to bump into me, that kind of thing.
| | 02:41 | I'm not using a tripod--that's not
really necessary--and I'm not locking down
| | 02:44 | my settings either.
| | 02:45 | You can do that if you want to; I didn't.
| | 02:48 | However, what's very
important is your positioning.
| | 02:51 | You cannot move your feet.
| | 02:53 | You want to be pointing straight ahead and
you want to leave your feet locked into place.
| | 02:57 | Everything that you're doing is going
to be pivoting your shoulders. Because if
| | 03:00 | you start stepping around, if you move
one foot, then you're going to change
| | 03:04 | your frame of reference and your
perspective is going to get messed up.
| | 03:07 | And so, for example, these windows
here could shift behind this building and
| | 03:11 | that would blow everything.
| | 03:13 | Meanwhile we've got movement in this scene.
| | 03:15 | This vaporetto is moving forward.
| | 03:16 | There's nothing we can do about that.
| | 03:18 | You don't have to shoot quickly.
| | 03:20 | You don't want to shoot quickly.
| | 03:21 | You don't want to rush it.
You want to get a right.
| | 03:23 | You definitely don't want to somehow
like bracket the shot and then twist your
| | 03:27 | body furiously from one side to
the other during the bracketing.
| | 03:31 | That's not going to work either.
| | 03:33 | So don't worry too much about the
movement of slow objects, relatively slow
| | 03:37 | objects in this scene, like
vaporettos and boats and so forth.
| | 03:41 | All right, so the other big tip
that I have to pass along here is
| | 03:45 | capture portrait shots.
| | 03:47 | Don't shoot wide, shoot tall, and that way
you've got tons of information to work with.
| | 03:52 | So it's better to shoot like 10 or a
dozen tall shots than to shoot let's say
| | 03:57 | three landscape shots.
| | 03:58 | You 're going to get way better results this way.
| | 04:00 | Otherwise, I'll just go ahead
and run through these images.
| | 04:03 | I'm pointing at about, I'd say
10 o'clock in the bridge right now, and then I'm
| | 04:08 | just twisting my way to the right.
| | 04:09 | You can move either left to right as
I am, or right to left; it doesn't matter.
| | 04:13 | Make sure that you have at least the
third overlap. I tend to go for more, so
| | 04:17 | notice I have about half shot
overlap as I'm moving through these images.
| | 04:21 | Watch that vaporetto, see how
it's coming ever closer to me.
| | 04:24 | And the rear vaporetto's moving closer,
this motorboat is moving away from me as
| | 04:28 | well, and I just continue shooting.
| | 04:32 | Now two things are very important
here: One is you want to keep your shot
| | 04:36 | straight up and down as possible, so
try to make sure your shots are plum.
| | 04:40 | And the other thing is you want to
move to the best of your ability,
| | 04:43 | you want to move exactly horizontally,
that is just right along the horizon.
| | 04:48 | So what I suggest is you figure out
your framing at the end of your shot, so
| | 04:53 | start at the end--in other words get
your framing right here--and then move back
| | 04:58 | to that first shot and start shooting
here, because you want to make sure that
| | 05:02 | your framing is accounting for the entire scene.
| | 05:04 | Anyway, those are the 10
shots I have to work with.
| | 05:07 | Now I'm going to press the Escape key
in order to return to the Bridge, which is
| | 05:10 | where I'm at right now.
And I've got the first image selected.
| | 05:13 | I'm going to scroll down and
Shift+Click on that last image, so 10 images
| | 05:17 | and all in this case.
| | 05:18 | And now check out that
vaporetto. Notice how much closer it is in
| | 05:22 | this shot than this shot, because it's
probably about a 5-10 second delay going on there.
| | 05:28 | Again, that's okay.
| | 05:29 | That's going to work out just fine.
| | 05:31 | Go up to the Tools menu and then
choose Photoshop if you're working in the
| | 05:35 | Bridge as I am and then choose
Photomerge. And what that's going to do is
| | 05:38 | switch you over to Photoshop and
bring up the big Photomerge dialog box, and
| | 05:42 | it's going to show you the names of
all of the images that you had selected
| | 05:46 | inside of the bridge.
| | 05:47 | If you feel like you need to open more
images, then you can go ahead and click on
| | 05:50 | Browse and so forth.
| | 05:52 | Now then, the next thing I suggest,
unless you want to create a bowtie of an
| | 05:56 | image, which I think is just rotten--
| | 05:58 | I don't think that's a way to
approach the panorama experience at all--
| | 06:02 | I would select either Cylindrical
or Spherical--and you can try both.
| | 06:06 | You can try one and then try the
other and see which one works out best.
| | 06:09 | In one case, you're going to wrap the
image, you can distort the image forward
| | 06:13 | in the center, and then in the other
case we're going to distort the image
| | 06:15 | inward in the center.
| | 06:17 | So choose your poison there.
| | 06:18 | You definitely want to blend the images
together, so leave that first check box turned on.
| | 06:22 | The other two you can typically leave
turned off unless you have a problem with
| | 06:25 | vignettes in your shots,
| | 06:27 | shadows being castled by lens element,
I would leave Vignette Removal turned
| | 06:30 | off, and in our case we're shooting
neither wide nor telephoto shots, so we don't
| | 06:34 | really need geometric distortion correction.
| | 06:37 | Click OK in order to go ahead
and combine those shots together.
| | 06:40 | Now what Photoshop is doing is it's
running a combination of the Auto Alignment
| | 06:45 | function along with Auto Blend.
| | 06:47 | So at first it goes ahead and
assembles all the images into a layered
| | 06:50 | composition, and then it starts
running the Auto Align function, which is
| | 06:54 | looking for similar patterns of pixels,
so it can marry the right side of one
| | 06:57 | image to the left side of another.
| | 06:59 | And then--and this is where this
function just gets magical--it goes ahead and
| | 07:03 | blends all these layers together.
| | 07:05 | So it's actually changing the colors
of pixels, and then it turns around and
| | 07:09 | automatically generates layer masks
around each and every one of these layers in
| | 07:14 | order to produce an effect
like the one you're seeing here.
| | 07:17 | If you run into problems at this point,
you might think the thing to do is to go
| | 07:21 | ahead and edit the layer masks.
| | 07:23 | The problem with that approach is
that Photoshop just goes ahead and color
| | 07:26 | corrects the pixels that
are enclosed inside that mask.
| | 07:29 | So if you start changing the shape of
the mask, you're going to expose wrong
| | 07:33 | pixels inside the image,
and they won't match at all.
| | 07:35 | So if you do have some problem once
use stitch things together, if you find
| | 07:40 | that something doesn't align properly,
you are going to have to back to one of
| | 07:43 | the original images and try to heal from it or
clone it into place or something along those lines.
| | 07:48 | In our case, everything actually looks great.
| | 07:51 | Now what I normally do at this point is
I go ahead and save the layered version
| | 07:54 | of the composition. It's quite
large, as you can see down here.
| | 07:57 | Even though I started off with quarter-
resolution versions of the shot, this
| | 08:01 | combined image still measures about
150 MB when all the layers are included.
| | 08:06 | So I want to save that information,
but I don't really want to work with that
| | 08:09 | information because it
doesn't to me that much good.
| | 08:11 | So I'll go up to the File menu and
choose the Save As command, and I'll go ahead
| | 08:15 | and name this image something
like View from Ponte Accademia.
| | 08:20 | It'll work out nicely, .psd. Go ahead
and save all those layers of course.
| | 08:25 | Then click on the Save button in order
to protect what you've done so far.
| | 08:29 | Now go up to the Layer menu and
choose Flatten Image in order to merge all
| | 08:34 | those layers and get rid of the layer masks.
| | 08:36 | All right, now you will undoubtedly
need to crop your image to some extent.
| | 08:39 | Notice that despite the fact I was
telling you how important it is to make sure
| | 08:43 | your images are plum and that you're
following the horizon line, my horizon is
| | 08:47 | dropping from the left to the right.
| | 08:48 | So I'm going to go ahead and grab my
Crop tool here and enclose my image like
| | 08:52 | so, and I'm going to drag this top edge
down--or maybe I'll try to align one of
| | 08:56 | these rule of thirds guidelines--
| | 08:58 | and go ahead and rotate the crop
boundary by dragging outside of it like so,
| | 09:03 | and then tuck that in just a little bit, drag
this guy up because I want to keep that chimney.
| | 09:07 | I actually want to keep as much of the
bottom of the image as I can, because
| | 09:10 | I've got a corner of this dock
down here that I don't want to loose.
| | 09:13 | And I might tuck the left side in a
little bit like so, because this seems to me
| | 09:17 | a reasonable panoramic view at this point.
| | 09:20 | All right, having done that, I'll go and
press the Enter key, or the Return key on
| | 09:23 | the Mac, in order to crop
that scene, and that is it.
| | 09:26 | I'll press the F key a couple of
times in order to switch to the Full Screen
| | 09:29 | mode and zoom in on my
panorama so that we can take it in.
| | 09:33 | And I have been through this
image of few times. I could be wrong.
| | 09:36 | There could be some seams some
place that I haven't caught on to.
| | 09:39 | But notice how well the wake works out
here, these waves that are passing round
| | 09:45 | around the vaporetto.
| | 09:46 | We see just one
vaporetto; we don't see any ghost.
| | 09:48 | We see just one vaporetto on the
background, just one motorboat here.
| | 09:51 | Everything has worked out
beautifully because I took some care, paid some
| | 09:55 | attention upfront when I was
capturing these photographs, and because
| | 09:59 | Photomerge absolutely rocks for
stitching together seamless panoramas here
| | 10:03 | inside the Photoshop.
| | Collapse this transcript |
| 035 Removing people with image stacks| 00:00 | Hi, gang! This is Deke McClelland.
| | 00:02 | Welcome to Deke's Techniques.
| | 00:03 | This week we are going to talk about
a feature that most folks don't even
| | 00:06 | know exists inside Photoshop Extended,
by the way--CS3, CS4, or CS5--and it's
| | 00:12 | called image stacks.
| | 00:13 | Now, ultimately image stacks are a
collection of statistical analysis tools, as
| | 00:18 | sexy as that sounds.
| | 00:19 | However, one of the many things you
can do with it is take a bunch of images
| | 00:23 | that you have shot of the single
scene and wipe out all of the moving stuff,
| | 00:27 | which is to say all the
people. So for example,
| | 00:29 | I shot these images at this place
Teatro Olimpico in Vicenza Italy, and I
| | 00:35 | just could not shake that woman in the
foreground; she kept remaining inside the frame.
| | 00:40 | Well, I figured that would be pretty
easy for Photoshop to get rid of, so I
| | 00:44 | shoot up the ante. And this is the part
where you might think I kind of lost my
| | 00:48 | mind, but I decided I should add a big
floating orangutan head, and it could grow
| | 00:54 | increasingly larger like so, or it
could become very small indeed. And despite
| | 00:59 | all these things appearing inside the
scene, I was able to merge them together
| | 01:03 | using image stacks and completely
eliminate everything automatically and end up
| | 01:08 | with this pristine scene here.
| | 01:11 | Let me show you exactly how it works.
| | 01:13 | All right, we are starting things off
inside the Adobe Bridge which ships with
| | 01:18 | every single version of Photoshop out
there, and I'm looking at these photographs
| | 01:22 | that I shot in Vicenza Italy in this
place called Teatro Olimpico, which is this
| | 01:26 | amazing work of art, the last work of
Palladio, also the oldest enclosed theater
| | 01:31 | in the world. And if I press the
spacebar in order to preview these images, what
| | 01:35 | you're seeing in the background is
this forced-perspective backdrop that
| | 01:40 | declines away from the viewer
in five different directions.
| | 01:43 | It's absolutely astonishing, I have to say.
| | 01:46 | It's made of wood and stucco in the 16th
century and it's in mint condition today.
| | 01:51 | And yet as I try to shoot this image,
I've got this woman wandering around in
| | 01:56 | the foreground, checking me out.
| | 01:57 | I don't know what's going on here,
but she can't be there. I need to go ahead and
| | 02:01 | eliminate her from the scene.
| | 02:03 | Well, fortunately because I have
these four shots of the scene with her
| | 02:07 | wandering from left to right here. I can
go ahead and eliminate her automatically
| | 02:12 | using this feature called Image Stacks
which is exclusive to Photoshop Extended.
| | 02:17 | It is not included with the
standard version of the software.
| | 02:20 | Anyway, let me show you how it works.
| | 02:21 | I am going to go ahead and select the
first image, Shift+Click on the fourth
| | 02:25 | image in order to select it as well,
| | 02:27 | go up to the Tools menu--again, I
remind you I'm inside the Bridge.
| | 02:30 | I'll go up to the Tools menu,
choose Photoshop, and choose Load Files
| | 02:34 | into Photoshop Layers.
| | 02:35 | That's step number one, and what that
does is it assembles all those selected
| | 02:39 | images into a layered composition.
| | 02:41 | Now, check this out.
| | 02:42 | I want you to see that these layers are
not actually aligned with each other.
| | 02:45 | I will go ahead and zoom in a click
here, Alt+Click or Option+Click on the
| | 02:49 | eyeball associated with the rear layer,
make sure the rear layer is selected,
| | 02:53 | and then if I press Alt+Right Bracket or
Option+Right Bracket on the Mac, I'm basically jumping from
| | 02:59 | one layer to the next. And you can see that
the layer itself is jumping around as well.
| | 03:04 | So the image is not, strictly speaking, aligned.
| | 03:06 | That's because I was not using a
tripod; however, I was not moving either.
| | 03:11 | So you don't want to be moving
forward or backward or back and forth.
| | 03:14 | That will ruin this effect.
| | 03:15 | All right, step number two is to go
ahead and turn everybody on, so make sure
| | 03:19 | all the layers are selected, click on
the bottom layer, Shift+Click on the top
| | 03:23 | layer in order to select all of them, and then go
up to the Edit menu and choose Auto-Align Layers.
| | 03:28 | You will get this big dialog box;
just make sure Auto is selected.
| | 03:31 | That's all you need to do and then click on OK.
| | 03:34 | And now what Photoshop is doing is
it's searching for similar pixels and
| | 03:37 | aligning them together, and now if you
click on the bottom layer, Alt+Click or
| | 03:42 | Option+Click on its eyeball to view that
layer independently, and now press Alt+Right Bracket
| | 03:47 | or Option+Right Bracket on the Mac,
| | 03:49 | you can see that nothing is moving in the
scene except for this woman going back and forth.
| | 03:54 | That's it. All right, step number three is to go
ahead and turn everybody back on again,
| | 03:59 | click on the bottom layer, Shift+Click
on the top layer to make sure they're
| | 04:01 | all selected, go to the Layers panel
flyout menu and choose Convert to Smart Object.
| | 04:06 | This is a Smart-Object-dependent effect.
| | 04:09 | And now you have got everybody
assembled together. You can rename that layer if
| | 04:12 | you want to. I am just going to call it
Teatro Olimpico. And then step number four,
| | 04:17 | exclusive to Photoshop Extended, you
go up to the Layer menu, you choose Smart
| | 04:22 | Objects, you choose Stack Mode,
and then you are going to see this list of
| | 04:25 | statistical analysis tools.
| | 04:27 | Now, most of them are designed for scientists.
| | 04:30 | They are not designed for
regular old image editors.
| | 04:33 | So I doubt you'll ever have any need for
entropy or kurtosis or many of these guys.
| | 04:38 | However, there are two of these
commands that are of great use, even though they
| | 04:42 | are still useful for statistical
analysis as well, they are of great use to
| | 04:46 | general photographers.
| | 04:47 | One of them is Mean. Mean is going to
find the average color of the pixels that
| | 04:52 | are stacked on top of each other.
| | 04:53 | So in our case, it's going to go ahead
and create these ghost versions of this
| | 04:57 | woman walking around in the foreground.
| | 04:59 | That's not really useful for this exercise;
| | 05:01 | however, imagine this situation:
imagine you have a bunch of night shots and
| | 05:06 | you've got a high ISO, so you have
got some very noisy photographs, or
| | 05:09 | relatively noisy anyway.
| | 05:11 | And you shoot multiple images of that
same scene, hopefully using a tripod in
| | 05:15 | that case, then you merge them
together using that Mean stack mode, and you're
| | 05:19 | going to eliminate a lot of that
noise because you're averaging away the
| | 05:23 | noise inside the scene.
| | 05:24 | All right, now I also want you to see,
over here in the Layers panel, if you go
| | 05:28 | ahead and click on this down-pointing
arrowhead, you will see that we have a
| | 05:30 | stack mode and it's Mean.
| | 05:32 | You can only have one stack mode per
Smart Object, although you can also keep on
| | 05:35 | Smart Filters, layer effects, and
so on, but just one stack mode.
| | 05:39 | That means if you want to switch to a
different stack mode, as we do, then you go
| | 05:43 | up to Layer menu, you choose Smart
Objects and you choose Stack Mode, and then
| | 05:48 | you choose the command you want to use.
| | 05:49 | Now, in our case, it's going to be Median.
| | 05:52 | Now, for now, I will just show
you that it absolutely works.
| | 05:55 | It wipes out all the
different stuff in that scene.
| | 05:58 | In this next example that I am about
to show you now, I will explain what's
| | 06:02 | going on with that tool and when it
doesn't always work and what to do about it.
| | 06:06 | All right, so I am going to go back to
the Bridge by clicking on the Bridge
| | 06:09 | icon up here in the application bar, and
them I am going to switch down to four
| | 06:12 | other variations of this image.
| | 06:14 | Now, my reasoning for creating these
goofy variations was that this woman
| | 06:18 | walking across the scene,
| | 06:19 | it's not really that difficult to
solve for; I could have just stacked a
| | 06:22 | couple of images on top of each other, layer
masked one image over the other, and so forth.
| | 06:28 | However, what if you've got bigger
problems? Like what if have a bus driving
| | 06:32 | through your scene? You can still
eliminate it using the Median mode.
| | 06:36 | So what I decided to do was infect these
images with this detached monkey head right there.
| | 06:41 | So it's appearing in different
positions, sometimes very large as you see it
| | 06:45 | here, sometimes relatively small
in this orchestra pit or whatever.
| | 06:50 | But we still have to contend with this
bizarre monkey head coming into the scene.
| | 06:54 | So what we do? Well, same thing.
| | 06:56 | I will go ahead and escape out and
Shift+Click on the first image so all four
| | 06:59 | of them are selected, go to Tools, step
number one of course, choose Photoshop,
| | 07:04 | and then choose Load
Files into Photoshop Layers.
| | 07:07 | And that'll go ahead and assemble a
composition that contains all four of those images.
| | 07:11 | Then you already know that they're
not aligned with each other, so click on
| | 07:15 | one, Shift+Click on the other in order
to select all those layers, go up to the
| | 07:19 | Edit menu, choose Auto Align Layers and
go ahead and click OK, because Auto is
| | 07:24 | the default setting.
| | 07:25 | Wait for Photoshop to do its thing, to
evaluate the images an align them with
| | 07:29 | each other. Even though there's is
this ginormous monkey head in the scene,
| | 07:33 | Photoshop has still
managed to do the right thing.
| | 07:35 | So if I click on his bottom layer,
Alt+Click or Option+Click on the eyeball to
| | 07:39 | see it by itself and then press Alt+Right Bracket
or Option+Right Bracket on the Mac to cycle from
| | 07:44 | one layer to the next, you can see that the
scene is utterly aligned, totally awesome.
| | 07:49 | All right, go ahead and turn all those
layers back on, click on one, Shift+Click
| | 07:52 | on the other to select them all, go
the Layers panel flyout menu, choose
| | 07:56 | Convert to Smart Object.
| | 07:57 | That's step number three.
| | 07:59 | And then finally, step number four is
to go to the Layer menu and choose Smart
| | 08:04 | Objects and choose Stack Mode, and I want
you to see a couple of the other ones here.
| | 08:09 | We've got a few others that are useful
to general photographers; for example,
| | 08:14 | Minimum is going to go ahead and find
the darkest pixel throughout all of the
| | 08:18 | images, and so in that case we are
keeping all versions of this woman here in
| | 08:23 | foreground as well as in some of
these dark details from the monkey heads.
| | 08:26 | If you want the opposite, if you want
the lightest details from the various
| | 08:29 | layers, then you go to Layer menu, you go
to Smart Objects, you choose Stack Mode,
| | 08:34 | and you choose Maximum instead, so the
maximum luminance level, which is going to
| | 08:38 | be your brightest luminance level.
| | 08:40 | In this case it keeps mostly the
monkey head details. We have a few little
| | 08:43 | details from the woman, some highlights
in her face and her hands, but that's
| | 08:47 | about it. And another one that's kind of
interesting in my opinion, if you go up
| | 08:52 | to Layer > Smart Object > Stack Mode and
you choose Range, you are going to subtract
| | 08:57 | the minimum information from the
maximum information, and what you are going to
| | 09:00 | find is all the stuff that
changed throughout the scene.
| | 09:04 | So anything that's the same is going to
stay black, and anything that's different
| | 09:07 | is going to be some other color.
| | 09:09 | So it's almost like a Difference blend mode
that's run across all of the images it wants.
| | 09:14 | Now, what we really want of course is
to go up to Layer menu, choose Smart
| | 09:18 | Objects, then choose Stack Mode and then finally
choose Median, and I want you to check this out.
| | 09:24 | It's fairly amazing. Given these big
huge monkey heads that have somehow
| | 09:29 | populated the scene, once we
choose Median, they go away.
| | 09:33 | All vestiges of monkey heads,
and the woman of course, are gone.
| | 09:38 | That is to say almost all. Check this out.
| | 09:41 | If you zoom in, you do have to check
out your scene. Take a careful look at it.
| | 09:44 | Notice there is this kind of bizarre
ear form right there, and then it goes
| | 09:49 | around like so. Darn it, that's a monkey head.
| | 09:52 | So what you need to do, if you find
something like that that sticks around, it's
| | 09:55 | probably not going to be a monkey head.
| | 09:56 | It's probably going to be some other detail,
but like some part of a buzz, for example.
| | 10:01 | Go ahead and double-click on the
thumbnail for your Smart Object in order to
| | 10:04 | open that Smart Object, so that you can
investigate the contents of the scene.
| | 10:08 | Now, what's going on with Median?
| | 10:10 | Now, this is kind of hard understand.
| | 10:12 | It easy to understand Mean, right, the
one that is going to get of your noise.
| | 10:16 | It's just finding the average
color of all pixels. That's it.
| | 10:18 | Median is more of a popularity
contest, so it's trying to find that one
| | 10:22 | pixel color that has as many other
pixels that are identical to it as are
| | 10:27 | either lighter or darker.
| | 10:28 | And so what that means is as long as
any given pixel only varies once across
| | 10:35 | your images, then it's going to
get canceled out by the good pixel.
| | 10:39 | However, if you've got a person that
appears in front of another person at some
| | 10:44 | point in time, or the monkey head
appears in front of itself at some point in
| | 10:48 | time, then that's going to ruin things.
And in our case, if I go head and turn
| | 10:51 | off this top layer, notice where the
monkey head is here, and I'll turn off the
| | 10:54 | top layer, and we've got the ear.
| | 10:57 | Well, it's at about the same location
as the chin of the top-layer monkey, and
| | 11:02 | that's the problem. The big monkey
over here on the third layer, he's fine
| | 11:05 | because he is away from everybody, and
then the monkey in the orchestra pit, he's
| | 11:09 | fine, too, because he is away from everybody.
| | 11:11 | But these two top guys kind of overlap
each other, so what I am going to do is
| | 11:15 | just eliminate the second layer.
| | 11:17 | So I will just turn it off and leave the
other three on. And then I'll go up here--
| | 11:21 | I don't have to throw it away or anything--
go ahead and close this image window,
| | 11:24 | then click on the Yes button here on
the PC, or the Save button on the Mac, and
| | 11:28 | notice our problem totally goes away
because now the popularity contest is
| | 11:34 | working in our favor.
| | 11:35 | And that, folks, is how you eliminate
people and other moving objects from your
| | 11:39 | multi-shot scenes here
inside Photoshop Extended.
| | Collapse this transcript |
| 036 Creative stacking with Maximum and Range| 00:00 | In this movie, I am going to show
you one of several possible creative
| | 00:02 | applications for those image
stacking modes that are available to you
| | 00:06 | inside Photoshop Extended.
| | 00:08 | So, bear in mind that you need the Extended
version of Photoshop to pull off this effect.
| | 00:13 | I'm working in the Adobe Bridge, and
I have selected a handful of images.
| | 00:16 | I will press the spacebar so that we can
see these images in the full-screen mode.
| | 00:20 | This is Piazza San Marco in Venice
with the Grand Canal in the background.
| | 00:24 | And I happened to capture this image in the
winter when there is relatively few people.
| | 00:28 | In the summer, this place is just packed.
| | 00:30 | However, I still want to be able
to get rid of those people to the
| | 00:33 | greatest extent possible.
| | 00:35 | So, I captured a few different shots.
| | 00:37 | I have got this one here. Here is this one.
| | 00:39 | You can see I moved a little bit,
so the registration is worth beans.
| | 00:43 | But we will still be able to align
the scene quite nicely in Photoshop.
| | 00:46 | Here is the third image, and then
here's the final version of the composition.
| | 00:50 | I have gone ahead and created a
weathered look by blending a paper
| | 00:53 | texture against the image.
| | 00:55 | But more to the point, I took two
swings to those statistical analysis tools,
| | 00:59 | which were ultimately designed for
scientists, and yet you and I as regular
| | 01:03 | people are able to make good use of them.
| | 01:04 | First of all, I went ahead and wiped
out all the differences in the scene.
| | 01:08 | And where there are no differences,
where things are stationary, the scene
| | 01:12 | appears normal, so we just have the
standard grayscale luminance data.
| | 01:16 | And then I took all the differences
and rendered them out as these white ghost
| | 01:19 | people here, including this ghost
vaporetto in the background with these trail
| | 01:23 | of white wakes coming off of it.
| | 01:25 | So, you can pull off some
pretty amazing effects here.
| | 01:28 | All right, so let's see how I did it.
| | 01:30 | I will go ahead and escape out of the preview,
| | 01:31 | click on the first image, Shift+Click on the
last one. And then I'll go up to the Tools menu--
| | 01:36 | once again, I stress I'm
working inside the Bridge--
| | 01:38 | I'll choose Photoshop, and then I'll
choose Load Files into Photoshop Layers.
| | 01:43 | Now, that's strictly a convenience
feature that goes ahead and plops all of
| | 01:46 | these images onto layers here inside
the Layers panel, so that I can then turn
| | 01:51 | around and blend these images together.
| | 01:53 | Now, once Photoshop goes ahead and
populates the Layers panel with all three
| | 01:57 | images, I will click on the first, Shift+
Click on the last to select all of the
| | 02:00 | layers inside the panel.
| | 02:02 | And I am going to go ahead and zoom in
as well, so we can take in more detail.
| | 02:05 | And I will go up to the Edit
menu and choose Auto Align Layers.
| | 02:09 | As before, that is in the previous movie.
I will just select the Auto Projection
| | 02:13 | option, then click OK, and let Photoshop
do its thing. And once again, it's looking
| | 02:17 | for similar pixels with which
to align these three layers.
| | 02:20 | To see how we have done, I will click
on rear layer, Alt+Click or Option+Click
| | 02:24 | on its eyeball so that we
can see this layer by itself,
| | 02:27 | and now I am going to zoom in even
farther so that we can take in some of the
| | 02:31 | smaller details here. And I'll press Alt+Right Bracket,
or Option+Right Bracket on the Mac, in order to
| | 02:38 | view each of the images independently.
| | 02:40 | Now, you can see that we've got some
pretty great alignment going on between
| | 02:43 | the images, which is flat-out amazing given the
ratty job that I did when I was shooting them.
| | 02:48 | However, we also have people sticking
at certain locations. So what I am really
| | 02:53 | saying is even though one person may
move out of a location, another person
| | 02:57 | moves in. So check out this area right there.
| | 03:00 | I will go ahead and select it, and then I'll press
Alt+Right Bracket again, Option+Right Bracket on the
| | 03:04 | Mac, to cycle from one layer to another.
Alt+Right Bracket again Alt+Right Bracket again.
| | 03:10 | So you can see right there at this
location in particular, we've always got
| | 03:14 | somebody in the way, and so that's
going to present a problem when we ask
| | 03:18 | Photoshop to resolve away those differences.
| | 03:21 | All right, anyway, I will go ahead
and deselect the image, turn everybody
| | 03:24 | back on, click on the first layer,
Shift+Click on the last one so
| | 03:27 | everything is selected,
| | 03:28 | go up to the Layers panel flyout menu,
and choose Convert to Smart Object in
| | 03:32 | order to combine all those layers into
a single Smart Object, which I will go
| | 03:36 | ahead and rename, as long
as I'm here, San Marco.
| | 03:38 | All right, so now the next step is
to go up to Layer menu, choose Smart
| | 03:42 | Objects, which is dimmed because I
deselected the layer, so I will go ahead and
| | 03:46 | click on it to select it.
| | 03:47 | Now back up to Layer, choose Smart
Objects, choose Stack mode--only available
| | 03:52 | inside Photoshop Extended--and then choose,
| | 03:54 | you may recall from the previous movie,
I was telling you that Median is your
| | 03:58 | way of getting rid of the different
information between these various images.
| | 04:02 | So, I will choose the Median command,
but it doesn't work out so well.
| | 04:05 | Notice this guy that I was just
pointing to a moment ago, the guy who was
| | 04:08 | sort of bending over, or bending his
knees anyway. He's become part of a
| | 04:13 | strange amalgam of people.
| | 04:15 | We have got some ghost people up here
in the left area, and then we've got this
| | 04:19 | sort of collection of people and
pigeons down here around the stand.
| | 04:24 | And so this is not turning
out to work out well at all.
| | 04:26 | And it's totally the fault of the photographers.
| | 04:29 | It's my fault because I never did catch
these details without somebody in front
| | 04:33 | of them, so I'll go ahead and zoom out.
| | 04:36 | Consider the scene for a moment.
All is not lost because if you take a look
| | 04:40 | at way things are working out,
everything that moves is darker than everything
| | 04:44 | that remains stationary.
| | 04:45 | So, if I wanted to call attention to
all the stuff that's moving, I would go up
| | 04:50 | to Layer menu, choose Smart Objects,
choose Stack Mode, and then choose Minimum
| | 04:55 | because that's going to keep the
minimum luminance levels, which is the darkest
| | 04:59 | information, and what we are going
to do is hyper-populate the square.
| | 05:02 | We are going to take everybody in every
location they were in all three images
| | 05:06 | and bring them to life.
| | 05:08 | If we want exactly the opposite effect,
we choose the opposite mode by going
| | 05:12 | to Layer, choosing Smart Objects,
choosing Stack Mode and this time choosing
| | 05:16 | Maximum, which keeps the maximum luminance
levels, that is to say the brightest details.
| | 05:20 | And we end up cleaning up that square
amazingly well, and we get rid of most of
| | 05:25 | those ratty pigeons, too.
| | 05:27 | If I press Ctrl+Z, or Command+Z on the
Mac, this is the minimum version with all
| | 05:31 | of these little pigeons all over the
place. And then if I press Ctrl+Z or
| | 05:35 | Command+Z again, they go away.
| | 05:37 | Yay! Who likes pigeons anyway?
| | 05:40 | All right, the next step is to go
ahead and bring in that paper texture.
| | 05:43 | But this is a grayscale image, and I want
to bring in some color, so I am going to
| | 05:46 | go up to the Image menu, choose Mode
and choose RGB Color, and I will get this
| | 05:51 | ridiculous error message in which Photoshop
suggests I go ahead and rasterize the information.
| | 05:55 | That would be the death of this composition.
| | 05:57 | Don't do it. Click Don't Rasterize.
| | 05:59 | And nothing goes wrong.
| | 06:00 | It's all fine, so there's no
reason to rasterize in the first place.
| | 06:03 | Then I will switch over to this
paper texture from the Fotolia image
| | 06:06 | library that I have open.
| | 06:07 | I will go to the Layers panel, click
the flyout menu icon, choose Duplicate
| | 06:11 | layer, and let's go ahead and put this
layer inside Untitled 1, which is the name
| | 06:16 | of my composition in progress. Click OK,
switch back to that image, like so.
| | 06:21 | My paper texture is too small.
| | 06:22 | That's not a problem.
| | 06:23 | I'll go ahead and rename it, though.
| | 06:25 | I will go ahead and call it 'paper'
instead of Background, and then I will go up
| | 06:29 | to the Edit menu, choose Free
Transform, or press Ctrl+T, Command+T on the Mac,
| | 06:33 | and then go ahead and Shift+Alt+drag,
Shift+Option+drag one of those corner
| | 06:37 | handles in order to scale
proportionally out from the center.
| | 06:41 | Press the Enter key, or the Return key on
the Mac, in order to apply that modification.
| | 06:45 | Go to the Blend Mode menu right here
in the upper-left corner of the Layers
| | 06:49 | panel and change it from Normal to Multiply.
| | 06:52 | That ends up giving us that
weathered look--very easy to pull off.
| | 06:55 | It's a little too dark, however, so I
am going to press the Alt key, or the
| | 06:58 | Option key on the Mac,
| | 06:59 | click this Black & White icon,
and choose Brightness/Contrast.
| | 07:03 | Because I had Alt or Option down,
I can go ahead and name this layer.
| | 07:05 | I will call it brighten, click OK, and then
I will take that Brightness value up to 20.
| | 07:11 | That's all I need.
| | 07:11 | I will press the Enter key, or the Return
key on the Mac, and hide the Adjustments panel.
| | 07:15 | Now, the next step is to go ahead and
crop this image, and so I will grab my Crop
| | 07:20 | tool from the toolbox--
| | 07:21 | I can get it by pressing the C key--and
I will drag around the portion of the
| | 07:25 | scene that I want to keep.
| | 07:26 | I sort of want a panoramic effect,
so I don't want it to be too tall.
| | 07:29 | And I need to go ahead and rotate this
crop boundary ever so slightly, maybe to
| | 07:34 | about there, and I am doing that by
dragging outside the bounding box.
| | 07:37 | This looks like a pretty good crop to me.
| | 07:39 | Check up here in the options bar that
Hide is selected, very important, so you
| | 07:42 | don't throw away any detail.
| | 07:44 | In particular, we would end up
cropping away some of the paper texture if we
| | 07:48 | were to not select that option.
| | 07:49 | Looks like I need to tuck this edge in
a little bit, so I will do so, and then
| | 07:53 | press the Enter key, or the Return key
on the Mac, in order to apply that crop.
| | 07:57 | All right, so now we've wiped out
most of the people in the scene.
| | 08:00 | There are some drifty details, a
little bit of ghosting going on.
| | 08:03 | However, let's now bring in the ghost
people, and we will do that by clicking on
| | 08:08 | the Smart Object, to which if I click
the down-pointing arrowhead, I have
| | 08:12 | applied the maximum stack mode.
| | 08:14 | All right, I am going to press Ctrl+J,
or Command+J on the Mac, in order to jump
| | 08:18 | a copy of that layer.
| | 08:19 | I will move it above paper, and then in
order to try out a different effect here,
| | 08:23 | I will go up to Layer menu, choose
Smart Objects, choose Stack Mode and then
| | 08:27 | choose Range, which is going to find
the differences between the minimum and
| | 08:31 | maximum information, and we end
up getting--ta-da!--these ghost people.
| | 08:36 | So, everything that's moving is
turning into these ghosts, which is awesome.
| | 08:39 | All right, now I want to exaggerate
the contrast just a little bit here,
| | 08:43 | so we have some brighter ghost people
going on and so I get rid of some of this
| | 08:48 | dark information in the upper-right
corner, and I'll do that by pressing the Alt
| | 08:52 | key, Option key on the Mac,
| | 08:53 | clicking the Black & White icon at
the bottom of the Layers panel, choosing
| | 08:56 | Levels, and I will go ahead and call
this new layer 'contrast', and I will turn on
| | 09:00 | this Use Previous layer to Create
Clipping Mask check box so that we are only
| | 09:05 | affecting this one Smart Object layer.
| | 09:07 | Click OK and I am going to take
this black point value up to 30, so the
| | 09:11 | first value up to 30.
| | 09:12 | I am going to reduce the white point
value to 160, so that brightens up those
| | 09:17 | people significantly.
| | 09:19 | That's it, go ahead and close this panel,
click on the San Marco layer to make
| | 09:23 | it active, and then we want to drop
out all the black stuff, keep all of the
| | 09:27 | light stuff and so I am going to
change the blend mode from Normal to Screen.
| | 09:31 | Now, that works out amazingly well.
| | 09:34 | It's just that we've got a
little bit of a problem here.
| | 09:36 | If I zoom in, you can see that we have
these white tips around the gondolas, and
| | 09:41 | this is a big problem when you're
shooting in Venice and you're trying to merge
| | 09:45 | your various shots together, because
the gondolas are constantly wiggling back
| | 09:49 | and forth in the water,
especially when a vaporetto goes by.
| | 09:52 | So, what we need to do is
mask away that information.
| | 09:55 | I will click on this Add Layer Mask
icon at the bottom of the Layers panel,
| | 09:59 | and then I will just grab my Brush tool,
either by clicking on it or pressing the B key.
| | 10:03 | My foreground color is
black, so I am ready to go.
| | 10:05 | I am going to reduce the size of my
cursor, however, a little bit by pressing the
| | 10:08 | left bracket key a few times.
| | 10:10 | I am working with a
relatively soft brush, by the way.
| | 10:12 | If I right-click inside the image window, you
can see I have the Hardness value set to 50%.
| | 10:17 | Size is 90, but I am going to
vary that as I work along here.
| | 10:20 | Now, I'll paint along the
gondolas to make them go away.
| | 10:23 | You may paint some peoples heads off,
but I won't worry about that too much
| | 10:26 | because I am not really concerned
whether we have people with heads.
| | 10:29 | They're ghost people after all.
| | 10:31 | They can live whether they've got heads or not.
| | 10:32 | I will go ahead and paint away
those areas as well, that region, maybe
| | 10:37 | paint along the top of the statues
because they have got a little bit of
| | 10:40 | extra highlight going on.
| | 10:42 | Notice these three boats in the background.
| | 10:44 | It's really just one boat that moved to
different locations across the three images.
| | 10:48 | Let's go ahead and paint that away.
| | 10:49 | I want to keep that vaporetto; he is very cool.
| | 10:51 | And then I will zoom out because we
have got those highlights up here at the
| | 10:55 | top of this building.
| | 10:56 | I will increase the size of my
cursor by pressing the Right Bracket key.
| | 10:59 | Paint that information away,
drop down a little bit.
| | 11:02 | For some reason, I have got some
movement going on inside of these chairs,
| | 11:05 | probably because there's some
alignment problems between the images.
| | 11:08 | Then I will go ahead and paint away these
highlight details right there, like so.
| | 11:12 | And then because who in the
right mind would be a fan of pigeons,
| | 11:17 | I am going to paint away
these pigeons over here,
| | 11:19 | just to do a public service for
the Piazza and wipe them all out.
| | 11:23 | All right, and that's it. Press the F
key a couple of times in order to fill the
| | 11:27 | screen with the image.
| | 11:28 | I will press Ctrl+0 or Command+0 as well.
| | 11:30 | That is the final version of my
composition, thanks to those statistical
| | 11:34 | analysis tools, which I remind you
were designed for scientists, but are also
| | 11:38 | useful for everyday people like you
and me here inside Photoshop Extended.
| | Collapse this transcript |
| 037 Creating synthetic wood grain| 00:00 | Hey Gang! This is Deke Mcclelland.
| | 00:02 | Welcome to Deke's Techniques.
| | 00:03 | This week I am going to show you how to
create synthetic woodgrain inside of Photoshop.
| | 00:08 | Now, you may be looking at this output
here and thinking that it looks like an
| | 00:11 | orange piece of paper.
| | 00:12 | Well, this effect looks great onscreen.
| | 00:15 | This one here looks a little better in print.
| | 00:17 | You can actually see the detail.
And you can make this woodgrain as smooth
| | 00:21 | or grainy as you like.
| | 00:22 | It's ultimately another one of
the Smart Filter collections.
| | 00:25 | This time it's a matter of
combining clouds along with Motion Blur,
| | 00:29 | Posterize, High Pass, Add Noise,
another pass of Motion Blur, Emboss, and
| | 00:34 | then Color Overlay. So simple!
| | 00:36 | Why go to the lumber store and pay
outrageous real lumber prices when you can
| | 00:40 | create your own synthetic wood
grain right here inside Photoshop?
| | 00:44 | Here, let me show you. All right!
| | 00:47 | So here's this overall composition that
I will be creating over the course of a
| | 00:50 | few movies, but we're going to take
this one discrete technique at a time,
| | 00:54 | starting with how you create
synthetic woodgrain inside of Photoshop.
| | 00:57 | Now, I am going to zoom in, so you can
see this woodgrain up close in personal.
| | 01:01 | Notice that it spreads horizontally, and
that's going to become important as we
| | 01:05 | work our way through the Smart Filters.
| | 01:07 | I also want you to see that we have
independent panels of wood, and each one of
| | 01:12 | those panels has its own unique
woodgrain texture and in order to do that, we
| | 01:16 | are going to have to work with
Smart Objects and Smart Filters.
| | 01:19 | You can't achieve that effect using
static Layers inside Photoshop. All right!
| | 01:23 | So I am going to switch over to this
base composition that I have assembled.
| | 01:26 | It's got all the text ready to go.
| | 01:29 | And normally, if I were working with
static Layers, I just start piling on
| | 01:33 | Layers at this point inside the Layers panel;
| | 01:35 | however, because we are going to be
working with Smart Objects, we are going to
| | 01:38 | need absolute control over the size of
our images, so we are better off starting
| | 01:43 | things inside of a new document.
| | 01:44 | But before I do that, I need to
figure out how big this image is,
| | 01:48 | so I'll go up to the Image menu,
and choose the Image Size command.
| | 01:51 | And I can see that I have got a width of
3,000 pixels and a height of 1,200 pixels.
| | 01:56 | So that information obviously will
vary for you as you work through your own
| | 01:59 | projects, but what this
tells me is a couple of things.
| | 02:01 | First of all, I want this panel, the
single panel of wood that I will be
| | 02:04 | creating, to be slightly wider than my
larger composition because I am going to
| | 02:09 | be working with the Motion Blur
filter, which creates ratty edges.
| | 02:12 | So I figure about 200 extra
pixels of width will do the trick.
| | 02:16 | Then, because the panel doesn't have to
be as tall as the overall document, I am
| | 02:20 | going to make it about half this height,
that is to say 600 pixels. All right!
| | 02:24 | So I will cancel out of here. With that in mind,
I will go up to the File menu and choose the New command, or
| | 02:28 | press Ctrl+N, Command+N on the Mac.
And I have already dialed in the Width and
| | 02:32 | Height values, as you can see.
| | 02:34 | Resolution really doesn't matter.
| | 02:35 | We are working inside of the RGB Color
mode. And then finally, the background
| | 02:39 | contents need to be
transparent for this effect to work.
| | 02:42 | I will go ahead and call this guy woodmaker
and then click OK to create this document.
| | 02:47 | Now, I am going to go ahead and zoom in
so that we can see what we are doing and
| | 02:50 | press Shift+Tab to bring up the Layers panel.
| | 02:52 | I will rename this layer 'blank'
because that's what it's going to be.
| | 02:55 | It's not going to contain anything.
| | 02:57 | And then, quite bizarrely I think, I'm
going to go up here to the Layers panel
| | 03:01 | flyout menu and choose Convert to Smart Object.
| | 03:03 | So having done nothing to that layer
whatsoever, I am going to save it as a Smart Object.
| | 03:07 | That way, I can pile on
Smart Filters. All right!
| | 03:10 | So I will choose that command.
| | 03:11 | Next, you need to make sure your
foreground and background colors are set to
| | 03:14 | black and white respectively.
| | 03:16 | If they're not, press D for default colors.
| | 03:19 | Now go up to the Filter menu and
choose the foremost fractal noise
| | 03:23 | generator inside the software, which is here in
the Render submenu, and it's the Clouds filter.
| | 03:28 | And you will end up getting an effect like this.
| | 03:30 | It won't be exactly like this
because it is a random filter.
| | 03:33 | Next, I want you to go up to the Filter menu,
choose Blur, and then choose Motion Blur.
| | 03:38 | Now, I was telling you that
the angle of our woodgrain is
| | 03:41 | absolutely horizontal,
| | 03:42 | so the Angle inside of this
dialog box should be 0 degrees.
| | 03:45 | I am going to crank up the Distance to 200
pixels, so we have a ton of blur going on.
| | 03:51 | Click OK.
| | 03:52 | Next, I am going to do a little
housekeeping by right-clicking on that filter
| | 03:55 | mask thumbnail, that white thumbnail
there in the Layers panel, and I am going to
| | 03:59 | choose Delete Filter Mask. All right!
| | 04:00 | At this point, I think we can all agree that
this doesn't look anything like woodgrain.
| | 04:04 | We are going to make a big major step
forward here by pressing the Alt or Option
| | 04:09 | key and then clicking and holding
on this Black/White icon and choosing
| | 04:13 | Posterize, which allows you to simplify
the number of colors inside of an image.
| | 04:17 | Because you have Alt or Option down,
that will bring up the New Layer dialog box.
| | 04:21 | I am going to call this guy once again
'woodmaker' because that's essentially what it's doing.
| | 04:26 | I will turn on this check box so that we
affect this one layer and nothing else.
| | 04:31 | Click OK, and then I will dial up
the number of levels here inside the
| | 04:34 | Adjustments panel to 24, and that's it.
| | 04:37 | That's all we're doing inside of this image.
| | 04:39 | Now, this still doesn't look a lot
like woodgrain, but we do now have
| | 04:43 | established the basic ingredients.
| | 04:46 | If I switch back over to the final
version of the composition, you can see
| | 04:50 | that it includes these little blocks right here,
and that's what we've managed to create so far.
| | 04:54 | All right! So having done that, I need to go ahead
and take everything I've done and put it
| | 04:59 | inside of yet another Smart Object.
| | 05:01 | So I will click on one of the Layers,
Shift+Click on the other so they're
| | 05:03 | both selected, go up to the Layers
panel flyout menu and choose Convert to
| | 05:07 | Smart Object once again. All right!
| | 05:10 | Now, at this point, I want
to better see what I am doing,
| | 05:13 | so I'm going to apply another
adjustment layer by dropping down here to this
| | 05:17 | Black/White icon, pressing and holding the
Alt or Option key, and then choosing Levels.
| | 05:23 | And then I will go ahead and
call this new layer contrast.
| | 05:25 | You don't want to turn on Use Previous
Layer to Create Clipping Mask this time
| | 05:29 | around. Leave it off. Click OK.
| | 05:31 | And I am going to go ahead and take
this first value, the black point value, up
| | 05:34 | to 30, and I will tab over to the white
point value, take it down to 215 so you
| | 05:39 | can see we are enhancing the contrast,
Shift+Tab back to the Gamma value, press
| | 05:43 | Shift+Down-arrow to lower it to 0.9.
| | 05:46 | So first value 30, second value 0.9, last
value 215, and then go ahead and close the panel.
| | 05:52 | All right! Now, I am going to drop back down to
this woodmaker Smart Object layer and we
| | 05:57 | are going to toss in a few more Smart
Filters by going up to the Filter menu,
| | 06:01 | choosing Other, and this time around
choosing High Pass, which is going to
| | 06:05 | allow us to basically create these kind of
shadows behind each one of these lumps of color.
| | 06:11 | So I will go ahead and choose High
Pass. Notice we have these halos going on
| | 06:14 | now and I set the Radius value to 5 pixels.
| | 06:17 | Now, you can, by the way, you
can modify these settings to taste.
| | 06:21 | All these numbers are adjustable.
| | 06:23 | These just happen to be ones that I
came up with that I think work really well.
| | 06:27 | I will click OK to apply that filter,
right-click on that new filter mask, get
| | 06:31 | rid of it once again by
choosing Delete Filter Mask.
| | 06:33 | Again, that's optional--just
a little bit of housekeeping.
| | 06:36 | I will go up to the Filter menu.
| | 06:37 | We need to add some
traditional noise now to rough things up.
| | 06:41 | Go down here to Noise, and choose
the Add Noise filter, and these are
| | 06:44 | the settings I applied:
| | 06:45 | an Amount value of 2%, which just rough
things up slightly; set Distribution to
| | 06:49 | Gaussian so we have more contrast; and
definitely turn on the Monochromatic check
| | 06:53 | box so you don't end up
creating weird colors. Click OK.
| | 06:57 | The next step is to basically
smooth out that noise a little bit,
| | 07:01 | so we are going to go up to the
Filter menu, choose Blur, and again
| | 07:04 | choose Motion Blur.
| | 07:05 | Again we want the Angle value to be
0 degrees, but I am going to take the
| | 07:09 | Distance value this time down to 10 pixels.
| | 07:11 | Click OK to accept that.
| | 07:13 | Next, we want a little bit of relief,
so that it feels like this wood here
| | 07:18 | actually has grain associated with it.
| | 07:20 | So I am going to go up to the Filter
menu, and I am going to choose Stylize, and I
| | 07:23 | am going to choose Emboss.
| | 07:26 | These are the values I came up with.
| | 07:27 | Once we establish the Bevel text and
the other ingredients inside the larger
| | 07:30 | composition, I am going to set
the global light to 15 degrees,
| | 07:34 | so I want to go ahead and match that
light source with the Emboss filter.
| | 07:37 | So 15 degrees for the Angle value;
Height, leave it set to 1 pixel, just a
| | 07:41 | little bit of edge; and I'm cranking up the
Amount value to its maximum, which is 500%.
| | 07:47 | Click OK. Now, this looks like garbage at this
point, which is why we now need to turn
| | 07:51 | around and adjust the Blend mode for
this one filter, just for Emboss, by
| | 07:56 | double-clicking on little slider icon to the
right of Emboss here inside the Layers panel.
| | 08:01 | That brings up the Blending Options dialog box.
| | 08:03 | Change the mode from Normal to the
strongest of the contrast modes, which is
| | 08:07 | Linear Light, and that will go ahead and
punch up the effect in the background. Click OK.
| | 08:13 | Now, you may look at this and say, gosh!
| | 08:14 | It's still awfully gray.
| | 08:16 | And yes, it is, which is why we need to
add some color, for one thing, but if you
| | 08:20 | were to increase the contrast too much
so that you have true whites and true
| | 08:24 | blacks, then you are going to
overwhelm everything else in your composition.
| | 08:28 | And if you take a look at
woodgrain in the real world, you'll see that
| | 08:31 | it's fairly uniform. It's fairly light.
| | 08:34 | Anyway, I'm going to go ahead and add a
Color Overlay effect by dropping down to
| | 08:37 | the fx icon at the bottom of the Layers
panel, choosing Color Overlay, and the
| | 08:42 | color I will be going with--I will
click this color swatch right here--
| | 08:45 | the color I am dialing in has a Hue of
35 degrees, and the Saturation, again,
| | 08:50 | this is what I'm using is 85%,
and then the Brightness is 50%.
| | 08:55 | Click OK once you establish those values.
| | 08:58 | Then make sure your Blend mode is set to Color.
| | 09:00 | That's not the default setting.
| | 09:01 | It's Normal by default, but you
want it to be Color in this case.
| | 09:04 | Then click OK to
colorize the overall woodgrain.
| | 09:07 | Now, it may appear a little ratty up
close like this, but once you zoom out--and
| | 09:11 | bear in mind, it's going to look
more like it does when it's zoomed out
| | 09:14 | when you print the document--it ends
up looking pretty darn great. And that, my
| | 09:18 | friends, is how you create
synthetic woodgrain inside of Photoshop.
| | Collapse this transcript |
| 038 Making slats of uniquely textured wood| 00:00 | In this movie, we're going to take that
woodgrain effect that we created in the
| | 00:03 | previous movie and I'm going to
duplicate it in order to create independent
| | 00:07 | panels--or if you prefer, slats--of wood.
| | 00:10 | The great thing about this technique is
that each and every single one of these
| | 00:13 | slats will have its own
unique woodgrain effect.
| | 00:16 | There will be no two woodgrains that are alike,
| | 00:18 | thanks to the power of Smart Filters
here inside of Photoshop. All right!
| | 00:22 | So I'm going to switch to that slat
that I created so far, back in a previous
| | 00:25 | movie, and I'm going to go ahead and press
Shift+Tab to bring up my right-side panels.
| | 00:29 | I'm going to rename this layer here
'middle slat' because that's the purpose
| | 00:34 | it's going to serve.
| | 00:35 | Now, we have to give ourselves room
for the other slats, and I'm going to do
| | 00:38 | that by changing the size of the
canvas to the size of the final composition,
| | 00:43 | which you may recall, again from the previous
movie, was 3,000 pixels wide, 1,200 pixels tall.
| | 00:49 | And I'll do that by going up to the
Image menu and choosing the Canvas Size
| | 00:52 | command, and I need to make sure the
Relative check box is off, which it is.
| | 00:56 | Notice I'm working in pixels.
| | 00:57 | I'm going to go ahead and change the
Width value from 3,200 in my case down to 3,000,
| | 01:03 | so these arrows, these horizontal
arrows, will point inward showing that some
| | 01:07 | cropping is going to occur, horizontally anyway.
| | 01:09 | Then I'm going to change the Height
value to 1,200, and now the top and bottom
| | 01:13 | arrows are pointing outward, showing
that I'm adding height to the document.
| | 01:17 | In any case, I want to make sure that
that center chiclet is selected, and as
| | 01:20 | soon as I click OK, I'll get this
very misleading alert message that says I
| | 01:24 | might be clipping some pixels.
| | 01:25 | That's actually not true because
I'm working with a Smart Object.
| | 01:28 | This is a completely harmless modification.
| | 01:31 | So, click on the Proceed button, and you'll
end up with an effect like this one here.
| | 01:35 | All right, so now I have some
extra height inside of this document.
| | 01:38 | I'm going to go ahead and duplicate this slat.
| | 01:40 | But first, I'm going to click this
up-pointing arrowhead in order to hide those
| | 01:42 | layer rffects and Smart Filters.
| | 01:44 | Now I'm going to go ahead and
duplicate this layer a couple of times.
| | 01:48 | Now normally, what you do is you press
Ctrl+J, or Command+J on a Mac, to jump the layer.
| | 01:52 | That's the easiest way to work;
| | 01:54 | however, if we did that, then the new
layer would be linked to the same Smart
| | 01:58 | Object as this one is,
and that's not what we want.
| | 02:00 | We want independent Smart Objects, so
that, once again, each and every one of
| | 02:03 | these slats has its own unique woodgrain.
| | 02:06 | So in order to achieve that, you go to
the Layer menu, you choose Smart Objects,
| | 02:10 | and you choose New Smart Object via Copy.
| | 02:13 | What it's telling you is that you're
going to duplicate the Smart Object, but
| | 02:16 | it's going to be its own thing;
| | 02:18 | it's going to be independent.
| | 02:19 | Then, if you're working along
with me, I want you to do it again.
| | 02:22 | You go to the Layer menu, choose Smart
Objects, and choose New Smart Object via Copy.
| | 02:26 | Yeah, it is we need three of these things because
we have room for three slats. All right!
| | 02:31 | I'm going to take the middle one here
and rename it 'top' because it's going to be
| | 02:35 | at the top here, at the top of the
image, and then I'm going to rename the
| | 02:38 | bottom one 'bottom' because it's going to
be at the bottom of the image. All right!
| | 02:41 | Now, I'm going to select the top layer,
and I want to move it up, and the best
| | 02:44 | way to do that is to go up to the Edit
menu and choose Free Transform, or press
| | 02:48 | Ctrl+T, Command+T on a Mac.
| | 02:50 | Now, you may get this warning telling
you that your Smart Filters are going to
| | 02:53 | be turned off temporarily.
| | 02:55 | Go ahead and click OK; that's not a problem.
| | 02:57 | Initially, it doesn't appear to have happened
because this layer is in back of the other one.
| | 03:01 | But as soon as you go up to the options
bar, and if you're working in the exact
| | 03:06 | same size image I am, that is 1,200
pixels tall by 3,000 pixels wide, then you'd
| | 03:12 | want to change this Y value from
600 pixels to 100 pixels, like so.
| | 03:17 | By default, that's determining the
coordinate location of the center of this
| | 03:20 | layer, which is exactly what we want.
| | 03:22 | Notice that the Smart Filter has been
turned off for a moment--not a problem.
| | 03:26 | Now one more thing I want you to do,
right-click inside of the image window and
| | 03:30 | choose Flip Horizontal.
| | 03:31 | That will also help to randomize the
effect of this woodgrain layer, so that
| | 03:37 | each one of the layers looks very
different than the other ones. All right!
| | 03:40 | So go ahead and choose that command,
and then you're done. Press the Enter key
| | 03:44 | or the Return key on the Mac
once or twice if necessary.
| | 03:47 | Now, drop down to bottom, and we're
going to do something very similar here.
| | 03:51 | Go up to the Edit menu,
choose the Free Transform command--
| | 03:54 | Ctrl+T, Command+T on a Mac--get that
error message of course. Click OK.
| | 03:57 | Unless you want never to see it again, in
which case, you can select Don't show again.
| | 04:01 | I'm just going to click OK, and then I'm
going to change my Y value this time to 1,100,
| | 04:05 | so 1,100 to move it 100 pixels
from the very bottom of the image--
| | 04:10 | that is, move the center point there.
| | 04:13 | Then I'm going to right-click inside the
image window and choose Flip Horizontal again.
| | 04:17 | So the top guy is flipped, and the bottom
guy is flipped, and the middle one is in
| | 04:22 | its original orientation;
| | 04:23 | so every other one is flipped, in other words.
| | 04:25 | Anyway, I'll press the Enter key, or
the Return key, a couple of times in order
| | 04:29 | to apply that effect.
| | 04:30 | Now, the woodgrain panels aren't really
showing up too well so far because they
| | 04:34 | share homogenous colors.
| | 04:36 | If you look at real wood paneling or
wood slats, they actually kind of vary in
| | 04:39 | color and brightness and so forth,
| | 04:41 | so I'm going to make this middle one
darker by clicking on it and then pressing
| | 04:46 | the Alt key or the Option key on the
Mac, clicking this Black/White Icon down
| | 04:49 | here at the bottom of the Layers
panel, and choosing Brightness/Contrast.
| | 04:51 | Good old simple old brightness contrast
is going to do the trick here, and I'm
| | 04:55 | going to call this layer 'darker', and
turn on the check box Use Previous layer to
| | 04:59 | Create Clipping Mask, so that
we affect this one layer only.
| | 05:02 | Click OK, and then I'm going to
take the Brightness value down to -10.
| | 05:06 | So not way different, just a
little bit different, like so.
| | 05:08 | Contrast is fine as is.
| | 05:10 | Go ahead and close the Adjustments panel.
| | 05:13 | Now, I think we need to add just a
little bit of a line between these slats.
| | 05:18 | I'm going to do that by clicking on
middle slat again--don't leave the darker
| | 05:22 | layer selected, go ahead and click on
middle slat--drop down to fx, click on it,
| | 05:27 | and click on Outer Glow.
| | 05:28 | We don't really want a glow.
| | 05:29 | I'm going to go ahead and zoom in here.
| | 05:31 | What we want is a little bit of a shadow.
| | 05:33 | So I'm going to change this
color from white--in my case,
| | 05:36 | that's the default that
I've set up--to the following.
| | 05:38 | The Hue value is going to be 35, which
is orange; the Saturation value is going
| | 05:43 | to be 100%, so, highly saturated; and then
take the Brightness down to 20%. Click OK.
| | 05:48 | Then change the Blend mode from
Screen, which is creating a glow effect to
| | 05:52 | Multiply, which will create
a kind of burn effect there.
| | 05:55 | I'll take the Size value down to 6
pixels, so just a little bit of edge there,
| | 05:59 | and I'm going to take that
Opacity value down to 25%.
| | 06:01 | So you can see just a hint of an
edge around the slat. Then click OK.
| | 06:06 | We just need a little bit of definition.
| | 06:08 | Now I want to vary the woodgrain for
top and bottom, so that even if somebody
| | 06:12 | is looking very, very closely at my
composition, they aren't thinking, "You know what?
| | 06:16 | Isn't it weird that this little pattern
of blobs over here on the left-hand side
| | 06:21 | of the middle layer is repeated albeit
flipped over here on the right side of
| | 06:27 | the top layer, and down here in the
bottom layer as well if it was showing up?"
| | 06:31 | And in other words, we do have
some repeating items going on.
| | 06:34 | Let's get rid of them.
| | 06:35 | So you do that by going to top in this case--
| | 06:38 | we'll start with the top layer. Double-click
on it in order to open up the Smart Object.
| | 06:43 | Then all you need to do--check this out.
I'll go ahead and zoom in, so we can
| | 06:46 | see it more clearly.
| | 06:47 | All you've got to do is double-click on
Clouds, just double-click on it and it
| | 06:50 | generates an entirely new cloud pattern.
| | 06:53 | If you don't like it, double-click again
as many times as you like, until you get
| | 06:57 | what you're looking for.
| | 06:58 | In my case, what I would suggest is
you watch out for tiny little blobs
| | 07:02 | like this one here.
| | 07:03 | If you end up seeing those little sort
of blob fragments, then double-click on
| | 07:07 | Clouds and something new will happen.
| | 07:09 | If you still don't like it, double-click again.
| | 07:11 | I don't like these little blob babies here.
| | 07:13 | They need to go away. Double-click.
| | 07:15 | That works out pretty well I guess.
| | 07:16 | I'm sick of doing this. So I'm just going to
go up here to the title bar and I'm going to click the
| | 07:20 | close box, and then
Photoshop is going to say, "Hey!
| | 07:23 | Do you want to save your
changes?" which of course I do.
| | 07:25 | Click on the Yes button here on the PC--
| | 07:26 | that would be the Save button on the
Mac--and you will see a new pattern
| | 07:30 | represented up here at the top.
| | 07:32 | So just to give you a sense of the
difference that I made there, I'll go ahead
| | 07:35 | and zoom in, and I'll press Ctrl+Z, or
Command+Z on the Mac, and that shows you
| | 07:38 | the original texture.
| | 07:40 | Then if I press Ctrl+Z or Command+Z again,
| | 07:42 | that shows me the new texture. All right!
| | 07:44 | Let's do it for the bottom as well
just for larfs, double-click on the bottom
| | 07:48 | layer here inside the Layers panel, go
ahead and zoom in so that I can see what
| | 07:52 | I'm doing. Double-click on Clouds.
| | 07:53 | You could also, if you want to, not only
change the cloud pattern there, but you
| | 07:58 | could also increase the width of this
woodgrain by double-clicking on Motion
| | 08:04 | Blur and then changing the Distance to
something else, like let's try 350 pixels,
| | 08:09 | which is going to spread out that grain.
| | 08:11 | It's going to make for some wider blobs
essentially, and then click OK, and then
| | 08:15 | click the Close box, and then click Yes,
or that would be the Save button on the Mac.
| | 08:20 | That will go ahead and generate a
new woodgrain down here at the bottom.
| | 08:23 | If you feel like you need to match for
top--I sort of feel like I do because
| | 08:27 | I'm compulsive I guess--
| | 08:28 | I'll go up here to top.
| | 08:29 | I feel like it should be
wide woodgrain as well,
| | 08:31 | so I'll double-click on the top layer,
double-click on Motion Blur, and change
| | 08:36 | its Distance to 350 pixels. Click
OK. Click the Close box. Click Yes.
| | 08:40 | You can see how you can just whip through this.
| | 08:42 | That would be the Save button on the Mac.
| | 08:44 | And we now have independent wood
strips here, that is, slats or panels or
| | 08:50 | whatever they are, here inside
this composition. All right!
| | 08:53 | A couple of more things to do
before I'm done here. Go ahead and select
| | 08:56 | everything inside the Layers panel
by going up to the Select menu and
| | 08:59 | choosing All layers--
| | 09:00 | Ctrl+Alt+A or Command+Option+A on the
Mac--and then let's go ahead and combine
| | 09:04 | these guys into guess what, yet another
Smart Object by going up to Layers panel
| | 09:08 | flyout menu and choosing
Convert to Smart Object.
| | 09:11 | Then once you've done that and once
Photoshop has done it for you, then I want
| | 09:15 | you to drop down to the fx icon down
here at the bottom of the Layers panel,
| | 09:19 | and I'm going to choose Gradient
Overlay. And I just want to add a little bit
| | 09:22 | of light variation,
| | 09:24 | so I'm going to change this Angle
value to 100, and I'm going to set the
| | 09:28 | Style from Linear to Reflected and
turn on Reverse, so we get a black-to-
| | 09:33 | white-to-black gradient.
| | 09:35 | I'm going to change the Blend mode to
Overlay, so that we end up getting this
| | 09:39 | massively enhanced contrast effect.
| | 09:41 | To temper it a little bit, I'm going
to take the Opacity level down to 15%.
| | 09:45 | Click OK in order to accept that modification.
| | 09:47 | So you can see this is what the
woodgrain look like without that layer effect.
| | 09:52 | This is what it looks like now. All right!
| | 09:54 | Then finally, I want to take this
layer that I've worked so hard on here, this
| | 09:58 | Smart Object, and put it in inside my
composition in progress, which is this guy right here.
| | 10:03 | So I'll make sure that file is
opened, which it is, and then with Contrast
| | 10:07 | selected here inside the Layers panel,
I'll click on the flyout menu icon, I'll
| | 10:11 | choose the Duplicate Layer command,
and I'll go ahead and change the document
| | 10:16 | from its current name to
Just the text.psd, which is the name of the file I'm
| | 10:20 | working with. Click OK.
| | 10:21 | Now it doesn't look like anything
happened until you actually switch to that
| | 10:25 | document--here it is--the one we just
saw a moment ago with the big white type.
| | 10:28 | Problem is the Contrast layer,
which is really our slats of wood--
| | 10:34 | let's go ahead and rename that--
is covering up the text below.
| | 10:37 | So I'm going to go ahead and grab it
and drag it down to the bottom of the
| | 10:40 | stack, and now we're seeing our wood
panel in back of the text, and we're ready
| | 10:44 | to begin our embossing the text from
the wood background, which is exactly what
| | 10:49 | we'll do in the very next movie.
| | Collapse this transcript |
| 039 Kerning within a single character| 00:00 | Hey gang! This is Deke McClelland.
| | 00:01 | Welcome to Deke's Techniques.
| | 00:03 | Now, in this technique I'm going to show
you a solution to what I find to be one
| | 00:07 | of the most tragic problems facing
the world today, which is bad kerning.
| | 00:12 | Nothing irritates me on earth
like bad kerning, I swear to you.
| | 00:16 | I'll go into a public place with big signs
and the characters are just horribly kerned.
| | 00:21 | Ugh! It ruins, you know, a few minutes of my day,
and I don't want that to happen to you.
| | 00:27 | So I'm going to be showing
you how to kern, not text--
| | 00:30 | you know how to kern text--how to
kern inside of a single character.
| | 00:35 | Now, I know. You're looking at me thinking
hmm, never really needed to do that Deke.
| | 00:40 | Yes you have. Check it out.
| | 00:42 | A 1, a 0, a 0 and a percentage sign, all
kerned nice and tight together, but the
| | 00:46 | contents of that percentage sign,
which are ultimately a superscripted 0, a
| | 00:50 | fraction character and a little 0,
there are gaping holes between those little
| | 00:56 | sort of subcharacters there.
| | 00:57 | That's the problem because you can't go
in to a percentage sign and start kerning it.
| | 01:01 | That's not humanly possible.
| | 01:04 | Well, actually, yes, it is.
| | 01:06 | And I'm going to show you exactly how to
do it to get these professional-quality
| | 01:10 | results, which will not irritate people like me.
| | 01:13 | Please don't do that.
| | 01:14 | Here, let me show you how
it works. All right, gang!
| | 01:18 | So here I am looking at my
progress so far inside of this document.
| | 01:21 | I've managed to establish
this synthetic wood grain.
| | 01:23 | I've also duplicated it in order to
create a couple of additional slats, each of
| | 01:27 | which sports its own unique texture pattern.
| | 01:30 | Now, what I want to do is take this big
white text here and go ahead and emboss
| | 01:34 | it against the wood background.
| | 01:36 | However, before I do that, I want to
show you this truly geeked-out technique
| | 01:41 | that I think is super useful, very exciting,
for those of you who are way into kerning.
| | 01:48 | If you love to kern text, or more
importantly, you hate the look of badly kerned
| | 01:52 | text, then you will
absolutely love this technique.
| | 01:55 | It goes beyond any kerning thing I've ever seen.
| | 01:58 | So I'm going to switch
over to my document at hand.
| | 02:00 | Notice that 100% is not
kerned well at this point.
| | 02:04 | We have way too big of gaps between
the various characters, and that tends to
| | 02:08 | happen when you're working with very big type.
| | 02:10 | And so the solution, of course--we
all know this, right--the solution is
| | 02:14 | to hand-kern the type.
| | 02:15 | So you go ahead and grab your Text tool
here inside of Photoshop, and you can get
| | 02:20 | that by pressing the T key, and then
you click between a couple of characters
| | 02:24 | and then to kern them together,
| | 02:26 | you go ahead and press the handy
keyboard shortcut that works across a lot of
| | 02:29 | Adobe applications, which is Alt+Left
Arrow, or Option+Left Arrow on the Mac.
| | 02:34 | And then you click between a couple of other
characters, Alt+Left Arrow a few times again.
| | 02:38 | That's too far, so I do an
Alt+Right Arrow or an Option+Right Arrow on the
| | 02:42 | Mac to scoot them back apart, and then
click between the 0 and the percentage
| | 02:46 | sign and press Alt+Left Arrow a couple
of times to kern those together as well.
| | 02:50 | All right, so, so far so
good, right? Not really.
| | 02:53 | Look at the big problem here.
| | 02:55 | So I've managed so far to kern the
various characters together, but you can't
| | 03:00 | kern inside of a character.
| | 03:02 | So what do you do about the fact that
we have these big gaping gaps inside of
| | 03:07 | the Percentage sign, between the 0 and
the fraction character and the other 0?
| | 03:12 | Well, there are two solutions,
one of which is to find those
| | 03:16 | little subcharacters.
| | 03:17 | They exist inside this and many other fonts.
| | 03:19 | This is Adobe Garamond Pro, which is
one of the classic, big-character fonts,
| | 03:23 | and it goes so far as to include a
designer superscripted 0 that matches the
| | 03:27 | weight of the other characters, as well
as the small 0 and a fraction character.
| | 03:32 | And then you could find all those
characters, if only it was obvious where they
| | 03:35 | are, you have to go to the Character
Map software that's included with your
| | 03:38 | operating system, or you could
take advantage of the Glyphs panel in
| | 03:41 | Illustrator or InDesign.
| | 03:43 | It doesn't exist here inside Photoshop.
| | 03:45 | But there is a simpler
way to work. Check it out.
| | 03:48 | I'm going to press the Escape key
in order to return to my big gaping
| | 03:51 | characters, like so.
| | 03:52 | Then I'll switch back to a different
tool, the Rectangular Marquee tool will do
| | 03:56 | just fine, and I'll press Shift+Tab
to bring back my right-side panels.
| | 03:59 | There is my Layers panel.
The Text layer is active.
| | 04:01 | I'm going to duplicate it by pressing
Ctrl+J, or Command+J on the Mac, just to
| | 04:05 | jump it to a new layer.
| | 04:07 | Then I'll turn off the original layer--
| | 04:09 | my reasoning being I might want to come back
to it later, so I don't want to mess it up.
| | 04:13 | So I've got my new version of the layer.
| | 04:14 | I'll go up to the Layer menu,
choose Type, and choose Convert to Shape.
| | 04:20 | That's going to convert my type to
independent objects, to independent path outlines.
| | 04:24 | Now I can modify those path outlines
by hand just with the aid of the Black
| | 04:29 | Arrow tool, or at least mostly
with the aid of the Black Arrow tool.
| | 04:33 | We'll where things go wrong, once again.
They get a little tricky, once we start
| | 04:37 | dealing with that Percentage symbol.
| | 04:38 | I'm going to go ahead and select
that Black Arrow tool here inside the
| | 04:41 | toolbox, and then I'm going to marquee around
these characters, around the 1, the 0, and the 0.
| | 04:46 | Just because I want to make some very
specific numerical adjustments, I'm going
| | 04:50 | to go up to the Edit menu
and choose Free Transform Path.
| | 04:53 | That's Ctrl+T, Command+T on the Mac,
and I want you to remember that keyboard
| | 04:56 | shortcut because I'm going
to be using it a lot here.
| | 04:58 | I'll go ahead and choose the command
for now though, and then turn on this
| | 05:01 | little Delta sign, the triangle, and
that'll allow you to make relative changes.
| | 05:06 | And I'm going to change the X value to
53, because I just want to scoot those
| | 05:09 | characters over 53 pixels, and
press the Enter key two times--
| | 05:13 | that would be the Return key a couple of
times on the Mac--in order to apply my adjustment.
| | 05:17 | It gets a little tedious because we
have to do this a few times, but I'm going
| | 05:19 | to go ahead and marquee the 1 and
the 0 this time independently of the
| | 05:22 | other zero, and press Ctrl+T, Command+T on the
Mac, in order to enter the Free Transform mode.
| | 05:28 | Delta is still down, so this is
still going to be a relative adjustment.
| | 05:31 | I'm going to change the X value
this time around to 39 pixels.
| | 05:35 | You might say, Deke, how
do you know these values?
| | 05:37 | Well, obviously, I've practiced this in
advance. I actually just sat there and
| | 05:42 | nudged the characters around using the
arrow keys on the keyboard in order to
| | 05:45 | do this originally.
| | 05:46 | Anyway, now I'm going to marquee
the one to select it independently.
| | 05:49 | You could also just click on its path outline.
| | 05:51 | I'll press Ctrl+T, Command+T on the Mac,
in order to enter the Free Transform mode,
| | 05:55 | select that X value and change it to
69 and press the Enter key a couple of
| | 05:59 | times--that's the Return
key a couple times on the Mac.
| | 06:02 | Now then, I actually I want to move the
Percentage character over a little bit by itself.
| | 06:06 | So I'll just click on any
portion of the |
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