IntroductionWelcome| 00:04 | Hi! I'm Nigel French.
| | 00:05 | Welcome to Photoshop for
Designers: Layer Effects.
| | 00:08 | This course is aimed at helping
designers and indeed anyone who uses
| | 00:12 | Photoshop to get the most
out of this essential toolset.
| | 00:16 | We begin with an overview of the options
related to each of the ten layer effects.
| | 00:20 | Then we'll look at the blending options,
including some of those scary and often
| | 00:25 | confusing options like Knockout and Blend If.
| | 00:28 | After the theory, we'll move onto the
practice, which as I'm sure you know,
| | 00:33 | isn't always as linear or as clear-cut.
| | 00:36 | Creating an alphabet poster we'll
look at how the different effects can be
| | 00:40 | combined for some great looks.
| | 00:42 | We'll also look at how layer effects
can be combined with essential Photoshop
| | 00:46 | features like layer masks,
clipping masks, and Smart Objects.
| | 00:51 | We'll use a mix of practical and
flashy, effects for every day and effects
| | 00:56 | for special occasions.
| | 00:58 | So let's get started with
Photoshop for Designers; Layer Effects.
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| Using the exercise files| 00:00 | Exercise files are available to
premium subscribers of lynda.com.
| | 00:04 | Simply download the exercise files
to your computer and place them on the
| | 00:08 | Desktop for ease of access.
| | 00:10 | The exercise files are
organized by chapter number.
| | 00:14 | Whenever an exercise file is available
for a video, you'll see a yellow overlay
| | 00:19 | at the bottom of the screen that indicates
the location and name of the exercise file.
| | 00:24 | Working with the exercise files
can add great value to the training.
| | 00:28 | However, if you don't have access to
the exercise files, you can still follow
| | 00:32 | along with the videos often using your own
files and how to fulfilling learning experience.
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1. Working with Layer Effects and StylesWhat are layer effects?| 00:00 | Layer effects are effects
that are linked to a given layer.
| | 00:03 | in this case, I have four layer
effects linked to the Circle layer.
| | 00:08 | That means that if I move the Circle
layer around, the effects will move with it.
| | 00:12 | I could if I wanted to come and right-
click on that fx badge or hold down my
| | 00:18 | Ctrl key and click on that and choose
Create Layers, which would separate the
| | 00:24 | effects onto individual layers.
| | 00:26 | We will be covering this in a later movie,
but for now we want to work with the
| | 00:30 | effects linked to the layer.
| | 00:32 | While they are linked, they are
continuously editable, meaning that I can
| | 00:37 | just double-click on any one of
them and I can change the amount of the
| | 00:41 | effect that has been added.
| | 00:44 | These layer effects have a very low
overhead, meaning that they will have very
| | 00:47 | little impact on your file size.
| | 00:50 | If I delete these effects, you'll see
that the document sizes do not reduce at all.
| | 00:56 | So the effects are
adding very little to the file size.
| | 01:03 | The effects work on the boundary
between the opaque parts of the layer and the
| | 01:07 | transparent parts of the layer.
| | 01:09 | Shadow effects, like Drop Shadow and
Inner Shadow, work on the transparent
| | 01:13 | pixels and interior effects, like
Color Overlay, Gradient Overlay, and Satin,
| | 01:19 | work on the opaque pixels.
| | 01:22 | Because transparency is required by
most of the effects, you need to have
| | 01:26 | transparent pixels as we do on the Circle layer.
| | 01:30 | if I turn off Layer 1, we
can see we've got a checkerboard
| | 01:33 | indicating transparency.
| | 01:35 | In all cases, the effects will
not work if I flatten the image.
| | 01:41 | You'll see that my effects, even though
the image looks the same, I can't move
| | 01:45 | this item around and I can't
edit the individual effects.
| | 01:48 | This is now just a one pixel deep image.
Nor can I add any other effects to this
| | 01:54 | as a background layer.
| | 01:56 | So effects require the use of layers.
| | 02:00 | Because they require the use of
layers, if you want to edit the effects,
| | 02:04 | you should save your document in a
file format that supports layers, such
| | 02:10 | as Photoshop or TIFF.
| | 02:14 | Two terms that are used somewhat
synonymously are layer effects and layer styles.
| | 02:18 | A layer style is just a collection of effects.
| | 02:22 | So in the case of this Circle, its layer
style is the Drop Shadow plus the Inner
| | 02:26 | Shadow plus the Bevel and
Emboss plus the Pattern Overlay.
| | 02:30 | I can double-click on the empty area
to the right of the layer name to access
| | 02:36 | the Layer Style dialog box, and I
could if I wanted to save this as a style.
| | 02:41 | I could give it a name.
| | 02:41 | I'll just call it Style 1 for now.
| | 02:44 | And I could now, if I drew any other
object or had any other image layer, come
| | 02:52 | and apply that style to it.
| | 02:56 | One more thing I'd like to mention is
that these effects also show up in Adobe
| | 02:59 | InDesign and a lot of the same
concepts exist in Adobe Illustrator.
| | 03:04 | So things that you learn here
you can also apply elsewhere.
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| Using the Layer Style dialog box| 00:00 | Okay, applying layer effects, we do
this through that Layer Style dialog box,
| | 00:05 | and there's more than one way to get there.
| | 00:07 | We can use the Layer menu Layer Style,
choose any of the effects from here, or
| | 00:13 | we can use the fx drop-down menu, choose
any of the effects from here, or we can
| | 00:18 | just double-click to the right of
the layer name that gets us there.
| | 00:22 | Now once we're there, if we want to
change the size of our image, Command+Plus,
| | 00:25 | Command+Minus, or Ctrl+Plus, Ctrl+Minus on Windows.
| | 00:31 | As you add effects, your layer style preview
will update over here, so keep an eye on this.
| | 00:39 | Usually, it's not that interesting or
useful, but it can sometimes help you
| | 00:44 | understand what is
actually going on with the effect.
| | 00:46 | Now to move through the effects, check
the box that applies the effect, click on
| | 00:53 | the name of the effect that applies the
effect, and it takes you to the options for
| | 00:59 | the effect so that you can
change them if you want to.
| | 01:02 | So I now have a Drop Shadow and Inner Shadow.
| | 01:05 | Having changed the values of in this
case the Inner Shadow, if I want to
| | 01:09 | capture those values as a default I
can click on this button, or if I want to
| | 01:12 | reset them I can click on this button.
| | 01:15 | If I now go ahead and click OK,
we'll see that these two values are
| | 01:20 | listed beneath my layer on the Layers panel
and I can turn them on and off individually.
| | 01:28 | If I turn off the Inner Shadow, since
that was the one that I changed, and
| | 01:33 | return to my Layer Style dialog box
and now press Command+2 to go to Inner
| | 01:38 | Shadow, you'll see that it remembers
the values that I had input previously.
| | 01:44 | It's just that this
effect is currently disabled.
| | 01:48 | If on the other hand, I decide that I
want to remove the Inner Shadow completely
| | 01:53 | by dragging it into the Trash, the next
time I return to Layer Style and go to
| | 01:58 | Inner Shadow, it has
returned it to its default values.
| | 02:03 | One last thing I want to mention, and
that is that if you want to clear the
| | 02:07 | layer style completely, get rid of all
the effects that were applied to a layer style,
| | 02:11 | the easiest way of doing it is
right-clicking or Ctrl+Clicking on the fx
| | 02:16 | badge on the layer and coming to Clear
Layer Style, and that's going to reset
| | 02:22 | all the effects to their default values.
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| Moving, copying and removing layer effects| 00:00 | Once layer effects have been applied
to a particular layer, those same layer
| | 00:04 | effects can be moved or copied
to another layer very easily.
| | 00:09 | One way to do this would be to save the
effects that have been applied to this circle,
| | 00:14 | and without the effects it just
looks like that, would be to save these
| | 00:18 | effects as a layer style, and to do
that if I double-click to the right of the
| | 00:24 | layer name, I can then click on New
Style, I can give it a name, and then to
| | 00:32 | apply that same style to the yellow
circle, I can come to the Styles panel,
| | 00:37 | come to the bottom of the Styles panel
where the style will be listed, and click on it.
| | 00:43 | That's one way.
There is another way.
| | 00:46 | Without bothering to save the layer
style, I can just drag the fx badge on to
| | 00:53 | the other layer. That moves the effect.
| | 00:57 | If I wanted to copy it, do exactly the
same thing by holding down the Option key
| | 01:02 | on a Mac or the Alt key on a PC,
and that will copy the layer effects.
| | 01:07 | I am going to undo that. Command or
Ctrl+Z. Another way to do it and this might
| | 01:13 | be preferable if you want to copy the
same effects to more than one layer.
| | 01:18 | I am going to come to the red circle
and just hold down my Alt key or Option key,
| | 01:25 | and drag away from
that to create a second one.
| | 01:28 | Now I want to apply the effects that
are currently applied to the yellow circle
| | 01:32 | to both red circles, and to do that if
I right-click or Ctrl-click on a single
| | 01:38 | button mouse and choose Copy Layer
Style and then come to these two layers,
| | 01:45 | hold down the Shift key to select them both,
right-click, and then choose Paste Layer Style.
| | 01:52 | We can also copy and paste layer
styles from one document to another.
| | 01:57 | So with that same layer style on my
Clipboard, I can come to this document here
| | 02:03 | where I have now an orange circle
and I can do exactly the same thing.
| | 02:08 | Right-click to the right of the
layer name and choose Paste Layer Style.
| | 02:13 | So, several ways of moving and copying
layer effects from one layer to another.
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| Working with preset styles| 00:00 | As well as being able to save your
own layer styles, layer styles being a
| | 00:04 | collection of layer effects,
| | 00:06 | Photoshop also ships with a
whole bunch of predefined styles.
| | 00:11 | So this movie is all about taking a
look at some of those predefined styles.
| | 00:16 | These are all accessible through the
Styles panel, which if you don't find it
| | 00:20 | over there, you'll find right
there under the Window menu.
| | 00:25 | I'm going to tear off my Styles panel,
just so that we can expand it, because we
| | 00:30 | need to have a slightly
bigger view of the Styles panel.
| | 00:33 | Now firstly, there are different
ways of viewing your Styles panel.
| | 00:38 | Currently, we're seeing a Small Thumbnail.
| | 00:40 | I prefer, if room allows to go to a
Large List, but depending on the size of
| | 00:47 | your monitor, maybe you want a Small
List, or maybe you don't want a list at
| | 00:50 | all but just a thumbnail. But
I'm going to go with a Large List.
| | 00:55 | Now in addition to the styles that we
have here by default, we can also add a
| | 01:00 | whole bunch of other styles.
| | 01:02 | Furthermore, there are lots of
styles available on Adobe Exchange.
| | 01:08 | But just to add those that come with
Photoshop, I'm going to add the Web Styles.
| | 01:15 | Now do I want to append them, add them to
what's already there, or do I want to replace them?
| | 01:19 | I want to append them and then I'm
going to go back and I'm going to choose
| | 01:24 | Photographic Effects and
I want to append those too.
| | 01:29 | So now I have a list of styles that is
much longer than it was before. And you
| | 01:36 | can spend a whole lot of time
applying these styles, and some of them are
| | 01:41 | going to work great and some of them
are not going to work at all. It all
| | 01:47 | depends upon the context.
| | 01:49 | Now if I want to apply a style to a
picture, I need one of the photographic
| | 01:53 | effect styles, for example
Duotone with Texture. Do I like that?
| | 01:58 | No, not really.
| | 02:00 | But I can just go and click
on something else instead.
| | 02:03 | So let's see how using this very quickly
mocked-up web design, we can change the
| | 02:11 | whole look of our design by
applying some predefined styles.
| | 02:16 | So if look at the Layers panel, this
web page has been mocked-up using shape
| | 02:22 | layers and I have over here four layer
groups, each of which contains the link
| | 02:29 | text and the bullet that goes with it.
And that's in a group and I have got
| | 02:35 | four of those and I have a separate
layer for the Search field, another one
| | 02:41 | for the Logo, and another one for
the rule, and another one for the top
| | 02:46 | navigation, which is actually white so
we're not seeing that, and one for the
| | 02:49 | sidebar, and then we've got
the duck in the content area.
| | 02:54 | So what I'm going to do is
apply a style to one of these links.
| | 03:00 | Now this is particularly useful
because once we've added our layers into
| | 03:05 | groups, we can apply the same style
to a group and all of the items in the
| | 03:11 | group or indeed to several groups.
| | 03:15 | I am going to hold down my Shift key so
that I select all four of those groups
| | 03:19 | and then try and find an appropriate
style for them. And I'm going to go with
| | 03:23 | the Red Paper Clip. And then I'm
going to apply the same thing to the Logo
| | 03:27 | style and now let's come down to the
rule where we'll give that one the Blue
| | 03:34 | Paper Clip maybe, and then to the
sidebar I want to apply something else.
| | 03:42 | Let's see. What do we have?
| | 03:44 | You'll see some of these
have the word Button after them.
| | 03:46 | That's going to mean they're going to
have a beveled edge, which is not really
| | 03:49 | going to be appropriate for what I'm after here.
| | 03:51 | So I'm going to avoid those, and
instead let's go with the Brushed Metal.
| | 03:59 | And then on the image itself, I'm
going to use one of those photographic
| | 04:04 | effects, we'll Sepia Tone that.
And finally for the Search field, there is
| | 04:13 | the Form Button style.
| | 04:15 | I'm not by any stretch of the
imagination claiming that this looks good or that
| | 04:20 | you should make your designs look this way.
| | 04:22 | But the point I'm sure to make
here is that you can very easily, very
| | 04:25 | quickly transform the appearance of
your layout by applying styles, which
| | 04:31 | are all nondestructive,
continuously editable, and very, very quick and
| | 04:36 | efficient to apply.
| | 04:38 | One thing I should say though is that
the word style, if you're from the world
| | 04:42 | of InDesign or page layout concepts in
general, you may be expecting more from
| | 04:48 | the styles than they're actually going
to deliver. Because what we don't know
| | 04:52 | having applied style to this
layer, say the duck for example,
| | 04:56 | now it lists the effect that goes to
make up that style, but nowhere does it
| | 05:02 | tell us what style has been applied to it.
| | 05:05 | Furthermore, if I were to come and
edit that style and I remember that it was
| | 05:10 | the Sepia Tone style, then the
appearance of my duck would not update.
| | 05:15 | So these are not live styles in the way
that paragraph styles are in Adobe InDesign.
| | 05:21 | I just mentioned that because you may
be expecting more of the styles than they
| | 05:25 | are actually going to deliver for you.
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2. Layer Effects in TheoryShadow effects 1: Drop Shadow | 00:00 | Okay, let's have a look at layer
effects in theory. And we're going to be
| | 00:04 | looking at layer effects in practice
later on, but for now, let's just get used
| | 00:08 | to the various different options that
we have available to us. And we're going
| | 00:11 | to start with the humble Drop Shadow.
| | 00:13 | I'm going to double-click to the right of
the layer name to go to the Layer Style panel.
| | 00:19 | Hold down my Spacebar and just move
my image to the left of the Layer Style
| | 00:24 | dialog box so we can see the two
side by side, and then go to Drop Shadow.
| | 00:29 | Now much of what I say here is going to
apply to all of the effects and I won't
| | 00:34 | be repeating myself on the other ones.
| | 00:36 | So this is going to be longest of these movies.
| | 00:40 | So firstly, let's start out with the
blending mode and the color and the opacity.
| | 00:46 | Now we've got various different blending modes.
| | 00:48 | In a nutshell, Darken through to Darker
Color is going to give you a darker result.
| | 00:53 | Lighten through to
Lighter Color, a lighter result.
| | 00:57 | Overlay through to Hard Mix is
going to affect the contrast.
| | 01:00 | Difference through to Divide is going
to invert the values in some way, so it will
| | 01:05 | give you a sort of negative type of effect.
| | 01:08 | And Hue through to Luminosity
is going to affect the color.
| | 01:13 | Normal is just going to be flat color
and Dissolve will make your edges rough.
| | 01:19 | Never found a use for Dissolve yet in
all the years I have been using Photoshop.
| | 01:24 | Maybe one day I will.
| | 01:25 | But anyway, because shadows are
intended to be dark, we have Multiply as our
| | 01:31 | blend mode and black as our color.
| | 01:33 | We can change that color if we want to
by clicking on the Color box and then
| | 01:37 | just move over to sample a color from
the image or just use the color slider
| | 01:43 | here and choose a different color.
| | 01:45 | But I'm going to sample the color from
the image itself, so that we are using
| | 01:50 | the color of the layer to
make the color of the shadow.
| | 01:55 | Now if I increase the Size of the
shadow and then increase its Distance, we can
| | 02:00 | see it being offset from the layer.
| | 02:03 | I'm going to zoom in on this by
pressing Command+Spacebar and clicking a couple
| | 02:08 | of times to make my image bigger. And
as much as I like that, I think I'm going
| | 02:12 | to go back to having my shadow be black
just so that we can see it a little bit better.
| | 02:18 | Now in terms of positioning the shadow,
we have the Angle and the Distance.
| | 02:25 | If I move this dial all the way over
to the right, we get to an Angle of
| | 02:29 | 0 degrees, and then I can move it back in
an anticlockwise direction to 180 degrees.
| | 02:36 | Now 0 to 180 degrees and your
subject is going to be lit from above.
| | 02:42 | Anything down here,2 0 to -180 degrees,
your subject is going to be lit from below.
| | 02:49 | In combination with this, we
also have the Global Light setting.
| | 02:52 | With this checked it's going to ensure
that the Angles for Drop Shadow, Inner
| | 02:59 | Shadow, and Bevel and Emboss are all the same.
| | 03:03 | So presumably, that's going to give
you a more realistic looking result.
| | 03:07 | But this can be a bit limiting
sometimes and also a bit confusing if you're
| | 03:12 | moving one of these and then the angle
of your other effects starts to change.
| | 03:17 | So just be aware of that.
| | 03:18 | I'm going to leave it on for now, because I'm
only going to be working with the Drop Shadow.
| | 03:22 | I am going to click OK to that and I
just want to show you a couple of other
| | 03:26 | places where you can affect the Global
Light, where those checkboxes are turned on.
| | 03:31 | So if I right-click on the fx button
right there, Global Light, or I can also
| | 03:37 | come to the Layer menu and down
to Layer Style > Global Light.
| | 03:42 | Either of these places, you can
change the Angle and also the Altitude.
| | 03:48 | Altitude only applies to Bevel and Emboss.
| | 03:52 | Let's go and look at some of
the other Drop Shadow options.
| | 03:58 | So we've seen the Distance, we've see the Size.
| | 04:01 | As I increase the Size, that's going to
soften the shadow. And then we have this Spread.
| | 04:06 | Now if I crank the Spread up, that will
harden the shadows. So maybe we want a
| | 04:13 | hard drop shadow, which if I combine
this with the blend mode of Normal and
| | 04:18 | an Opacity of 100%, we will
make the shadow entirely hard.
| | 04:23 | I'm not going to do that.
| | 04:25 | I'm going to put that back to 75 and
Multiply, and take the Spread down, and now
| | 04:32 | move on to the Quality options.
| | 04:34 | The Contour is quite involved, really
there is quite a lot too it, and I will be
| | 04:39 | discussing Contour in a separate movie,
but for now I just want to say this.
| | 04:43 | If I click on it, I can edit the Contour.
| | 04:45 | We can use one of these preset contours.
| | 04:48 | It controls the way the light
transitions from the opaque of the layer
| | 04:53 | boundary into transparency.
| | 04:55 | Now if I drag this up, it's going to
make my shadow darker and if I drag it down,
| | 05:01 | it's going to make my shadow lighter.
| | 05:02 | Certain contour curves, I'm going
to use one of these predefined ones.
| | 05:08 | Sawtooth for example.
| | 05:10 | This can sometimes results in jagged
edges to the effect, and if I click OK, you
| | 05:19 | can mitigate that somewhat
by checking Anti-aliased.
| | 05:23 | So if I turn on Anti-aliased, we don't
see that really doing much if anything.
| | 05:29 | But let me just go ahead and
edit that contour curve again.
| | 05:32 | It's still not doing anything.
| | 05:38 | But should you find yourself with a
contour curve that is causing jagged edges
| | 05:44 | to your effect then check the Anti-
aliased checkbox. As it says there,
| | 05:48 | it's going to smooth the contour.
| | 05:50 | I am going to put that back to a Linear
curve and one more option we have in the
| | 05:56 | Quality area is the Noise.
| | 05:59 | If I put the Noise up,
it's going to do just that.
| | 06:01 | It's going to introduce some sort
of random noise into the shadow.
| | 06:05 | It might be useful if you are making
indexed color GIFF images for the web and
| | 06:11 | you want to avoid banding in your shadow.
So I am going to turn it down for now.
| | 06:16 | That leaves us with one option that
relates to our drop shadows and drop
| | 06:20 | shadows only, and it's this
one Layer Knocks Out Drop Shadow.
| | 06:24 | It's a very interesting one.
| | 06:26 | So at the moment with Layer Knocks Out
Drop Shadow checked and if I uncheck it,
| | 06:31 | it's not having any effect.
| | 06:32 | And it won't have any effect until I
come to my Blending Options and then turn
| | 06:39 | down the Fill Opacity. And I'm just
going to reduce the size of my image layer.
| | 06:46 | So what we're seeing there is just the
effect behind the image layer, which is
| | 06:53 | now knocking out the shadow.
| | 06:55 | But we could also if we want to turn
that off, so that we see just the shadow by itself.
| | 07:00 | And this is quite a versatile
thing and can be used to good effect as
| | 07:06 | we'll see later on when we
come to work with the type poster.
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| Shadow effects 2: Inner Shadow| 00:00 | So next, the Inner Shadow which has
much in common with the Drop Shadow.
| | 00:06 | Like the Drop Shadow you can position
it just by dragging it around within the
| | 00:11 | shape and wherever you drag you're
going to be confined to the bounce off the
| | 00:15 | layout, because you cannot drag
it outside, as its name implies.
| | 00:19 | it's only can apply inside the layer.
| | 00:22 | And as I'm dragging that notice
it's affecting the Distance and the
| | 00:26 | Angle settings over here.
| | 00:27 | Also, it's one of those that is tied to
Global Light, if you have this checkbox
| | 00:33 | checked, like the Drop Shadow
and like the Bevel and Emboss.
| | 00:36 | We have the Choke command. If I first of
all put up the size to soften the Inner
| | 00:42 | Shadow I can then choke that to
harden the edges of the shadow.
| | 00:47 | We also have the Contour and the Anti-
alias and a Noise command, which will do
| | 00:54 | just that, just add a certain amount of
random noise to the effect. And that's
| | 00:59 | about all there is to the Inner Shadow.
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| Glow effects 1: Outer Glow| 00:00 | So we've worked with the shadows.
Now let's work with the glows, which we can
| | 00:04 | think of as being the counterparts to
the shadows, but they are adding light
| | 00:08 | instead of shadow. And because they are
adding light the default color is a light
| | 00:15 | color and the default blending mode is
light blending mode, a light yellow and
| | 00:19 | Screen respectively.
| | 00:21 | And we will leave them as they are for now.
| | 00:22 | Now that the Noise option for Outer Glow is
included here with Opacity and it does just that.
| | 00:28 | It increases noise.
| | 00:29 | If I first of all increase the Size,
we can add Noise to our glow like that, should we want to.
| | 00:36 | I'm going to put that back down to 0.
| | 00:39 | Let me just say that while these are
the default colors in blending modes,
| | 00:43 | maybe we want to have a dark glow in which
case I could click on that, choose a dark color.
| | 00:50 | It has no effect at the moment, because
I'm using a lightening blending mode, but
| | 00:54 | if I change this to
Multiply then we have a darker glow.
| | 00:58 | Let's put that back to how it was though.
| | 00:59 | Let's go with something
like that and back to Screen.
| | 01:07 | So we can apply our glow as a solid
color or as a gradient and at the moment,
| | 01:13 | because the gradient is a color to
transparency gradient, it's not really
| | 01:17 | going to look any different
regardless of which one of these we choose.
| | 01:21 | But I'm going to leave it on a solid color for now,
but we will choose this one in just a moment.
| | 01:26 | In the Elements area we can
apply this as Softer or more Precise.
| | 01:31 | So just try those and see which one you like.
| | 01:34 | Precise does tend to result in these
rather choppy breaks around the curves and
| | 01:39 | more typically I use Softer.
| | 01:42 | We have a Spread slider here just as
we had in Drop Shadow, which will control
| | 01:48 | how much of the effect is opaque.
| | 01:50 | As we move this up, we get more
opaqueness and hardening of the edge of our glow.
| | 01:57 | We also have our Contour option that we
saw with Drop Shadow and Anti-alias and
| | 02:03 | then we have two new options, Range and Jitter.
| | 02:08 | Both of which are rather hard to
understand, neither of which are terribly
| | 02:12 | important, but Range controls what
part of the effect the contour curve that
| | 02:18 | you're working with is applied to.
| | 02:22 | Now at the moment, and this is the
default amount, at 50% it is applying across the
| | 02:28 | whole of the Range. It is affecting the
transparent areas on the right-hand side of
| | 02:33 | the slider and it is also
affecting the opaque areas.
| | 02:37 | If we move this to the right, it is only
affecting the transparent areas and if
| | 02:44 | we move it to the left it is
only affecting the opaque areas.
| | 02:47 | For the most part we leave it
right where it is, in the middle.
| | 02:51 | Jitter will introduce random noise
into the glow, but it only works when
| | 02:58 | combined with applying a gradient to the glow.
| | 03:01 | So if I choose the Jitter slider right
now, it's having no effect whatsoever.
| | 03:06 | If I then clicked on the gradient,
it's still having no effect and that's
| | 03:10 | because the gradient goes to
transparency and we are not really seeing the
| | 03:15 | noise that it's introducing.
| | 03:17 | But if I change the gradient by
clicking on the Gradient Editor and use one
| | 03:21 | color to another, both solid colors,
we can now see the effect of moving the
| | 03:27 | Jitter slider to the right.
| | 03:28 | We're introducing this noise into the glow.
| | 03:32 | And if I move that down we can see what the
gradient glow would look like without that.
| | 03:37 | So those are the options
that relate to the Outer Glow.
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| Glow effects 2: Inner Glow| 00:00 | The Inner Glow layer effect has many of
the same settings as Outer Glow with a
| | 00:04 | couple of exceptions.
| | 00:07 | So let's look at Inner Glow.
| | 00:08 | It has the same blending
color and blending mode, opacity.
| | 00:13 | Just as with Outer Glow we can apply this
either as a solid color or as a gradient.
| | 00:18 | I'm just going to apply it as a solid
color for now and we also have the
| | 00:22 | Precise and Softer options.
| | 00:24 | That's a Softer and that's more Precise.
| | 00:30 | I am going to leave it at Softer.
| | 00:32 | What's different about this?
| | 00:33 | Obviously, the effect is going inside
the pixels of the layer rather than
| | 00:37 | being spread outside it.
| | 00:39 | But we also have this Choke which is the
equivalent of the Spread option that we
| | 00:46 | saw with Outer Glow and we can use this
to determine how much of the effect is
| | 00:53 | opaque and how much is transparent.
| | 00:56 | Crank it up to the right and
we're making more of it opaque.
| | 00:59 | We are sharpening the edges of the effect.
| | 01:03 | In addition, we also have the Source.
| | 01:06 | We can have the Inner Glow spread from
the edge or from the center of the layout.
| | 01:12 | Edge is the default setting.
| | 01:13 | I'm going to change that now to Center
and we get quite a different effect and
| | 01:17 | then I can Choke that maybe.
| | 01:20 | We could maybe use that to create some
sort of interior shape of the layer itself.
| | 01:26 | We saw in the previous
movie how Range and Jitter work.
| | 01:28 | So I won't go into those again.
| | 01:32 | Those are the options that relate to Inner Glow.
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| Bevel and Emboss effect 1: Structure| 00:00 | Let's now look at Bevel and
Emboss to give depth to a layer.
| | 00:07 | Firstly, I'm going to increase the Size
so that we can see the effect more clearly.
| | 00:11 | I am working with an Inner Bevel which
is going to make a highlight at the top
| | 00:15 | left and the shadow of the
bottom right inside the layer.
| | 00:20 | If I change the direction then we'll get
the highlight bottom right, shadow top left.
| | 00:27 | If I increase the Depth, let's go
increase the intensity of the effect and the
| | 00:32 | Size will spread the effect
further into the layer itself.
| | 00:38 | We have several different styles.
| | 00:39 | If I change to Outer Bevel, then we
get the highlight and shadow occurring
| | 00:44 | outside of the layer.
| | 00:46 | If I choose Emboss then it's going to
make the layer look like its being pushed
| | 00:51 | up from or down into the layers beneath.
| | 00:57 | Pillow Emboss is going to give the impression
that the layout is embedded in the layers below.
| | 01:02 | A fifth option is Stroke Emboss
which has no effect unless combined with
| | 01:08 | the stroke layer style.
| | 01:09 | So if I come and click on Stroke and
then increase the size of that Stroke,
| | 01:14 | it is the stroke itself that is being embossed
when we have Stroke Emboss chosen as the style.
| | 01:20 | I'm going to reset this back to Inner
Bevel, which I tend to find to be the most
| | 01:27 | useful, and we have three different
styles: Smooth, Chisel Hard, and Chisel Soft.
| | 01:35 | The difference between the chisels is
that Chisel Soft is actually going to give
| | 01:39 | you more of a chiseling
effect with more artifacting.
| | 01:42 | I'm going to increase the Size of my
layer by pressing Command+Plus or Ctrl+Plus just
| | 01:47 | to zoom in a bit so that we can see
artifacting and I'll change to Chisel Hard.
| | 01:52 | If you're working with one of the
Chisel techniques you might wish to soften
| | 01:57 | this artifacting by
increasing the slider right here.
| | 02:01 | You can see that's just smoothing it out.
| | 02:04 | So those are options that relate to
the structure of the Bevel and Emboss.
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| Bevel and Emboss effect 2: Shading| 00:00 | Bevel and Emboss, part two.
| | 00:02 | In this movie we're going to be
talking about the Shading options that relate
| | 00:06 | to Bevel and Emboss.
| | 00:08 | Let's start by increasing the Size of
the effect and we're going to look first
| | 00:13 | at Angle, Altitude, and Global Light.
| | 00:18 | If my marker is in the top half of the
circle then my subject is going to lit
| | 00:23 | from above. Move it down
below and it's lit from below.
| | 00:27 | And we can see what's happening here
if we look at the preview thumbnail.
| | 00:32 | If my marker is in the outside of the circle
then I'm going to be casting a strong shadow.
| | 00:38 | Think of this as early
morning or late afternoon light.
| | 00:41 | As we get towards midday with my sun
overhead, my shadows are far more subdued.
| | 00:49 | If I were to make the Altitude 90, we
see hardly any effect whatsoever with the
| | 00:54 | sun directly overhead.
| | 00:56 | With Use Global Lights checked, if I
now were to go to Drop Shadow or to Inner
| | 01:02 | Shadow, both of which also use
Global Lights, and change the Angle,
| | 01:08 | in this case I've changed it to 85, then
when I come back to Bevel and Emboss we
| | 01:12 | see that its angle has also changed.
| | 01:14 | Sometimes it's a good thing, sometimes
it's not. Just something to be aware of.
| | 01:17 | Let me put that back down
to somewhere around 130.
| | 01:22 | So next we come to Gloss Contour
which maps the light across the effect and
| | 01:28 | there is much to be said about contours
and I am going to be addressing them in
| | 01:31 | a movie in their own right, but for now
I just want to point out that if I were
| | 01:35 | to come to the top right of the
contour, I can affect the highlights.
| | 01:40 | We have the highlights currently
playing at the top left of the effect here.
| | 01:45 | If I want to soften the highlights,
I can drag that down a bit so that they
| | 01:50 | are less pronounced.
| | 01:52 | On the other hand if I want to soften the
shadows, I'll bring up the bottom of the curve.
| | 02:00 | If I've applied a contour that causes
any artifacting or any jaggedness in my
| | 02:05 | pixels, I can check
Anti-aliased to mitigate that.
| | 02:10 | We then have the Highlight and the
Shadow Mode which by default are Screen and
| | 02:15 | Multiply both at 75%.
| | 02:18 | Feel free to change the blending modes,
feel free to change the colors, and
| | 02:23 | sometimes you may want to
only have one or the other.
| | 02:27 | In which case you can drag the opacity
of one of them down to 0 or close to 0.
| | 02:30 | The more diffused that you want to
lighting to be, the lower you want the
| | 02:36 | Opacity of the effect to be.
| | 02:38 | But typically if you're working with a
sharply lit subject these default values
| | 02:43 | and blending modes work just fine.
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| Bevel and Emboss effect 3: Contour| 00:00 | Bevel and Emboss part three:
| | 00:02 | applying a contour to the bevel itself.
| | 00:06 | Let's go to Bevel and Emboss
and increase the Size of that.
| | 00:12 | Now we have these two
sub-effects, Contour and Texture.
| | 00:15 | Contour applies a contour curve to
the bevel itself, as distinct from the
| | 00:22 | contour that we have in the Shading options
which applies the contour to the whole layer.
| | 00:28 | So, if we come to Contour and I'm going
to apply a preset, the Cone contour curve,
| | 00:36 | to the bevel itself.
| | 00:38 | We get this rather interesting effect.
| | 00:40 | The Range determines the position
of the contour within the effect.
| | 00:44 | Now at the moment with 50%, which is
the default value, it's applying across the
| | 00:49 | whole of the effect.
| | 00:51 | It's applying to the
transparent areas and to the opaque areas.
| | 00:56 | If I move it just over to the right,
it's only applying to the transparent areas.
| | 01:02 | And all the over to the left it's
only applying to the opaque areas.
| | 01:07 | In this case, having moved it all the
way over to the left, we get a very jagged
| | 01:11 | result which I'm going to zoom in on
and we can mitigate this somewhat like
| | 01:16 | checking Anti-aliased and that was
slightly smooth the contour. But typically we
| | 01:21 | want the Range left at 50%.
| | 01:22 | So I'm now going to just zoom out and that
is a Cone contour applied just to the contour.
| | 01:32 | Look how different the effect would be
if we come to Bevel and Emboss and apply
| | 01:37 | the same contour curve to the Bevel itself.
| | 01:41 | An entirely different result.
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| Bevel and Emboss effect 4: Texture| 00:00 | Bevel and Emboss part four:
| | 00:02 | applying a texture to a bevel.
| | 00:04 | Texture is the second sub-effect.
| | 00:06 | When I check that, we turn
on Bevel and Emboss as well.
| | 00:10 | The way the light plays across the
layout is determined by the settings here.
| | 00:15 | So if I increase the Size, that's
also going to affect the texture that is
| | 00:19 | applied within the bevel.
| | 00:20 | If I go to Texture, I can choose
from any of my predefined patterns.
| | 00:25 | I'm just going to use the one that
comes up first for this example.
| | 00:30 | And Snap to Origin will snap that pattern
to the top left-hand corner of the layout.
| | 00:35 | By the way, the Pattern here is
always going to be grayscale. This is
| | 00:38 | distinct from Pattern Overlay which will allow
you to apply a color pattern within the layout.
| | 00:44 | You can change the Scale of the Pattern,
but once you go beyond 100% you may see
| | 00:50 | artifacting or a reduction in the
image quality of the Pattern. And the Depth.
| | 00:58 | Less than 100% will give a subtler
effect and more than 100% will burn in the
| | 01:04 | pattern more strongly to the layout.
| | 01:07 | We can invert the value so that
the light become dark and vice versa.
| | 01:11 | And with Link with Layer checked,
| | 01:14 | I'll click OK just to show you what that is.
| | 01:16 | If I switch to my Move tool,
| | 01:18 | when I move the layout around,
the pattern moves with it.
| | 01:22 | That's with Link with Layer checked.
| | 01:24 | So those are the options that
relates to texturing a bevel.
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| Overlay and stroke effects 1: Satin| 00:00 | The Satin layer effect is
perhaps the least useful of them all.
| | 00:04 | By default it applies darker
shading, creating an offset off the shape
| | 00:09 | itself within the shape.
| | 00:11 | The easiest way to apply is just by
moving onto the shape and dragging around.
| | 00:15 | Presumably giving you the affect
of crumpled satin, hence its name.
| | 00:21 | We can soften the effect by
increasing the Size like so.
| | 00:24 | What it does tend to be useful is
when combined with other effects.
| | 00:28 | By itself in isolation it
rarely gives a good result.
| | 00:31 | Something that's true not just of Satin,
but also of the other interior effects,
| | 00:37 | Color Overlay, Gradient Overlay, and
Pattern Overlay, is that they are applied to
| | 00:43 | the layer before the Inner Shadow,
Inner Glow, so that we'll see an Inner Glow
| | 00:49 | for example on top of the Satin.
| | 00:53 | So it's worth bearing that in mind,
that these effects will be applied on top
| | 00:58 | of these effects.
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| Overlay and stroke effects 2: Color Overlay| 00:00 | Color Overlay is a very
straightforward layer effect.
| | 00:03 | It does what you'd expect.
| | 00:05 | It applies a color to your layer.
| | 00:08 | Now with the blending mode at Normal
and the Opacity at 100%, it's going to mean
| | 00:13 | that it's mutually exclusive with
other blending modes like Gradient Overlay.
| | 00:18 | If I click on Gradient Overlay we're not
seeing that because the color is at 100%.
| | 00:23 | But if I change the blending mode to
Multiply we now see a combination of the
| | 00:28 | Color Overlay and the Gradient Overlay.
| | 00:32 | Color Overlay has one particularly
useful application and that is if you're
| | 00:38 | working with Smart Objects, a logo for
example, which you cannot in other ways color,
| | 00:45 | Color Overlay can be used to
change the color of the Smart Object.
| | 00:48 | Let me show you what I mean.
| | 00:50 | If I come and convert this dingbat to
a Smart Object and it now has the Smart
| | 00:56 | Object badge right there,
| | 00:58 | if I try and change the color of
this object, for example I have black as
| | 01:03 | my foreground color,
| | 01:04 | I would normally, if it were not a Smart
Object, we ought to press Option or Alt
| | 01:09 | and my Backspace Delete
key to fill that with black.
| | 01:13 | It's not going to work.
| | 01:13 | But I can now go to Color Overlay
and apply a color to a Smart Object.
| | 01:21 | So it has that very sort of specialized
and sometimes very useful application.
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| Overlay and stroke effects 3: Gradient Overlay | 00:00 | Gradient Overlay is a very useful way
of applying a gradient to your layer.
| | 00:06 | By default its blend mode is Normal and
it gives you a black to white gradient.
| | 00:11 | You can reverse the direction of that gradient.
| | 00:13 | You can change the style of gradient.
| | 00:16 | With Align to Layer checked, if you move
the layer around the gradient moves with it.
| | 00:23 | If you want the gradient to combine
with the colors of the layer, then use a
| | 00:30 | blending mode other than Normal
and/or an Opacity less than 100%.
| | 00:35 | You can change the Angle of the gradient
right here and you can change the Scale
| | 00:39 | from 10% up to as much as 150%.
| | 00:44 | So this is just one way of
applying a gradient to a layer.
| | 00:47 | Another way would be applying a
Gradient Fill adjustment layer.
| | 00:51 | I just want to have a comparison of the two.
| | 00:53 | So I'm going to come to this
gradientfill document right here.
| | 00:56 | I'm going to go and close the effects
document we're working in without saving
| | 01:02 | and then switch this to a 2-Up view
where on the right-hand side we have the
| | 01:07 | gradient applied as a Gradient Overlay
layer effect and on the left-hand side we
| | 01:13 | have the exact same gradient applied
as a Gradient Fill adjustment layer.
| | 01:18 | Look at the difference in
strength of the gradient!
| | 01:21 | Where the gradient is applied as a
Gradient Overlay layer effect, the gradient
| | 01:26 | happens within the opaque pixels of the layer.
| | 01:30 | So in this case within the shape of the dingbat.
| | 01:34 | Where it's applied as a Gradient Fill
adjustment layer the layer is happening
| | 01:39 | across the whole of the canvas,
| | 01:41 | so from top to bottom, we are only
saying it within the shape of the dingbat and
| | 01:46 | consequently the gradient
appears to be less strong.
| | 01:50 | So depending on the effect that you
want you may want to opt for one of these
| | 01:54 | two different options for applying gradients.
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| Overlay and stroke effects 4: Pattern Overlay| 00:00 | Pattern Overlay allows you to apply a
pattern to the opaque pixels of your layout.
| | 00:05 | By default the blend mode is Normal and
the Opacity 100%. And I'm going to choose
| | 00:09 | from one of my predefined patterns.
| | 00:11 | Be aware that you can also make your
own custom patterns and apply those.
| | 00:15 | And in the later movie we will be doing
that, but for now I'm just going to use
| | 00:20 | one of the predefined patterns.
| | 00:22 | At the moment I have only these two,
neither which are particularly what I am after.
| | 00:26 | So I'm going to go and add some of the
other preset patterns that come with Photoshop.
| | 00:32 | I'm going to add the Artistic Surfaces
presets and I'll choose to append those
| | 00:39 | and then just fairly
randomly choose one of these.
| | 00:41 | Okay, let's say I like that.
| | 00:44 | This option here, Create a new preset
from the current pattern, is only relevant
| | 00:49 | if you'll opening up a document that
has a pattern that is not in your pattern
| | 00:53 | presets and you can edit this way.
| | 00:55 | If I click on this right now, it's going to
tell me that it's already in the presets.
| | 01:00 | If I click on Snap to Origin, it will
snap the pattern to the top left-hand
| | 01:05 | corner of my canvas.
| | 01:07 | I can scale the pattern.
| | 01:09 | Be aware that once you get above 100%
you are upsampling the pattern and it
| | 01:13 | might look a bit blurry as a consequence.
| | 01:15 | Link with Layer, with that checked as I move
the object around, the pattern moves with it.
| | 01:22 | To combine the pattern with any other
effects or with the existing color of the layer,
| | 01:28 | choose a blend mode other than
Normal and/or an Opacity of less than 100%.
| | 01:35 | So those are the options that relate to
working with Pattern Overlay, which can
| | 01:39 | be very effective when
combined with other layer effects.
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| Overlay and stroke effects 5: Stroke| 00:00 | The last of our layer effects is
Stroke and there's actually more to this
| | 00:04 | than meets the eye.
| | 00:05 | To begin with, we have the Size and we
have the Position. Does the stroke go
| | 00:10 | Outside, Inside, or is it
Centered upon the edge of the layer?
| | 00:16 | in which case half the stroke
width goes inside and off goes outside.
| | 00:20 | We have the usual Blending
Mode and Opacity options.
| | 00:23 | Here is where things get interesting.
We can have the stroke be a Color, which
| | 00:27 | is currently, or a Gradient or a Pattern.
| | 00:30 | When we choose Gradient, we have
different styles of gradient that we can apply.
| | 00:37 | All the usual options, Linear through
to Diamond, but we have an additional
| | 00:41 | gradient here that we don't
see elsewhere, Shape Burst.
| | 00:45 | If I choose Shape Burst, we see that
the gradient is going across the stroke
| | 00:49 | itself from inside to outside, as
opposed to around the shape of the layer.
| | 00:55 | So that's quite interesting and I have
an interesting application of that when
| | 00:59 | we come to do the type poster.
| | 01:02 | We can change the Angle of this and
this Scale, etcetera. Aligned with Layer
| | 01:06 | means that the gradient is
going to move with the layer.
| | 01:08 | We also have the option to apply a
pattern as a stroke which can sometimes give
| | 01:16 | some rather cheesy and bizarre results,
but occasionally might also give you
| | 01:20 | some quite interesting results.
And we have the typical options here, Snap to Origin
| | 01:25 | to make that snap to the top-left hand
corner of your canvas, Link with Layer, etcetera.
| | 01:31 | So, quite a few options
there that relate to Stroke.
| | 01:34 | I'm going to just put this
now back to a solid color.
| | 01:37 | One more that relates to Bevel and
Emboss. I touched upon this earlier.
| | 01:42 | One of our Bevel and Emboss options is
to work with the Stroke Emboss or rather
| | 01:48 | to emboss the stroke that is applied right here.
| | 01:51 | So without the Stroke turned on, Stroke
Emboss has no effect. Apply a stroke and
| | 01:57 | then you have the option
of embossing that stroke.
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|
|
3. Advanced Blending OptionsBlending modes| 00:00 | In this chapter we're going to look at
the Blending Options and we're going to
| | 00:03 | start offering this movie
by looking at blending modes.
| | 00:06 | The blending modes can be applied here
at the top of the Layers panel, but they
| | 00:09 | can also be applied in the
Layer Style dialog box right here.
| | 00:14 | As well as the blending mode that gets
applied to the overall layer, as we've
| | 00:18 | seen, the individual layer effects
will also have their own blending mode.
| | 00:25 | I'm going to just have a quick rundown
of the blending modes, as applied to the
| | 00:29 | whole layer and as applied from the
drop-down of the top off the Layers panel.
| | 00:34 | What I have here is a green rectangle
on top of this textured image and I'm
| | 00:41 | just going to switch through the different
blending modes to give you an idea of how they work.
| | 00:46 | Before I do that though, if we take a
look at this list, we can see that they're
| | 00:49 | broken down into groups.
| | 00:51 | I'll give you a brief description of
what they do, but you really have to
| | 00:54 | try them to see what the effect is going to
be, because it's often very unpredictable.
| | 01:00 | These two, Normal and Dissolve, are
referred to as the simple blending modes, then
| | 01:05 | we have the Darkening modes, the
Lightening modes, the Light modes, which
| | 01:11 | effectively can also be referred to as
Contrast modes because they can result
| | 01:15 | in a more contrasty effect.
| | 01:17 | The Difference modes, which usually
give very pleasing results, but can be used
| | 01:22 | for in very specific contexts, none
of which are really appropriate to what
| | 01:26 | we're doing with layer effects.
| | 01:28 | But these will give us a
sort of negative type effect.
| | 01:32 | And then these last four, which
respectively as their names suggest, work on the
| | 01:37 | color or the saturation.
| | 01:39 | So I'm just going to cycle through these,
and a quick way to do that is to use
| | 01:44 | the shortcuts Shift+Plus and Shift+Minus.
| | 01:48 | If you're trying this with other
colors, you may well find that for certain
| | 01:52 | blending modes, there is no effect
whatsoever, because it's really going to
| | 01:55 | depend upon the value of the color that
you're using and the value of the colors
| | 02:00 | in the layers beneath you're blending it with.
| | 02:04 | So Shift+Plus and Shift+Minus will cycle me through.
| | 02:07 | When we get to Dissolve for example,
we see that this is doing nothing
| | 02:14 | whatsoever, and that's because
Dissolve will only work on the
| | 02:18 | semitransparent pixels.
| | 02:21 | So if I choose this example here, where
we have pixels that are not fully opaque,
| | 02:25 | we have a gradient on this layer, and
I change the blend mode to Dissolve,
| | 02:29 | then we see it working.
| | 02:31 | However, it's rarely very useful, so
I can't think of any practical use of
| | 02:36 | Dissolve, but there it is,
should you want to use it.
| | 02:39 | So these blend modes are
exactly the same as these ones here.
| | 02:44 | And as I've mentioned, we have the
option of applying them to the whole layer,
| | 02:49 | as well as to the individual layer
effects that are part of that layer.
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| General opacity vs. fill opacity| 00:00 | The distinction between
Opacity and Fill Opacity.
| | 00:04 | Here we have a layed document, where
the Opacity layer and the Fill Opacity
| | 00:09 | layer are just the same. They both have
a Drop Shadow/Bevel and Emboss layer
| | 00:15 | effect applied to them, but with one
notable difference and that is that the
| | 00:20 | Fill Opacity layer has the Fill
Opacity turned all the way down to zero.
| | 00:26 | So we have two opacity sliders here. The
Opacity affects the opacity of the whole layer.
| | 00:32 | The Fill Opacity affects just the
opacity of exactly that, the fill.
| | 00:38 | If I put the Fill Opacity back to
100 and turn the effects off, we have a
| | 00:43 | blend mode of Multiply, which explains why
we're seeing the texture through these letters.
| | 00:48 | But we now see the letters shapes.
| | 00:50 | If I turn the Fill Opacity all the
way down to zero, they are completely
| | 00:54 | invisible, but if I turn the effects on,
we're now seeing just the effects alone.
| | 00:59 | And that can be used to
great effect in some situations.
| | 01:03 | Let me just show you where that is,
if we go to the Layer Style dialog box.
| | 01:08 | Here we have the Opacity grouped with
the blend mode and here we have the Fill Opacity.
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| Creating a knockout layer| 00:00 | Okay, making a Knockout. I warn you,
this one may make your head hurt, so you
| | 00:04 | may consider during a cup of
coffee before you approach this one.
| | 00:07 | Let me just break down these layers for you.
| | 00:09 | We have four layers. There's the
background layer, on top of which we have a
| | 00:13 | field of color, on top of which we have
a black circle, and at the very top we
| | 00:17 | have a white circle.
| | 00:19 | Let's look at different ways of having
the white circle punch a hole through the
| | 00:22 | layers and get some slightly different results.
| | 00:26 | So this is called a Knockout and if I
double-click to the right of the layer name,
| | 00:31 | here is the drop-down. So
currently there is no knockout applied.
| | 00:37 | I'm going to change this to Shallow.
| | 00:39 | It has no effect whatsoever.
| | 00:41 | That's because the knockout needs
to be combined with the Fill Opacity.
| | 00:46 | When I turned down the Fill Opacity, it knocks
through to the background layer. That's Shallow.
| | 00:52 | Deep is exactly the same. That's
because at the moment the white circle and
| | 00:59 | black circle are not grouped together.
| | 01:01 | So when they're not grouped, Shallow and
Deep are going to give us the same effect.
| | 01:06 | I'm just going to click OK to come out
of here, and something else that we need
| | 01:11 | to consider is this relies
upon the use of a background layer.
| | 01:15 | Or rather you're going to get different
results if you have a background layer
| | 01:18 | to what you would get if
you have an unlocked layer.
| | 01:22 | If I unlock the background layer just
by double-clicking on it, we see that the
| | 01:27 | knockout now goes all the way through to
transparency and that's the same if it
| | 01:33 | were Shallow or Deep.
| | 01:36 | So I am now going to undo that, Command+
Option+Z, Ctrl+Alt+Z. We're now back to
| | 01:44 | having a background layer.
| | 01:45 | I'm going to group my white circle and
black circle together, so I'm holding
| | 01:50 | down the Shift key to select those two
layers, and I'm going to press Command+G
| | 01:54 | or Ctrl+G to put them in a group.
| | 01:58 | Now I'll expand that group, double-
click to the right of the name of the white
| | 02:02 | circle and now if I make this Shallow,
we see that it only punches through to
| | 02:09 | the bottom of the group and only
gets as far as the field of color.
| | 02:14 | Change that to Deep and it's going all
the way through to the background layer.
| | 02:19 | But just to make that point once again,
if the background layer is unlocked,
| | 02:24 | then it's going to go all the
way through to transparency.
| | 02:27 | If it's Deep. But still it would only
go through to the bottom of the layer
| | 02:34 | group if it's Shallow.
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| Blending interior effects| 00:00 | This movie is about a seldom used preference.
| | 00:03 | Blend Interior Effects as Group,
it's a rather esoteric one.
| | 00:07 | It affects how the interior effects
like in a Glow, in a Shadow, and the Color,
| | 00:13 | Gradient and Pattern Overlay, either
combined with themselves before moving
| | 00:19 | onto the layers beneath to
blend with those. Or do not.
| | 00:23 | So let's see what we have here.
| | 00:25 | We have a black circle on top of a red
circle on top of a field of yellow and
| | 00:30 | currently, Blend Interior Effects, the
Interior Effect I have here is the Inner Glow.
| | 00:35 | The Inner Glow is blue, blend
mode is Screen, Opacity is 75%.
| | 00:41 | So currently this is not checked.
| | 00:43 | If I check it, then this happens.
| | 00:45 | So what is going on here?
| | 00:47 | Well, the interior effects are blended with
themselves before passing onto what's below.
| | 00:55 | Now, we have a black circle, when set
to a blend mode of Multiply, is going to
| | 01:00 | overwhelm the red right here.
| | 01:02 | But when this blue combines with the
yellow beneath it, we get a green Inner Glow.
| | 01:08 | So wherever the black circle overlaps
the yellow, we have a green Inner Glow.
| | 01:13 | Notice how the Outer Glow, I am going
to turn that off and turn it back on
| | 01:18 | again, the Outer Glow because this
is an outer effect is not affected by
| | 01:23 | this checkbox at all.
| | 01:24 | So, that's without the Interior Effects
Blended as a Group, which is the default setting,
| | 01:30 | and then with the
Interior Effects Blended as a Group.
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| Blending clipped layers as a group| 00:00 | This movie is about another rather
esoteric option in the Blend Options of the
| | 00:05 | Layer Style dialog box, and
specifically it's this one.
| | 00:09 | Blend Clipped Layers as Group.
| | 00:11 | It is the default setting, and I have here
three layers that are clipped to this RGB layer.
| | 00:20 | Let me just turn them off so
you can see what's happening here.
| | 00:22 | So, here I have this Smart Object which
is just these three letters and on top
| | 00:28 | of that I have three clipped layers.
| | 00:30 | I am going to unclip them by holding
down the Option or Alt key and this is what
| | 00:37 | they look like if they are unclipped.
| | 00:38 | They all have a blending mode of
Screen so that they interact with each other.
| | 00:44 | So, now when I clip them to this layer, which
has Blend Clipped Layers as Group turned on,
| | 00:51 | that is the default setting, they all
combine with themselves and then move onto
| | 00:59 | combine with my R layer beneath them.
| | 01:02 | Let's just see how that would look
if I were to uncheck that option.
| | 01:06 | It would look like that.
| | 01:09 | So, Blend Clipped Layers as Group.
Probably you want it more than 50% of the
| | 01:14 | time and that's how you change it.
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| Transparency Shapes Layers| 00:00 | This movie is about an option in
the Layer Style dialog box called
| | 00:04 | Transparency Shapes Layer.
| | 00:06 | It's one that you're rarely going to use but
every once in a while it can be very useful.
| | 00:10 | So here is when it might come in handy.
| | 00:13 | So here I have an A on a
sand dune. Don't ask me why.
| | 00:17 | It's just a good way of
demonstrating this particular option.
| | 00:21 | So what I am going to do is add a Drop
Shadow to this and then having made the
| | 00:29 | Drop Shadow, I am going to separate
the Drop Shadow from its layer, and I am
| | 00:34 | going to do that by right-clicking on
the fx badge and choosing Create Layer.
| | 00:39 | I will get this warning message.
| | 00:43 | So I now have a layer that is just that shadow.
| | 00:48 | This is very useful for other reasons,
which I'll be going into in other movies.
| | 00:52 | But for now let's just say that I want
to press Command or Ctrl+T to go to my
| | 00:58 | Free Transform and spin this around
so that it looks something like this.
| | 01:11 | Then let's say that what I'd like to
do is apply a gradient to this shadow
| | 01:15 | rather than have it being a
uniform black Multiply at 100% Opacity.
| | 01:22 | So to do that, I'm going to double-
click to the right of the name and go to
| | 01:27 | Gradient Overlay, and aha!
| | 01:29 | This is where the problem occurs.
| | 01:31 | The Gradient Overlay is applying not
to what I was expecting to be just the
| | 01:38 | opaque pixels on that layer,
but to the whole layer.
| | 01:41 | So what's all that about?
| | 01:43 | Well, when you separate a layer effect
from its layer, this option is turned off.
| | 01:50 | In all other instances, it's always turned on.
| | 01:53 | So if I now go and turn that on and
then go to my Gradient Overlay and say I
| | 01:58 | want this to be Multiply, and I will
come to my Blending Options and turn the
| | 02:02 | Fill Opacity all the way down, so that
all that we're actually seeing is the
| | 02:06 | gradient rather than the fill color.
| | 02:09 | I will come back to Gradient Overlay and I will
just reverse that so it goes in that direction.
| | 02:14 | I think that's kind of what I want.
| | 02:17 | But the punchline of this whole thing
is that Transparency Shapes Layer is the
| | 02:23 | option that we needed here, so that
we've got to gradient or indeed any other effect
| | 02:28 | applying just to the opaque
pixels rather than to the whole layer.
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| Converting a layer style to image layers| 00:00 | In the previous movie you saw me
create a layer from a layer effect.
| | 00:03 | In this movie, I am going to talk a bit
more about why you might want to do that.
| | 00:08 | Here I have a bunch of effects applied
to this red ball and I would really like
| | 00:13 | the Gradient Overlay, which is doing that,
| | 00:16 | I'd like that to happen on top of this
Inner Glow that's going on down here.
| | 00:23 | But there's no way I can really do that
at the moment because the Inner Glow is
| | 00:27 | coming down on top of the Gradient Overlay.
| | 00:30 | But if l were to come and right-click
on the fx badge or Ctrl and click with a
| | 00:36 | single button mouse on a Mac and then
choose Create Layers, I will get this
| | 00:42 | warning message, which after you've
seen a few times you can feel free to
| | 00:46 | choose Don't show again.
| | 00:47 | It's just warning me that some of the
effects might be slightly different in
| | 00:51 | their independent layers.
| | 00:52 | So, what I have now is five layers
created from my five different effects.
| | 00:58 | They are all nicely labeled.
| | 01:00 | The Drop Shadow goes beneath the layer
itself; everything else goes above it
| | 01:05 | and is clipped to it.
| | 01:06 | What I can do amongst other things is I
can get the sphere's Gradient Fill and
| | 01:11 | then just drag that up to the top like so,
so that is now going above the Inner Glow.
| | 01:18 | So that's just one of many times when
you might want to separate the individual
| | 01:25 | layer effects onto separate layers.
| | 01:28 | The downside of that is of course they
are no longer tied to the layer itself
| | 01:34 | and they also will add to your file size.
| | 01:37 | Take a look at the document sizes down here.
| | 01:39 | That has increased now that we
have all this information on separate image layers.
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| Blending with the Layer Mask and Vector Mask Hide effects| 00:00 | We dig in deep in the Layer Style
dialog box and we have now got to this option,
| | 00:05 | Layer Mask Hides Effects
and also Vector Mask Hides Effects.
| | 00:10 | It's going to give you the same result
depending on whether you're using a layer
| | 00:12 | mask or a vector mask.
| | 00:15 | So, let's say just for kicks that I have
this A and I also have this A and what
| | 00:22 | I want to do is I want to use
half of one and half of the other.
| | 00:28 | It's a perfectly symmetrical letter.
| | 00:29 | I am just going to divide it down in the
middle, so I'll have this one on the
| | 00:32 | left-hand side and this
one on the right hand side.
| | 00:35 | So, all we need to do this is a layer
mask, right? So I will just choose my
| | 00:40 | Rectangular Marquee tool or of
course a vector mask could also work.
| | 00:44 | And just draw my marquee like that.
| | 00:47 | I didn't draw it very accurately so I
am going to Select > Transform Selection
| | 00:52 | and just pull that over so it's going
halfway across the A. And then I am going
| | 01:02 | to make that into a layer mask.
| | 01:04 | Now, because I want it to be filled
with black, I am going to hold down the
| | 01:07 | Option or Alt key as I click on Add
Layer Mask. And there we have the layer mask
| | 01:12 | and we are seeing the other A beneath.
| | 01:15 | However, there is a problem.
| | 01:17 | Look what's happened to the edges here.
| | 01:20 | If I turn my mask off for a moment,
we can see we have got this nice beveling
| | 01:25 | going on but when we add the mask,
| | 01:27 | because the beveling effects on the A
copy layer are now conforming to the
| | 01:34 | new layer shape, we are getting edge stuff
going on here and here, which is undesirable.
| | 01:41 | So, to the rescue, we turn
on Layer Mask Hides Effects.
| | 01:48 | And exactly the same, but you just do it
with a vector mask if you prefer to use
| | 01:52 | a vector mask, as opposed to a layer mask.
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| Using the Blend If blending option| 00:00 | Down at the bottom of the Layer
Style panel, we have the Blend If sliders
| | 00:06 | and I've tried many times to make these work,
only with limited success I have to say.
| | 00:13 | They never quite work as well as you
might like them to and usually when you do
| | 00:18 | get them to work, there is often an
easier way of achieving the same and that
| | 00:22 | pretty much I can say is the case here.
| | 00:25 | The result I am trying to get is I
would like to combine this blue sky with the
| | 00:31 | more dramatic sky of this background
layer that we have here, this Layer 2.
| | 00:35 | And the result that I end up with is this.
| | 00:38 | So, this is my starting point, this is
my finishing point, combining the blue of
| | 00:44 | the original sky with this more
dramatic sky of Layer 2 beneath it.
| | 00:50 | So, I am going to turn off Layer 1 and
Layer 3 and just re-create this on Layer 1 copy.
| | 00:57 | Double-click to the right off the layer
name and then go to the Blend If sliders.
| | 01:02 | And let's just make my image a little bit
smaller so that we can see this working.
| | 01:09 | And what I want to do is I want to
change this to blue since I am working on the
| | 01:13 | blues and I am going to come over here
to the highlights of the blues and start
| | 01:18 | moving the slider to the left.
| | 01:22 | And as I do so, when I get to a
certain point, the blue just starts falling away.
| | 01:27 | We just peel it back.
| | 01:28 | Of course, what's also happening is
that other blues that we want to retain are
| | 01:34 | also falling away and that's
the shortcoming of this technique.
| | 01:39 | But when we get to about there, that's
as far as we need to go to get rid of all
| | 01:44 | of the blues that we don't want.
| | 01:46 | We can now separate the two parts of
this slider by holding down the Option or
| | 01:50 | Alt key and dragging on the right-hand
side of it, so that's going to try and
| | 01:54 | reclaim some of the blues.
| | 01:57 | So, we don't get any hard choppy
breaks where we've dropped out the blue.
| | 02:01 | Now, as I'm doing this, what you're
seeing is the shadows of the layer
| | 02:07 | beneath coming through.
| | 02:09 | So, how far do I want to go?
| | 02:11 | Well, I am going to go to about there I reckon.
| | 02:14 | That's not so bad but what I did in
the final version was I just copied that
| | 02:21 | part of the image on to a layer all by
itself and then might show that there was
| | 02:29 | no Blend If happening with that
one so I will just re-create that.
| | 02:34 | So, in order to make a reasonably good
mask here, I'm going to need to duplicate
| | 02:42 | this layer and I will turn off the
Blend If options and then I will come to my
| | 02:48 | Quick Selection tool and go to over the
sky like so and then I will inverse that
| | 02:58 | and I will hold down the Alt key and
just go over the bits of the image that are
| | 03:04 | still remaining selected.
| | 03:07 | So, I have that as my selection now
and I'm now going to copy that to a new
| | 03:13 | layer, Command+J. I can get rid of
this one and with this one I will
| | 03:21 | double-click to the right of the layer
name and there is no Blend If going on
| | 03:26 | there, so that's fine.
| | 03:27 | So, this one is now combined on top of
Layer 1 copy, effectively restoring the
| | 03:35 | blues in the foreground that we
lost by using the Blend If sliders.
| | 03:39 | Now, I can turn on Layer 2 and
there is our finished result.
| | 03:44 | It was a lot of work to get there and
maybe there are easier ways to do it but
| | 03:48 | it's nice to revisit with the
Blend If sliders every once in a while.
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| Working with contours| 00:00 | We are going to take a look now at
working with preset contours and editing our
| | 00:04 | own and understanding exactly
what's going on with contours.
| | 00:08 | I have a red circle and it has a
black Outer Glow applied to it.
| | 00:13 | Let's go and work on the
contour curve of that Outer Glow.
| | 00:17 | First of all, we have a
number of presets that we can use.
| | 00:20 | Currently, there is a Linear contour
curve applied and that means that the
| | 00:25 | transparent areas down here, as I move
that up, they become more opaque and the
| | 00:30 | shadow areas are up here. Now as I
move that down, we lighten the shadow.
| | 00:37 | Well, we have these predefined
contour curves. Try them and see.
| | 00:43 | The best way to learn about
contours is just to experiment with them.
| | 00:47 | For example, if we choose
Ring, it's an interesting one.
| | 00:50 | What's going on here?
| | 00:51 | Down here, we have the transparent areas.
| | 00:54 | Now, look at the edge of the Outer Glow.
| | 00:57 | As I get this last point and pull it up,
you see we are bringing in some opacity
| | 01:03 | right on that edge there to
what was formerly transparent.
| | 01:07 | So, we are going from transparent to
solid, down to transparent again and back
| | 01:13 | to solid. Hence the ring. Adouble ring,
looks like that. Interesting stuff.
| | 01:22 | Now, as well as choosing your contours
from this drop-down menu here, you can
| | 01:28 | also if you click on the arrow choose
them by the shape of the contour curve,
| | 01:34 | which you might find more useful.
| | 01:36 | Here is the place also where
you can load more contour presets.
| | 01:41 | We have 12 to start with but
Photoshop ships with more than just this 12.
| | 01:45 | So, if I come to this fly-out menu here
and choose Contours from down the bottom here,
| | 01:53 | we are loading the contour curve
presets and I'm going to append them to
| | 01:59 | what we have already. So we now have a
whole bunch of more different curves.
| | 02:08 | But let's go about editing one of our own.
| | 02:11 | And I am going to start off with
the Linear curve and then click on the
| | 02:18 | Contour Editor to edit it.
| | 02:19 | What if we were to invert this, so that
the transparent areas out here become
| | 02:25 | opaque and the opaque areas
right here became transparent?
| | 02:32 | It would look like that.
| | 02:34 | So, let's see what's going on here.
| | 02:37 | If I bring both ends of the curve down
like so, we are just flattening everything out.
| | 02:43 | We just got gray at
one end and gray at the other.
| | 02:47 | What about if I were to
add in some extra points here?
| | 02:49 | So, I am going to add a point right
there and then I am going to pull that one up
| | 02:54 | and I am going to add another
point right there and pull that down and
| | 02:58 | another point right there and pull that
one up, and I will be getting that sort
| | 03:02 | of ring thing happening.
| | 03:04 | But the shadow is gray, even
though the color we are using is black.
| | 03:08 | It's gray at the moment because we don't go
all the way to the top of our contour curve.
| | 03:11 | So, if I pull this up, it's going to
darken those rings and if I pull this one down,
| | 03:17 | it's going to increase the
transparency and I can pull this one up.
| | 03:23 | Now, we are still going
to have transition areas.
| | 03:26 | This is going to be a
soft transition between them.
| | 03:28 | If we want to harden up the transition,
we can convert these points to corner points.
| | 03:35 | Click on them, check Corner like so, and then
we'll pull this one all the way to the top.
| | 03:41 | Now, these curves are very tricky to edit.
| | 03:43 | They are a lot more difficult I find
than editing the curves that you have for
| | 03:48 | adjusting tonal values of photographs.
| | 03:51 | So, you may find it useful to do it numerically.
| | 03:53 | So, if I want these rings evenly
spread, I am going to say I want an input
| | 03:58 | there of 25 and right there I want an input
of 50 and right there I want an input of 75.
| | 04:05 | Okay, now let's say that I
particularly like this contour.
| | 04:11 | Then what I am going to do
is I am going to save it.
| | 04:14 | Since I can't think of anything better
at the moment I am going to call it my
| | 04:17 | contour and then click OK.
| | 04:21 | Especially when you create contours
like this with lots of up and downs, when
| | 04:25 | you apply them to more complex shapes
than circles, you may find that you get
| | 04:31 | some nasty jaggies going on, in which
case you will want to check Anti-aliased.
| | 04:36 | Now, it's not making much of a
difference here but if we turn on this layer
| | 04:41 | here, that W layer, and then come and
have a look at what's' going on here.
| | 04:45 | Here we have a Bevel and Emboss applied
and the Bevel and Emboss is using one of
| | 04:51 | the preset contours.
| | 04:52 | It's using a Shallow Cove.
| | 05:00 | And if we look at the top of those letters,
there is some nasty jaggy stuff going on.
| | 05:05 | So, when I check Anti-aliased, it's just I
hope going to smooth those out a fraction.
| | 05:11 | It's not a tremendous amount of
difference but it is smoothing them out a bit.
| | 05:15 | So, when you are doing curve jaggies or
if you do more likely on complex shapes,
| | 05:21 | more likely when using contour curves
with lots of ups and downs, you can check
| | 05:26 | Anti-aliased to smooth out those jaggies.
| | 05:29 | So, that brings us to the end of the
various different options that pertain to
| | 05:33 | layer effects, and now what we are going
to do is we going to actually put these
| | 05:37 | into practice and we will see how they
combine together and how layer effects
| | 05:43 | can be used in conjunction
with other Photoshop features.
| | Collapse this transcript |
|
|
4. Layer Effects in Practice: Creating the Type Poster Using ShadowsPlacing multiple files as Smart Objects into the type poster| 00:00 | We've looked at the theory of layer effects.
| | 00:02 | Now, we are going to look at the practice.
| | 00:04 | To do so we are going to re-
create a type poster like this one.
| | 00:10 | 28 letters, A through Z, plus an
ampersand, plus a question mark, each of which
| | 00:15 | are re-created as separate files
and then placed as Smart Objects.
| | 00:19 | Take a look at the Layers panel over here.
| | 00:22 | All of those letters are grouped in a
folder and then below that we have three
| | 00:27 | layers that make up the background:
the paper, the shadow of the paper, and the
| | 00:32 | coffee table texture of the background.
| | 00:34 | Each of these letters has a unique
combination of layer effects and in some
| | 00:38 | cases some other effects applied to them
and they're all created with a border
| | 00:43 | of transparency around them.
| | 00:45 | For example, if I go to the Q and I'll
double-click on its Smart Objects badge
| | 00:51 | to go to it, we see that we have this
transparent area around it and the tail of
| | 00:55 | the Q goes into that transparent area,
so that when we place it in the context
| | 01:01 | of the poster, that tail is not
confined to the square that the letter exists in,
| | 01:08 | but can interact with other
letters creating a really nice interaction
| | 01:13 | between the different parts of the poster.
| | 01:15 | So roll up your shirt sleeves and
let's begin with creating these letters and
| | 01:21 | then in the conclusion chapter we'll
get to place them one by one as Smart
| | 01:26 | Objects to complete the poster.
| | Collapse this transcript |
| Creating offset outlines with Drop Shadow, Inner Shadow, and Fill Opacity| 00:00 | Okay, we are going to have a look at
creating offset outlines working with this
| | 00:03 | beautiful C set in Adobe Caslon Pro.
| | 00:06 | We have two approaches here.
| | 00:07 | One is going to enable us to create
the whole thing on one layer, completely
| | 00:13 | live type, completely editable.
| | 00:15 | It's going to involve modifying the
contour curve of the Drop Shadow and
| | 00:19 | adjusting the Fill Opacity of the layer.
| | 00:22 | The second approach is going to
involve duplicating the Drop Shadow and then
| | 00:27 | offsetting it from the original.
| | 00:29 | Then we'll have another hoop to jump
through which is going to be putting the
| | 00:33 | two into a group just so the
blending modes work out okay.
| | 00:36 | We'll also be looking at adding in some
Inner Shadow just to add a little bit of
| | 00:41 | depth to the whole thing.
| | 00:42 | Here is our starting point.
| | 00:44 | We have three layers.
| | 00:46 | We have the C and we have this
background texture and I've adjusted the hue on
| | 00:52 | that background texture.
| | 00:53 | This is working within a 750 pixel
square and I've left some transparency
| | 00:59 | around the edges just so that with
certain letters, not with this one, but with
| | 01:03 | others we can move into that
transparency and have our letters overlap when we
| | 01:08 | come to make the type poster.
| | 01:11 | Okay, let's apply the Drop Shadow.
| | 01:13 | So I am going to double-click to the right
of the layer name and we will click on Shadow.
| | 01:20 | Now, I can adjust the Distance and the
Angle or I can just come in and pull it
| | 01:24 | around where I want it to go.
And that's about where I want it to go.
| | 01:28 | I think I do want to maybe
increase its size a little bit. Oh!
| | 01:32 | By the way, I think we need to go to
Multiply blend mode here so that we can
| | 01:37 | see the texture of the
background coming through.
| | 01:40 | With this shadow it would be nice if
it was sharper than it currently is.
| | 01:45 | So, to do that, I'm going to whack up
the Spread all the way to 100 and that
| | 01:50 | really sharpens up the edges of the shadow.
| | 01:53 | In fact, what we have here is we have no
transparency in the shadow or very little.
| | 01:59 | But if I want the shadow to function
not as a shadow, but as an offset outline,
| | 02:04 | then I am going to have to
modify the contour curve.
| | 02:06 | We have a Linear curve at the moment,
so our shadow is, as shadows do, going
| | 02:14 | from opaque to transparent.
| | 02:16 | I am going to invert that, so it's
now going from transparent to opaque and
| | 02:23 | we can see just the trace of the shadow
around the edge there. And I am going to click OK.
| | 02:29 | And if we now reduce the Spread value,
we will see more of that shadow. Okay.
| | 02:36 | Well, that's all right up to a point,
but I want to have more of the opaque
| | 02:42 | pixels in the outlines.
| | 02:44 | So I am going to come back to my
Contour Editor once again and go for a more
| | 02:50 | dramatic drop-off here.
| | 02:52 | So the pixels are opaque all the way
along here, all the way to about 80%, and
| | 02:57 | then they suddenly drop off to transparent.
| | 03:00 | So effectively we get this offset black outline.
| | 03:04 | I am also going to add a little bit
of Inner Shadow just to give some depth
| | 03:10 | to the whole thing.
| | 03:12 | The subtlety of this may well be lost on
the video, but I'm going to do it anyway.
| | 03:16 | If you're following along, you will see
that adding just a little bit of Inner
| | 03:20 | Shadow really helps things.
| | 03:22 | I'm pretty happy with how that looks,
click OK, and just to hammer home a point here,
| | 03:28 | this is a live and
completely editable effect.
| | 03:32 | So I can just go and change this C to whatever
letter I want and it's going to update like so.
| | 03:39 | Let's actually put it back to being C.
| | 03:43 | Now, if we are happy with that then
we can stop here, but I'm just going to
| | 03:48 | show you an alternative approach which
arguably might yield a better result, but
| | 03:53 | is not going to be quite as convenient,
because it is going to involve using two
| | 03:56 | layers as opposed to one.
| | 03:59 | So I am going to
duplicate the layer that I have.
| | 04:02 | Command+J or Ctrl+J. And I'll turn
off the one that I've already done.
| | 04:06 | Now, here I am going to come
back to my Layer Style dialog box by
| | 04:10 | double-clicking to the right of the
layer name and I'm going to turn down the
| | 04:15 | Fill Opacity so that all
we now see are the shadows,
| | 04:19 | the Inner Shadow and the Drop Shadow.
| | 04:23 | To do it this way, I no
longer need that edited contour.
| | 04:26 | I can just put the contour back as
being Linear, so that it now looks like this,
| | 04:31 | which gives me the opportunity of using
more Spread to sharpen up that shadow like so.
| | 04:39 | Maybe I'll even darken it a little bit as
well just by increasing the Opacity. All right!
| | 04:44 | Now, what I want to do is
make a copy of this layer.
| | 04:47 | Command+J. On the copy, I will turn off the
effects, but I will turn up the Fill Opacity.
| | 04:58 | That puts that back to red. And now
it's just a question of offsetting one of
| | 05:03 | these two layers from the other.
| | 05:05 | Since I am on this top layer
I might as well offset this one.
| | 05:08 | So I am just going to nudge it up a few
pixels and nudge it over a few pixels. All right!
| | 05:16 | That's looking great except-- and I know
what you're thinking-- we are seeing the
| | 05:20 | shape of one come through the other.
| | 05:24 | We don't want that to happen.
| | 05:27 | So let's see how we can fix that.
| | 05:29 | Here is how we are going to fix it.
| | 05:31 | I am going to set the blend mode of
this top one back to Normal and then we
| | 05:36 | just go back to that flat color.
| | 05:38 | So that solves one problem, but creates
another. And we are going to solve that
| | 05:42 | other problem by selecting both of
these layers by holding down the Shift key
| | 05:47 | and then pressing Command+G or
Ctrl+G to put them into a group.
| | 05:53 | Now, they're in a group. We are going
to change the blend mode of the group
| | 05:56 | from Pass Through, which means that all
of the blending effects are just being
| | 06:00 | passed on to the layers below, to
Multiply so that the blending only happens
| | 06:07 | within the group and then the result is
passed on to the layers below, and that
| | 06:12 | solves the problem.
| | 06:14 | Then we have a very nice-
looking offset outline effect.
| | Collapse this transcript |
| Using Fill Opacity to create "ghost" text| 00:00 | Here is a very simple, very effective
technique involving the use of a Drop Shadow
| | 00:05 | to give this ghosting effect.
| | 00:08 | Here is our starting point.
| | 00:09 | So we just have the
letter X on a field of black.
| | 00:13 | What we want to end up with here is
just being able to see the shadow and
| | 00:16 | not the letter itself.
| | 00:19 | So I'm going to double-click to the right
of the layer name and come to Drop Shadow.
| | 00:24 | The first thing that's interesting
about this is we are going to have a shadow
| | 00:28 | that is not black, but white.
| | 00:30 | Now, when I change the color to White,
it's having no effect. No matter what I
| | 00:34 | do with the shadow, no matter where I
put it, we are not going to see it, because
| | 00:38 | the blending mode is Multiply
and Multiply neutralizes white.
| | 00:43 | But when I change the blend mode to
Normal, we now see the shadow. Okay.
| | 00:47 | So I am also going to increase the
Opacity to 100% and I'm going to reduce the
| | 00:53 | Distance to 0 and the Size to 0.
| | 00:58 | I am going to change the Angle to 180.
| | 01:04 | Now, I am going to come to my
Blending Options and I am going to turn the
| | 01:07 | Fill Opacity down to 0.
| | 01:10 | So effectively, what we have now is
our letter sitting directly on top of our
| | 01:15 | shadow, which is at a Size of 0.
| | 01:19 | So we can't see it.
| | 01:20 | We can just see a slight hint of it.
| | 01:21 | So what I am going to do now is I'm
going to increase the Distance to slightly
| | 01:27 | offset the shadow, and rather than use
the slider, which of course would work,
| | 01:32 | I am just going to put my cursor in the
Distance field and use my up arrow to
| | 01:37 | nudge the white shadow over to the
right of the now invisible letter X.
| | 01:43 | And maybe we'll go about 8 pixels. Okay.
| | 01:49 | That's looking good.
| | 01:50 | Now, the only thing that we need to do
now is just reposition this letter within
| | 01:57 | the square, because it is centered,
but the part of it that's centered is the
| | 02:02 | currently invisible part.
| | 02:03 | So I am going to just move the whole
layer over a bit by holding down the Shift key
| | 02:10 | and pressing my left arrow
just to nudge it over a fraction.
| | 02:15 | Okay, and there we have our ghosted letter X.
| | Collapse this transcript |
| Creating live (editable) blurred type with Drop Shadow| 00:00 | Here we have a very useful, very easy
application of the Drop Shadow to create
| | 00:07 | live, i.e. editable, blurred type.
| | 00:09 | Now you know that it's very easy
to create blurred type in Photoshop.
| | 00:12 | You just throw a bunch of filters at
your type and you blur it, but you also
| | 00:17 | rasterize it, meaning that
you cannot edit it thereafter.
| | 00:21 | This way you get to keep your type live.
| | 00:24 | So here is our starting point.
| | 00:25 | I have a nice big fat W in Lithos Black.
| | 00:29 | It's different from the one that you saw,
but I am trying to use fonts that come
| | 00:33 | with CS5 so that you don't
incur any font substitution.
| | 00:37 | So we got the W on a field of color.
| | 00:39 | I'm going to double-click to the right
of the layer name to go to my Layer Style
| | 00:44 | and then go to Drop Shadow and the
first thing I'm going to do and what this
| | 00:48 | effect relies upon is unchecking this checkbox.
| | 00:53 | Layout Knocks Out Drop Shadow.
This is the punchline of this whole piece.
| | 00:57 | Layout Knocks Out Drop Shadow,
because if I turn that off and then we go to
| | 01:01 | Blending Options and we turn down to the
Fill Opacity, all we see is the drop shadow.
| | 01:07 | We don't see the letter itself. We
just see its shadow in its entirety, not
| | 01:11 | knocked out by the shape of the layer,
which if you saw the movie about the X,
| | 01:17 | relied upon the layer knocking upon the
drop shadows. This is the opposite of that.
| | 01:22 | So now I want to turn the Distance
down to 0 so we put the shadow exactly on
| | 01:28 | top of where the layer actually is, and
we can increase the Size just to get the
| | 01:33 | right amount of blur.
| | 01:34 | I am also going to change the blend
mode to Normal. Depending on what context
| | 01:38 | we plan on using this in, this may or
may not be relevant. And we will put the
| | 01:43 | Opacity up to 100%.
| | 01:45 | So there we have our live editable type
and I can change that to any letter and
| | 01:53 | it's going to be nice and fuzzy.
| | Collapse this transcript |
| Creating an extruded shadow| 00:00 | Here we have an example which
demonstrates what we can't do with a Drop Shadow
| | 00:03 | layer effect, and that is
create an extruded shape or shadow.
| | 00:09 | That's what we have here and that
extruded shape also has its own color stroke.
| | 00:15 | We are going to see how we can do this manually.
| | 00:17 | It's a very old-school technique,
but it's quite effective and
| | 00:20 | relatively straightforward.
| | 00:22 | So firstly here is the nature of the problem.
| | 00:24 | If I want to extrude a shape from
this Y-- and of course there are 3D programs
| | 00:29 | that will do this much better
than the way I'm going to do it here.
| | 00:33 | Probably if this were a real world
scenario, I would be doing this in
| | 00:37 | Illustrator but since this is about
Photoshop let's say that we want to create
| | 00:41 | all of this in Photoshop.
| | 00:43 | It's perfectly possible to create it here.
| | 00:46 | If I turn on my Drop Shadow effect that
I've added as a layer style, this is a
| | 00:51 | drop shadow that has a Size of 0,
Spread of 0, Normal blend mode, 100% Opacity,
| | 00:59 | i.e. it's a completely sharp drop shadow.
| | 01:03 | But this is the nature of the problem.
| | 01:04 | We are always going to see this sort of stair
stepping from the object itself to its shadow.
| | 01:11 | So instead of doing that,
I am going to throw that away.
| | 01:15 | What I am going to do instead is
duplicate this letter and then create the
| | 01:21 | extruded shape from a series of duplicates.
| | 01:23 | I am going to duplicate it five times by
pressing Command+J or Ctrl+J five times.
| | 01:32 | Then I will move the one that's
currently at the bottom to the top just so that
| | 01:37 | we can see what's going on,
I am going to fill that with white.
| | 01:40 | So I make white my foreground
color and press Option or Alt and the
| | 01:44 | Backspace/Delete key.
| | 01:46 | I'm now going to select the five
copies and with my Move tool I am going to
| | 01:53 | offset them from the white type.
| | 01:55 | I am going to offset them just one
pixel to the right by pressing my right
| | 02:00 | arrow one pixel down.
| | 02:02 | Now I will deselect the top one and
with the remaining four I am going to go
| | 02:08 | three pixels to the right and three pixels down.
| | 02:11 | Exactly how far you go is going to
depend upon your own personal taste and how
| | 02:15 | big the shape is that you're working with.
| | 02:19 | So one, two, three to the right,
| | 02:21 | one, two, three down, deselect the top
one by holding down the Command or Ctrl
| | 02:25 | key and clicking on the layer and then repeat.
| | 02:29 | Three to the right, three down.
| | 02:33 | Deselect the top one, three to the
right, three down, and one more time.
| | 02:39 | Now if I turn off the top layer, the
next step is I want to select all five
| | 02:46 | layers and merge them into one.
| | 02:51 | Now when I go and look at the corners we
see we have this stair stepping problem,
| | 02:56 | which we are going to fix by using the
Polygonal Lasso tool and we are going to
| | 03:06 | fill that selection with black.
| | 03:07 | Black is your foreground color.
| | 03:09 | Option+Delete or Alt+Delete.
And repeat that for all of the corners.
| | 03:25 | Now I want to restore this top
version of the letter back to being black.
| | 03:32 | So I've clicked on it.
| | 03:33 | Black is my foreground color.
| | 03:35 | Option or Alt and my Backspace/Delete key.
| | 03:38 | I am going to double-click to the right
of the layer name and apply a Stroke to it.
| | 03:43 | I would like that stroke to be white
and I want its white to the 4 pixels.
| | 03:50 | Again, the exact size of the stroke is
going to vary according to the size of
| | 03:55 | the letter that you're working with.
| | 03:56 | I want that to be on the
inside of the letter shape.
| | 04:01 | I'm now going to copy that
effect down to my shadow.
| | 04:05 | Hold down the Option or Alt key,
drag fx badge onto that layer, and I'll
| | 04:11 | double-click on the Stroke effect
and just reduce its weight to 2 pixels.
| | 04:18 | And there is my effect.
| | 04:19 | I could if I wanted to change the
color of the shadow. I think I probably
| | 04:23 | like it as being black. Or I could
even go and apply further effects to this
| | 04:29 | shadow independently of the letter.
But I am going to quit here where we have
| | 04:33 | the extruded shape and its own
stroke and stroke weight applied to it
| | 04:39 | independently of the letter.
| | Collapse this transcript |
| Customizing a drop shadow| 00:00 | Now I know you're here to learn
Photoshop but you can't use Photoshop without
| | 00:04 | using a little bit of Illustrator as
well, and we're going to make a brief
| | 00:07 | foray into Illustrator.
| | 00:09 | I'm going to create this as a 3D
letter in Illustrator and then we'll see how
| | 00:14 | we can bring in the separate parts and
work with them independently as Smart
| | 00:19 | Objects and apply different effects to
those Smart Objects, then put the two
| | 00:24 | parts together, then create a shadow from
that and then further customize that shadow.
| | 00:31 | So our staring point in
Photoshop is nothing but a black square.
| | 00:35 | We're actually going to begin this
process in Illustrator with nothing more
| | 00:39 | than a single letter.
| | 00:41 | it's a Gill Sans Bold O in a light gray color.
| | 00:44 | I'm going to zoom in on this a little
bit and I'm going to select it and then
| | 00:49 | we're going to go to
Effect > 3D > Extrude & Bevel.
| | 00:54 | Let's turn on my preview. And
that's pretty much what I want.
| | 00:58 | Very simple, straightforward.
| | 01:02 | So I'm going to click OK to that.
| | 01:03 | Now I need to break this apart.
| | 01:04 | So I'm going to come to the Object menu
and Expand Appearance and that is going
| | 01:11 | to give me editable vectors.
| | 01:14 | That's good, because what I want to do is
I want to separate the surface of the O
| | 01:18 | from its extruded shadow.
| | 01:19 | So I'm going to click just in the
surface and then I'm going to create a new
| | 01:25 | layer using my Layers panel, and I'm
going to move that to the top layer so
| | 01:32 | it's off by itself and then with what
remains, I'm going to select all of that
| | 01:36 | and you can see that I've got
various different bits here.
| | 01:40 | This still needs simplifying.
| | 01:42 | There's way too much detail
here, way more than we need.
| | 01:44 | So I'm going to select all of these
things and then come to my Window menu and
| | 01:49 | my Pathfinde panel where
I'm going to unite them as one.
| | 01:53 | So it's all now just a flat color in there.
| | 01:57 | So our 3D shape is made up now just of
two separate objects and I'm going to
| | 02:03 | select these one by one.
| | 02:04 | First the O, I'm going to copy it, switch
over to Photoshop where I'm going to paste it.
| | 02:11 | Command+V or Ctrl+V. And I'm
going to paste it as a Smart Object.
| | 02:15 | I'm going to leave that right there,
press Return, and then I'm going to go back
| | 02:21 | to Illustrator where I'm going to
select the shadow, copy, move back to
| | 02:26 | Photoshop, and I'll paste it as a
Smart Object. I'll press Return.
| | 02:32 | I'll change the order of my layers, and I
might need to just reposition things slightly.
| | 02:38 | But they should align, and indeed they do.
| | 02:42 | The reason we made them separate
is so that we can apply effects to
| | 02:46 | them independently.
| | 02:47 | For the shadow, what I'd like to
do is apply a Gradient Overlay.
| | 02:54 | So I'm going to come to Gradient
Overlay and that's pretty much what I want.
| | 02:59 | I don't really want anything more than that.
| | 03:01 | So I'm just going to click OK to that.
| | 03:04 | Now, for the surface of the O
what I want is a Bevel and Emboss.
| | 03:08 | So I'm going to double-click on that.
| | 03:10 | Bevel and Emboss, I'm going to
increase the Size of the bevel.
| | 03:14 | But what I don't want to get is I don't
want to get any shadows. I just want the
| | 03:19 | highlights from the bevel.
| | 03:21 | So I'm going to reduce the Opacity of
the Shadow and let's crank up the Opacity
| | 03:27 | for the Highlight mode.
| | 03:28 | So we really make those beveled edges
shine and we may even change the mode to
| | 03:35 | Linear Dodge, which will make
them shine a little bit more.
| | 03:39 | Now what I'm going to do is select
both of those and I'm going to make them
| | 03:45 | into one Smart Object.
| | 03:48 | Now, I can work on this as just one object.
| | 03:51 | So I'm going to press Command+T to go to
Free Transform, hold down my Shift key,
| | 03:56 | and then drag this up into
position somewhere around here.
| | 04:01 | Now, if you've ever seen a poster by
the famous artist Man Ray that he did for
| | 04:06 | the London Underground in the 1930s,
you will start to perhaps recognize where
| | 04:11 | I'm doing with this, because what I'm
doing here is very much inspired by that,
| | 04:15 | so I should give the nod to Man Ray.
| | 04:18 | Now, what I'm going to do is
I'm going to apply a shadow to it.
| | 04:21 | Double-click to the right of the layer
name, add a Drop Shadow, and I want the
| | 04:26 | Drop Shadow to be white, so
let's go and change the color.
| | 04:30 | I'm going to change the blend mode
to Normal and now I can just drag this
| | 04:37 | down where we want it.
| | 04:40 | But we can't quite get it
exactly where we want it.
| | 04:43 | So I'm just going to dump it right there
and maybe we'll increase the size of
| | 04:46 | the shadow a little bit.
| | 04:48 | But just for a bit more flexibility,
I might now want to come and right-click on
| | 04:54 | the fx badge. Choose Create Layer, which
will separate the shadow from its layer.
| | 05:00 | I can now come and select that shadow and
I perhaps want to distort it a little bit.
| | 05:06 | So I'm going to press Command+T or
Ctrl+T and Command or Ctrl and just drag from
| | 05:13 | these handles to distort the shadow
independently of its object and perhaps I
| | 05:21 | also want to apply a
little bit more blurring to it.
| | 05:24 | So I'm going to come to the Filter
menu > Blur > Gaussian Blur, and just up
| | 05:29 | that a little bit more.
| | 05:32 | So there we have our customized Drop
Shadow derived from a vector Smart Object,
| | 05:38 | which itself is a collection of two
separate vector Smart Objects which were
| | 05:44 | derived from a 3D letter
created in Illustrator. Phew!
| | 05:48 | That was a long way around, wasn't it?
| | 05:50 | But worth it I think.
| | Collapse this transcript |
| Reflecting a shadow and applying a displacement map| 00:00 | Here's an example that's going to
introduce us to the concepts of working with a
| | 00:03 | displacement map to get more realistic
shadows, where those shadows cross any
| | 00:10 | sort of ridged surface, as we have here.
| | 00:11 | And what the displacement map is
doing is it's giving this bumpy edge that
| | 00:16 | resembles the ridges in the sand dune.
| | 00:19 | We're also going to see how we can
then reflect a shadow, make a copy of the
| | 00:24 | shadow and reflect it.
| | 00:26 | So here is our starting point, and first
of all I'm going to apply an Inner and
| | 00:31 | Outer Glow to the U. So I double-click
to the right of its name, Outer Glow, and
| | 00:39 | let's increase the Size of that.
| | 00:40 | Let's say 24 pixels.
| | 00:44 | And I'd like the color of this to be
based upon the color in the image, so I'm
| | 00:48 | going to click on the Color box and then
just sample some of the color from the sand.
| | 00:54 | And I'm now going to go back to my
Blending Options and turn down the Fill
| | 00:59 | Opacity, so that we are just seeing the
effect and not the black fill of the letter.
| | 01:06 | I'm now going to go to the Inner Glow
and I'm going to use pretty much the
| | 01:10 | same approach here.
| | 01:11 | We'll use a Size that is the same, 25.
| | 01:14 | That's fine, and then click on the
Color box, sample some color from the sand.
| | 01:20 | Now because I'm using a dark color and
a lightning blend mode, that's having no effect.
| | 01:24 | So I need to make
the blend mode Multiply.
| | 01:29 | So that's the letter.
| | 01:31 | We have an Outer Glow and an Inner Glow applied.
| | 01:35 | And the next thing I'd like to
do is apply the displacement map.
| | 01:39 | Now a displacement map is a filter
that uses a grayscale version of an image,
| | 01:45 | presumably the image that you're working with.
| | 01:47 | in this case, the sand dune.
| | 01:49 | It doesn't need to be that but I
mean that's going to give you the more
| | 01:51 | predictable results.
| | 01:53 | So we need to make a copy of the sand
dune, first of all, and we need to make it
| | 01:57 | in grayscale and then we
can now apply this filter.
| | 02:00 | But we want to keep that type
live and editable and not rasterized.
| | 02:06 | So first of all, I am going to turn
off the letter layer and I'm going to
| | 02:12 | Shift+Click on this vector mask to
hide it and then I'm going to come to the
| | 02:18 | Image menu and choose Duplicate.
| | 02:21 | And in this duplicated copy I'll throw
that away and I'll throw that away and
| | 02:28 | I'll come to the Image menu > Mode >
Grayscale and it's asking me if I want to
| | 02:33 | rasterize this Smart Object.
| | 02:35 | Yes, I do. Discard.
| | 02:38 | There's my grayscale dune.
| | 02:40 | Now just before I apply this as my
displacement map filter, I'm going to up the
| | 02:45 | contrast in this copy.
| | 02:47 | So I'm going to press Command+L or Ctrl+
L to go to my Levels, and I'm going to
| | 02:52 | get my white point slider and bring it
towards the middle, and my black point
| | 02:56 | slider and bring it to the middle like so.
| | 03:00 | And then I'm going to save this and
I'm going to save it as displaced_dune.
| | 03:11 | I'm now going to switch back to the
document that I was working in before.
| | 03:20 | Turn on my letter layer. I can re-enable
my vector mask. Actually I didn't really need
| | 03:26 | to disable it in the first
place, but it's done no harm.
| | 03:29 | So now I want to apply that
displacement map but I'm going to apply it to a
| | 03:33 | layer mask rather than to the letter
itself, and to do this I am going to
| | 03:39 | Command+Click or Ctrl+Click on the
layer thumbnail and that will load the
| | 03:43 | selection for that layer.
| | 03:46 | And then I'm going to come
and click on Add Layer Mask.
| | 03:48 | There is my layer mask.
| | 03:49 | Now I'm going to come to my Filter
menu and to Distort and then to Displace.
| | 03:57 | How far do we displace this?
| | 03:59 | How jaggedy do we want our edges to be?
| | 04:03 | Now I've done this before, literally
minutes ago, and I used 3 pixels for the
| | 04:08 | Vertical and Horizontal Scale.
| | 04:10 | I'm going to use 2 this time.
I feel that effect was a bit strong.
| | 04:14 | But the exact amount you use is going
to depend upon your own personal taste,
| | 04:18 | the kind of image you're working with,
and the resolution of the image that
| | 04:21 | you're working with.
| | 04:23 | So when I click OK, it asks me to
choose the file that I want to use to
| | 04:29 | displace and I'm going to
choose the one that we made.
| | 04:32 | And there you can see the bumpiness
along those ridges and I'm going to just
| | 04:36 | zoom in and then I'm going to undo that.
| | 04:39 | There's the before. There's the after.
| | 04:42 | Before, after.
| | 04:43 | Okay, so far so good.
| | 04:47 | Now we want to reflect this
letter to create a reflected shadow.
| | 04:52 | So I'm going to come and click on the
layer thumbnail and press Command+J or
| | 04:56 | Ctrl+J to duplicate that layer.
| | 05:00 | And I'm now going to rasterize this layer,
because this layer just needs to be pixels.
| | 05:06 | It doesn't need to be editable type.
| | 05:09 | So I'll right-click to the right of
the layer name and choose Rasterize Type.
| | 05:14 | Then I'll press Command+T
or Ctrl+T to transform this.
| | 05:19 | But before I do that, because my image
is filling the whole of my screen, I'm
| | 05:24 | going to press Command+Minus
just to get a little bit smaller.
| | 05:27 | Now I will flip that over on itself
like so, maybe flip it this way, pull it
| | 05:36 | around as if it were putty.
| | 05:37 | If you want to distort it, grab the
right-hand or left-hand edge, holding down
| | 05:43 | your Command or Ctrl key, and then
just do with that as you will, and OK to
| | 05:52 | accept that transformation.
| | 05:54 | I'm going to press Return and I don't
think I need these effects applied any
| | 06:00 | longer, but I do need another one.
| | 06:01 | So what I'm going to do is double-
click to the right of the layer name to go
| | 06:04 | to my Layer Style dialog box, turn those two
off, but come and turn a Gradient Overlay on.
| | 06:11 | And for the Gradient Overlay, I'm going
to adjust the Angle to sort of match the
| | 06:17 | angle of the letter itself, and then I
want this to be Multiply, and I think I
| | 06:24 | probably want it to Reverse.
| | 06:28 | And then I'm going to dial down the
Opacity of that quite dramatically so that
| | 06:35 | we just see a hint of it.
| | 06:36 | So there we have our letter with a
displaced glow in this case and then
| | 06:41 | a reflected shadow.
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|
|
5. Layer Effects in Practice: Creating the Type Poster Using BevelsInflating type by softening a smooth bevel| 00:00 | In this example we are going to inflate
a letter with a soft, smooth Bevel and
| | 00:05 | then we'll also see how we can apply
this very trendy plastic wrap effect to it.
| | 00:12 | Here's our starting point.
| | 00:14 | I'm going to go to Bevel and Emboss,
since that's the main event here.
| | 00:18 | I'm going to turn off Global Light.
| | 00:21 | I'm going to increase the Depth of the Bevel.
| | 00:22 | I'm using a Smooth bevel, and I'm
going to increase the Size way up like so.
| | 00:27 | And now to round out these
edges, I'm going to Soften.
| | 00:33 | Now rather than using black as my
shadow color, I'm going to change the color.
| | 00:38 | Sample that from the letter itself.
| | 00:42 | Now I'm going to come to Drop Shadow,
just drag the Drop Shadow down into the
| | 00:48 | right, and soften it by increasing its Size.
| | 00:53 | Finally here, I'm going to come to the
Gradient Overlay and I'm going to change
| | 00:59 | the Angle of the gradient like so, so
that the light is going to be coming in
| | 01:03 | from the top-left, change the blend
mode of the gradient to Multiply, and then
| | 01:08 | take the Opacity way down to about
20%, so that will just be darkening that
| | 01:13 | bottom right-hand corner of the letter.
| | 01:17 | Now to add the plastic wrap effect, I'm
going to create a new Color Fill layer,
| | 01:23 | and I want the color fill to be
the same color as the type itself.
| | 01:29 | So I'm going to choose my Eyedropper
tool by pressing I, sample that color, and
| | 01:34 | then come to my adjustment layers and
choose Solid Color, and it's going to
| | 01:40 | give me a Color Fill layer that is that color.
| | 01:43 | And I now want to clip that to the
letter itself, so I'm going to hold down my
| | 01:48 | Option or Alt key and click on
the line between those layers.
| | 01:52 | Then working on the layer mask that
comes with the Color Fill layer, I will
| | 01:56 | switch to my Elliptical Marquee
tool and I'm going to draw myself an
| | 02:02 | ellipse about that size.
| | 02:05 | If necessary, I can come
inside it and reposition it.
| | 02:09 | And now making sure that black is my
foreground color, I'm going to fill that
| | 02:13 | shape with black on the layer mask,
so we can see we just have the top
| | 02:19 | portion of that color left.
| | 02:21 | And what I'm going to do next is go
and add a Gradient Overlay to that.
| | 02:26 | But before I do that, I want to make
sure that white is my foreground color so
| | 02:31 | I'm going to cancel out of that, press
D to restore my colors to their default
| | 02:36 | black-and-white, press X to
make white my foreground color.
| | 02:40 | Now I'll go to my layer effects, come
to Gradient Overlay, and for the type of
| | 02:45 | gradient I will choose
foreground to transparent.
| | 02:49 | And that just brightens up
the top portion of that letter.
| | 02:52 | So there is our inflated letter, and
it's created using a soft Bevel and Emboss,
| | 02:58 | combined with a Drop Shadow, Gradient
Overlay, and then we have this extra layer
| | 03:03 | on top here which is adding
this nice plastic wrap effect.
| | Collapse this transcript |
| Creating a chiseled bevel| 00:00 | So let's see how we can dramatically
chisel a letter using a chiseled bevel,
| | 00:05 | a hard chisel, and also get this
cool looking metallic effect.
| | 00:10 | We're going to be adjusting the
Altitude and Angle of the light and we're also
| | 00:13 | going to add some depth with a
Pattern Overlay, Satin, Inner Shadow, Drop
| | 00:18 | Shadow combination.
| | 00:19 | Here's my F on a textured background.
| | 00:22 | I'm going to begin by going to the Bevel
and Emboss since this is the main event here.
| | 00:28 | And I'm going to turn off Global Light.
| | 00:30 | I'm not really interested so much in
creating a realistic effect as just
| | 00:34 | creating a cool effect and I want to
be able to affect the angle of light
| | 00:39 | independently for the Drop Shadow,
Inner Shadow, and Bevel and Emboss.
| | 00:43 | So I'm going to start out by changing
the Technique to Chisel Hard and then I'm
| | 00:47 | going to increase the Size of
that chisel up to about 100 pixels.
| | 00:53 | And that really adds dimension to the letters.
| | 00:55 | Unfortunately, it also adds these
chiseling artifacts and I'm going to try and
| | 01:00 | mitigate those by now
softening the amount of beveling.
| | 01:05 | Okay, that looks a whole lot better.
| | 01:07 | I'm going to adjust the Depth down to about 50%.
| | 01:12 | Now I want to come and adjust the Angle
of the light and I would like the light
| | 01:16 | to be coming in from the right so that
it casts a strong shadow on the left of
| | 01:23 | the letter and I'm going to reduce the
Altitude so the sun is low in the sky so
| | 01:30 | that shadow is stronger.
| | 01:32 | Now I want to increase the highlights
and the shadows, so I'm going to amp these
| | 01:36 | up by changing the Highlight blend mode
to Linear Dodge for a stronger effect,
| | 01:43 | for brighter highlights, and then the
equivalent Linear Burn for the Shadow mode
| | 01:49 | for, well, these burnt-in shadows we
really saw it bringing out the existing
| | 01:53 | color of the shadow.
| | 01:55 | And I might also increase the
percentage of both of those.
| | 01:58 | Okay, now I'm going to go to Drop
Shadow and I'm going to add a Drop Shadow.
| | 02:05 | I'm just going to move onto the
letter and pull the shadow away.
| | 02:09 | Now I'm on a dark background, so we
don't see it that well but it is just adding
| | 02:13 | some dimension, and I will increase
the size of that to soften the shadow.
| | 02:18 | I'm just now going to add some Inner Shadow,
and a little bit of Choke to that Inner Shadow.
| | 02:27 | Now for our wild card I'm
going to add some Satin.
| | 02:30 | Now when I click on Satin, we get this sort of
cool looking metallic liquid gold like effect.
| | 02:37 | And what Satin is doing is it's moving
the object within the shape of the layer.
| | 02:42 | So if I come and drag around on
the letter, we can get some really
| | 02:47 | interesting looking effects.
| | 02:50 | I do just want to change the blending mode
of that to Soft Light to soften the effect.
| | 02:56 | Finally, I'm going to go
and add a Pattern Overlay.
| | 03:00 | So when I click on Pattern Overlay,
I get this, which is the default
| | 03:04 | pattern, not what I want.
| | 03:06 | So I'm going to come to my preset
patterns and what I'm off to is in the Color
| | 03:12 | Paper preset, so I'm going to choose
Color Paper, and I'm going to append these,
| | 03:18 | and then I'm going to
choose this one, Gold Metallic.
| | 03:22 | And I sort of like that effect,
although it's having a rather dulling overall
| | 03:26 | contribution, which we don't want, so
I'm going to turn that down so we can
| | 03:31 | just see a little bit of the texture there
but we still keep the letter nice and shiny.
| | 03:37 | Okay, so there is my letter.
| | 03:39 | As a finishing touch, I'm just
going to add some lens flares to it.
| | 03:43 | So I'm going to zoom out and with my
Hand tool I'm just going to reposition my
| | 03:49 | image within my window, and that's because I'm
in the Screen mode that allows me to do that.
| | 03:53 | If you need to change your screen
modes, you can just press your F key to
| | 03:57 | cycle through them.
| | 04:00 | Okay, to add lens flare, I'm going to
create a new layer above the existing
| | 04:05 | layer and I'm going to
fill that layer with black.
| | 04:07 | Black is my foreground color, so I'm
going to press Option+Delete or Alt+Delete.
| | 04:12 | Then I'm going to change the
blend mode of that layer to Screen.
| | 04:16 | Screen will neutralize the black.
| | 04:19 | And then on this layer, I'm going to
go to Render and choose Lens Flare.
| | 04:24 | The lens flare that I want is Movie Prime,
and I want the Brightness to be at 100%. Click OK.
| | 04:31 | Now I'm going to choose my Move tool and
I'm going to reposition that flare like so.
| | 04:38 | And I may want to resize it also, so
I'm going to press Command+T or Ctrl+T to
| | 04:44 | Free Transform, hold down the Shift
key with the Alt key as well so that I
| | 04:48 | resize from at center point,
reposition it, and press Return.
| | 04:53 | Now I'm going to mask that lens flare.
| | 04:56 | So I'm going to choose my Elliptical
Marquee tool, put that on the center of the
| | 05:00 | flare, hold down my Option or Alt key
and draw myself an ellipse around that
| | 05:05 | flare, and then come and add a layer mask.
| | 05:07 | And that's going to give me a hard
edge, which obviously I don't want.
| | 05:12 | So I'm going to come my Masks panel and
increase the Feathering on the mask edge
| | 05:18 | to 25 pixels, I reckon.
| | 05:22 | Now if I want some other lens flares,
I can just duplicate this layer,
| | 05:27 | Command+J, and then with my Move tool,
reposition the flare, and I think I
| | 05:34 | will also go to my Free Transform, and
rotate it slightly as well and Alt and Shift,
| | 05:41 | pull from one of the corners to
reduce its size, press Return, and I'll
| | 05:48 | just stay where I am.
| | 05:49 | This time I'm going to duplicate
another one by holding down the Alt key and
| | 05:53 | dragging that off and we'll put that on
another area of highlight of the letter
| | 05:58 | and we'll come down here I think, and
I'll size that one as well. Press Return
| | 06:09 | and there is our finished F,
complete with lens flares.
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| Embossing a stroke| 00:00 | The punchline of this
technique is embossing the stroke.
| | 00:03 | This is all about the stroke and then
applying and embossing to that stroke.
| | 00:08 | We're also going to be working with
light by combining Drop Shadow, Inner Shadow,
| | 00:12 | and Gradient Overlay.
| | 00:13 | Here's our starting point. Let me just
mention that this font is one called Neuland.
| | 00:18 | You may not have it in which
case I've included a shape layer.
| | 00:22 | It's not going to be editable type but
you will be able to get the same look
| | 00:26 | and effect with it.
| | 00:27 | A type is sitting on a background field
of gray and that has a Gradient Overlay
| | 00:33 | with a reflected gradient applied to it.
| | 00:36 | So firstly I'm going to go to Stroke
and I'm going to add a heavy stroke,
| | 00:42 | a heavy black stroke to the center of the letter.
| | 00:46 | Then I'm going to come to Bevel and Emboss.
| | 00:48 | I would like the direction of the lights to be
down and I want the style to be Stroke Emboss.
| | 00:54 | So it's working on the stroke that
we just added. And then I'm going to
| | 00:57 | increase the Size of that, to about 80,
and I'm also going to increase the
| | 01:03 | Depth, and I'm also going to increase
the Opacity on the Highlight and the
| | 01:09 | Shadow, just to make it a bit more dramatic.
| | 01:13 | Now I'm going to come to my Drop Shadow.
| | 01:16 | I'm going to turn off Global Light so
that anything I do here with the angle
| | 01:20 | isn't going to affect the Bevel and
Emboss, and I'm just going to drag that off
| | 01:24 | slightly and I want to keep that shadow
quite well-defined I think, so I'm not
| | 01:29 | going to increase the size.
I am just going to leave that as is.
| | 01:32 | Then we will go to the Inner
Shadow and I'll pull in an Inner Shadow.
| | 01:36 | I'm going to turn off Global Light
before I go any further, pull that in and
| | 01:42 | then increase the size to soften that,
maybe adjust it a little bit more, and
| | 01:50 | then let's add a Gradient Overlay.
| | 01:52 | The Gradient Overlay, I need to
change the blend mode to Multiply.
| | 01:57 | We currently have a Gradient Overlay in
the background which is going from the
| | 02:00 | bottom left to the top right, so here
I want to have my Gradient Overlay go
| | 02:06 | counter to that. So I'm going to change
the Style to Reflected and the Angle to
| | 02:11 | about 135 is fine, and I want to
reverse that so that we go from dark to light.
| | 02:17 | So dark instead of what we currently have, and
I may also want to just dial down the Opacity.
| | 02:25 | There is our embossed stroke on the Z
with some nice dramatic lighting applied to it as well.
| | Collapse this transcript |
| Creating a soft bevel and customizing the contour of the inner shadow| 00:00 | Here we going to create an ice tray
like letter using a soft Bevel and a
| | 00:05 | combination of effects, especially
customizing the contour of an Inner Shadow.
| | 00:10 | Here's our starting point.
| | 00:12 | We have two layers to make the
background, a gradient fill with a radial gradient
| | 00:17 | and a shape layer that is derived
using the Custom Shape tool, and this
| | 00:24 | particular custom shape is that one
right there and it's called Target.
| | 00:29 | If you don't see all of these shapes
you can load them like so, and this layer,
| | 00:35 | the shape layer, is set to a blend
mode of Overlay and an Opacity of 9%.
| | 00:43 | So we just see a nice inverse starburst there.
| | 00:46 | So now let's get working with the
letter itself and we will begin with a Drop Shadow
| | 00:52 | and I'm just going to pull that off
slightly and then we'll move on to an Inner Shadow.
| | 00:57 | Now for the Inner Shadow I want to
sample the color from the background itself.
| | 01:03 | So I'm going to change the color and
then come and sample from the lighter area
| | 01:08 | of blue, and I think I might want to
go a little bit lighter than that, so I'm
| | 01:11 | going to drag that up on my color field,
and I'm going to increase the Size of
| | 01:17 | that to about 60 pixels, and I'm also
going to just drag its Distance as well.
| | 01:25 | Drag it slightly inside the shape.
| | 01:27 | Now here is where the good bit comes in.
We want to change the contour. Rather
| | 01:31 | than working with a Linear contour we
are going to work with this one which is
| | 01:36 | called Cove Shallow.
| | 01:38 | So if you think of coving the way you
get coving around the top of a wall as it
| | 01:42 | meets the ceiling, that's what we have
going on here. And I'm then going to just
| | 01:47 | dial down the Opacity on
that to about high 30's.
| | 01:50 | So we get this icy look. I can't think
of a better way to describe it than that.
| | 01:54 | So now I'm going to come to the Inner Glow.
| | 01:57 | For the Inner Glow I want to change
the blend mode to a Darkening blend mode.
| | 02:00 | So we are going to go to Multiply and
once again I'm going to sample the color
| | 02:05 | from the image itself and once again
we'll go with a slightly lighter blue than that,
| | 02:10 | and then I'm going to
increase the Size of that Inner Glow.
| | 02:15 | All right that's looking good.
| | 02:17 | Now let's move on to the Bevel and Emboss.
| | 02:19 | With the Bevel and Emboss I want to make
sure I'm not working with Global Light,
| | 02:24 | so that I don't affect
anything that I've already done.
| | 02:27 | I'm going to use a Chisel Hard and I'm
going to increase the size of that and
| | 02:34 | then to make sure we don't see any of
the chiseling marks I'm going to soften it
| | 02:39 | as much as 14 pixels.
| | 02:42 | Now I already want to bring out the
Highlights and the Shadows and for the
| | 02:47 | Highlight mode I'm going
to again sample the color.
| | 02:50 | So we are working with blue, maybe
a slightly darker blue than that.
| | 02:55 | Let's just move around on our Color
field, and I want to change the blend mode
| | 03:01 | of that to Color Burn.
| | 03:04 | So exactly having a darkening rather
than a lightening effect and then I'm going
| | 03:08 | to get that slider move it all the way
up to 100%, and this seems a little bit
| | 03:15 | counterintuitive but with the Shadow
mode I'm going to change it to Linear Dodge,
| | 03:20 | which is going to have a lightening effect.
| | 03:22 | I'm going to change the color of that to white.
| | 03:26 | So we are sort of doing the
opposite of what you would expect with the
| | 03:30 | highlights and the shadows.
| | 03:31 | Now I'm going to come to my Gradient
Overlay and I want to apply a gradient
| | 03:36 | across the whole letter and I want to
use a gradient that goes from blue to
| | 03:41 | white to blue to white and back to blue again.
| | 03:44 | So I am going to click on the type of
gradient that I'm using and I want to use
| | 03:50 | a light blue, so I'm going to click on
the color stop, click on the color box,
| | 03:55 | slide up in my Color field and I'm
going to use sort of aquamarine blue,
| | 04:02 | something like that, and then I
want that to transition to white.
| | 04:06 | So I'm going to grab this white
color stop and bring it to about there.
| | 04:10 | Now I'm going to duplicate the one
color stop that I have, holding down my
| | 04:13 | optional Alt key and drag that to the
right, and then I'm going to duplicate
| | 04:17 | the white by dragging that to the right
and holding down my Option or Alt key and
| | 04:21 | repeat that again so that we now
have these stripes, then click OK.
| | 04:27 | I need to reduce the Opacity on that
so I'm going to bring that down to about
| | 04:31 | 50% and then I'm also going to change
the Angle of that, and I could also if I
| | 04:39 | wanted to just mess around with the
Scale, but I think the Scale is pretty good
| | 04:43 | where it is at 100%.
| | 04:46 | Next I'm going to move on to the
Stroke and I want to add a nice big stroke
| | 04:53 | around the whole letter so I'm going
to increase the Size of stroke to 18
| | 04:58 | pixels and we can leave the color as
being black, but I'm going to reduce the
| | 05:04 | Opacity so that we bring back some of
the texture of the background. Reduce the
| | 05:09 | Opacity to about 30.
| | 05:12 | So there I finished K and we've
thrown just about everyone of our layer
| | 05:16 | effects at it, I think to good effect.
| | Collapse this transcript |
| Combining a smooth bevel with transparency effects| 00:00 | Here is an interesting effect where we
get to work with the Fill Opacity, as we
| | 00:04 | have done before for some interesting
transparency effects and we'll also be
| | 00:08 | working with a Smooth
Bevel and a custom contour.
| | 00:12 | Here's our starting point.
| | 00:14 | So I'm going to go to my Layer Style
and the first thing I'm going to do is I'm
| | 00:17 | going to take that Fill
Opacity all the way down.
| | 00:20 | So it's going to disappear, then
I'm going to go to Bevel and Emboss.
| | 00:24 | I'm going to increase the size of that
Bevel to about 21 and then I'm going to
| | 00:28 | soften it about 5 pixels.
| | 00:31 | I'm going to change the angle of the
light so that the light is coming from
| | 00:35 | above and I'm going to make sure that
Global Light is not used, which is going
| | 00:41 | to require me to put that back to where it was.
| | 00:44 | So to really get some interesting
effects, I'm going to experiment by using a
| | 00:48 | different Gloss contour.
| | 00:49 | Currently we have a Linear contour
but we can get some interesting results
| | 00:52 | either by using a Cone, you see how
it's going to distribute the Highlights
| | 00:56 | and Shadows differently, or an
Inverted Cone, or a Ring, and I'm going to go
| | 01:02 | with an Inverted Cone.
| | 01:04 | I'm also going to turn on Anti-aliased.
| | 01:07 | I'm going to change the Highlight
Mode to Linear Dodge, just to make those
| | 01:11 | highlights a bit stronger, and then I'm
going to change the Shadow Mode to Color Burn,
| | 01:17 | so that we really burn in the
color of the sand beneath but I'm then going
| | 01:22 | to take that way down.
| | 01:23 | Now to give some definition to the
letter shape I'm going to go Inner Shadow and
| | 01:29 | again I'll turn off Global Light and I'm
just going to increase the Size of that
| | 01:33 | shadow to about 21 pixels.
| | 01:38 | Now here is what's really going to
make that shadow give the letter shape
| | 01:41 | definition. It's the Choke that I applied to it.
| | 01:44 | So I'm going to increase the Choke
just to introduce a bit more Opacity into
| | 01:50 | that Inner Shadow, and it's really
bringing back the definition of the letter shape.
| | 01:54 | Now I'll go and add a small Drop Shadow.
| | 01:57 | I am just going to pull that away from
the letter and increase the Size of that
| | 02:04 | a bit just to soften it, and
finally I'm going to add an Outer Glow.
| | 02:11 | Now for the Outer Glow, I actually want
to sample the color of the glow from the sand,
| | 02:16 | so I'm going to click on the
color box and then come and sample the sand.
| | 02:20 | I'm going to reduce the Opacity of that,
but I'm going to increase the Size of
| | 02:26 | that Outer Glow, and I think that
looks pretty interesting. There is our glossy Q.
| | Collapse this transcript |
| Embossing the contour of a bevel and adding an outer bevel with texture| 00:00 | This example is going to
bring out some interesting stuff.
| | 00:03 | We are going to be embossing the
contour of the bevel, applying an Outer
| | 00:06 | Bevel with texture.
| | 00:08 | Two Bevels, how are we going do that?
| | 00:09 | Well, the answer is, we are going to
be working with Smart Objects and we are
| | 00:13 | also going to fill a shape with
an image using Pattern Overlay.
| | 00:16 | So, we want to get this nice sort of
chrome effect with a reflection in the chrome.
| | 00:22 | My first task is to create the Pattern
Overlay, a half here on a hidden layer,
| | 00:27 | this image which we are going to use.
| | 00:29 | There are of course other ways to
do this, but Pattern Overlay is a
| | 00:33 | completely viable approach.
| | 00:35 | But I first need to make this into a
pattern. So with it visible, I'm going to
| | 00:39 | come to the Edit menu > Define
Pattern and I'll just leave it called R.
| | 00:44 | Then I'll hide that, go to my Layer
Style, come to my Pattern Overlay, and I
| | 00:52 | should at the bottom of
my list see that pattern.
| | 00:56 | Now I will need to just align the
patent with the image, so I'm just going
| | 01:00 | to drag it around, position it
relative to the piece of type the way I
| | 01:04 | wanted, which is like that.
| | 01:06 | And now I'm going to come and add an
Inner Shadow and I'm going to increase the
| | 01:11 | size of the Inner Shadow to about 13
pixels and then I'm going to customize the
| | 01:17 | contour of the shadow.
| | 01:18 | I'm going to use one of the predefined
contours, Ring Double, and watch what
| | 01:22 | happens to the Inner Shadow when I apply that.
| | 01:25 | I get this lovely interior effect.
| | 01:28 | I will also make sure I have
Anti-Alias turned on for that.
| | 01:32 | Next I'm going to go to Bevel and Emboss.
| | 01:35 | I want to turn off Global Lights so
that I don't affect the Inner Shadow
| | 01:38 | that I've already added.
| | 01:39 | The Style will be Emboss and the Size
is going to go up to 13 pixels and I'll
| | 01:46 | Soften that by just a couple of pixels.
| | 01:49 | Then I'm going to adjust the
Highlight mode so that we really make
| | 01:52 | those highlights pop out.
| | 01:54 | I'm going to change that
from Screen to Linear Dodge.
| | 01:57 | Here is where things get really interesting.
| | 02:00 | I'm going to apply a contour curve to
the Bevel itself by clicking on Contour,
| | 02:05 | one of the sub-effects, and to get a
really cool sort of machine hand-tooled
| | 02:11 | kind of look to this.
| | 02:13 | Like it's punched out of aluminum,
then I'm going to choose this Custom Curve
| | 02:17 | that I made earlier, and if we take
a look at the Curve Editor we can see
| | 02:22 | that it looks like this.
| | 02:23 | It has four points and each of
these points is set to be a corner.
| | 02:28 | I also want to make sure that I have
Anti-Alias checked to make sure that I
| | 02:33 | don't incur any of that nasty-
jaggy stuff that we saw there.
| | 02:37 | I'm just going to turn that off.
| | 02:39 | Those are the jaggies. Anti-Aliased.
| | 02:41 | There we have it without the jaggies.
| | 02:44 | So those are the effects that we want
to apply to the letter, but we want to
| | 02:48 | go further than this.
| | 02:50 | We want to apply a more and a
different kind of embossing to this letter.
| | 02:55 | Now you can only apply Emboss once,
unless you safe this layer as a Smart
| | 03:01 | Object. So that's what I'm going to
do now, I'm going to right-click on the
| | 03:05 | layer and choose Convert to Smart Object.
| | 03:08 | Now that it's a Smart Object, we can
add additional effects to it, but before I
| | 03:14 | apply additional beveling to the letter
itself, I want to add a Texture Bevel to
| | 03:19 | the background. Bevel and Emboss >
Texture and the texture that I'm after is
| | 03:26 | called Metallic Flex and it's part of
the grayscale paper's group, and I want
| | 03:34 | that to be linked with the layer
and I will click OK to that.
| | 03:38 | Having applied the textures to the
background, I'm now going to add an Outer
| | 03:42 | Bevel to the R to make the R look
like it's being punched up out of this
| | 03:47 | textured background.
| | 03:48 | I'm going to come to Texture. I want to
make sure I'm using the same texture as
| | 03:55 | we used on the background, Metallic Flex,
and then for the Bevel and Emboss,
| | 04:01 | the Style needs to be Outer Bevel and
then I'll increase the Size of that.
| | 04:06 | And we get this great-looking raised
effect and there is our finished result.
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| Set in stone: Customizing a bevel with diffused light| 00:00 | Now we're going to see how we can
set type in stone, specifically a
| | 00:03 | weathered gravestone.
| | 00:05 | This is going to involve using diffused
light with a Bevel and Emboss and we'll
| | 00:09 | also see how we can then create layers
from the Bevel and Emboss layer effects
| | 00:14 | and continue to work on them using layer masks.
| | 00:18 | So I'm going to go to my Layer Style and
Blending Options, I'm going to turn the
| | 00:23 | Fill Opacity down to zero.
| | 00:24 | That's going to make the letter disappear.
| | 00:26 | But then when I click on Bevel and Emboss,
we see the letter form defined
| | 00:30 | by the highlight and
shadow of the bevel and emboss.
| | 00:34 | I want an Inner Bevel and I want it to
be Chisel Hard and I'm going to increase
| | 00:39 | the depth, but mainly I'm going to
increase the size so we get this nice
| | 00:43 | chiseling look. Let's
increase the view size there.
| | 00:47 | I may wish to also Soften that
a bit so that I don't see any
| | 00:51 | chiseling artifacts.
| | 00:52 | I'm going to change the angle of the
lights, spin that around so the light
| | 00:57 | comes from the bottom so it's casting
a shadow on the left-hand side, and so
| | 01:03 | the light is a little bit softer I'm
going to move this marker closer to the
| | 01:08 | middle of this circle.
| | 01:10 | I'm also going to reduce the opacity
on the highlights and the shadow and
| | 01:15 | then I'm going to click OK. Now I'm
going to separate these layer effects on
| | 01:20 | to separate layers, by creating layers, and we
have one for the shadow and one for the highlight.
| | 01:27 | On the shadow, what I want to do is disrupt
this very uniform line that we have going on.
| | 01:32 | So I'm going to add a layer mask to
that and then choose my Brush tool by
| | 01:38 | pressing B and I'm going to turn the
opacity on my brush way down to about 20%.
| | 01:42 | I make sure that black is my foreground
color and then I just zoom in a bit.
| | 01:48 | I'm going to just nibble away of those edges.
| | 01:51 | Wherever we see a hard straight line,
just break it up a little bit and
| | 01:58 | depending on how bright your
highlights are, mine are very very subtle so I
| | 02:03 | don't think they really need any
work, but if your highlights are a bit
| | 02:07 | brighter, you might also want to
the same on this layer as well.
| | 02:12 | So there is the effect. That's before
applying the layer mask and that's with
| | 02:16 | the layer mask applied. And there
is our weathered gravestone type.
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| Creating an embossed stamp| 00:00 | How to create an embossed stem
effect is our starting point.
| | 00:05 | We've got the rings on one layer, the
type on another, and then the background
| | 00:09 | layer has a Gradient Overlay and
a Pattern Overlay applied to it.
| | 00:13 | I'm going to go to the Layer Style
dialog box for the question mark and to Bevel
| | 00:20 | and Emboss and the style I'm
after is, not surprisingly, Emboss.
| | 00:25 | And I want this to be a Chisel Hard.
| | 00:28 | I'm going to increase the Depth to about 260.
| | 00:31 | I'm going to leave the Size pretty much
where it is and then I'm just going to
| | 00:35 | apply a little bit softening to that.
| | 00:38 | I don't want to see the shadows and
the highlights of the bevel and emboss so
| | 00:42 | strongly, so I'm going to sample the colors
of those from the background of the paper.
| | 00:51 | And now to make the question mark
look like it is being pushed up from the paper,
| | 00:55 | I'm going to go to my Blending
Options and turn the Fill Opacity down to
| | 00:59 | zero, so we're not seeing the color
of that question mark but we're just
| | 01:03 | seeing the color of the paper itself.
| | 01:05 | And the letter is defined by its Bevel
and Emboss highlight and shadow. Next,
| | 01:10 | I'm going to apply a Drop Shadow and
I don't want the Drop Shadow to be as
| | 01:15 | pronounced as this so
I'm going to change the color.
| | 01:18 | I'm going to sample the color from
the paper, then I'm going to soften the
| | 01:22 | shadow by increasing its Size, and
I'm going to reduce the opacity of the
| | 01:28 | shadow down to about 30%.
| | 01:31 | And we can just about see what
that's doing. It should be subtle.
| | 01:35 | And finally for the question mark I'm
going to add an Outer Glow and as we've
| | 01:40 | done before, I'm going to sample the
color of this from the color of the paper
| | 01:45 | and I'm going to soften it quite a lot,
40 pixels, and I'm going to change the
| | 01:50 | blend mode of this to Multiply and
reduce its opacity to about 35%. And now if I
| | 01:58 | just turn that on and off,
we can see what that one's doing.
| | 02:02 | Okay, so there are all the effects,
applied to the question mark. Now all I
| | 02:07 | need to do is copy those effects to
the rings and to do that I'm just going
| | 02:11 | to hold down my Option+Drag or my Alt+Drag
and drag the fx badge to the Rings layer.
| | 02:18 | So all that remains for me to do now is just
reduce the Fill Opacity of the rings layer.
| | 02:22 | Dial that down to zero and then all we
are seeing is the embossing effect and
| | 02:29 | not the actual fill color of that layer.
| | 02:31 | And there is our finished embossed stem.
| | Collapse this transcript |
|
|
6. Layer Effects in Practice: Creating the Type Poster Using PatternsWorking with texture: Pattern Overlay or Layer Mask?| 00:00 | Here we're going to look at a
comparison of using a layer mask to create
| | 00:05 | textured type versus using a Pattern Overlay.
| | 00:09 | And we'll also see how we can make this
effect to a little bit more realistic by
| | 00:13 | applying a small warp to the type.
| | 00:16 | Here is our starting point. What we
have here is just a letter on top of this
| | 00:21 | texture. Let me just mention that this
texture began its life looking like this
| | 00:26 | and I made a few modifications to it
with adjustment layers, which you can
| | 00:32 | break down and figure out exactly what
I did if you're so inclined, and the
| | 00:36 | reason I did this is because the
patterns tend to work better I find when
| | 00:40 | they're grayscale and when
they're more high contrast.
| | 00:44 | So I have taken any distracting color from them.
| | 00:46 | So first of all it might seem like
what you want to do here is just change
| | 00:52 | the opacity and/or blending mode to bring
through the texture of the pattern beneath.
| | 00:58 | But in actual fact that's not really
going to work too well. Let's just see what
| | 01:01 | happens when we do that.
| | 01:02 | If we reduce the Opacity, we just
get another washed out looking letter.
| | 01:08 | We could try to changing the blending
mode and that gets us a better looking
| | 01:12 | effect but it's also of
course going to shift the color.
| | 01:15 | Let's say that we want to retain the
color as being pretty much the yellow
| | 01:18 | that it already is.
| | 01:20 | So those two options are
not working particularly well.
| | 01:23 | Well, we might try using a Pattern
Overlay and let's try that next.
| | 01:28 | So I am going to just disable this
vector mask that is applied to the group that
| | 01:35 | makes up the background texture.
| | 01:37 | I'm going to do that by holding down
the Shift key and clicking on it so that
| | 01:40 | we see the whole of the
pattern fitting the canvas.
| | 01:44 | I'll now turn off the visibility off
the letter and I'll come and select this
| | 01:49 | group and come and choose Define
Pattern. I'll call this cracked pavement.
| | 01:57 | The patterns that we have in the
presets library tend to be samples that are
| | 02:02 | 150 to 200 pixels square.
| | 02:04 | And those are fine if you working with
small images, but if you try to apply
| | 02:09 | those patterns to large images that
are going to tile and you either going to
| | 02:13 | see the seam, or if you scale them up
then you'll diminish their resolution.
| | 02:19 | So this is a much larger pattern and would be
suitable for using this context differently.
| | 02:24 | So if I now come to Pattern Overlay and
we will click on the pattern swatch and
| | 02:30 | then we can scroll down to the pattern
that we want and then we need to change
| | 02:37 | its blend mode to something like
Multiply so that we see it. And the effect is not
| | 02:42 | really that much different
from what we were seeing before.
| | 02:47 | Now the problem here is that the
pattern inside the letter is offset from the
| | 02:50 | pattern in the background and we are
not seeing that crack running through it.
| | 02:54 | You would expect that if you click
on Snap to Origin that would solve the
| | 02:57 | problem, but it doesn't.
| | 02:59 | So I'm going to move my cursor into the
letter just to start dragging it around,
| | 03:04 | so that I can line up the scene and
this is obviously rather precarious and less
| | 03:10 | than exact size but now we have it.
| | 03:12 | There is the effect with
the Pattern Overlay applied.
| | 03:17 | What I'm going to do now for purposes
of comparison is I'm going to duplicate
| | 03:22 | that layer and I will turn off that
layer effect. We'll hide this one for the
| | 03:29 | time being and now I'm going to
choose my preferred technique for doing this,
| | 03:34 | which is to apply a layer mask that is
the texture to the letter layer itself.
| | 03:39 | So what I'm going to need to do is
turn off the visibility of that layer so I
| | 03:44 | see just the texture by itself and
then we'll come to the Channels panel and
| | 03:50 | I'll hold down my Command key or Ctrl
key and click on the RGB channel and
| | 03:55 | that will load the luminosity channel
of what's currently visible, in this case
| | 04:01 | just the texture. So it's important that the
type layer be turned off while you do this.
| | 04:06 | Now come and turn the type layer back
on and then click on the Add Layer Mask.
| | 04:12 | So that embeds the texture as a layer
mask and if we turn of the background
| | 04:18 | layer we can kind of see what's
happening there. We get an idea of what's going on,
| | 04:22 | and that's I think already an
improvement on what we had, but it is perhaps
| | 04:28 | not bringing out the
texture as much as we might like.
| | 04:32 | If we take a look at the layer mask we
can see that there are perhaps too many
| | 04:37 | gray values here. The layer mask where
it's white will reveal the layer that
| | 04:41 | it's attached to and where
it's black it'll conceal it.
| | 04:44 | So we want more blacks and more whites.
| | 04:48 | And to do that, if I wanted to be
really extreme about it and sometimes this works,
| | 04:53 | I could go to Threshold or if I
wanted to use a slightly lighter touch
| | 04:59 | I could go to Levels and then bring the
black and white points closer to the center.
| | 05:06 | All right, let's just
have a comparison of the two.
| | 05:11 | This is the effect with a layer mask and
this is the effect with the Pattern Overlay.
| | 05:17 | You decide which one you like
better and which one works for you.
| | 05:20 | But I'm going to do one more thing.
So we have a crack in the road here which is
| | 05:24 | running right through the A, so we
need to sort of work the A little bit now.
| | 05:28 | Of course I would have far more
flexibility in warping this letter, I could use a
| | 05:33 | free-form warp on it, if
it would no longer type.
| | 05:37 | If I wanted it to remind vectors, I would
have to convert it to a shape layer or I
| | 05:43 | could rasterize it one all the other.
| | 05:46 | But I don't want to do either of those.
I would like to keep this type editable.
| | 05:50 | So in that case what I'm going to do
is I'm going to go to the Type tool and
| | 05:54 | then click on my Warp option. This is
going to be a very slight warp, just to
| | 06:00 | sort of make it look a little bit
more damaged, something like that.
| | 06:05 | And that allows us to keep the type
completely editable and I can come in there
| | 06:10 | and change it to any other letter as I choose.
| | 06:13 | So that was all about comparing the
benefits and ease-of-use of Pattern Overlay
| | 06:19 | versus applying the pattern by using
a layer mask directly on the layer.
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| Creating depth with Pattern Overlay and Inner Shadow| 00:00 | We're going to create a nice simple
letterpress effect by combining a Pattern
| | 00:05 | Overlay with an Inner Shadow.
| | 00:08 | Here is our starting point.
| | 00:10 | So I have this rosewood character on
top all of a plain background that has a
| | 00:16 | Gradient Overlay and a
Pattern Overlay applied to it.
| | 00:19 | I am going to go to the Layer Style
dialog box for the letter and I'm going to
| | 00:25 | start out with the Inner Shadow.
| | 00:26 | I would like to color of the Inner
Shadow to be sampled from a letter itself.
| | 00:30 | Then I'm just going to pull it inside
the letter shape and I'm going to soften
| | 00:37 | it by increasing the Size.
| | 00:39 | Now I'm going to come to my Pattern
Overlay where I certainly don't want that one,
| | 00:44 | Rather I want one that's
called Gray Granite and it's part of the
| | 00:50 | Grayscale Paper group.
| | 00:52 | So I'm just going to choose Grayscale Paper.
| | 00:54 | I'm not sure if I have it loaded or
not, but if I don't, that will append it
| | 00:59 | to the bottom of my list and I can now
scroll down and that's the one that we're after.
| | 01:05 | If I change the blend mode to Soft Light,
let's just zoom in and we see that we
| | 01:12 | go this great modeling effect from
using that blend mode combined with the Gray
| | 01:17 | Granite pattern of the light and
there is our letterpress effect.
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| Creating and applying a custom pattern| 00:00 | In this example we're going to create
some diamond-encrusted bling text and this
| | 00:05 | is going to involve creating a custom
pattern from scratch and then embossing a
| | 00:11 | stroke with a custom contour and
building depths with Drop Shadow, Inner Shadow,
| | 00:16 | and Gradient Overlay combination.
| | 00:18 | This is our starting point.
| | 00:20 | We have this wonderful S in the font Mesquite.
| | 00:24 | Because it's a very vertical character
I've added some hyphens either side of it
| | 00:29 | just to give it a bit of width.
| | 00:30 | So we've actually got three
characters that we're working on here.
| | 00:33 | First thing that we want to do is create
a pattern and we're going to do this by
| | 00:38 | using a very simple technique of
creating a new layer and then making sure that
| | 00:43 | our foreground and background
colors are black and white.
| | 00:46 | We are going to render some clouds.
| | 00:48 | Filter > Render > Clouds, okay.
| | 00:53 | Now with as our starting point we
want to go to the Filter menu and down to
| | 00:58 | Distort and the filter
that we are after is Glass.
| | 01:02 | Once we are here this takes us to the
Filter Gallery and we want to whack up the
| | 01:07 | Distortion all the way. We want to
change the Texture from Frosted to Tiny Lens.
| | 01:12 | I'm going to bring down the Smoothness and
I'm also going to bring down the Scaling.
| | 01:17 | All right, now what we want to do is we
want to make this pattern apply to a layer.
| | 01:28 | Now we could define it as a pattern
and then apply it as a Pattern Overlay.
| | 01:31 | That would work just fine, but it
wouldn't save as any file size necessarily and
| | 01:38 | it would just be a lot easier to do this.
| | 01:40 | Hold down your Alt key and come and
click on the line between these two layers.
| | 01:44 | So there instantly we get this
layer clipped to our text layer.
| | 01:50 | I would like to amp up the contrast
here is so we are seeing the blacks and the
| | 01:54 | whites in this pattern a lot more distinctly.
| | 01:57 | So for that I'm to going
add a Levels adjustment layer.
| | 02:01 | Now I want this adjustment
layer also clipped to this layer.
| | 02:05 | So when I choose it from the Adjustment
Layer drop-down, I'm going to hold down
| | 02:10 | my Alt key, and yes, I want to Use
Previous Layer to Create Clipping Mask.
| | 02:17 | And now I can bring the black points
and especially the white point, bring that
| | 02:22 | close to the center. Maybe the gray
point will go slightly to the left.
| | 02:26 | All right, so far so good.
| | 02:28 | Now let's work on the layer of type
itself and what we want to do is first of all,
| | 02:35 | we'll add a Stroke.
| | 02:37 | Now the Stroke that we want to add in this
case is going to be a custom gradient stroke.
| | 02:42 | I want it to be 10 pixels in its weight
and I want that to go on the Outside, so
| | 02:49 | we're actually adding a
bit of width to the letter.
| | 02:52 | The Fill Type is going to be Gradient
and then I'm going to click on my Gradient
| | 02:57 | right here and I'm going to create a
gradient that goes from yellow to white to
| | 03:01 | yellow to white and back to yellow again.
| | 03:05 | So if I change my color stop here and
slide around until I get to my golden
| | 03:10 | yellows, I'll use
something like that one. Click OK.
| | 03:14 | Right now I have yellow to white, so
I'm going to drag the white gradient stop over,
| | 03:20 | I'm going to hold down my Alt
key and copy that yellow gradient stop,
| | 03:25 | hold down my Alt key again and copy that white
and hold my Alt key again and copy the yellow.
| | 03:30 | So I now have yellow and white stripes.
| | 03:34 | I'll click OK to that and now I
want to change the Angle of this.
| | 03:39 | We now want to emboss this stroke.
So I'm going to come to the Bevel and Emboss
| | 03:44 | and for the Style we're
going to choose Stroke Emboss.
| | 03:49 | Now I need to really crank up the Depth
slider about as far as it goes and I'm
| | 03:55 | going to increase the Size also.
Not too much with the Size.
| | 04:01 | Subtlety is not what we want use with
this effect, so I want the Highlight Mode
| | 04:05 | to have the most effect, so I'm going
to use Linear Dodge and I'm going to use
| | 04:10 | the equivalent Linear Burn for the Shadow Mode.
| | 04:13 | Now it's going to shift the colors a
bit but that's okay, I like the effect.
| | 04:16 | Now to really give a metallic contour
I'm going to change the Gloss contour to
| | 04:23 | this one, the Ring contour, and maybe let's
just crank this slider up a little bit more.
| | 04:30 | All right, let's now give a Drop
Shadow to the whole letter itself and I've
| | 04:38 | got my Use Global Light on. I'm going
to turn that off and then we also want
| | 04:44 | an Inner Shadow and I'm going to
sample the color for this Inner Shadow from
| | 04:50 | the letter itself, a sort of midtown gray,
and then I want to increase the size of that.
| | 04:58 | There is my bling text, but what I now
need to do as a final finishing touch is
| | 05:03 | just to add some sparkles to it
to really catch those highlights.
| | 05:06 | So I'm going to come to my top layer and
we could do this with a Paintbrush.
| | 05:11 | I'm actually going to do it with my Polygon tool.
| | 05:13 | So I'll choose my Polygon tool and
I'm going to draw a four-sided star.
| | 05:19 | So I'll come up here and I want my
Polygon to have four sides and then I can
| | 05:24 | change the Polygon Options right here.
| | 05:26 | I want to indent the sides quite
dramatically. Let's go with 95%.
| | 05:32 | So now I'm going to draw myself a
series of four-sided stars whenever there's a
| | 05:38 | specular highlight on the letter.
| | 05:39 | Okay, every time I did that,
I created a new shape layer.
| | 05:43 | I'm going to select through those
layers. Command+G or Ctrl+G will group them
| | 05:48 | altogether and we can name that
layer sparkles and there is our diamond
| | 05:54 | encrusted bling text.
| | Collapse this transcript |
| Layer effects and Smart Objects 1| 00:00 | This is a really handy
production technique more than anything.
| | 00:03 | When we work with layer effects and we
combine them with Smart Objects, we can
| | 00:08 | use Color Overlay to change
the color of a Smart Object.
| | 00:12 | Here I have a blank canvas and into this
I am going to place my Smart Object and
| | 00:21 | I'm going to press Return to accept that.
| | 00:23 | Now we see that we have the Smart Object badge.
| | 00:26 | Now no matter what I do with my
Smart Object, I cannot change its color.
| | 00:32 | See, I've changed my foreground color to red.
| | 00:34 | If I press Alt or Option
and my Backspace/Delete,
| | 00:38 | that's not going to work.
| | 00:39 | It's not going to change the
color of that Smart Object.
| | 00:41 | But if I were to do this, go to my Layer
Style and then come to Color Overlay,
| | 00:46 | I can easily change the color of it right there.
| | 00:49 | Now if I wanted to, I'll just turn that
off, you'll see that we have some inner
| | 00:54 | shading on this ampersand. If I want
to retain that inner shading then I need
| | 00:58 | to use a blend mode that is going
to combine with the existing color.
| | 01:02 | That is going to resolve in a color
shift, so it may not be what you want, but
| | 01:05 | you might try using Multiply for
example which does keep the existing inner
| | 01:11 | shading on the Smart Object.
| | 01:13 | So, a handy production technique.
| | 01:15 | Changing the color of a Smart Object
using the Color Overlay layer effect.
| | Collapse this transcript |
| Layer effects and Smart Objects 2| 00:00 | We get to play with lots of good stuff here.
| | 00:01 | We get to see how working with Smart
Objects adds a whole new dimension to
| | 00:06 | how we can apply layer effects and
we'll be working with a Texture Bevel,
| | 00:10 | Pattern Overlay, and Satin.
| | 00:12 | And also we'll be adding some noise
to a Drop Shadow. Here's our starting point.
| | 00:17 | So what I have here is letter V on top
of this heart and obviously the intent
| | 00:24 | here is to create some sort of
sweetheart candy type effect.
| | 00:28 | And the heart is sitting on this
background which itself has a Gradient Overlay,
| | 00:33 | a vignetting effect created
by Radial Gradient Overlay.
| | 00:36 | But you notice that this is a Smart
Object. I just want to point out and as they
| | 00:42 | say in those iPhone ads, some
sequences have been simplified.
| | 00:46 | So we are starting this work in progress.
| | 00:49 | What I have here is a heart.
| | 00:51 | I got this heart from Illustrator's
basic shapes, one of its symbols I think.
| | 00:55 | And then I applied a Roughening filter
to it, just to bump up the edges a bit
| | 01:01 | and then I placed this in Photoshop
and I extruded manually this drop shadow
| | 01:08 | from the heart shape.
| | 01:10 | And I've done that with other letters,
notably the B, and then I made those into a
| | 01:16 | Smart Object and that's where
we're going to pick this up.
| | 01:18 | So here is my smart object made up
of these two separate pieces and the
| | 01:23 | reason they are two separate pieces,
why this is useful for us, is we can
| | 01:27 | come and apply one Inner Shadow to
one and then a whole different Inner
| | 01:36 | Shadow to the other.
| | 01:40 | Because in this case-- I'm going to turn
off Global Light-- I would like the inner
| | 01:46 | Shadow to be coming from the
bottom, something like that.
| | 01:51 | Okay, now having done that I'm going
to save that and then when I go back to
| | 01:56 | my composition we see those changes take
place in the context of the whole composition.
| | 02:02 | My next step is to add a textured
bevel to the Smart Object layer.
| | 02:05 | So I'm going to come at Bevel and Emboss.
| | 02:09 | First of all, I'm just going to change
the Angle and I'm also going to increase
| | 02:14 | the Size and then I'm going
to add a Texture to that bevel.
| | 02:18 | And the texture that I'm after is called Crepe.
| | 02:21 | It's in the Grayscale Papers preset.
| | 02:26 | Now I'm going to increase the Scale of
that and I'm going to reduce the Depth.
| | 02:32 | Okay, so there is our texture applied as a
textured bevel to the heart shape itself.
| | 02:40 | So now I'm going to add some effects to the
letter itself, beginning with a Drop Shadow.
| | 02:45 | I'm going to turn off Global Light.
| | 02:47 | I'm going to sample the
color from the letter itself.
| | 02:50 | Move into the letter and just start
dragging that shadow away from it and then
| | 02:55 | increase the Size of the shadow to
soften it and add some Noise to the shadow.
| | 03:00 | Now I'm going to go Satin.
| | 03:03 | I'm going to change the blend mode of
the satin to Soft Light and I'm going to
| | 03:07 | change the color of the satin to
be sampled from the letter itself.
| | 03:12 | Now this is going to be subtle, but if
I drag around in there we can see the
| | 03:17 | shape of the V being
distorted within the letterform.
| | 03:21 | So that's going to give it
a sort of mottled effect.
| | 03:25 | I'm going to mix things up a bit more
by using a Cone contour curve and then
| | 03:32 | increase the Size just to soften any edges.
| | 03:35 | So that's going to be a
pretty subtle effect there.
| | 03:37 | Now I'm going to come to Pattern Overlay
and I'm certainly not going to use that one,
| | 03:42 | but that's the default pattern.
| | 03:43 | I'm actually going to use that Crepe
paper that was used for the beveling texture.
| | 03:49 | I'm going to change the blend mode to
one of these lighting blend modes.
| | 03:55 | Let's try Hard Light and see how that works out.
| | 03:57 | And maybe reduce the Opacity on that
and just adjust the Scale to your liking.
| | 04:05 | I am going to go with 127%. Click OK to that.
| | 04:09 | As one last finishing touch I'm just
going to apply a bit of warping to the type.
| | 04:13 | So I'm going to select that letter.
| | 04:16 | If I don't want to see those selection
outlines, they're bit distracting, I'm
| | 04:19 | going to press Command+H or Ctrl+H to hide them.
| | 04:22 | Come to my Warp tool and I'll choose
any one of these, because I'm going to
| | 04:26 | ignore the actual effect and just
apply a little bit of Vertical and/or
| | 04:33 | Horizontal Distortion.
| | 04:34 | And there is our sweetheart candy.
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|
|
7. Layer Effects in Practice: Creating the Type Poster Using Interior EffectsUsing Inner Glow to create interior shapes and neon| 00:00 | Okay, here we're going to see
how we can make a cool neon letter.
| | 00:04 | And we are also going to create an
extruded Drop Shadow and work with creating
| | 00:09 | an interior shape using Inner Glow,
and then we'll finish it off by using the
| | 00:15 | Pen tool to create our neon tubing.
| | 00:17 | As our starting point what I'm
going to do to begin with is create the
| | 00:23 | extruded drop shadow and to do this
I am going to get the effect I'm after
| | 00:27 | using layer effects.
| | 00:28 | So I'm going to duplicate that layer four times.
| | 00:31 | Then I'm going to turn off the
visibility of the top one, select the remaining four,
| | 00:37 | nudge them to the right,
holding down the Shift key, nudge them down
| | 00:41 | holding down the Shift key.
| | 00:43 | I will then turn off the top one and repeat,
turn off the top layer, repeat, and one more time.
| | 00:54 | Now I'm going to select all four of
those layers come to the Layers panel menu
| | 00:58 | and I am going to merge them into one.
| | 00:59 | I'm going to make black my foreground color
and I'm going to fill that layer with black.
| | 01:05 | So that I've retained the
transparency on that layer.
| | 01:08 | I'm going to hold down Alt+Shift or
Option+Shift and then press my Delete key.
| | 01:13 | I now need to fix this
stair stepping problem here.
| | 01:16 | So I'm going to zoom in on that.
Choose my Polygonal Lasso tool.
| | 01:20 | Make sure that I do not have
Anti-alias checked in this case.
| | 01:24 | I don't want to smooth anything out.
I just want a very clean crisp selection
| | 01:30 | and I'll fill that with black.
| | 01:33 | Zoom out there is my extruded
shadow on top of my letter shape.
| | 01:37 | I'm now going to add a Drop
Shadow to the extruded shadow.
| | 01:41 | I'm just going to pull away slightly
and I'll soften it by increasing its Size.
| | 01:50 | Now I'm going to come to the letter B
itself and add an Inner Glow, which will
| | 01:54 | create the interior shape.
| | 01:56 | I need to change the blend mode here to
Multiply and I need to soften the color
| | 02:02 | from the letter itself. Choose
a lighter version of that red.
| | 02:09 | And I'm now going to increase the
Size of that and here is what's really
| | 02:13 | going to make it work.
| | 02:14 | I'm going to make the Source the
Center then I'm going to Choke it.
| | 02:21 | So we have this independent-looking
interior shape and I'm going to increase the
| | 02:26 | Opacity on that up to 100%.
| | 02:28 | And maybe dial the size down
a little bit. End up with 24.
| | 02:35 | The next thing I want to do is create
the neon tube and I'm going to do this
| | 02:39 | by working on duplicate of the letter B.
So I'm going to press Command+J to duplicate that.
| | 02:46 | I'll throw away the effects on that
duplicated version and then I'm going to
| | 02:50 | right-click to convert that to a shape layer.
| | 02:55 | Now that it's a shape layer, we
see a pen path around the letter B.
| | 02:59 | So I'm going to choose my Direct
Selection tool and I'm going to click on that
| | 03:04 | counter, press Delete twice, and then
repeat that for the second counter, leaving
| | 03:10 | me with just the outline.
| | 03:12 | Then I'll come and choose my Path
Selection tool, making sure that all of the
| | 03:17 | anchor points are selected.
| | 03:19 | Press Command+T or Ctrl+T to get to my
Free Transform and I want to transform
| | 03:24 | this shape from its center point.
| | 03:26 | So I'm holding down the Alt
key and the Shift like so.
| | 03:31 | So what I have here is a shape layer. I no
longer need this shape, but I do want this path.
| | 03:37 | So what I'm going to do is with the
path selected I'm going to cut that,
| | 03:40 | Command+X, or Ctrl+X, and I'll get this
message. Yes I want to delete that layer, but
| | 03:47 | then I will paste that path. Command+V,
or Ctrl+V. I now need to modify that path.
| | 03:52 | So I am going to press P to go to my
Pen tool and I'm going to zoom in on this
| | 03:56 | left-hand part of the image.
| | 03:58 | So I'm going to hold down my
Command key, which will toggle to my Direct
| | 04:02 | Selection tool, click on that path, and
I can now move my pen cursor over the
| | 04:07 | path and I'll see a Plus symbol appear next to
the pen and when I click I make an anchor point.
| | 04:14 | That anchor point comes in with Bezier
control handles that I don't actually want.
| | 04:18 | So I'm going to hold down the Option
or Alt key and click again so that we
| | 04:22 | have introduced now a corner
point as opposed to a curve point.
| | 04:26 | I'm going to repeat that down here,
click, and and Alt-click to remove the
| | 04:30 | Bezier control handles.
| | 04:32 | Now this next part is a bit tricky we
want to delete this segment right here.
| | 04:36 | So I need to hold down my Command key
and just click outside of the path so that
| | 04:43 | it's no longer selected and then
holding down my Command or Ctrl key click back
| | 04:48 | on the path, but just on that segment.
| | 04:50 | I should now be able to press the
Delete key and that segment alone is gone.
| | 04:55 | So now I'm going to take my Pen tool
and click on the first open endpoint and
| | 05:01 | cut in and holding down the Shift
key so I get a straight line there.
| | 05:05 | I need to let Photoshop know that I
finished drawing that path, so I'm going to
| | 05:09 | hold down my Command key and click,
coming down click on this endpoint, and
| | 05:14 | repeat the same thing.
| | 05:15 | Now let's zoom out. There is my neon tubing.
| | 05:19 | And I will just going to make one
other amendment to the path over here.
| | 05:22 | I'm going to hold down my Command
key and slightly pull that in to the
| | 05:27 | interior of the shape.
| | 05:29 | My next step is to stroke this path,
but before I can do so, I need to create a
| | 05:34 | layer for the neon to go to.
| | 05:36 | So I'm going to come and create a new
layer and I'm going to double-click on the
| | 05:39 | layer name and I'm going to call it neon.
| | 05:42 | Then I am going to going to get to my
Brush tool. I'm going to check that I have
| | 05:47 | a soft brush. I've got a Size of 23
pixels and my Opacity is at 100%.
| | 05:53 | My foreground color is white.
| | 05:55 | Come to my Paths panel and from the
panel menu I will choose Stroke Path and I'm
| | 06:01 | going to stroke it with the
Brush and there is my neon tubing.
| | 06:05 | So now back to the layer, I want to
add a couple of effects to the layer.
| | 06:09 | So I'm going to come and add a Drop
Shadow, just pull that slightly away from the
| | 06:15 | tube itself, and then I'm
going to add an Inner Glow.
| | 06:20 | The color of the Inner Glow I want to
be the color of the letter itself and the
| | 06:25 | blend mode I want to be Multiply.
| | 06:28 | Now I'm going to zoom in so that we can see
what's going on here with this Inner Glow.
| | 06:33 | I want to make the Inner Glow
blend in with the color of the neon.
| | 06:38 | So I'm going to choose Noise.
It's kind of give this sort of fuzzy look.
| | 06:44 | And then I'm going to increase the Size
on that a bit as well to sort of extend
| | 06:50 | it into the color of the neon tube.
| | 06:54 | Now let's zoom out and I'm just
going to come to the View menu to my Show
| | 07:00 | and turn off the Target Path so that
goes away. And there is the finished neon letter.
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| Choking an Inner Glow effect to create inline effects| 00:00 | This effect looks really complicated,
but actually it's very simple and it's
| | 00:04 | going to result in editable type.
| | 00:06 | We are going to create a hard Drop Shadow.
| | 00:09 | That's the white part.
| | 00:11 | Then we are going to choking an Inner Glow.
| | 00:12 | That's this thin-line color. And then when are
going to use a Stroke to offset the Drop Shadow.
| | 00:17 | This is our starting point.
| | 00:19 | Since this is mainly about the Inner
Glow. That's where I am going to go to first.
| | 00:23 | I am going to change the blend
mode of the Inner Glow to Normal.
| | 00:27 | I am going to click on the color and I am
going to sample the color from the letter itself.
| | 00:31 | I am going to use a darker version of that red.
| | 00:33 | I am going to increase the Size of it,
and then I am going to make the Source of
| | 00:40 | the Inner Glow the center of the letter.
Here's where the good stuff happens.
| | 00:44 | I am going to get the Choke
slider and drag that over to the right.
| | 00:49 | Now, how far you drag this
| | 00:50 | is going to depend upon the
particular letter shapes that you are working with.
| | 00:54 | But I want to make that as hard as
I can so I am going to go up to 100%,
| | 00:58 | which is going to require me to reduce the Size,
and I get more interior shape by doing that.
| | 01:05 | Now I'm going to come to the Drop Shadow,
I am going to turn off Global Lights.
| | 01:10 | I am going to change the color of the
shadow to white and I am going to change
| | 01:14 | the blend mode of the shadow as
Normal and its Opacity to 100%.
| | 01:17 | Now to make the shadow completely hard
rather than blurred, I am going to take
| | 01:23 | the Size down to 0 and then I can move
on to the image and just drag the shadow
| | 01:28 | away from the letterform.
| | 01:32 | Now I am going to come to my Stroke and
I want to use a stroke that is the same
| | 01:37 | color as the background, so I'm
going to click on the Color box.
| | 01:41 | I'm going to sample the color from the
background, so the stroke actually looks
| | 01:45 | like it's invisible.
| | 01:47 | And I want to increase the size of
that to 6 pixels and that is our result.
| | 01:53 | And what's so beautiful about it is
that I can now select that letter and I
| | 01:57 | could type in any other letter,
and we get that same effect.
| | 02:01 | It's completely editable.
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| Adapting an Inner Glow using the Contour, Range, and Jitter controls| 00:00 | This is a very easy effect: combining
the Range and Jitter controls applied to
| | 00:05 | an Inner Glow to get this
sort of static Iinterference.
| | 00:09 | Here's our starting point.
| | 00:11 | I am going to go to the Layer Style
dialog dialog box and I am going to take
| | 00:14 | the Fill Opacity down to 0.
| | 00:15 | Then I'm going to go to my Inner Glow
and I want to change the color of the
| | 00:20 | Inner Glow to not be a solid
color, but to be a gradient.
| | 00:24 | In order for the Jitter to work, it has to
combine with the gradient applied to the Inner Glow.
| | 00:30 | So I am going to click on that and
we'll use a black to white gradient.
| | 00:34 | Having done that, I can now whack up the Jitter.
| | 00:38 | And it's going to give me some fuzzy
edges, which is interesting out to a point,
| | 00:43 | but not really what I want.
| | 00:44 | And I won't get what I want
until I make the Source, Center.
| | 00:49 | And then I am going to soften
that by increasing the size.
| | 00:53 | Now what I want to avoid are the edges.
| | 00:56 | I don't want any edges. Although the edges
don't look bad, but I just don't want them.
| | 01:01 | So to remove the edges, I am going to
increase the Range so that contour curve
| | 01:07 | is applied beyond the range
of the actual letter shape.
| | 01:11 | And when I bring that up to
100%, we see those edges fall away.
| | 01:17 | And maybe just to increase the
intensity of the effect, I'll put the Opacity up
| | 01:22 | to 100 and change the
blend mode to Linear Dodge.
| | 01:28 | And that's all there is to it.
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| Creating a stencil effect with Outer Glow and Shallow Knockout| 00:00 | Here we are going to create a cool
stencil effect using an Outer Glow and
| | 00:05 | a Shallow Knockout.
| | 00:06 | We're also going to be using some
Pattern Overlay and Gradient Overlay and for
| | 00:11 | a finishing touch we'll be
warping the Drop Shadow of the stencil.
| | 00:14 | Here's our starting point.
| | 00:16 | We have an H on a wood background.
| | 00:19 | That wood background has a vector
mask which is currently disabled.
| | 00:23 | So I am going to begin by creating
the stencil and to do this I'm going to
| | 00:28 | duplicate the H. So I am going to select
the H and press Command+J. To duplicate it
| | 00:33 | I'll then come back and select the
original H and now press U, which is the
| | 00:38 | shortcut to go to my Vector tool and
the Rectangle Vector tool is the one I want,
| | 00:43 | and I'm going to draw a
rectangle that will be the stencil paper.
| | 00:47 | So I am going to center it on the H.
I am going to start drawing and then
| | 00:51 | hold down the Alt key.
| | 00:52 | There's my stencil. I want this filled
with white, so I am going to press X to
| | 00:57 | go to white as my foreground color,
Alt and my Backspace/Delete key to fill
| | 01:03 | that shape with white.
| | 01:05 | Now I want the H copy, this layer,
to knock through that stencil.
| | 01:10 | I am going to turn off the
visibility on the original H and come to the
| | 01:15 | Blending Options of the H copy.
| | 01:18 | And if I turn down the Fill Opacity
to 0 and then change the Knockout to
| | 01:24 | Shallow we see that we are
knocking through to transparency.
| | 01:29 | We actually want to knock
through to the wood texture.
| | 01:32 | So what we need to do is click OK to
that and then select these two layers and
| | 01:37 | put them in a group.
| | 01:38 | So with them selected, Command or
Ctrl+G and now the Knockout only goes
| | 01:43 | through to the bottom of the group,
in this case revealing the wood
| | 01:47 | texture that's behind.
| | 01:50 | So I am not going to expand the group and
we'll start out by working on the stencil paper.
| | 01:56 | So I am going to double-click on that
and I want to give it Pattern Overlay.
| | 02:00 | The pattern I want to use is
in the Grayscale Paper presets.
| | 02:06 | So I am going to choose that and I
will append that to what we already have.
| | 02:10 | And then I am going to change to view this
as a Large List. Makes it slightly easier.
| | 02:16 | And what I am after is Craft Paper.
| | 02:20 | In addition to that, I also want a
Gradient Overlay and I just want the Gradient
| | 02:25 | Overlay to make the light look less uniform.
| | 02:28 | I am going to reduce the Opacity on
that and I am going to change the blend
| | 02:33 | mode on that to Multiply.
| | 02:36 | So that's the stencil.
| | 02:38 | I'm now going to work on the letter
itself, the letter that is actually cut out
| | 02:42 | from the stencil paper.
| | 02:44 | In order to do this I am going to turn
on the visibility of the existing H, the
| | 02:49 | one down here, the one that is already
sprayed onto the wood, but I am going to
| | 02:53 | come and work on the H copy.
| | 02:55 | And first of all I'm going to add an
Inner Shadow. I am going to move this Inner
| | 02:59 | Shadow inside the stencil shape and I'm
going to increase its Size to soften it.
| | 03:05 | And then I'm going to come to Outer Glow
and this is the reason I turned on the
| | 03:09 | visibility of the other H, because I
want to sample the color of the Outer Glow
| | 03:14 | from this one right here.
| | 03:15 | So I am going to click on the Color box
and then moved my Eyedropper tool onto
| | 03:22 | that H. Sample the color. Click OK.
| | 03:25 | I will need to change the blending
mode of that to Multiply and increase its
| | 03:31 | Size so that it looks like spray-
paint around the edges of the stencil, and
| | 03:37 | then I am also going to increase its Noise,
just to make it look more spray-paint-like.
| | 03:42 | OK, now what I'd like to do is give
a Drop Shadow to the stencil itself.
| | 03:50 | I know in advance that I want to
separate this Drop Shadow from the layer but I
| | 03:54 | would not want to separate the
Gradient Overlay and the Pattern Overlay.
| | 03:58 | So therefore, what I am going to do
is I am going to make a copy of this
| | 04:01 | stencil layer, Command+J and I will
through away the effects that come with the
| | 04:07 | copy just by dragging them into the Trash.
| | 04:10 | And then I'm going to go and add a Drop
Shadow, which I will just pull off to the side,
| | 04:14 | and then I'm going to right-click
on the fx batch and I am going to choose
| | 04:21 | Create Layer, which will put that
Drop Shadow on its own independent layer.
| | 04:27 | I no longer need the copy from
which the shadow was derived.
| | 04:31 | I do need to move this down underneath
the stencil itself and I now have three
| | 04:38 | items that make up this stencil.
| | 04:40 | That is the letter that's being
knocked out, there is the stencil paper, and
| | 04:44 | there is the shadow.
| | 04:45 | I am going to collapse that group.
| | 04:48 | So what I want to do is
transform this whole group.
| | 04:51 | Before I do this I am going to re-
enable my vector mask by Shift+Clicking on it
| | 04:56 | and I see the bounds of the square in
which the letter is being created and then
| | 05:02 | we also have this transparent area around that.
| | 05:06 | Now I want to extend into that
transparent area, but I don't want to go beyond
| | 05:10 | the edge of the canvas.
| | 05:12 | So I am going to select the group and
press Command or Ctrl+T, rotate that whole
| | 05:17 | group, reposition it.
| | 05:22 | If necessary, just rotate it a little
bit more so that it's offset, something
| | 05:30 | like that, and I'll press Return to accept that.
| | 05:34 | And now I am going to expand the
group, I am going to come and select the
| | 05:37 | stencil paper, press Command or Ctrl+T,
and then come and click on my Warp Options,
| | 05:42 | and I am going to slightly warp that
so that it's warped relative to the shadow.
| | 06:00 | One last thing I might want to do with
this is just give a slight warp to the H.
| | 06:04 | I'll try and retain it as being
editable type. I am just going to
| | 06:08 | double-click on the type thumbnail,
come up to my Warping Options. I won't have
| | 06:11 | quite as much flexibility here.
| | 06:14 | I can choose any one of these that I like,
because actually all I am going to do
| | 06:18 | is dial down the percentage of the
effect and just add in a little bit of
| | 06:23 | Horizontal and/or Vertical Distortion.
| | 06:26 | Let's now turn that group off for a
moment and now we need to work on the H that
| | 06:33 | has been sprayed on to the wood.
| | 06:35 | And to do this I am going to duplicate
the Outer Glow that is applied to this one.
| | 06:43 | So I am going to come and grab that
effect, hold down my Alt key, and drag it on
| | 06:49 | to the H. And then I am going to need to
slightly modify that, because if we zoom in,
| | 06:55 | we can see it's not really
matching as we would like it to.
| | 07:01 | That's because I need to change the
Opacity of it to 100%. We'll leave it at
| | 07:06 | Multiply and then I am also going
to change the blend mode of the layer
| | 07:10 | itself to Multiply.
| | 07:12 | So that looks like it's a sprayed
letter with fuzzy edges, but perhaps they
| | 07:17 | wouldn't be quite as fuzzy as that, so
I'm just going to reduce the size on that
| | 07:22 | a bit, and I'll add a slight
amount of warping to this letter also.
| | 07:33 | Just so it's less than perfect.
| | 07:37 | Now we can turn on the group
and there's our finished effect.
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| Customizing contours to create multiple outlines| 00:00 | Okay, this one is going to have us
work with an Inner Glow that applies a
| | 00:04 | gradient to achieve these
interior lines, is our starting point.
| | 00:10 | I have an I set in Futura Extra Bold.
| | 00:13 | If you don't have that font, I've also
included it as a shape layer or feel free
| | 00:20 | to use any font that you like.
| | 00:22 | So let's jump directly to Inner Glow.
In order for us to be able to see the
| | 00:26 | Inner Glow, I'm first going to turn down
the Fill Opacity to zero and come to my
| | 00:32 | Inner Glow where I will need to
change the blend mode to Normal,
| | 00:36 | the Opacity to 100, and I'm going to
increase the Size of this to 100 pixels and
| | 00:45 | I need the Technique to not
be Softer. Rather to be Precise.
| | 00:49 | All right so far so good, but now for
the punchline and the punchline is we
| | 00:54 | used a gradient as the Inner Glow.
| | 00:56 | I'm going to edit the gradient.
| | 00:59 | And right now I have a color to
transparency, so let's start out by using a
| | 01:06 | solid color to solid color and
I'll come and edit the color.
| | 01:10 | For the first color stop I'll use a bright
red and then I'm going to move the white
| | 01:17 | color stop to position of 25% on the gradient.
| | 01:21 | Now I'll duplicate the red color
stop holding down the Option or Alt key.
| | 01:25 | I'll put that one at 50%.
| | 01:28 | Now I'll duplicate the white. Option and Alt key.
| | 01:31 | I will put that one at 75% and I'll
duplicate the red one again and put that
| | 01:37 | all the way at the end.
| | 01:39 | So already that looks pretty interesting,
but now we can really trick this out
| | 01:43 | by going to the Contour and I'm going
to apply this contour that I created
| | 01:50 | earlier that has four points to it and
that's going to give us that result, which is
| | 01:56 | kind of interesting.
| | 01:57 | Just one last thing that I would
like to do here and that's turn on
| | 02:00 | Anti-aliased. Although it's not making
any visual difference there, certainly
| | 02:04 | isn't going to hurt.
| | 02:05 | There is a in-line effect created
with Inner Glow and a custom contour.
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| Combining Gradient Overlay and a gradient stroke 1| 00:00 | Here's a quick effective way of
creating this sort of titanium look using a
| | 00:05 | Noise gradient as a Gradient Overlay
on the type, and then also using another
| | 00:11 | gradient as a stroke around the type.
| | 00:14 | Here's our starting point.
| | 00:15 | Click on the Layer Style,
Gradient Overlay, click on my gradient picker.
| | 00:21 | Now I want to use a Gradient Type of
Noise, so I'm going to from my Presets
| | 00:26 | drop-down choose my Noise Samples.
| | 00:30 | I will append those and I'm going to
come and choose the greens. Then I'm going
| | 00:34 | to change the Color Model to HSB (Hue,
Saturation, Brightness) and reduce the
| | 00:40 | Saturation on that so that we have
grayscale noise, and I want to add some
| | 00:45 | transparency to this gradient so I'm
going to click Add Transparency, click OK,
| | 00:51 | and I'm going to change the angle of
that and we get that very cool effect.
| | 00:55 | Now I'm going to come and click on the
Stroke. I'm going to have a stroke of 10
| | 01:00 | pixels, but I want the Fill Type of the
stroke to be a Gradient and I want the
| | 01:04 | gradient to go between black to white
and then back to black again and then
| | 01:09 | back to white. So I'm going to click
on the gradient and rather than black I
| | 01:13 | want to use a dark gray,
so I'm going to sample that.
| | 01:17 | Drag that up to a gray, like so. I'm
going to drag this white color stop to the
| | 01:23 | left and now I'm going to introduce
some more color stops into this gradient.
| | 01:27 | I'm going to hold down the Alt key
and drag the gray, keep the Alt key held down,
| | 01:31 | drag the white, keep the Alt key
held down and drag the gray, and now we
| | 01:36 | get this sort of shining embossed
stroke look. And I can change the Angle of
| | 01:41 | that if I desire. And there we have
a brushed titanium letter combining a
| | 01:46 | Gradient Overlay and a
gradient applied as a stroke.
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| Combining Gradient Overlay and a gradient stroke 2| 00:00 | This example involves using a
custom gradient and then also applying a
| | 00:04 | gradient as a stroke.
| | 00:06 | Here's our starting point.
| | 00:08 | I just want to mention here that the
letter I'm using is Futura. If you don't
| | 00:11 | have Futura, and it's not a font that
ships with the Creative Suite, then I have
| | 00:16 | included a shape layer which is not
going to be editable type, but will serve
| | 00:21 | the same functions. You will be able
to apply the same effects to it.
| | 00:24 | All right, so let's go to the Layer Style
and then we're going to Gradient Overlay.
| | 00:30 | I'm going to choose a different kind of
gradient-- or rather we're going to make
| | 00:33 | a gradient. I'm going to click on my
first color stop, click on Color, and we're
| | 00:37 | going to use nice bright red, and
then I'm going to move the white to the
| | 00:42 | middle. Click on the Color box and
we're going to change that to nice golden
| | 00:48 | yellow and then I'm going to
duplicate the red color stop over to the
| | 00:53 | right-hand side, like so.
| | 00:56 | Now I'm going to come and click on
Stroke and I'm going to increase the
| | 00:59 | stroke weight to five pixels and I'm
going to change the Fill Type of the
| | 01:04 | stroke to a Gradient and the style of
gradient I'd like to use is a Reflected
| | 01:10 | gradient, so the light goes from white
to black and then back to white again,
| | 01:15 | and I can change the angle of that if
I like. And there's our effect, quick,
| | 01:21 | simple, and effective.
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| Using Satin with a custom contour| 00:00 | We're going to create this cool swimming
pool like effect using the Satin layer
| | 00:04 | effect combined with a custom contour.
| | 00:08 | Here's our starting point. And to begin
we are going to add the Satin effect to
| | 00:12 | the background layer.
| | 00:16 | So when we start out, we start out
with a color of black and a blend mode of
| | 00:19 | Multiply. I want to change the color and
sample the color from the image itself.
| | 00:25 | And I'm now going to stop moving the
effect around within the shape. And we're
| | 00:30 | not going to get anything like the
result that we're after unless we massively
| | 00:35 | increase the Size so that it blurs the
edges, and then I'm also going to add a
| | 00:41 | contour to it and we're going
to use the Ring-Double contour.
| | 00:43 | Probably you also want to dial down
the Opacity, and now I can just start
| | 00:50 | dragging that around and till I get some
sort of effect I think it looks good.
| | 00:55 | Experiment with having the Invert on
or off, and I'm going to turn it off.
| | 01:00 | All right, so there is my
background. Now I want to go to the letter
| | 01:06 | itself and I'm going to start out with
Drop Shadow. I want to offset the Drop
| | 01:11 | Shadow quite a long way, and I'm going to
soften it by increasing the Size up to mid-40s.
| | 01:17 | All right, so now I'm going to go
to in a shadow and I'm just going to
| | 01:22 | pull that around inside the shape,
increase the Size, and I'm going to
| | 01:28 | bring the Opacity down.
| | 01:30 | Okay, that's looking good.
| | 01:35 | Now I'm going to go to Outer Glow, turn
the Opacity on that down. We'll leave it
| | 01:40 | at a blend mode with Screen.
We'll use the default color of yellow.
| | 01:44 | So now what we want to do is apply a
Satin effect to this as well and as we did
| | 01:51 | before, I'm going to sample the color
from the image itself. Start moving the
| | 01:56 | effect around within the shape.
Increase the Size of the effect.
| | 02:03 | Experiment with turning the Invert on
and off, and I'm going to use that same
| | 02:08 | contour, the Ring-Double, and I can
just carry on moving that around within the
| | 02:14 | shape until I find just the angle that I like.
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|
|
ConclusionBuilding a type poster| 00:00 | Now that we've made 28 letters, A
through Z, plus the ampersand and the question mark,
| | 00:05 | we're going to place those and
make an alphabet poster and for the
| | 00:09 | background we're going to use this coffee table.
| | 00:11 | Not just any coffee table but my very
own coffee table, which I'm very fond of.
| | 00:16 | To aid us in doing this,
I'm going to turn on my guides.
| | 00:20 | I'm going to press Command+
Apostrophe or Ctrl+Apostrophe.
| | 00:23 | That turns the guides on.
| | 00:24 | Now I'm going to press Command+K
or Ctrl+K to go to my Preferences.
| | 00:28 | Guides, Grids, and Slices.
| | 00:30 | And I want to set the gridline increment.
| | 00:33 | I'm going to make that be 650 pixels.
| | 00:37 | Each of these letters was designed in
a 750 pixel square and I have left 50
| | 00:43 | pixel borders around all four edges
and in some cases the parts of the
| | 00:47 | letters are going to extend beyond the 650
into that border and overlap with other letters.
| | 00:55 | I'm going to use a subdivision of one.
So that's what the grid now looks like
| | 00:59 | Just before I start placing, I'm going
to make sure that I have my Snap turned on,
| | 01:03 | and I'm also going to make sure
that I have Smart Guides turned on.
| | 01:10 | One other thing is that I have made a
keyboard shortcut to speed things up.
| | 01:15 | This doesn't always live there.
| | 01:17 | If you want to make a keyboard shortcut,
you can do so under the Edit menu right there.
| | 01:21 | So I've added the keyboard shortcut to
Place command and that keyboard shortcut
| | 01:25 | is Command+Option+Shift+D.
| | 01:28 | I'm going to come to the Finished
Letters folder and we'll start with the A and
| | 01:34 | I'm just going to drag that into place.
| | 01:35 | And let's just increase the view size on that.
So I'm going to press return to place that.
| | 01:42 | I'm now going to zoom in and just drag
that into place, and you'll have to take
| | 01:47 | my word for it, but that is just
really snapping into that square.
| | 01:52 | So now I'm going to repeat that step.
Drag it into place, press Return.
| | 02:03 | Now this is an example with the F where
we've got a bit of interaction between
| | 02:07 | the letters going on. We have a lens
flare in this corner here and I want that
| | 02:11 | lens flare to extend into the adjacent letters.
| | 02:14 | So here I need to make sure that that
is above the B in the stacking order of
| | 02:19 | the layers, and because it's
placed more recently, it is.
| | 02:23 | And here we have the stencil
sticking out beyond the H of the grid.
| | 02:27 | Now when we come to the J, we didn't
create a J and that was intentional.
| | 02:33 | That's because we can only see the
effect of the J in the context of the poster itself,
| | 02:38 | because what we want from the
J is a deep knockout, but we won't see
| | 02:43 | until we put the paper behind it.
| | 02:45 | So we're going to place the J for now
and then when in the next step we put the
| | 02:48 | paper behind the letters, we are going
to knock through the paper to the coffee table,
| | 02:54 | but until that is there, there is
nothing to knock through, so we're just
| | 02:57 | going to place it for the time being.
| | 03:03 | Now here I want the K to actually go
beneath the G, so I need to locate where
| | 03:09 | there is on the Layers panel. I'm going
to drag that down underneath the G so
| | 03:13 | the loop of the G or overlaps the K.
| | 03:19 | Now as you're dragging these
transformation rectangles around, make sure you're
| | 03:24 | not dragging from the center point.
| | 03:26 | That's just going off-center that
and that's not what we wan to do.
| | 03:28 | So drag from inside of the rectangle.
| | 03:32 | And I want to make sure that the
H is overlapping the L and indeed it is.
| | 03:38 | That's because I had come down further
in the layer stacking order. I wasn't
| | 03:42 | aware of that, but that's not a problem.
| | 03:43 | Here is another case where we need
to change the layer stacking order.
| | 03:47 | I want the M to come above the N so
that the letter impinges on the square of the N.
| | 03:55 | Likewise with the O. That's
going to overlap the K and the N.
| | 04:04 | In the case of the U we want this to go
beneath the Q, so I'm going to drag that
| | 04:09 | down so that's underneath the
Q and tail of the Q overlaps it.
| | 04:15 | So there are our placed letters.
| | 04:17 | Join me in the next movie and we'll
put the paper behind them and we'll also
| | 04:22 | punch through the J to the coffee table.
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| Adding paper behind the letters| 00:00 | Okay, here is our poster in progress.
| | 00:01 | We now need to add some paper behind this.
| | 00:04 | Let me just mention that between
finishing the last one and starting this one,
| | 00:08 | I did just go in and fix up a few
inaccuracies of placement and you might want to
| | 00:12 | do the same, and do that at an
enlarged view size, 100% or more.
| | 00:16 | First of all, I am going to select all
of these layers and I am going to put
| | 00:22 | them into a group. Command+G or Ctrl+G.
That's going to put them into a group.
| | 00:26 | And then I am going to
select the background layer.
| | 00:28 | I am going to come and choose my Rectangle tool.
| | 00:32 | Make sure that white is my foreground
color and I am going to draw myself
| | 00:37 | a rectangle like so.
| | 00:39 | That will go behind the letters.
| | 00:43 | And if I wanted to, I could Command+A
to Select All and then come to the Layer
| | 00:48 | menu and choose Align To Selection >
Horizontal Centers and Vertical Centers.
| | 00:58 | Next, I am going to add a shadow to this.
| | 01:00 | I am going to pull that shadow away like
so. I'm not really worried about where it's
| | 01:07 | going to go, because in the next step is
going to be to create a layer from that
| | 01:12 | shadow, which I will then go to the
layer off and offset that slightly.
| | 01:20 | So now what I want to do is I
want to warp the paper a little bit.
| | 01:24 | I am going to press Command+T or
Ctrl+T to go to Free Transform and then
| | 01:28 | come and click on my Warp option and
I just want to slightly warp it so
| | 01:34 | that it's not exactly the same size as the
shadow, so the shadows doesn't look so processed.
| | 01:40 | Now, I might also consider adding a
small amount of warp to the shadow itself.
| | 01:46 | I am going to turn off my grid now, Command+
Apostrophe or Ctrl+ Apostrophe. I am going to reduce
| | 01:59 | the Opacity on that shadow, and
I'm also going to soften it a bit.
| | 02:04 | I am going to come to the Filter menu
> Blur > Gaussian Blur and let's add a
| | 02:10 | 10 pixel blur to that.
| | 02:14 | Now, I think I would like the color of
the paper to not be so shockingly white.
| | 02:18 | So, I am going to choose a color that
has a little bit of yellow and maybe a
| | 02:23 | little bit of black in it. 3% yellow, 2% black.
| | 02:28 | And I am going to fill the shape
layer with that color. Option+Backspace.
| | 02:33 | I might also consider just going
and adding a Pattern Overlay to it.
| | 02:38 | And if I come and choose one of my paper
patterns. Stationary, how about that one?
| | 02:45 | Very subtle affect.
| | 02:47 | In addition to which I would also like
to add a Gradient Overlay to the paper.
| | 02:51 | I am going to make the blend mode to Multiply.
| | 02:55 | I am going to reduce the Opacity significantly.
| | 03:03 | Now, it's time to knock through the J.
So I am going to expand the group of the
| | 03:08 | letters and come and find the J, now I
could hunt and pick for it there, but
| | 03:12 | they are not actually in alphabetical
order, because we have had to rearrange
| | 03:15 | them to adjust the overlaps of the letters.
| | 03:18 | So, I am going to hold down my Command
key and click on the J. That would have
| | 03:22 | worked had my Auto-Select being set
to Layer, so I am going to set it to
| | 03:27 | Layer and do the same thing again. Command
and click on the J. That will select that layer.
| | 03:31 | I am going to double click on it and
then come to the Knockout and I am going
| | 03:35 | to choose Deep Knockout, and I will
need to now reduce the Fill Opacity of that
| | 03:42 | to 0 and I will just and
add an Inner Shadow to it.
| | 03:47 | I can just pull that Inner Shadow
around and increase the size on that.
| | 03:53 | And perhaps I will just slightly
reduce the size of the letter itself.
| | 04:01 | And upon closer inspection, I realize
that I have got a few misalignments, which
| | 04:06 | with my guides turned back
on, I'll endeavor to fix.
| | 04:10 | And it's going to need a bit more
fussing with, but there essentially is our
| | 04:17 | finished type poster.
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| Goodbye| 00:00 | That brings us to the end
of Photoshop for Designers.
| | 00:02 | Thanks very much for watching.
| | 00:04 | I hope you'll agree that layer effects
are extremely versatile and very flexible.
| | 00:09 | Remember, this is just one in a series
of Photoshop for Designers, so please
| | 00:14 | come back and check out the other titles.
| | 00:16 | Bye for now!
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