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3D embossing with Lighting Effects


Photoshop CS3 Channels & Masks: Advanced Techniques

with Deke McClelland

Video: 3D embossing with Lighting Effects

In this exercise, we are going to add a series of embossed URLs to this image in order to copy protect the image, in order to watermark it. And we are going to get this effect right here, so that's what we are going for and by the way I am working on image called Woman in blue.psd. It's found inside the 18 Displace maps folder. I made some modifications to it in the previous exercise, but whether you followed that exercise or not you have everything you need inside of this file. So I want you to go ahead and click on the Background layer to make it active and then go ahead and turn off the lighting effect and stronger layers and actually I am just going to go ahead and grab these three layers here and throw them in the trash by Alt+clicking on the Trash can icon or Option+clicking on the Trash icon on the Mac.
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  1. 2h 12m
    1. The Odyssey Continues
      2m 39s
    2. Mapping one image onto another
      7m 12s
    3. Making a custom contrast mode
      7m 9s
    4. Luminance blending
      8m 39s
    5. Forcing the visibility of underlying layers
      4m 3s
    6. Adjusting the appearance of clipped layers
      4m 33s
    7. Selecting a Blend If channel
      6m 11s
    8. Enhancing highlights by hiding them
      5m 8s
    9. Smart Object first, layer mask second
      7m 22s
    10. The Fill Opacity Eight
      4m 30s
    11. Blending Smart Filters
      7m 24s
    12. Cleaning up edges
      7m 38s
    13. More fun with luminance blending
      6m 22s
    14. A first peek at the Calculations command
      12m 11s
    15. Masking a softly focused model
      11m 46s
    16. Moving layers and masks between images
      7m 34s
    17. Matching colors
      9m 12s
    18. Building transitional blended layers
      6m 33s
    19. Restoring normal colors
      6m 49s
  2. 2h 32m
    1. Layer masks, clipping masks, and knockouts
      1m 20s
    2. Rotating and stretching
      7m 54s
    3. A jet of motion blur
      9m 17s
    4. Keyboard tricks
      5m 4s
    5. Merging sky and landscape
      6m 2s
    6. Masking an adjustment layer
      6m 37s
    7. Creating two windows into an image
      7m 42s
    8. Whitening teeth and adding other highlights
      3m 46s
    9. Mapping a texture onto an image
      4m 0s
    10. Isolating a texture with a layer mask
      6m 44s
    11. Welcome to the glass composition
      3m 18s
    12. Balancing shadows and highlights
      5m 51s
    13. Masking the glass
      7m 24s
    14. Masking the text
      9m 23s
    15. Adding and blending the goldfish
      8m 44s
    16. Assembling the perfect group photo
      5m 12s
    17. Aligning photographs automatically
      5m 26s
    18. Masking in each person's best shot
      5m 18s
    19. Masking densely packed people
      6m 17s
    20. Crafting the perfect final poster
      5m 15s
    21. From the improbable to the impossible
      1m 56s
    22. The fantastical "world of clones" effect
      10m 0s
    23. Upsampling and blurring a background
      8m 39s
    24. Adding a knockout mask
      8m 3s
    25. Choking edges with Gaussian Blur and Levels
      3m 46s
  3. 2h 26m
    1. The corrective power of masking
      1m 6s
    2. The amazing luminance mask
      7m 21s
    3. Brightening and neutralizing the eyes
      8m 21s
    4. Adjusting a nondestructive composition
      5m 52s
    5. Creating a corrective mask
      6m 3s
    6. Averaging away irregular flesh tones
      3m 52s
    7. Modifying specific colors
      7m 46s
    8. Initiating the color mask
      5m 59s
    9. Refining the color mask
      6m 39s
    10. Adjusting the edges around fabric
      7m 55s
    11. Perfecting hair
      9m 34s
    12. Sharpening with a High Pass layer
      10m 12s
    13. The also-amazing density mask
      4m 47s
    14. Adjusting the knockout depth
      8m 48s
    15. Fashioning a depth map
      6m 12s
    16. Invoking a depth mask from Lens Blur
      6m 38s
    17. The perfect depth-of-field effect
      6m 25s
    18. Sharpening an archival photograph
      7m 7s
    19. Creating an edge mask
      8m 29s
    20. Making a High Pass sandwich
      7m 45s
    21. Applying the edge mask
      6m 1s
    22. Customizing your sharpening effect
      4m 6s
  4. 2h 3m
    1. Channel Mixer, I am your father!
      1m 39s
    2. Three ways to gray
      7m 48s
    3. Meet the Channel Mixer
      8m 26s
    4. Mixing a custom black-and-white image
      7m 9s
    5. Creating a professional-level sepia tone
      5m 36s
    6. Employing the Black & White command
      8m 0s
    7. Extreme channel mixing
      4m 50s
    8. The infrared photography effect
      6m 42s
    9. Taking shadows to the brink of black
      3m 56s
    10. Elevating highlights, leeching saturation
      5m 58s
    11. Deepening a black-and-white sky
      5m 49s
    12. Infusing luminance levels with color
      5m 43s
    13. Creating an opposing colorization scheme
      4m 58s
    14. Bolstering contrast with the Green channel
      5m 37s
    15. A tiny improvement to a terrific technique
      7m 38s
    16. The simple (but wrong) approach to red-eye correction
      6m 39s
    17. Channel-mixing red pupils
      9m 17s
    18. The expert approach to red-eye correction
      5m 20s
    19. Fixing problem coronas (pupil edges)
      8m 8s
    20. Making pupils match
      4m 7s
  5. 2h 33m
    1. Chops are dead; long live maskops
      1m 36s
    2. The Calculations command
      8m 16s
    3. Blue Screen blending
      7m 40s
    4. Refining the Blue Screen mask
      5m 53s
    5. Brushing away color fringing
      7m 24s
    6. Locking the transparency of a layer
      6m 21s
    7. Nondestructive layer painting
      7m 36s
    8. How the Add blend mode works
      8m 40s
    9. How the Subtract blend mode works
      6m 43s
    10. Focus, noise, and other masking challenges
      5m 32s
    11. The Add mode in action
      7m 51s
    12. The Subtract mode in action
      8m 24s
    13. Comparing two channels with Difference
      5m 23s
    14. Enhancing the contrast with Curves
      9m 10s
    15. Gathering details with Apply Image
      9m 43s
    16. Dodge highlights, burn shadows
      6m 6s
    17. Dodge and Burn in action
      8m 24s
    18. Painting in the scalp
      10m 0s
    19. Painting away the face and chin
      4m 52s
    20. Compositing complementary images
      4m 13s
    21. Multiply, Minimum, Blur, and Apply Image
      6m 40s
    22. Crafting the final composition
      7m 7s
  6. 1h 57m
    1. Mark of the Pen tool
      1m 34s
    2. The big paths project overview
      6m 51s
    3. How to make a path
      8m 24s
    4. Corner points and freeform polygons
      8m 6s
    5. Editing paths with the arrow tools
      5m 2s
    6. Adding and deleting endpoints
      5m 14s
    7. Adding and deleting interior points
      6m 6s
    8. Converting a path to a selection
      3m 35s
    9. Converting a path to a mask
      6m 38s
    10. Smooth points and control handles
      8m 57s
    11. Making cusp points
      5m 59s
    12. Combining paths in a vector mask
      7m 54s
    13. Turning a path into a shape layer
      8m 57s
    14. Combining paths to make a layer mask
      7m 52s
    15. Mixing layer and vector masks
      10m 14s
    16. Editing character outlines as paths
      8m 39s
    17. Using the Convert Point tool
      7m 8s
  7. 3h 17m
    1. Where there's a will, there's a way
      1m 18s
    2. Masking natural cast shadows
      4m 9s
    3. Applying the cast show
      4m 2s
    4. Creating a difference mask
      3m 7s
    5. Applying an arbitrary map
      3m 50s
    6. Making the flesh mask
      7m 16s
    7. Roughing in an object mask
      6m 48s
    8. Drawing missing details with the Lasso tool
      4m 7s
    9. Combining flesh and object masks
      3m 52s
    10. Amplifying the cast shadow
      4m 10s
    11. Selectively choking edges
      3m 58s
    12. Power duplication in Photoshop
      7m 8s
    13. Masking blond hair
      5m 48s
    14. Using Levels to mask iterations
      3m 14s
    15. Drawing an iteration boundary
      4m 54s
    16. Merging the best of two Levels iterations
      4m 4s
    17. More fun with Dodge and Burn
      6m 14s
    18. Fixing edges with the Pen and Stamp tools
      7m 28s
    19. Pulling from another file with Apply Image
      4m 52s
    20. Blending clipped layers independently
      5m 42s
    21. Building the flame mask
      9m 21s
    22. Amplifying the flame
      3m 52s
    23. Masking an image against a busy background
      5m 15s
    24. The Freeform and Magnetic Pen tools
      6m 52s
    25. Masking with arbitrary maps
      9m 32s
    26. A more deliberate approach to arb maps
      10m 51s
    27. Combining arb maps with paths
      9m 28s
    28. Masking with the help of the History brush
      11m 38s
    29. Creating a High Pass mask
      7m 24s
    30. Coloring in the outlines
      8m 31s
    31. Mastering Calculations
      7m 28s
    32. Subtracting and merging the beak
      11m 5s
  8. 1h 33m
    1. The meaning of bit depth (and why you care)
      2m 49s
    2. Scanning line art in 8-bit and 16-bit
      5m 8s
    3. Measuring the 16-bit difference
      8m 8s
    4. Correcting 8-bit images in the 16-bit space
      9m 31s
    5. Opening a raw image directly in 16-bit
      6m 12s
    6. Editing in Camera Raw, opening in 16-bit
      8m 21s
    7. 16-Bit/channel vs. 32-bit/channel (HDR)
      8m 17s
    8. Working with auto-bracketed photographs
      5m 6s
    9. Using the Merge to HDR command
      5m 59s
    10. Adjusting the HDR preview
      6m 0s
    11. Building a 32-bit sky mask
      6m 29s
    12. Properly exposing land and sky
      4m 24s
    13. Modifying a layer mask in 32-bit
      4m 56s
    14. Converting to and correcting in 16-bit Lab
      12m 7s
  9. 2h 8m
    1. Photoshop flirts with the third dimension
      1m 13s
    2. The displacement map
      8m 24s
    3. Making custom waves
      7m 14s
    4. Creating a Gaussian distribution
      4m 31s
    5. Using a two-channel displacement map
      6m 27s
    6. Creating a rustic edge effect
      8m 21s
    7. Distorting and shading with a DMap
      6m 33s
    8. Moonlight reflecting off water
      8m 48s
    9. Mapping the reflection onto the water
      7m 3s
    10. Dipping the moon into the water
      6m 18s
    11. Turning flesh into stone
      7m 55s
    12. Wrapping the stone around the face
      7m 27s
    13. Softening a displacement map
      8m 4s
    14. Making a repeating watermark pattern
      9m 21s
    15. 3D embossing with Lighting Effects
      10m 47s
    16. The amazing credit card type effect
      6m 56s
    17. Lightening the credit card letters
      6m 16s
    18. Wrapping the background around the text
      6m 27s
  10. 1m 43s
    1. Goodbye
      1m 43s

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Watch the Online Video Course Photoshop CS3 Channels & Masks: Advanced Techniques
20h 48m Advanced Nov 21, 2007

Viewers: in countries Watching now:

The elusive alpha channel remains one of the most misunderstood yet powerful tools in Photoshop. Alpha channels are collections of luminance data that control the transparency of an image, and they inform just about every aspect of Photoshop. As he builds transitional blended layers, fashions a depth map, makes edge adjustments, and takes on extreme channel mixing, Omni Award-winning expert Deke McClelland teaches Photoshop users that where there's a will, there's a way. Photoshop CS3 Channels and Masks: Advanced Techniques covers mapping texture on an image, turning flesh into stone, using vector masks, working with all different channels, creating a rustic edge effect, and much more. Exercise files accompany the tutorials.

Download Deke's customized keyboard layouts for Channels and Masks from the Exercise Files tab."

Topics include:
  • Distorting and shading with a DMap
  • Understanding bits and channels
  • Creating paths with the Pen tool
  • Using blend modes and the Dodge and Burn feature
  • Understanding channel mixing
  • Using layer masks, clipping masks, and knockouts
  • Applying Smart Filters
Design Photography
Deke McClelland

3D embossing with Lighting Effects

In this exercise, we are going to add a series of embossed URLs to this image in order to copy protect the image, in order to watermark it. And we are going to get this effect right here, so that's what we are going for and by the way I am working on image called Woman in blue.psd. It's found inside the 18 Displace maps folder. I made some modifications to it in the previous exercise, but whether you followed that exercise or not you have everything you need inside of this file. So I want you to go ahead and click on the Background layer to make it active and then go ahead and turn off the lighting effect and stronger layers and actually I am just going to go ahead and grab these three layers here and throw them in the trash by Alt+clicking on the Trash can icon or Option+clicking on the Trash icon on the Mac.

Now I want to add an independent layer of URLs, I don't want to affect the layer directly; I don't want to harm the layer of course. It might be tempting if you are very familiar with Photoshop CS3 to try to apply lighting effects as a smart filter so to convert the image to a smart object and then apply lighting effects. But I am going to need to strengthen the result of the lighting effects filter after we get done applying it. And we are only able to do that if we work with the static pixel based layer. So here is what I am going to have you do, I want you to press Ctrl+Alt+N or Command+Option+N on the Mac in order to bring up the New Layer dialog box. And let's just go ahead and call this layer solid gray and I am going to change the mode to Overlay and the reason is if I change the mode to Overlay then I get this checkbox right here that says Fill with Overlay neutral color (50% gray).

I am going to turn that checkbox on and I will create a layer that's filled with 50% gray which makes it a great base layer for the lighting effects filter because that way then you can apply lighter colors as highlights and darker colors as shadows. So go ahead and click OK to accept that new layer. Now it won't make any difference to the image because you just apply the Overlay blend mode and you filled it with an overlay neutral color so you can see right through the grays. Now I am going to press Shift+Alt+N or Shift+Option+N on the Mac to switch the blend mode back to normal. So we now have a layer of gray set to the normal blend mode. Now I want you to go up to the Filter menu and I want you to choose Render and then choose Lighting Effects. And that brings up what is ultimately a very dinky dialog box given how much they have tried to pack into it.

Now this is an older filter, it was introduced with Photoshop 5. If it was the one of the new or modern filters it would probably take up the entire screen because there is all kinds of stuff going on here, instead we have to work in this very, very small environment which is my biggest frustration with lighting effects. And then my second biggest frustration is we can't change the values numerically. So those are the big problems with this dialog box. But the results it produces are amazing, well worth the effort and frustration frankly. All right, so the first thing you do is change the Texture Channel because the Lighting Effects filter is all about lighting a Texture Channel so that we are creating a bump map effectively and the Texture Channel comes from an Alpha Channel inside the image. So we are going to switch from None to either URLs or new URLs. If you followed the previous exercise, you might have an Alpha Channel called new URLs, if you didn't perform that exercise then you just have the URLs channel and that's it. Well, I am going to go with new URLs because that's what I created in the previous exercise, but you will still get the same result if you are working with URLs. All right, I think I made that point.

Now we want to enhance the size of the light, this is a spotlight which is exactly what we want; there are other kinds of lights that you can create with this filter. But we want a spotlight. Basically, what's happening here is that this point right there is kind of the light source essentially and then this is the hot spot for the light, this is the point at which the light is hitting the page effectively. All right, so I want to make this ellipse as big as I can by dragging the side handles out as far as I can, but you can't really go that far, you can only go to the edge of this canvas, this arbitrarily sized canvas thing here and if you want to make it even bigger then you have to move the ellipse around, the ellipse that represents the spotlight and you could only move it by dragging this center point right there. That's the only way you move the light.

And then we will go ahead and expand the lights some more if we can. I am going to go ahead like move it down here and expand it some more or like so, I really want it to be gargantuan so that it pretty evenly affects the contents of the page. And notice the angle of my light is about somewhere in the range of 5 o'clock to 5:30 right here and that's basically what I want. It's pretty much the angle that we had when we entered the dialog box in the first place and then I want you to move this center point to the bottom right area of the page like so. So that we are having as even of light as we can have at this point.

Now we are going to have to change some settings around in order to make things more even still, I am going to reduce the Intensity. I am basically going to be reducing the Intensity of the light a lot here because currently we have big, thick, gooey letters which isn't going to be legible at all. We have relatively small letters that we are working with, so we want a relatively subtle effect. So reduce the Intensity value to 10 and you have to do it manually by dragging that darn thing around and increase the Focus value to a 100 and then I am going to take the Gloss value, I don't want any shiny letters here. So I want a matte finish for this effect.

You may find it difficult to actually drag this triangle; it's very easy to miss it. Drag that triangle all the way over to the left so that we have a Gloss effect. So far it's looking pretty bad. Don't worry it's going to look better in just a few minutes. We want neither metallic nor plastic as the Material; we just want neutral Material so let's go with 0. The Exposure should be 0, we don't want to overexpose or underexpose. However, I would like to add some ambient light to the picture here, so I will take the Ambient value up to 40 and the reason is because I ultimately want the background to remain as neutral a gray as humanly possible, as I can possible achieve here.

So it's okay if the lighting of the letters is a little subtle as long as that gray background stays gray. And you can see that we have already introduced some darkness to the top and some lightness to the bottom. What we want to do is as little damage to that background gray as we can because otherwise once we apply the Overlay blend mode then we are going to slightly lighten this area down here in the image and we are going to slightly darken this area up here. So again we just need to play it safe, as safe as possible. Finally, we want to take the Height value down, we want this effect to be relatively Flat, again because these letters are smallest letters if we go with a very Mountainous effect, we are going to get some very gooey, thick edges. We don't want gooey, thick edges that would harm the legibility so we are going to go with a very flat effect, it looks terrible. The value we want by the way is 10, it looks terrible here inside the preview but it's actually going to look quite nice. And we also want White to be high. In other words, the background is high and the letters are low is what that means.

It's saying White is high inside the Alpha Channel but because we are under lighting, that's fine. Normally, we would say if we were over lighting, if the lighting was coming in from the top then we would turn off White is high and we would have the letters be high and set the black letters be high. But we are under lighting so we want to invert this as well. All right, so in other words White is high should be on. These are the settings 10, 100, -100, 00, 40 and then 10 for the Height value. Let's go ahead and save this out, we don't want to have to do that work again, go ahead and click on the Save button. And we will go ahead and call this URL watermark or something along those lines.

So if you ever want to come back to it you can very easily here. Then click OK and now I'll click OK in order to apply these settings and check it out, now if we zoom in here that's the only thing that preview inside the Lighting Effects dialog box is just worthless. But once you actually see the effect out here in the larger image, it looks just spectacular. Now I would like to go ahead and enhance this effect, this is why I couldn't apply lighting effects as a smart filter because I now need to follow it up. I now need to increase the contrast of this effect and I am going to do that using a Levels adjustment layer. So I want you to Alt+click or Option+click on the black/white icon here and choose Levels. Let's just go ahead and call this layer, enhance letters and I will turn on Use Previous Layer to Create Clipping Mask so we are just affecting this layer and nothing else.

Click OK and I am going to take the black point value up to 100 in order to darken that shadow information and I am going to take the white point value down to 155, so we are adding a 100 to the black point, we are subtracting a 100 from the white point, increasing the heck out of the contrast. And just to make sure that our background is more or less neutral gray let's raise the gamma value to about 1.2 and click OK to accept that modification. All right, now you can see that we have got a little bit of color banding going on inside of this gray area and if that bothers you, you can go back to solid gray, the solid gray layer. And you can press Ctrl+Shift+U or Command+Shift+U on the Mac to totally get rid of that color and we will have a little bit of gray banding left in its wake actually which might or might not be preferable.

I am going to make a guess that that's not actually what we want. So I am going to go ahead and press Ctrl+Z or Command+Z on the Mac in order to undo that modification because you can see this way we have less banding because we have a few more colors to work with. All right, now I am going to change the blend mode, right and we want to drop out the neutral grays, we want to keep the highlights and shadows. So of course the blend mode we want to work with is Overlay. So I will press Shift+Alt+O or Shift+Option+O on the Mac in order to apply that Overlay blend mode and we have this very lovely, very subtle watermarking pattern as a result.

And this is what the image looks like without that layer, this is what it looks like with this layer. We are neither darkening nor lightening the middle portion of the image at any rate. If I were to zoom out, you could just sort of keep an eye on other portions of the image. If I turned the layer off how's the top fairing, looks a little lighter with the layer off, a little darker with the layer on. But even so it's looking pretty nice; this is workable effect and certainly something that I will be proud to put out there, were I the photographer of this piece. All right, so there you go, in the next exercise we are going to try out something more complicated with lighting effects. We are going to create the classic credit card effect where an image actually bends over letters and so we are going to use a displacement map along with lighting effects to create a true 3D sculptural piece here in Photoshop.

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