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Adding a ghostly cast shadow

From: Photoshop CS3 One-on-One: Beyond the Basics

Video: Adding a ghostly cast shadow

Now so far much of what we have seen, we could just as easy pull off inside of a vector-based program such as Illustrator or FreeHand or CorelDRAW or even InDesign, QuarkXpress. I could go on all day listing these applications, but I shan't because we are inside Photoshop and you might wonder well why are we inside Photoshop creating all of these text effects when we ought to be elsewhere inside one of those other programs. Well we oughten to be because Photoshop allows you to pull off special text effects that the other programs can't match. Because it's a pixel based editor, you can create naturalistic, organic, photographic almost effects.

Adding a ghostly cast shadow

Now so far much of what we have seen, we could just as easy pull off inside of a vector-based program such as Illustrator or FreeHand or CorelDRAW or even InDesign, QuarkXpress. I could go on all day listing these applications, but I shan't because we are inside Photoshop and you might wonder well why are we inside Photoshop creating all of these text effects when we ought to be elsewhere inside one of those other programs. Well we oughten to be because Photoshop allows you to pull off special text effects that the other programs can't match. Because it's a pixel based editor, you can create naturalistic, organic, photographic almost effects.

We are going to take the words Fright Lights and we are going to light them up, so that they have light fringes around them and so that they are casting a shadow as if they are being backlit by this big old jack-o-lantern here. And here's how we are going to do it, for starters I want you to go to the Layers palette and click on the Fright Lights layer to make sure that it's active. Then I want you to hide that palette from view just because it's taking so much room on my screen and I am going to press Ctrl+Alt+T or Command-Option-T on the Mac in order to enter the Free Transform mode and create a duplicate of this layer.

Next I want you to go up to the Options bar up here, make sure that the center point is selected, this little guy is the reference point location. By reference point, it means the transformation origin point right there and currently it's set to the center of the object, the center of the layer which is good. Now notice that the layer outline is pretty big and that's because it includes any potential descenders that is part of letters that drop down below the baseline, but don't worry about that, all is well. Alright, just make sure that center point is active and then I want you to change the height value to -116% and then press tab and notice what that does, that goes ahead and flips the image upside down.

Then I want you to press the Enter key in order to accept that modification up in the Options bar and I am going to press Shift+down arrow 4 times in a row like so. So you should end up with text that looks like this, it's going to extend out of the canvas into the pasteboard down here that's perfectly okay, it's not a problem at all. And thanks to the fact that we entered -116 degrees for the height value, we have flipped the letters upside down and extended them just ever so slightly that extra 16 degrees that we gave it there.

Alright now I will press the Enter key once again or the Return key on the Mac in order to accept that modification. Now I am going to go over here to the Layers palette and I am going to set the Blend mode from normal to multiple so that it burns into the background. Remember I was telling you that Multiply is the Blend mode of shadows that converts anything to a shadow essentially, because it's darkening the background as shadows tend to do. And then I am going to press the Esc key to unstick that option there on the window side and I am going to press 9 for 90% opacity, so we are just lowering the opacity ever so slightly there.

Alright, let's put that Layers palette away once again. Now what does the shadow need to be? It needs to be fuzzy, don't you know, it needs to be a little bit soft because this is defused light source back here. So let's go up to the Filter menu, choose Blur and choose Gaussian Blur and when you do that Photoshop is going to say, hey do you want to go ahead and rasterize that Type, meaning that it wants to convert it from editable type into pixels and it needs to do that in order to apply a filter now. Later on we are going to see how we can avoid this step using Smart Objects, but for now don't worry about it, just go ahead and click OK.

Simplest solution at this point is just to go ahead and rasterize the Type. We have got the original Type, if we ever want to go back to it that we can edit. Now I am going to apply a radius of 6 pixels that's really good actually then click OK in order to apply that modification. Now the text needs to go ahead and dilate toward us essentially and needed to sort of flare out toward us because the light source is smaller than the Type and it's casting shadows in various directions. So I am going to press Ctrl+T or Command-T again in order to enter that Free Transform mode and I want you to watch the Options bar, watch this H value, this H degrees value right there, which indicates this skew level.

I want you now to press the Ctrl key or the Command key on the Mac and drag that lower right handle and by the way, I am also pressing the Shift key so I am pressing Shift and Ctrl at the same time that would be Command and Shift on the Macintosh side. While I am moving this point, watch the Options bar, watch that H degrees value up in the Options bar at the top of the screen and you want to drag over until that value changes to 50 degrees, 50 degrees as it is right now. Now you couldn't have just entered that value because that would have skewed all of the text, we are stretching it, I am actually stretching the text over to the right and that's not something that Photoshop tracks properly inside the Options bar.

But you can watch a value in order to make sure that you achieve the same effect that I am getting here. Now while we have done here this 4-point distortion that I told you about when we discussed transformations a couple of chapters ago, this is not something that you can do to editable type. So the fact that it's been rasterized because applied the Gaussian Blur filter, it actually turns out to be a good thing. It affords us the opportunity to now turn around and 4-point distort this type. Alright, now I want you to press Ctrl and Shift again on the PC side or Command and Shift on the Mac and drag this bottom left handle over to the left so that we are flaring the text outward until the W value, check out that W value right under the word Window at the top of the screen there.

That W value in the Options bar changes to a 120%. So this time it's tracking our modification using a scale value. I was telling you Photoshop really can't do distortions numerically but anyway, that's still if you match those two values as you are dragging along the 50 degree, H value, and the 120% W value then you will get the same effect that you are seeing on my screen here. Then press the Enter key in order to accept that modification that looks pretty darn good I think it's going to look even better in the next exercise when we backlight this text.

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This video is part of

Image for Photoshop CS3 One-on-One: Beyond the Basics
Photoshop CS3 One-on-One: Beyond the Basics

129 video lessons · 39091 viewers

Deke McClelland
Author

 
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  1. 1h 15m
    1. Welcome to Photoshop CS3 One-on-One: Beyond the Basics
      2m 5s
    2. Selecting glass and water
      5m 23s
    3. Establishing a base layer
      4m 0s
    4. The Color Range command
      6m 45s
    5. Selecting sparkles
      3m 19s
    6. Setting sparkles to Screen
      4m 19s
    7. Selecting and compositing hair
      2m 59s
    8. When Color Range falls short
      7m 25s
    9. Selecting a base channel
      4m 25s
    10. Enhancing the channel's contrast
      4m 4s
    11. Dodging the highlights
      5m 55s
    12. Putting the mask in play
      3m 20s
    13. Reducing the edge fringes
      4m 21s
    14. Adding a layer mask
      4m 53s
    15. Creating a gradient quick mask
      5m 26s
    16. Blurring the layer mask
      5m 51s
    17. And that's just the beginning...
      1m 15s
  2. 1h 13m
    1. Edge-enhancement parlor tricks
      1m 30s
    2. The subterfuge of sharpness
      3m 14s
    3. The single-shot sharpness
      3m 47s
    4. Unsharp Mask
      5m 17s
    5. Understanding the Radius value
      4m 31s
    6. Gauging the best settings
      7m 14s
    7. Sharpening the luminance data
      8m 25s
    8. USM vs. Smart Sharpen
      6m 0s
    9. Smart Sharpen's Remove settings
      6m 23s
    10. High-resolution sharpening
      6m 4s
    11. Leave More Accurate off!
      2m 29s
    12. Turn More Accurate on
      2m 58s
    13. The Advanced options
      5m 17s
    14. Saving Smart Sharpen settings
      4m 18s
    15. Accounting for camera shake
      6m 0s
  3. 1h 24m
    1. Why the heck would you blur?
      1m 20s
    2. The "bell-shaped" Gaussian Blur
      7m 16s
    3. The Linear Box Blur
      2m 58s
    4. Median and its badly named progeny
      6m 3s
    5. Surface Blur and the rest
      5m 36s
    6. The Motion Blur filter
      3m 2s
    7. The Radial Blur variations: Spin and Zoom
      5m 55s
    8. The Captain Kirk-in-love effect
      6m 50s
    9. Averaging skin tones
      6m 2s
    10. Addressing the stubborn patches
      6m 0s
    11. Combining Gaussian Blur and Average
      4m 8s
    12. Blurring surface details
      7m 2s
    13. Smoothing blemishes while matching noise
      7m 52s
    14. Reducing digital noise
      8m 22s
    15. Smoothing out JPEG artifacts
      6m 1s
  4. 45m 28s
    1. Behold, the layered composition
      1m 13s
    2. The Layers palette
      5m 8s
    3. Enlarging the hand
      4m 40s
    4. Erasing with a layer mask
      6m 28s
    5. Moving a layer
      4m 3s
    6. Combining layers into a clipping mask
      4m 42s
    7. Hair and stacking order
      6m 12s
    8. Adding a frame and expanding the canvas
      6m 2s
    9. Adding a vignette
      7m 0s
  5. 42m 27s
    1. Organization: It sounds dull, but it rocks
      1m 8s
    2. The terrible battle
      3m 3s
    3. Assembling the base composition
      5m 46s
    4. Adding adjustment layers
      4m 55s
    5. Creating a layer group
      2m 24s
    6. Grouping selected layers
      3m 13s
    7. Making the TV lines
      4m 17s
    8. Introducing layer comps
      5m 52s
    9. Saving your own layer comps
      6m 40s
    10. Final footnotes
      5m 9s
  6. 1h 23m
    1. Parametric operations
      1m 4s
    2. The power of blend modes
      6m 44s
    3. Changing the Opacity value
      5m 35s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      5m 38s
    6. Blend mode shortcuts
      5m 52s
    7. The darkening modes
      6m 12s
    8. Tempering a Burn effect with the Fill value
      3m 53s
    9. Saving a blended state
      2m 54s
    10. The lightening modes
      4m 55s
    11. The contrast modes
      7m 13s
    12. The comparative modes
      7m 25s
    13. The composite (HSL) modes
      6m 2s
    14. The brush-only modes
      8m 11s
    15. Blending groups
      7m 10s
  7. 1h 27m
    1. At this point, there is a great shift...
      59s
    2. Messing with the masters
      2m 28s
    3. Scaling a layer to fit a composition
      6m 39s
    4. Merging clock face and cardinal
      2m 2s
    5. Rotating the minute hand
      7m 42s
    6. Replaying the last transformation
      3m 50s
    7. Second hand and shadows
      5m 0s
    8. Series duplication
      3m 23s
    9. Skews and perspective-style distortions
      6m 43s
    10. The envelope-style Warp function
      7m 32s
    11. Introducing the Liquify command
      5m 9s
    12. Adjusting the brush settings
      4m 2s
    13. Viewing layers and the mesh
      4m 18s
    14. Incrementally undoing undesirable effects
      4m 5s
    15. Twirl, pucker, and bloat
      2m 2s
    16. Push, mirror, and turbulence
      4m 37s
    17. Protecting regions with a mask
      3m 41s
    18. Applying a digital facelift
      10m 53s
    19. Saving and loading mesh settings
      2m 31s
  8. 1h 18m
    1. Planes and perspective
      1m 7s
    2. The Blue Gallery
      2m 47s
    3. Introducing Vanishing Point 2.0
      5m 30s
    4. Drawing out perpendicular planes
      6m 54s
    5. Exporting the gridlines to a layer
      4m 45s
    6. Cloning an image from one plane to another
      7m 58s
    7. Blending the image into its new home
      6m 31s
    8. Healing away the sockets
      7m 48s
    9. Importing a new image
      6m 20s
    10. Masking and shading the image
      7m 27s
    11. Flat in, perspective out
      5m 57s
    12. Adding perspective type
      4m 50s
    13. Swinging planes to custom angles
      6m 2s
    14. Wrapping art around multiple surfaces
      4m 35s
  9. 1h 15m
    1. Type: The great imaging exception
      54s
    2. Creating an independent text layer
      6m 39s
    3. Editing vector-based text
      6m 38s
    4. Working with area text
      6m 15s
    5. Resizing the text frame
      6m 4s
    6. Obscure but important formatting options
      7m 25s
    7. Text editing tricks and shortcuts
      9m 38s
    8. Adding a ghostly cast shadow
      6m 19s
    9. Backlighting the text
      2m 48s
    10. Creating type on a path
      7m 37s
    11. Pasting text along the bottom of a circle
      3m 50s
    12. Flip and baseline shift
      3m 15s
    13. Warping text
      3m 58s
    14. Scaling the warped text to taste
      4m 18s
  10. 1m 11s
    1. See ya for now
      1m 11s

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