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Adding lines of brilliant gold type

From: Photoshop Masking and Compositing: Fundamentals

Video: Adding lines of brilliant gold type

In this final exercise of the chapter, I'm going to show you how to create these layers of gold type. This has nothing whatsoever to do with masking, but everything to do with compositing because we're ultimately rendering the type using a combination of layer effects. If you're working along with me you'll need to have two files open; one of them is called Compositing effects.psd which represents our progress so far and the other is called Text for frog.psd. And notice that I have some warped text layers going on here, the bottom text has a little bit of a Drop Shadow, nothing special going on, but I did want to show you how I achieve the warped text.

Adding lines of brilliant gold type

In this final exercise of the chapter, I'm going to show you how to create these layers of gold type. This has nothing whatsoever to do with masking, but everything to do with compositing because we're ultimately rendering the type using a combination of layer effects. If you're working along with me you'll need to have two files open; one of them is called Compositing effects.psd which represents our progress so far and the other is called Text for frog.psd. And notice that I have some warped text layers going on here, the bottom text has a little bit of a Drop Shadow, nothing special going on, but I did want to show you how I achieve the warped text.

So I've left this central text, The Frog Wizard unwarped. Here is what I want you to do. Go ahead and click on that layer there inside the Layers panel and then go ahead and click on the Text tool here in the toolbox, which you can get by pressing the T key. Go up to the Options bar and note that Warp icon. I want you to go ahead and click on it to bring up the Warp Text dialog box, and the Style I'm looking for is the first one in the list, Arc. Now that's way too much of a bend, so I went ahead and change the Bend value to 15% and that's all there is to it. Now I'll click OK in order to accept the effect.

The difference between the other layers of text is that they warped to different degrees and also I went ahead and rotated the text as well. All right, now let's take this text into the other image, by clicking on the bottom type layer and Shift+clicking on the top layer so that all three are selected and then right-click anywhere in the blank portion of any of those layers and choose Duplicate layers. And here inside the Duplicate layers dialog box change the Document setting to Compositing effects or whatever is the name of your file in progress, and then click OK.

All right, let's switch back to that image, and notice that the text is kind of getting covered up, and that's a function of those layers being too low in the stacking order. To move them all the way to the top of the stack, go to the layer menu, choose the Arrange command, and then choose Bring to Front, or you can press that keyboard shortcut, Ctrl+Shift+], that's Command+Shift+] on the Mac and now all three text layers have moved to the top of the Layers panel. All right. Let's start things off by selecting this Gauldalf layer which is, of course, the name of the frog, and we'll start by assigning the gold effect to it.

Now it's actually a combination of four-layer effects working together. Drop down to the fx icon and let's start things off by choosing the simplest of the bunch, which is Color Overlay and I'm going to click on this red color swatch and dial in the following color; Hue value of 50 degrees and both Saturation and Brightness set to 100%. Then click OK. And I'm going to change the Blend mode from Normal to Multiply, it's not going to actually do anything because we're merging the color with white text, however, if we have any other inner effects going on inside the image that will help them to mix together.

Then reduce the Opacity value to 50%. All right, now let's take on Bevel and Emboss, this is where we're going to get most of our work done. So click on Bevel and Emboss, make sure the Style is set to Inner Bevel. I'm going to take the Depth up to 250 % and I'll set the Direction to Down. Now that doesn't end up delivering a very gold like effect, but we can get one by dropping down to Gloss Contour, click the down pointing arrowhead and go ahead and select that second item in the second row, which is Ring, and that will create a kind of double beveling effect as you can see.

We want it to be a little smoother, so turn on the Anti-aliased check box. Your Angle value should already be set to 45 degrees. Let's go and take the Altitude value up to 35 degrees. Now I have Use Global Light selected so that would affect any other bevels inside my image. I don't have any. So it doesn't matter. All right. Now let's change the Highlight and Shadow mode setting. We'll start by dialing in some color. So click on that white swatch in order to bring up the Color Picker dialog box and then change the Hue value to 45 degrees, the Saturation value to 50% and the Brightness value to 100%.

Notice that I often work this way, where I'll take the Brightness up high and take the Saturation value down a little bit to get a light pale color, or exactly the opposite. For a dark color, you'll want to take the Brightness value down and then take the Saturation value up. I'll show you what that looks like in a second, but first, let's change the Blend mode from Screen to the more aggressive brightening mode which is Linear Dodge (Add), and then I'll take that Opacity value all the way up to 100%. Now let's dial in our Shadow color by clicking on the black swatch and I've decided I wanted to integrate some of the green that used to be part of the frog, so I changed the Hue value to 80 degrees.

Then I took that Saturation value up to 100% in order to compensate for the fact that our Brightness value is going to be a mere 30%. All right. Then click OK in order to accept that color and let's change the Shadow mode to the more aggressive darkening mode, which is Linear Burn in order to create this effect and I took the Opacity value up to 85%. Now at this point, we could do a better job of sculpting the letters. So I'm going to take the Size value up to seven pixels, and then I'm going to change the Technique from Smooth to Chisel Hard, and if you know anything about gold, it's a soft metal.

So we don't want such harsh transitions. We can go ahead and smooth them over, however, by raising that Soften value to 2 pixels. All right. Now let's blend things in a little better using a Satin effect. So go ahead and click on Satin, click on the color swatch, this time around I went with the Hue value of 50 degrees, a Saturation value of 85% and a Brightness value of 50%, click OK. The Opacity value should be 50%, the Blend mode should be Multiply. These are all default settings, by the way, including the Contour setting of Gaussian.

Next, you can go ahead and drag the Satin effect around inside the letters if you like, like so, and that changes the Angle and Distance values on the fly. I ended up arriving at these values, an Angle of 35 degrees, a Distance of 12 pixels and a Size of 20 pixels. All right. Finally, I wanted to go ahead and stroke those letters, so I clicked on Stroke over there in the left-hand list and black is fine for Color, the Position should be Outside, I just went ahead and took the Size value down to 2 pixels like so and that's the end of it. All right.

Go ahead and click OK in order to accept that first line of gold type. All right, now that we have one line of gold type, it's easy to convert the other layer to gold as well. All you need to do is press the Alt key or the Option key on the Mac and drag that fx icon from the Gauldalf layer and drop it on to the Frog Wizard layer, like so. And just like that we've got another line of gold type, however, I didn't feel like it really stood out enough from its background, so I decided to give it an additional Outer Glow. So click on the frog wizard layer to make it active, drop down to the fx icon, choose the Outer Glow command and then here inside the dialog box, click on that pale yellow color swatch, and let's dial in a Hue value of 50 degrees, a Saturation value of 50%, and a Brightness value of 100%. Then click OK.

Screen is fine as the Blend mode, but I went ahead and took the Opacity value up to 100% and I took the Size value up a little bit as well to 12 pixels, and that does it. Go ahead and click OK to add that Outer Glow. All right, I'm going to press the F key a couple of times and zoom in on my image. That ends our whirlwind tour of the selection tools inside of Photoshop. In the next chapter, I'll show you how to combine and edit selections to get even better results.

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This video is part of

Image for Photoshop Masking and Compositing: Fundamentals
Photoshop Masking and Compositing: Fundamentals

128 video lessons · 30205 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 15m 25s
    1. Welcome
      1m 12s
    2. Loading my custom dekeKeys shortcuts
      3m 45s
    3. Adjusting the color settings
      4m 29s
    4. Setting up a power workspace
      5m 59s
  2. 1h 0m
    1. The channel is the origin of masking
      1m 54s
    2. The Masks and Channels panels
      4m 48s
    3. How color channels work
      7m 7s
    4. Viewing channels in color
      3m 24s
    5. How RGB works
      4m 12s
    6. Single-channel grayscale
      5m 12s
    7. Mixing a custom "fourth" channel
      5m 15s
    8. The other three-channel mode: Lab
      5m 45s
    9. A practical application of Lab
      4m 55s
    10. The final color mode: CMYK
      7m 5s
    11. Introducing the Multichannel mode
      5m 56s
    12. Creating a unique multichannel effect
      5m 18s
  3. 44m 27s
    1. The alpha channel is home to the mask
      1m 40s
    2. The origins of the alpha channel
      3m 40s
    3. How a mask works
      7m 10s
    4. Making an alpha channel
      4m 2s
    5. Using the new channel icons
      6m 27s
    6. Saving an image with alpha channels
      4m 23s
    7. Loading a selection from a channel
      4m 7s
    8. Putting a mask into play
      3m 55s
    9. Loading a selection from a layer
      4m 27s
    10. Loading a selection from another image
      4m 36s
  4. 1h 0m
    1. The mask meets the composition
      1m 8s
    2. Viewing a mask as a rubylith overlay
      6m 13s
    3. Changing a mask's overlay color
      5m 34s
    4. Painting inside a mask
      6m 3s
    5. Cleaning up and confirming
      5m 18s
    6. Combining masks
      5m 10s
    7. Painting behind and inside a layer
      5m 27s
    8. Blending image elements
      6m 1s
    9. What to do when layers go wrong
      6m 3s
    10. Hiding layer effects with a mask
      4m 22s
    11. Introducing clipping masks
      5m 29s
    12. Unclipping and masking a shadow
      3m 50s
  5. 1h 35m
    1. The seven selection soldiers
      52s
    2. The marquee tools
      6m 31s
    3. The single-pixel tools (plus tool tricks)
      6m 48s
    4. Turning a destructive edit into a layer
      5m 34s
    5. Making shapes of specific sizes
      7m 7s
    6. The lasso tools
      5m 49s
    7. Working with the Magnetic Lasso tool
      7m 19s
    8. The Quick Selection tool
      8m 13s
    9. Combining Quick Selection and Smudge
      4m 52s
    10. The Magic Wand and the Tolerance value
      6m 55s
    11. Contiguous and Anti-aliased selections
      6m 58s
    12. Making a good selection with the Magic Wand
      6m 34s
    13. Selecting and replacing a background
      6m 55s
    14. Resolving edges with layer effects
      7m 52s
    15. Adding lines of brilliant gold type
      7m 28s
  6. 1h 11m
    1. Selections reign supreme
      55s
    2. Introducing "selection calculations"
      4m 19s
    3. Combining two different tools
      7m 29s
    4. Selections and transparency masks
      5m 17s
    5. Selecting an eye
      7m 1s
    6. Masking and blending a texture into skin
      5m 1s
    7. Painting a texture into an eye
      4m 19s
    8. Combining layers, masks, channels, and paths
      4m 54s
    9. Moving selection outlines vs. selected pixels
      5m 36s
    10. Transforming and warping a selection outline
      7m 45s
    11. Pasting an image inside a selection
      7m 26s
    12. Adding volumetric shadows and highlights
      6m 54s
    13. Converting an image into a mask
      4m 42s
  7. 1h 5m
    1. The best selection tools are commands
      1m 5s
    2. Introducing the Color Range command
      5m 59s
    3. Working in the Color Range dialog box
      7m 7s
    4. Primary colors and luminance ranges
      4m 12s
    5. A terrific use for Color Range
      4m 57s
    6. Introducing the Quick Mask mode
      7m 43s
    7. Moving a selection into a new background
      5m 43s
    8. Smoothing the mask, recreating the corners
      8m 43s
    9. Integrating foreground and background
      4m 44s
    10. Creating a cast shadow from a layer
      2m 51s
    11. Releasing and masking layer effects
      3m 11s
    12. Creating a synthetic rainbow effect
      4m 30s
    13. Masking and compositing your rainbow
      4m 46s
  8. 1h 17m
    1. The ultimate in masking automation
      1m 6s
    2. Introducing the Refine Mask command
      6m 58s
    3. Automated edge detection
      8m 23s
    4. Turning garbage into gold
      6m 19s
    5. Starting with an accurate selection
      7m 11s
    6. Selection outline in, layer mask out
      7m 48s
    7. Matching a scene with Smart Filters
      4m 29s
    8. Cooling a face, reflecting inside eyes
      4m 45s
    9. Creating a layer of ghoulish skin
      4m 28s
    10. Adding dark circles around the eyes
      5m 20s
    11. Creating a fake blood effect
      5m 38s
    12. Establishing trails of blood
      7m 40s
    13. Integrating the blood into the scene
      7m 3s
  9. 1h 48m
    1. Using the image to select itself
      1m 37s
    2. Choosing the ideal base channel
      5m 7s
    3. Converting a channel into a mask
      6m 34s
    4. Painting with the Overlay mode
      7m 27s
    5. Painting with the Soft Light mode
      5m 55s
    6. Mask, composite, refine, and blend
      4m 40s
    7. Creating a more aggressive mask
      7m 2s
    8. Blending differently masked layers
      7m 0s
    9. Creating a hair-only mask
      6m 0s
    10. Using history to regain a lost mask
      3m 42s
    11. Separating flesh tones from hair
      8m 28s
    12. Adjusting a model's color temperature
      4m 30s
    13. Introducing the Calculations command
      7m 22s
    14. Extracting a mask from a Smart Object
      6m 34s
    15. Integrating a bird into a new sky
      5m 40s
    16. Creating synthetic rays of light
      6m 4s
    17. Masking and compositing light
      7m 39s
    18. Introducing a brilliant light source
      7m 5s
  10. 1h 34m
    1. The synthesis of masking and compositing
      1m 36s
    2. White reveals, black conceals
      6m 45s
    3. Layer masking tips and tricks
      5m 8s
    4. Generating a layer mask with Color Range
      5m 38s
    5. The Masks panel's bad options
      5m 18s
    6. The Masks panel's good options
      3m 50s
    7. Creating and feathering a vector mask
      3m 42s
    8. Combining pixel and vector masks
      3m 50s
    9. Working with path outlines
      7m 10s
    10. Combining paths into a single vector mask
      7m 52s
    11. Sharpening detail, reducing color noise
      4m 27s
    12. Recreating missing details
      8m 49s
    13. Masking glass
      5m 50s
    14. Refining a jagged Magic Wand mask
      5m 53s
    15. Masking multiple layers at one time
      5m 15s
    16. Establishing a knockout layer
      6m 6s
    17. Clipping and compositing tricks
      7m 37s
  11. 1m 17s
    1. Next steps
      1m 17s

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