Photoshop CC One-on-One: Intermediate
Illustration by John Hersey

Adding texture to Bevel and Emboss


Photoshop CC One-on-One: Intermediate

with Deke McClelland

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Video: Adding texture to Bevel and Emboss

In this movie we're going to take the word Spiders, which looks like it might have been carved out of wood, and we're going to transform it to this kind of chain metal type. And we'll do so by adjusting a few setting of course, as well as adding a texture to our bevel and emboss effect. I'll go and switch back to the image at hand and zoom in on it until we get to the 100% zoom ratio. The first thing we need to do is to imbue our letters with a little bit of blue. And so I'm going to drop down to the FX icon, and choose colour overlay, which allows you to paint a layer with the solid colour.
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  1. 2m 4s
    1. Welcome to One-on-One
      2m 4s
  2. 1h 1m
    1. The best of Photoshop automation
    2. Content-Aware Fill and Color Adaptation (CC 2014)
      7m 44s
    3. Combining two layers with a layer mask (CC 2014)
      5m 37s
    4. Content-aware healing (CC 2014)
      10m 17s
    5. Introducing the Patch tool
      3m 43s
    6. Using Content-Aware Patch
      7m 17s
    7. Retouching with Content-Aware Patch
      3m 45s
    8. Using the Content-Aware Move tool
      7m 41s
    9. Using Content-Aware Extend
      2m 4s
    10. The Content-Aware Scale command
      6m 35s
    11. Scaling in multiple passes
      2m 22s
    12. Protecting skin tones
      3m 31s
  3. 32m 55s
    1. Editing the histogram
      1m 50s
    2. The new automatic Levels adjustment
      4m 33s
    3. Customizing a Levels adjustment
      4m 53s
    4. Understanding the Gamma value
      2m 7s
    5. Opening up the shadows
      2m 48s
    6. Previewing clipped pixels
      3m 40s
    7. Retouching with Output Levels
      4m 25s
    8. Making channel-by-channel adjustments
      2m 19s
    9. Faking a gray card in post
      2m 51s
    10. Assigning shortcuts to adjustment layers
      3m 29s
  4. 57m 43s
    1. How sharpening works
      1m 38s
    2. Introducing the Smart Sharpen filter
      6m 56s
    3. Understanding the Radius value
      5m 20s
    4. Gauging the best sharpening settings
      5m 45s
    5. Addressing color artifacts and clipping
      5m 49s
    6. The Remove and Reduce Noise options
      4m 22s
    7. The Shadows/Highlights options
      7m 36s
    8. Correcting for camera shake
      6m 47s
    9. Sharpening with the Emboss filter
      5m 45s
    10. Sharpening with the High Pass filter
      4m 44s
    11. Painting in sharpness
      3m 1s
  5. 1h 12m
    1. Vector-based type
      1m 35s
    2. Creating and editing point text
      8m 8s
    3. Font and type style tricks
      7m 58s
    4. Type size and color tricks
      6m 42s
    5. Kerning and tracking characters
      8m 9s
    6. Creating and editing area text
      3m 50s
    7. Selecting and formatting paragraphs
      6m 50s
    8. Setting text inside a custom path
      5m 34s
    9. Creating text along a path
      6m 12s
    10. Adjusting baseline shift
      4m 45s
    11. Creating and stylizing a logo
      6m 49s
    12. Masking text into image elements
      6m 14s
  6. 1h 9m
    1. The other vector-based layer
      1m 39s
    2. Dotted borders and corner roundness
      8m 14s
    3. Drawing and aligning custom shapes
      3m 55s
    4. Creating your own repeatable custom shape
      5m 43s
    5. Selecting and modifying path outlines (CC 2014)
      6m 5s
    6. Isolating selected layers (CC 2014)
      6m 39s
    7. Combining simple shapes to make complex ones
      6m 31s
    8. Cropping, adjusting, and merging shapes
      8m 49s
    9. Creating a soft, synthetic sparkle
      6m 22s
    10. Saving a resolution-independent PDF file
      6m 42s
    11. Turning a small image into a huge one
      8m 38s
  7. 1h 14m
    1. Depth, contour, and texture
      1m 28s
    2. Imparting depth with a layer effect
      9m 9s
    3. The power of the drop shadow
      7m 37s
    4. Modifying a layer and its effects
      6m 21s
    5. Saving custom default settings
      4m 12s
    6. Creating a custom contour
      8m 5s
    7. Introducing Bevel and Emboss
      8m 8s
    8. Multiple effects and multiple layers
      7m 45s
    9. Global Light and rasterizing effects
      8m 5s
    10. Gloss and surface contour
      6m 4s
    11. Adding texture to Bevel and Emboss
      7m 21s
  8. 34m 48s
    1. Styles store settings
      1m 38s
    2. Creating and applying a paragraph style
      3m 41s
    3. Redefining a style and styling a word
      5m 38s
    4. Creating and styling a placeholder style
      5m 43s
    5. Applying and creating layer styles
      5m 45s
    6. Loading and customizing layer styles
      5m 42s
    7. Merging and saving layer styles
      6m 41s
  9. 56m 48s
    1. Meet the transformations
      1m 55s
    2. Transformations and Smart Objects
      5m 46s
    3. Adjusting the interpolation setting
      5m 10s
    4. Rotating a layer with Free Transform
      5m 22s
    5. Scale, duplicate, and repeat
      4m 30s
    6. Creating a synthetic star field
      5m 20s
    7. Warping a logo with Arc and Flag
      5m 34s
    8. Distort, perspective, and skew
      4m 15s
    9. Using transformations to draw and correct
      7m 0s
    10. Bolstering text with layer effects
      5m 43s
    11. Adding highlights with Lens Flare
      6m 13s
  10. 43m 36s
    1. Removing the weight that the camera adds
      1m 7s
    2. The Warp and Reconstruct tools
      6m 44s
    3. Brush size, hardness, and opacity
      4m 29s
    4. The Pucker, Bloat, Push, and Twirl tools
      7m 12s
    5. Saving and reapplying Liquify settings
      4m 9s
    6. Lifting and slimming details
      9m 42s
    7. Warping legs, arms, and fabric
      5m 33s
    8. Improving a model's posture
      4m 40s
  11. 58m 46s
    1. Shoot in color, convert to black and white
      1m 55s
    2. Three ways to grayscale
      5m 36s
    3. Mixing a custom black-and-white image
      7m 31s
    4. Simulating an infrared photograph
      6m 39s
    5. Creating a sienna-infused sepia tone
      5m 38s
    6. Creating a hyper-saturated image
      5m 26s
    7. Introducing the Black & White command
      3m 16s
    8. Customizing the Black & White settings
      4m 50s
    9. Black & White meets the Channel Mixer
      7m 29s
    10. Infusing an image with tint and color
      5m 9s
    11. Grayscale and Split Tone in Camera Raw
      5m 17s
  12. 41m 34s
    1. The many ways to print
      1m 41s
    2. Using the test document
      3m 18s
    3. Print, position, and size
      5m 57s
    4. Description and printing marks
      3m 3s
    5. Establishing a bleed
      3m 44s
    6. Getting reliable color
      5m 54s
    7. Special printing options
      5m 1s
    8. Previewing an image at print size
      4m 16s
    9. Creating contact sheets
      4m 49s
    10. Creating a multipage PDF
      3m 51s
  13. 31m 9s
    1. Making Internet imagery
      1m 6s
    2. Introducing Save for Web
      4m 39s
    3. Creating the perfect JPEG image
      5m 14s
    4. Creating a high-contrast GIF image
      6m 23s
    5. The two varieties of PNG
      3m 57s
    6. Downsampling for the web
      5m 59s
    7. Adding copyright and contact info
      3m 51s
  14. 1m 3s
    1. Until next time
      1m 3s

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Watch the Online Video Course Photoshop CC One-on-One: Intermediate
10h 37m Intermediate Aug 19, 2013 Updated Sep 18, 2014

Viewers: in countries Watching now:

Photoshop CC One-on-One is back, and this installment teaches you how to build on your basic knowledge and achieve next-level effects with this premiere image-editing program. Industry pro Deke McClelland shows you how to seamlessly move and patch areas of a photo with the Content-Aware toolset; stretch the brightness of a scene with automatic and custom Levels adjustments; create intricate designs with text and shapes; and morph an image with layer effects and transformations. Deke also shares his techniques for sharpening details, whether addressing noise and highlight/shadow clipping or camera shake, and converting a full-color image to black and white. The final chapters show you how to best print and save images for the web, making sure all your hard work pays off in the final output.

Topics include:
  • Performing automatic retouch, scaling, and more with the Content-Aware tools
  • Editing the histogram
  • Customizing a Levels adjustment
  • Making channel-by-channel Levels adjustments
  • Sharpening with the Smart Sharpen, Emboss, and High Pass filters
  • Working with vector-based type
  • Kerning and tracking characters
  • Creating text on a path
  • Drawing and customizing shapes
  • Creating depth, contour, and texture with layer effects
  • Liquifying an image
  • Simulating an infrared photo
  • Adjusting print position, size, and color
  • Creating the perfect JPEG image
  • Downsampling for the web
Design Photography
Deke McClelland

Adding texture to Bevel and Emboss

In this movie we're going to take the word Spiders, which looks like it might have been carved out of wood, and we're going to transform it to this kind of chain metal type. And we'll do so by adjusting a few setting of course, as well as adding a texture to our bevel and emboss effect. I'll go and switch back to the image at hand and zoom in on it until we get to the 100% zoom ratio. The first thing we need to do is to imbue our letters with a little bit of blue. And so I'm going to drop down to the FX icon, and choose colour overlay, which allows you to paint a layer with the solid colour.

By default it's set to paint your layer red, so it just completely replaces the contents of the layer which obviously is not something we want. I'll click on the colour swatch in order to bring up the colour picker dialogue box. And the colour I came up with is this one here, a hue of 215, saturation 20%, and brightness 70%. Click OK. That's still not what we want, because we don't want to just whole hog replace the colours. So I'll go up here to the blend mode and change it from normal to colour.

So that we're colourizing the background. And then I'm going to reduce the opacity to 50%, because we just want a hint of blue, like so. Now I'm going to drop down to the drop shadow there. I'm going to reset its blend mode to multiply, and I'm going to increase its opacity value back up to 100%. Which makes it a little more consistent with the type that's actually casting the shadow. Now I'll switch to bevel and emboss. And these are just some settings I came up with that seem to work well for this effect.

For starters, just so we can keep track of what we're doing, I'm going to switch the gloss contour back to linear. We'll change it to something else in a moment but linear will work for now. And I'm going to change the colour of the highlight mode to 215 once again. So if you're working along with me you just need to change the hue value and same for the shadow colour. We'll go ahead and change it to 215 as well, and then click OK. I decided to take the opacity value for the highlight mode up to 100%. Next I'll take the size value down just a little bit, so I'm taking it down to 30, then I'm going to take the soften value down to zero for now.

And we'll get this really, really sharp effect as you can see, and then I'll go ahead and take the depth value up to 200%. Now I'll click on the texture option to both select it, and turn it on. By default you don't have many patterns to choose from in order to set your texture. You've got bubbles, and then you've got tie-dye, which is absolutely useless for this purpose, and a few others as well. This final one, grey granite, is the one that initially popped up for me. To load some more useful patterns, go ahead and click on this little gear icon.

And choose patterns from the pop up menu. And you'll be asked if you want to append these patterns or just go ahead and replace the ones that are there. You can do either, if you append though you are going to repeat some patterns. So I'm going to click OK. Now notice some new patterns that we have, like cells, this one's metallic snake skin, molecular actually its a. Looking pretty darn great. What's happening right now is Photoshop is lighting the surface, as if everything white in the texture is raised and everything black is sunken.

If you want to switch that then you can turn on the Invert check box, and you'll end up getting the opposite effect and, actually, now white is forward. And black is sunken because back here in the bevel and emboss section, we've got the direction set to down. So, if you wanted to switch things to the way they're supposed to be, then you would select up instead. Anyway, I'm going to leave it set to down, and return back to my texture, and turn off the Invert check-box, because the one I'm really looking for Is this guy right there. It's called strings.

So go ahead and select that one, and you'll see a series of strings being woven through the letters. I want it to be bigger, so, I'm going to scale this guy up to 250%. What I'm doing is pressing Shift+up arrow, and previewing how things look on screen. And then I'm going to take that depth value way down. I'll take it down to about 20%. Now I'll switch back to bevel and emboss. And the soften value that I restored to zero pixels, it not only affects the chiselled, hard edges, but it also affects these edges that are associated with a pattern.

And because we're up-sampling the pattern, we're starting to get some jagged edges there. So I'm going to press the up arrow in order to raise that value until some of those jagged edges go away. And then, finally, I do want a gloss contour because here's where something like gloss contour really comes in handy. I want this to have more of a metallic feel to it. And so, I want to breathe some life into these shadows, and darken up these middle areas a little bit, but it's in the surface of the letters. I'm going to click on this graph icon in order to bring up the contour editor, and I'm just going to start moving some points around here, and then I'll show you exactly where the points go.

And the idea is I want to make the shadows bright, I want to make the highlights bright. I want to sink the mid-tones a little bit, and so we're going to start with this point right there, and I'm just going to dial in some values. You can see that this point is selected. I just clicked on it, and the input value is 0%. I'm going to change the output value to 90%. And then I'll press the Plus key to advance to the next point. And I'm going to change the input value this time to 20%, and I'll change the output value to 15%.

And I'm pressing tab to advance to corner before I press Plus, in order to select the next point. And now, I'm going to change the input value to 40, and I'll change the output value to zero, to go ahead and send that point to the bottom of the graph. And I'll press the Plus key to advance to the next point, and I'll change its input value to 70. And I'll change it's output value to 35, and we end up achieving this effect here. Now, if you like this contour, and you think you'll be using it a lot, then you could go ahead and click the new button.

And call it something like valley because that's the shape of the contours, not always, by the way, going to deliver a metallic effect. Now click OK, and click OK again in order to accept my changes. I'll go ahead and click the OK button in order to accept my modifications, and I'll press Ctrl+0, or Cmd+0 on a Mac. In order to zoom out from the image. Now I'm really liking this effect, but obviously it shouldn't be applied to the word spiders, and so I'll double-click on that t in order to select the word and then replace it with a better one.

And now I'll press the enter key on the numerical keypad in order to accept that change, and I'll press the t key in order to switch to my time tool. Now I'll click on the type size icon and change it to a 152 points. Then grab the marquee tool and select between the two seams right there, so and switch to the move tool and click on the align vertical center icon. Then press Ctrl+ D, Cmd+D on the Mac in order to deselect the image, press the T again and you switch to the type tool. And I'll select this word right there, and replace it as well.

And that is my final effect folks. I'm going to press Shift+F to switch to the full screen mode, and then zoom in. And that folks is how you use layer effects to achieve outstanding imagery, here inside Photoshop.

Find answers to the most frequently asked questions about Photoshop CC One-on-One: Intermediate .

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Q: This course was updated on 09/18/2014. What changed?
A: Deke updated the course to reflect changes in the 2014 version of Photoshop CC. The updates are concentrated in "The Content-Aware Collection" and "Creating and Formatting Text" chapters, but there are new movies sprinkled throughout the course as well.
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