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Adding texture and depth

From: Photoshop CS5 One-on-One: Mastery

Video: Adding texture and depth

I've saved my progress as Fakey paint.psd, so called because the warpaint so far is very fakey. It should look like this, so it should integrate into the skin and the shadows and just look absolutely magical and at peace with this peaceful creature. So that's what we're going to do inside this exercise. We're going to blend, and we're going to blend the warpaint in a couple of different ways. First of all we're going to take advantage of luminance blending which we've seen before but we're going to see again, and secondly, we're going to take advantage of a Bevel and Emboss layer effect.

Adding texture and depth

I've saved my progress as Fakey paint.psd, so called because the warpaint so far is very fakey. It should look like this, so it should integrate into the skin and the shadows and just look absolutely magical and at peace with this peaceful creature. So that's what we're going to do inside this exercise. We're going to blend, and we're going to blend the warpaint in a couple of different ways. First of all we're going to take advantage of luminance blending which we've seen before but we're going to see again, and secondly, we're going to take advantage of a Bevel and Emboss layer effect.

So for starters, I'm going to go ahead and click on the cyan paint layer to make sure it's active. Then I'll go to the Layer panel menu and I'll choose Blending Options, Ctrl+Shift+O on the PC, Cmd+Shift+O on a Mac, brings up the Blending Options dialog box and I am going to once again force through the Underlying layer. Where this project is concerned, we haven't seen a lot of this layer action, which allows you to drop away pixels based on the Luminance Level of those pixels inside the active layer.

Problem is, reason that this layer isn't going to do us any good, where for example, the pupil was concerned or this warpaint is concerned, is because the luminance of this layer is consistent. It doesn't wander the way everything else does in the background, so the real luminance in this image is being conveyed by the underlying layers, that's why we need to use this slider. I could expose some of the highlights like so. That doesn't really do us any good. That doesn't look right to me, so I'm going to put that white triangle back where it was and instead I'm going to expose the shadows by dragging the black slider triangle over to the right.

Now of course like usual, we've these jagged transitions. That's terrible, and besides, we want more of a sloping drop-off associated with these War Paint strokes as if they were applied with a fingertip. So I'm going to press the Alt or the Option key and I'm going to drag the right-half of this black slider triangle away and I'm going to take it all the way up to 165, right there, and now we get this nice sloping drop-off and it really does give it a nice organic feel and you can see the skin texture show through and it's as if the warpaint and the texture are interacting with each other, so perfect.

I'll go ahead and click OK to accept that modification. I'm not going to change the Blend mode incidentally. We don't need that, just click OK. The other thing I want to do is add a little bit of depth to the warpaint, so it appears to sort of rise from the flesh, just ever so slightly, and we're going to do that using a Bevel and Emboss effect. So I'll drop down to the fx icon and I'll choose Bevel and Emboss and that's way too much beveling, as you can see there. I'm happy with the Angle and the Altitude value, so that's a function of my Global Light setting which is turned on, so I'm not going to change those.

You can experiment with them if you want to but don't leave Use Global Light turned on if you're going to do that, because you'll mess up the yellow paint layer. However I do, definitely want to take the size value down because I don't want this much depth going on here because it looks silly, and also I don't want the Technique to be smooth. I'd rather the Technique was Chisel Soft. Now I'll start by selecting that, at first that's not going to look right. Of course the warpaint isn't going to be chiseled on somebody's face. That doesn't even make sense. However once we've reduced the size value, it's going to the start looking right.

So the lowest you can go with the size value, if you want to actually see the darn thing is 1, 1 pixel, and then I'm going to take the softened value to smooth away some of that chiseling. I'm going to a take it up to 5 pixels and you'll end up seeing this effect right there, which isn't sufficient but it will be better, once we start fooling around with the blend modes here. I'm going to change the blend mode for the highlights to Linear Dodge, like so, and that ends up making those highlights just leap off the image.

That of course is way too much. So I' going to take the Opacity value down to 30%, and then we don't need much in the way of shading. So I'm going to leave the Shadow Mode, set to Multiply and I'm going to take the Opacity value down to 30% right there and then I'm going to reduce the Depth to 40%, like so, and that's it. That's just exactly the degree of Bevel and Emboss I want, no less, no more. That's great. Click OK in order to accept that effect.

Now you might look at this and you might say well that's still an awfully thick edge. It looks pretty gooey. Watch what happens when we zoom in. I'm going to press Ctrl+1 or Cmd+1 on the Mac to zoom all the way into a 100%, and you can see that actually we have some very thin edges. The problem is as you zoom out, Photoshop is continually trying to render it out as a single pixel, so a single pixel thick even when you're zoomed out to 50%, which is too darn thick. Now it'd nice if it didn't do that. That's what it does do. The good news is it'll print just fine.

It will print like this, so that we have a very thin edge. It'll also output to the Web like this. It'll flatten like this, if you're going to flatten the image, it would look better. In fact let's do that, I'll go ahead and zoom out, Ctrl+Minus a couple times, actually lets go farther out, so we have got the image centered. Notice how thick the edges are right now. I'm going to go up to the Layer menu, and I'm going to choose Flatten Image or I could press my keyboard shortcut that I give you Deke keys, Ctrl+Shift+Alt+F, Cmd+Shift+Option+F on a Mac, yes I want to discard the hidden layers and notice, did you see that? The layer effect just got skinnier, so this was before, and we've got these chunky layer effects going on, and this is after I get done flattening out the image.

The flat version of the image shows you what it really looks like when you print it or export it to the Web or obviously flatten it out and it save as a JPEG for a client or something along those lines. So just know that Photoshop's preview when you're zoomed out from a layer effect is not necessarily exactly accurate. All right, so I'm going to undo the flattening of the image because I don't want to lose my layers for now. That's the cyan warpaint blended in with the underlying image. In the next exercise, we will create and blend the layer of white warpaint.

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This video is part of

Image for Photoshop CS5 One-on-One: Mastery
Photoshop CS5 One-on-One: Mastery

192 video lessons · 44003 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 40m 45s
    1. Welcome
      2m 45s
    2. Making Photoshop your default image editor
      7m 43s
    3. Installing the dekeKeys keyboard shortcuts
      8m 10s
    4. Remapping OS shortcuts
      7m 37s
    5. Installing the Best Workflow color settings
      4m 31s
    6. The color settings explained
      6m 54s
    7. Loading the CS5 color settings in Bridge
      3m 5s
  2. 1h 11m
    1. Your creative range continues to expand
      1m 46s
    2. The Avatar project so far
      2m 38s
    3. Painting on a photograph
      7m 50s
    4. Adding texture and depth
      6m 14s
    5. Simulating chalky white paint
      7m 23s
    6. Masking and placing an image
      7m 20s
    7. Upsampling and Lens Blur
      5m 9s
    8. Blending blurry elements
      3m 48s
    9. Making a Smart Object
      6m 46s
    10. Placing an image as a Smart Object
      3m 22s
    11. Blending away a background
      5m 56s
    12. Applying Smart Filters
      4m 34s
    13. Creating a glow with Lens Flare
      3m 45s
    14. Blending and masking a glow
      5m 3s
  3. 1h 26m
    1. Using the image to select itself
      1m 53s
    2. Introducing masking
      6m 32s
    3. Making an alpha channel
      6m 54s
    4. Using the Calculations command
      6m 48s
    5. Add, Subtract, Offset, and Scale
      5m 54s
    6. Prepping an image with the Dodge tool
      6m 55s
    7. Fixing mistakes before they get too big
      6m 32s
    8. Painting in the Overlay mode
      5m 51s
    9. Exaggerating and selecting flesh tones
      7m 39s
    10. Smudge, Median, and the Blur tool
      6m 59s
    11. Masking low-contrast details
      6m 7s
    12. Creating a flesh-and-clothing mask
      5m 45s
    13. Masking and compositing the foreground
      5m 27s
    14. Finessing the final composition
      7m 39s
  4. 2h 24m
    1. Connecting the dots
      1m 40s
    2. The Pen tool and the Paths panel
      6m 32s
    3. Drawing a straight-sided outline
      6m 25s
    4. Editing a path outline
      6m 36s
    5. Adding and editing smooth points
      5m 35s
    6. Creating vector masks with the shape tools
      4m 59s
    7. Building a complex outline from shapes
      4m 26s
    8. Subtracting and transforming shapes
      6m 45s
    9. Cloning, flipping, and combining shapes
      8m 58s
    10. Roughing in non-symmetrical paths
      7m 41s
    11. Finessing a complex outline
      9m 15s
    12. Masking a layer effect
      8m 26s
    13. Isolating an image element
      6m 8s
    14. Smooth points and control handles
      9m 3s
    15. Stretching curved segments
      7m 49s
    16. Using the Rubber Band option
      9m 33s
    17. Drawing smooth points with the Pen tool
      6m 59s
    18. Shading an isolated object
      3m 45s
    19. Drawing cusp points
      7m 14s
    20. Setting points in the pasteboard
      9m 57s
    21. Using the Convert Point tool
      6m 42s
  5. 2h 57m
    1. Everything you need to know about blending
      1m 45s
    2. Photoshop CS5's blend modes
      7m 21s
    3. Cycling between blend modes
      6m 15s
    4. Darken and Lighten and their derivatives
      6m 3s
    5. The blend mode shortcuts
      8m 6s
    6. The Multiply and Burn modes
      4m 28s
    7. The Screen and Dodge modes
      6m 0s
    8. How opposite blend modes work
      8m 24s
    9. Why Multiply darkens and Divide lightens
      5m 23s
    10. Cleaning up a client's bad art
      5m 3s
    11. Dropping out a white background
      5m 56s
    12. Blending inside blend modes
      8m 3s
    13. Overlay, Soft Light, and Hard Light
      6m 26s
    14. Vivid, Linear, and Pin Light (and Hard Mix)
      6m 35s
    15. Difference, Exclusion, Subtract, and Divide
      7m 34s
    16. Great uses for the Difference mode
      6m 18s
    17. Promising uses for the Divide mode
      9m 6s
    18. Hue, Saturation, Color, and Luminosity
      7m 0s
    19. Blending an inverted layer
      3m 32s
    20. The "Fill Opacity Eight"
      7m 25s
    21. Making bad blend modes good
      5m 16s
    22. Making a knockout layer
      6m 53s
    23. Blending in the CMYK mode
      8m 3s
    24. Overprinting black text
      8m 29s
    25. Using the Luminance slider
      5m 24s
    26. Parametric luminance masking
      6m 21s
    27. Adjusting the behavior of luminance effects
      10m 8s
  6. 2h 2m
    1. Smart Objects = protective containers
      1m 35s
    2. Placing an Illustrator graphic
      6m 30s
    3. Vector copy and paste options
      6m 56s
    4. Applying Puppet Warp to vectors
      8m 9s
    5. "Gluing" vector art for Puppet Warp
      5m 50s
    6. Warping art onto the surface of an image
      8m 7s
    7. Blending a Smart Object
      4m 30s
    8. Blurring and blending a Smart Object
      6m 8s
    9. Making changes in Illustrator
      5m 57s
    10. Creating "true clones"
      7m 18s
    11. Double-flipping text
      4m 44s
    12. Applying effects to multiple layers
      3m 24s
    13. Updating true clones in one operation
      7m 36s
    14. Editing JPEGs as Camera Raw objects
      5m 49s
    15. Creating a double-exposure effect
      7m 15s
    16. Masking and shading transitions
      7m 47s
    17. Applying and repeating Camera Raw edits
      6m 9s
    18. Copying vs. cloning a Smart Object
      5m 18s
    19. Flipping a Smart Object and its mask
      3m 42s
    20. Adjusting multiple Camera Raw clones
      3m 53s
    21. Text that inverts everything behind it
      5m 34s
  7. 1h 59m
    1. This time, "smart" means dynamic
      1m 37s
    2. Introducing Smart Filters
      6m 28s
    3. Traditional High Pass sharpening
      5m 17s
    4. Smart High Pass in the Lab mode
      7m 57s
    5. Sharpening a high-frequency image
      7m 46s
    6. Retroactively reducing noise
      7m 31s
    7. Which filters are Smart Filters?
      6m 20s
    8. Shadows/Highlights as a Smart Filter
      4m 37s
    9. Nesting one Smart Object inside another
      7m 11s
    10. Drawing a mask from a nested Smart Object
      8m 7s
    11. Better Shadows/Highlights inside Lab
      9m 16s
    12. Tempering saturation values in Lab
      7m 0s
    13. Filtering live, editable text
      9m 2s
    14. Enhancing filters with layer effects
      4m 33s
    15. Applying a filter multiple times
      5m 0s
    16. Creating a synthetic star field
      7m 7s
    17. Making a stucco or drywall pattern
      6m 28s
    18. Land, sea, and clouds
      8m 30s
  8. 2h 50m
    1. Photoshop's advanced painting tools
      2m 3s
    2. Canvas texture and brush libraries
      6m 40s
    3. Painting with a predefined custom brush
      9m 21s
    4. Dissecting a custom brush
      11m 9s
    5. Designing and using a custom brush
      4m 54s
    6. Saving and loading brush presets
      5m 27s
    7. The ten styles of bristle brushes
      9m 47s
    8. Size, Spacing, and Angle
      7m 2s
    9. Using the Bristle Brush preview
      7m 53s
    10. Bristles, Length, Thickness, and Stiffness
      6m 53s
    11. Stylus tilt and mouse behavior
      5m 25s
    12. Stroking a path outline with a brush
      4m 0s
    13. Troubleshooting a stylus
      5m 49s
    14. Introducing the Mixer Brush
      7m 22s
    15. The Load, Mix, and Wet values
      5m 1s
    16. Cleaning and loading a brush
      6m 26s
    17. Shading a piece of graphic art
      6m 34s
    18. Shading with color
      7m 53s
    19. Mixing a photographic portrait
      6m 11s
    20. Tracing the fine details in an image
      5m 52s
    21. Crosshatching and brush size
      5m 53s
    22. Covering up and augmenting details
      7m 36s
    23. Painting in hair and fabric
      5m 54s
    24. Painting and scaling very fine hairs
      8m 7s
    25. Adding texture with the Emboss filter
      8m 31s
    26. Exploiting a "happy accident"
      2m 46s
  9. 1h 40m
    1. Artificial intelligence that works
      1m 22s
    2. The Auto-Align Layers command
      7m 25s
    3. The Auto-Blend Layers command
      3m 54s
    4. Masking auto-aligned layers
      4m 50s
    5. The Geometric Distortion setting
      6m 44s
    6. The Seamless Tones and Colors checkbox
      4m 8s
    7. Creating the best possible layer mask
      9m 18s
    8. Auto-blending depths of field
      5m 54s
    9. Finessing masks, accepting imperfections
      6m 29s
    10. Shooting and downsampling panorama images
      5m 54s
    11. Introducing the Photomerge command
      6m 40s
    12. Evaluating the Layout settings
      6m 47s
    13. Loading, aligning, and blending with Photomerge
      5m 36s
    14. Tracing and extracting seams
      7m 18s
    15. Adding a masked element into a panorama
      5m 55s
    16. Simplifying and correcting a panorama
      5m 58s
    17. Smart Filters and nondestructive cropping
      6m 43s
  10. 1h 18m
    1. The most mysterious of mysterious topics
      2m 29s
    2. Introducing HDR Toning
      6m 43s
    3. Reigning in clipped highlights
      5m 54s
    4. The Local Adaptation options
      9m 5s
    5. Nondestructive editing with HDR Toning
      8m 22s
    6. Using the HDR Toning Curve
      7m 2s
    7. HDR Toning vs. Shadows/Highlights
      6m 0s
    8. Merging multiple exposures
      7m 14s
    9. A first look at HDR Pro
      6m 24s
    10. Removing ghosts, correcting backlighting
      7m 11s
    11. Generating and editing an HDR comp
      7m 0s
    12. HDR rendered to completion
      5m 19s
  11. 1h 27m
    1. Processing hundreds of files in no time
      1m 43s
    2. Creating an action set
      6m 37s
    3. Making an action
      7m 7s
    4. Stop, Delete, and Record
      7m 12s
    5. Add, Undo, and Rerecord
      6m 40s
    6. Playing and testing an action
      6m 31s
    7. Playing and editing a specific operation
      6m 39s
    8. Permitting the user to change settings
      4m 58s
    9. Explaining an action with a custom stop
      5m 0s
    10. Batch-processing multiple images
      7m 22s
    11. Adding a Save As operation
      6m 34s
    12. Creating an action to save web graphics
      7m 59s
    13. Batching two actions into one
      7m 15s
    14. Saving and loading actions
      5m 30s
  12. 1m 19s
    1. See ya
      1m 19s

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