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All right gang, I've got two images open this time. One is called Masked heart.psd, and this represents my progress so far. I've gone ahead and assigned the path outline as a vector mask to this photographic image element right here and I actually changed the name of this layer to photo heart for that's worth. Then we also have opened up Good tip circle.psd, which is the good version of the tip circle image. Also it's a larger size than the very first one we were working on. Both of these images, by the way, are found inside the 24_vector_shapes folder. So here's what I'm going to do.
Go back to Masked heart.psd, make sure that heart, that image that is, and vector mask are linked together. And they are, there is a little chain icon right there. You can turn it off if you want to move one independently of the other. But we want to keep them together. So I'll turn that back on. Because, I want to be able to drag and drop the heart along with its vector mask into the Good tip circle.psd composition. When one of the Selection tools is active or just about any of the other tools are active, you can get the Move tool on the fly by pressing and holding the Ctrl key or the Command key on the Mac. Then you can drag that heart around, like so. However, if you have one of these tools selected, for example if I have the Pen tool active, and I press and hold the Ctrl key or the Command key on the Mac, I'm going to get the Arrow tool, which ain't going to do me any good.
That's for selecting path outlines, obviously. Even if I have the Arrow tool selected, like I've got the Black Arrow tool selected let's say and I press and hold on the Ctrl key or the Command key on the Mac, then I just get the other variant of the Arrow tool in this case. Let's see what happens, if I have the Direct Selection tool selected and I press and hold the Ctrl key or the Command key on the Mac, I switch back to the Black Arrow tool, switch back to Marquee tool, since it's our nice default tool. Then we would go ahead and Ctrl+Drag or Command+Drag both path outline and image layer, and I'll drag up to the Title tab for Good tip circle.psd.
Then I'll drag back down once Photoshop switches over to this image. I'll drop the heart into place, seems to have appeared in front of the circle layer, in my case. Fine, but that also means that it's getting clipped by the circle layer. I don't want that. So I'm going to Alt- click or Option-click on that horizontal line and then I'll Alt-click or Option- click on this horizontal line so that I'm clipping the spirals inside of the photo heart, like so. I'm going to turn off spikes. I'm going to turn off Tip. I don't need those guys. I might go ahead and Ctrl+Drag or Command+Drag my heart up just a little bit, like so.
I am going to turn off the circle layer, but I really like the effects that are associated with circles. Why don't we go ahead and grab those effects right there and drop them on photo heart. So I just dragged the fx icon and dropped on photo heart. And now, I'll turn off the circle layer, because I don't want it anymore. Now everything is turning way too sort of orange for me, because the composition was originally set to sort of a yellowish, orangish flavor. We want it to be gold. But I want this heart to be nice and red, so we're going to have to make some alterations. First though, I'm going to turn off the layer mask that's associated with the spikes.
I like the spikes, but I don't want this circle of a layer mask there. So I'm going to Shift-click on the layer mask in order to turn it off. You could also Shift-click on the vector mask to turn it off. If you want that effect right there, that's like the heart fell into puddle. Huh! Interesting! What does it look like if I turn off that? Actually, I'll go ahead and Shift-click to turn those spikes back on. That's kind of nifty too, because it means that the heart has issues. It's thorny; it doesn't want anybody to get near to it. Anyway, we've got the spikes turned on; we've got the circle turned off right there. That's just the function of Shift-clicking on these thumbnails.
Let's take a look at our individual layer effects right there. I'm going to go ahead and double-click on Drop Shadow. I'm going to change the color of that Drop Shadow from -- it's almost a greenish color right now, but it's yellow. I'm going to click on it and I'm going to change it to red as easily as just changing that Hue value. It's a very quick and easy way to switch colors out. Click OK, then I'd switch to Inner Shadow, click there. Click inside Hue, like so, change it to 0, click OK. Go to Bevel and Emboss. I think you're getting the idea of what I'm doing here. Click on anything that's not the color I want it to be. Change it to 0. Click OK. White's fine, I'll leave that alone.
Color Overlay, I don't even think, we want a Color Overlay. Let's just go ahead and turn that guy off. Then Gradient Overlay is currently sort of a bronzing agent right here. Let's go ahead and click inside of that Gradient bar, then double-click on that Color Stop. Then change that value to 0, what a surprise! I knew you weren't expecting that. Click OK. Leave white. That's fine. Click OK. Click OK, because we're done. We have changed all the colors and now we have this effect here. I'm going to Ctrl+Drag it up a little bit so that it's better aligned with the spikes, like so. I think this will work nicely, except for you know what? The spirals getting out of alignment. So let's go ahead and Ctrl+Z, Command+Z to undo that. Select both of those layers, like so. Then we'll Ctrl+Drag or Command+Drag it up into let's say this position. That looks pretty nice.
Now if you want more spikes, obviously, you can get them. You just click on the path outline for that spikes layer right there. And you can tell it's the spikes layer, because it had to make it wider so you can see that its spikes. I drag this over little bit there, i.e. scroll the window over. Then I'll switch over to my Direct Selection tool, White Arrow tool. Click on this point right there. Drag it to a different location. So you have all kinds of flexibility available to you here. You could even drag it outside of the canvas if you want to. You could expand the canvas, and then you could scale the whole darn thing.
All right, let's turn off the spikes. I'll press the F key a couple of times to tab away all the extra chunk. That's the final version of vector illustration created inside of Photoshop replete with layer effects, thanks to the power of vector-based path outlines and vector- based shape layers, here inside Photoshop CS4.
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