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In the all-new Photoshop CS5 One-on-One: Mastery, the third and final installment of the popular series, join industry expert and award-winning author Deke McClelland for an in-depth tour of the most powerful and empowering features of Photoshop CS5. Discover the vast possibilities of traditional tools, such as masking and blend modes, and then delve into Smart Objects, Photomerge, as well as the new Puppet Warp, Mixer Brush, and HDR features. Exercise files accompany the course.
Recommended prerequisites: Photoshop CS5 One-on-One: Fundamentals and Photoshop CS5 One-on-One: Advanced.
I've saved my progress this time as Big old blurry leaves.psd, because we do have some big old blurry leaves at this point. But I wouldn't say that they're necessarily fully integrated into the composition. We've got these kind of light halos surrounding all the leaves. Let's go and zoom in so we can take that in in more detail, and I decided I wanted to fill in those edges using an Inner Glow effect. The reason I'm using Inner Glow as opposed to Inner Shadow is because Inner Glow is omni-directional and shadow is a directional effect.
It has to come in from one side or the other. With the blurry leaves active I'm going to the drop down to the fx icon and choose Inner Glow and then of course I'm going to change the coloring around quite a bit here. For starters I'm going to change the blend mode from Screen to Normal. We're just going to fill in the edges with a little bit of color and then I'm going to click on the color swatch to bring up the Color Picker dialog box. I could lift a color that's organic to the leaves by moving my eyedropper out into the image window and clicking on a color like so.
In this case I end up getting this dark rich green. I really like the Hue, I'm just going to take it down to 80. Saturation's too high, so I'll take that down to 60 and the Brightness is too high too. I'm going to take that down to 25% and I'm going to click OK. It still doesn't look quite right. It looks like we have some edges at work here. So I'll take the Opacity value up to 100% which is just going to make those edges worse. Then I'm going to tab my way down to the Size value and I'm going to change it to 85, which is going to help disseminate the effect a little bit.
Actually, it looks pretty good right now. Not perfect, but good. I'll click OK in order to apply that effect. Now then, it still seems to me that we need richer colors out of these leaves and I really want to sink those shadows into place. So I decided to blend the leaves with the rest of the composition by going up to the blend mode pop-up menu and changing it from Normal to Multiply which is going to darken up those leaves considerably. Then notice that it didn't really affect the inner glow. If I press the Escape key to deactivate the Multiply blend mode there and I press Ctrl+Z or Cmd+Z on the Mac and Ctrl+Z again or Cmd+Z on the Mac again you can see the before and after results of applying Multiply. And the glow, notice the glow doesn't really change, the outer edge here doesn't change.
Now if you wanted it to, if you want to multiply in that edge as well then you would go over here to an empty portion of the layer, this empty area that is, double-click on it to bring up the Blending Options inside the Layer Style dialog box and you would turn on, you've got to be able to see the leaves though, you would turn on Blend Interior Effects as Group. Notice, that goes in and sinks that Inner Glow effect into place. Here's the idea. If you're working with any of the inner functions which includes Inner Shadow, Inner Glow, and Inner Bevel that you apply with Bevel and Emboss and Satin and all three of the overlays.
So basically everything, but Drop Shadow, Outer glow, and Stroke. Anything that falls inside the layer will be blended with the layer and then subject to the blend mode when this checkbox is turned on. Otherwise, if the checkbox is turned off, then Multiply is applied to the layer itself, the pixels inside the layer, and then the Inner Glow effect is thrown on top. So that's the difference. You are going to sink those shadows into place if you turn that checkbox on. You're not, if you leave the checkbox off.
I decided I liked it better off. Completely a subjective choice on my part. But anyways since I didn't make any changes I'll just click on the Cancel button. And there we have it, our blurred foreground leaves added to the larger composition. In the next exercise we'll bring in the dragonfly.
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