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Brightening the faces of your letters

From: Photoshop CS5 Extended One-on-One: 3D Type Effects

Video: Brightening the faces of your letters

In this exercise, we're going to take that mask that we created in the previous movie, and we're going to use it to brighten up our letters. I have opened two images: Ray-traced cables.psd, and then that Project masks.psd file, that I'm incrementally building for you. It will be there in the 03_cables folder as well. So switch over to your composition in progress. Click on the topmost layer in the stack, the smoke laye,r and then press Control+Shift+N, or Command+Shift+N on the Mac, to bring up the New Layer dialog box. Name the layer letters, and click OK.

Brightening the faces of your letters

In this exercise, we're going to take that mask that we created in the previous movie, and we're going to use it to brighten up our letters. I have opened two images: Ray-traced cables.psd, and then that Project masks.psd file, that I'm incrementally building for you. It will be there in the 03_cables folder as well. So switch over to your composition in progress. Click on the topmost layer in the stack, the smoke laye,r and then press Control+Shift+N, or Command+Shift+N on the Mac, to bring up the New Layer dialog box. Name the layer letters, and click OK.

Then go up to the Select menu, and choose the Load Selection command, and switch the document to Project masks.psd, or whatever you called your file, and you want to go ahead and load the letters channel; that's my only option at this point, and click OK. And that will load up those letters as the selection outline. Then press Alt+Backspace, or Option+ Delete, to go ahead and fill the letters with the foreground color. Now, it doesn't matter what the foreground color is; it's just a placeholder for the shape of letters. I'll press Control+D, or Command+D on the Mac, in order to deselect the image.

Drop down to the fx icon down here at the bottom of the Layers panel, and choose the Gradient Overlay command. All right; we're going to define a custom gradient by clicking on that Gradient bar. And then I want you to go ahead and Alt+Drag, or Option+Drag, the white color stop until you see a Location value of 35%; that guy right there. Then Alt+Drag, or Option+Drag, the black color stop to a Location of 65%. And that's it; that's all you need to do. Click OK in order to accept that modification.

Now change the Style from Linear, to Reflected. That will go ahead and repeat the gradient in both directions. And turn on the Reverse check box so that the bands of lightness are located on the inside of the letters. Now change the Angle value to 95 degrees, which more or less matches the angle of the type. Now change the Blend Mode from Normal, to Screen. Now, we want to be screening the type in the background; not that black type we created just a moment ago. So let's get rid of the black fill associated with the layer by switching to Blending Options over here in the left-hand list, and then change the Fill Opacity value to 0%, and click OK. And now you can see that that gradient precisely brightens the letters.

So here is what the letters looked like before; here's what they look like now. So we don't want them to be super bright. We don't want them to be so hot that they start clipping, but we do want them to stand out. Now, notice that I've got a bit of darkness in this bottom right corner of the W there, and there are some other dark areas inside the letters as well. Again, that's a lighting problem. In other words, I haven't lit my scene as well as I could have. I could go back and adjust the light some more, change the Angle at which they are pointed, back them off, perhaps, so that they cover a larger space, or I could just go ahead and fix the problem by adding another layer.

And that's what I'm going to do by pressing Control+Shift+N, Command+Shift+N on the Mac. And I'll call is layer overlay, and then turn on this check box: Use Previous layer to Create Clipping Mask. That way we'll paint inside the confines of the letters. Click OK, and I'm going to go ahead and grab my Brush tool, which you can also get by pressing the B key, of course. I've got a pretty large, soft brush. I'll right-click inside the image window so you can see the Size is set to 250 pixels, Hardness is 0%; that's going to work out beautifully. I'll press the X key to make sure that I'm painting with white, and then I'll paint inside that bottom right corner of the W, and nothing appears to be happening even though, if I were to unclip this layer by Alt+Clicking, or Option+Clicking, that horizontal line between the overlay and letters layers, you can see that I have painted a big glob of white.

So what gives? As soon as I Alt+Click, or Option+Click, on that horizontal line again, and clip the layer, the effect disappears. Well, the problem is an obscure blending option that you can get to by double-clicking on an empty portion of the letters laye,r and that's going to bring up the Layer Style dialog box. You want to turn off this check box: Blend Clip layers as Group, because right now what's happening is that 0% Fill Opacity value is affecting all of the clipped layers, and we don't want that. So turn that check box off, and you'll see that brightens up that bottom right corner of the W quite nicely, then click OK.

Now let's go ahead and paint in a few other areas. I'm going to switch back to that overlay layer; very important, because you don't want to paint on the letters layer. And maybe paint along the top of the Z just a little bit. Notice my brush barely cross the top left corner of the Z, and now I want to paint inside the letters that make up the word Bang. So I'm going to switch back to my Rectangular Marquee tool, and I'm going to draw a rough selection around those letters. So notice that this marquee completely encloses the word bang, without including any of the words zap, or pow.

Now I'll switch back to my Brush tool, and I'll just paint along near the top of the B, for example; maybe a little bit along the top of the N, and the G. I'm barely, if at all, crossing the letters, as you can see with my cursor. I'll paint along the bottom of the letters as well, and then I'll press Control+D, or Command+D on a Mac, in order to deselect the image. Maybe I'll paint jut a little bit right there at the top of that A, like so, and then I'll switch back to my Rectangular Marquee tool. Now so far, I've laid down a bunch of white pixels, which means that I will have clipped those areas that I painted over with white.

I don't want to do that. I want to turn this overlay layer into a kind of dodge effect by going up to the blend mode pop-up menu, and changing the setting from Normal, to Overlay, which is why I call it the layer overlay in the first place, and that will go ahead and blend in that layer of white. All right, so that gets us most of the way there. The one remaining compositional effect is this smoke layer, which we'll need to mask so that the extruded layers appear to be coming out of the smoke, and I'll be showing you how to create the masks for each group of extruded sides in the next exercise.

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This video is part of

Image for Photoshop CS5 Extended One-on-One: 3D Type Effects
Photoshop CS5 Extended One-on-One: 3D Type Effects

75 video lessons · 11440 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 2m 25s
    1. Welcome
      2m 25s
  2. 47m 32s
    1. Making thriller/chiller type
      4m 14s
    2. Creating a slanted incline
      2m 54s
    3. Smearing colors across letters
      5m 21s
    4. Casting and catching light
      4m 9s
    5. Masking away shadow errors
      4m 35s
    6. Creating drop-and-splatter effects
      6m 16s
    7. Color-correcting 3D in Camera Raw
      4m 11s
    8. Placing Camera Raw and raster art
      5m 56s
    9. Mastering register and knockout
      7m 8s
    10. Combining layer mask and density
      2m 48s
  3. 41m 44s
    1. Making hand-drawn type in 3D
      3m 44s
    2. Tracing letters with filters
      3m 55s
    3. Restoring missing outlines
      3m 46s
    4. Tracing a photographic background
      4m 32s
    5. Separating letters from the extruded sides
      4m 28s
    6. Turning a cartoon into "glory type"
      3m 25s
    7. Making a hand-drawn neon effect
      5m 1s
    8. Changing glow, mask, and color
      3m 35s
    9. Modifying your hand-drawn 3D text
      6m 6s
    10. Updating static layers and masks
      3m 12s
  4. 54m 24s
    1. Making cable-length I-beam extrusions
      5m 37s
    2. Similarly extruding other type layers
      3m 29s
    3. Rotating, positioning, and scaling words
      6m 33s
    4. Removing one texture and creating another
      6m 47s
    5. Dressing up the cable-length I-beams
      4m 8s
    6. Precisely masking your 3D letters
      4m 32s
    7. Brightening the faces of your letters
      5m 47s
    8. Masking the extruded sides
      5m 56s
    9. Painting in a 3D smoke effect
      6m 55s
    10. Knocking out the excess smoke
      4m 40s
  5. 1h 5m
    1. Establishing a worthy grunge background
      3m 53s
    2. Assigning a bevel with a custom contour
      3m 53s
    3. Matching 3D type to a photographic scene
      6m 22s
    4. Lifting masks from plain 3D letters
      4m 48s
    5. Assigning a rusting grunge-metal material
      5m 26s
    6. Creating matching faux-gold bevels
      5m 36s
    7. Tracing the faces of your letters
      4m 19s
    8. Painting in the back-alley slime trails
      8m 7s
    9. Simulating heavy-duty 3D wires
      4m 50s
    10. Adding a crack to any letter
      7m 1s
    11. Lighting a background to match your type
      5m 23s
    12. Post-processing type in Camera Raw
      6m 15s
  6. 35m 24s
    1. Making a 3D pillow inflation
      3m 59s
    2. "Fluffing up" the letters
      3m 55s
    3. Masking and lighting the 3D type
      4m 1s
    4. Casting colorful ground-plane shadows
      4m 46s
    5. Assigning materials and bump maps
      4m 9s
    6. Removing seams from a bump map
      7m 1s
    7. Simulating worn fabric with Soft Noise
      4m 7s
    8. Resolving last-minute lighting issues
      3m 26s
  7. 55m 41s
    1. Making blocky comic-book-style type
      3m 53s
    2. Scaling depth-map bumps
      3m 19s
    3. Using the built-in shadow catcher
      2m 31s
    4. Opening an ACR image from Photoshop
      5m 19s
    5. Tracing and shading the blocks
      4m 42s
    6. Masking block letters with the Magic Wand
      5m 51s
    7. Adding graphic effects to the background
      4m 11s
    8. Masking the base of the letterforms
      7m 12s
    9. Tracing halos around the letter backs
      5m 57s
    10. Creating a circuit board pattern
      5m 7s
    11. Making a complex pattern glow
      4m 49s
    12. Adding bright 2D shadow type
      2m 50s
  8. 47m 38s
    1. Prepping ACR and Illustrator objects
      3m 55s
    2. Reconciling multiple vector constraints
      5m 19s
    3. Fixing the type onto the tree
      2m 42s
    4. Creating a sunken extrusion
      5m 39s
    5. Combining blending modes and diffuse texture
      3m 59s
    6. Bending 3D text as a Smart Object
      4m 25s
    7. Enhancing carved type with Smart Filters
      3m 6s
    8. Masking away the forward extrusions
      3m 54s
    9. Duplicating the carving up the tree
      6m 45s
    10. Masking the many bits of exposed wood
      4m 21s
    11. Dyeing the inside of the hearts red
      3m 33s
  9. 40s
    1. See ya
      40s

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