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I've saved my progress as Sign with final type.psd because we have indeed finished with the type and the sign, and we're now ready to move on to the facial details. We're going to take this adorable robot with no expression here, and we're going to transform him into this very scary robot right here that looks kind of like it might kill you, the second you turn your back on it, but that's part of his charm I figure. In order to create the smile, we're going to draw one tooth and then everything else, and actually the one tooth is just rectangle.
You will see it's the easiest drawing job you've ever done, and then from then on out, it's just a matter of cloning and transforming and warping, and you'll see. So let's go ahead and scroll up the Layers panel here, and I've got this group called teeth build. I will go ahead and twirl it open, and there's two hidden layers inside of this group; one is called tooth and if I turn it on, you can see there is a single tooth, and notice that it's using a very familiar style, if you were with me for the previous chapter. It's that same combination of layer effects that I used to create the water droplets.
And then I went ahead and replicated that tooth to create a sequence of 12; 6 on top and 6 at the bottom, and then finally, we will go ahead and transform and warp those teeth into place in order to create a very terrifying smile. Anyway, I am going to twirl closed this teeth build group and turn it off for the moment, and let's switch back to our composition at hand. Now, we can take two approaches to this by the way. We can either draw a pixel-based rectangle, or we can draw a vector-based rectangle in order to represent that first tooth. The pixel-based rectangle is going to be a little less overhead because we're not going to spend all that time having to turn off the vector mask so we don't see the gray rectangle around it.
It'll just sit there, and pester us for ages. However the vector-based approach is probably the wisest approach because that way, we can make the teeth any size we want them to be, and they will remain nice and sharp and smooth, and so on. So let's go that route. I'm going to switch over here to the Rectangle tool by selecting it from the Shape tool flyout menu, and then I'm going to make sure that my style is set to nothing, which it is. My color is white, great, because my foreground is currently white. That's awesome. Make sure yours is too because we do want to draw a white tooth. And then just draw a rectangle like so, and it can be pretty much any proportion, so it doesn't matter if you and I get the exact same results.
But something like this looks pretty good to me. Now it's not going to look like anything but a gray outline because we've got a white tooth against a white background, but we know that it's the beginning of a tooth. So go ahead and rename this new layer, tooth, like so. Next, what I'd like you to do is switch to your Styles panel, and you can get to it by choosing the Styles command from the Window menu. And if you were working along with me in the previous chapter, then you should have loaded that collection of 9 styles found inside the Pulp-free liquids.asl file. That's back there in the 21_layer_FX folder.
And if not, go ahead and load them up. If so, then all you need to do is click on this very first of those styles which is water, and that will apply a sequence of layer effects here. Now for those of you who do not have access to these files, I'm going to show you each one of the panels and what you are going to have to do is a freeze-frame and look at them and then make sure yours match. So I will just run through them. I am not going to do any descriptions. I am just going to leave them up for a moment. These are the Drop-shadow settings right there, and I've got a kind of murky brown, but the exact color doesn't really matter where these teeth are concerned.
Next, here are the Inner Shadow values. We're employing that exact same murky shade of brown by the way. So it's a low saturation, dark orange essentially. Next, here are Bevel and Emboss. So we are working with an inner bevel effect. For the highlight color, we've got white, and for the shadow color that same murky brown once again showing up. And then finally here's Color Overlay which is a shade of blue. So Hue value of 215, and a fairly moderate saturation value, a high brightness value, there is linear light, the Blend mode's linear light, very low opacity. That's it.
All right! So I will cancel out; hopefully that will prove of some assistance for those of you who are trying to follow along. Now, there's one modification I am going to make, however, to these Settings. Notice that along with the style, I saved the Blend Settings, which don't add up too much. The Blend mode is normal, the Opacity value is 100%, but the Fill value is exceedingly low here at 5%. I am going to go ahead and raise it to 100% by pressing Shift+0, or If you like, you could just change the Fill value to 100% manually, and you will end up with this affect here; a single tooth ready and waiting your further manipulations.
In the next exercise, we're going to take this one tooth, and we're going to duplicate it to make an entire mouthful.
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