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So I'm still working inside Incredible composition.psd. We've applied two layer effects, Drop Shadow and Inner Shadow. Drop Shadow is actually creating a Drop Shadow; Inner Shadow is creating a Directional Glow. But we still have a couple of issues in my mind. One is that the glow looks good on the hair but it doesn't look so good on the fleshy parts and on the shirt. Then the second item is that I take issue with the fact that Max is so pink and yet the product is very, very orange. He should just be brimming with orangeness, with Happy Juice fluid.
He's drank so much and is so consumed by the product that he himself is turning a little bit orange, that's what I'm thinking. Now we're still going to keep the effect natural and here is how we're going to do it. If you're still working with me inside the Layer Style dialog box, I want you to drop down the Color Overlay and Click on it. That goes ahead and selects and applies the Color Overlay. Now at this point you might think, "Hey Deke, this is not orange and it's not very realistic." Well, that's true. And that's because we're just covering up Max with a flat color here, red, by default, and notice that the blend mode is Normal and the Opacity is 100%. So we're just shellacking him with red. That's no good. We want to colorize Max and so we're going to change the blend mode from Normal to Color and that infuses Max with so much red, that is volcanic, and that's no good.
So let's go ahead and back things off here. Well, first let's change his color, so we know how much to back it off and the color needs to be orange. So Click on the Color Swatch. Orange is a Hue of 30, the end. You could play around with the Saturation value too, if you wanted to, you could take that Saturation value downward, if we were going to keep this at 100% but we are not. So might as well leave the Saturation at 100% and then Click OK. The first time I said 100%, I meant, we're not going to keep the Opacity value at 100%, we're going to lower it. Notice as we lower the Opacity value; we really lose that orangeness, even though it's so hyper saturated.
I'm going to take it not this far down; this would be kind of a natural amount of orange to give a child. But that isn't emphasizing enough the fact that he is consumed by our product. So I'm going to take this value up to 30%, like so. Now at this point I want you to notice something. I want you to look at Max for a moment, look at him and notice that the Inner Glow is sitting on top of the Color Overlay effect. So bear this in mind when you're thinking about how the effects work out here. Some of the effects are inner effects that exist in the interior of the layer and some are outer effects that exist outside the layer.
So like a Drop Shadow effect, that's an exterior effect. Inner Shadow is an interior effect, Outer Glow is exterior, Inner Glow is interior. Bevel and Emboss can be either way, we'll see. Satin, Color Overlay, Gradient Overlay and Pattern Overlay are all interior effects. Then Stroke can be on the inside, the outside or it can stride both sides. It can be on both sides of the edge of a layer. So the question becomes who is covering whom, when we start stacking these effects on top of each other, the interior effect specifically. Well, Inner Shadow is up here at the top, so it works out in the order we're seeing it for the most part. Inner Shadow is at the top and it sits above Inner Glow so if we start working with opaque effects, they start covering each other up, for example.
So Inner Shadow above Inner Glow, above Bevel and Emboss if it's an inner bevel effect, which is above Satin, which is above Color Overlay, above Gradient, above Pattern. The only one and the reason I'm mentioning this, I would have just said that by now, just said that it works exactly in the order we see them in the list, except for Stroke. Stroke is above everybody else. Why it's at the end of the list I don't know. It should be at the beginning of the list given that logic. But I think it's because Adobe figured this last thing you'd ever want to apply. But it can be useful for Stroke and stuff, we'll see.
But anyway, I just wanted you to know that in case you're ever wondering how these guys stack, that's it for that. Go ahead and Click OK in order to accept this effect and just to give you a sense of what we've accomplished, look down here at the spokesboy layer. We've got this FX icon that indicates that we do have some layer effects applied to this layer. Then we have each one of the effects listed with an eyeball for all of the effects, if you want to turn them all off, like so. Notice there is Max without any effects. There he is with effects. You can see how much better, how much more integrated into this composition he looks with these effects, even though they're totally over the top. Also notice that we have eyeballs for each one of the individual effects.
So you could say, "You know, I don't want that Drop Shadow, let's turn that off." And then you look at it and you go, "Yeah I actually do want that Drop Shadow. The Drop Shadow really helped. Without the Drop Shadow it doesn't quite work." But you know what's wrong with the Drop Shadow? It's too darn heavy. That's no good and one of the great things about layer effects inside of Photoshop, they're totally parametric. So you can change them any time you like. If you want to change a Drop Shadow, just Double-Click on it right there in the list to bring up the Layer Style dialog box. Then we'll change the Opacity value to 55%. That looks great. I think that's going to work out a little better for us and then Click OK in order to accept our effects and there we have it folks.
In the next exercise, I'm going to show you how to make great use of that topmost layer effect, Stroke, stay tuned.
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