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In this movie I'll show you how to create your own custom Layer Comp. And in our case it's going to be this variation, additional shading. I'll go ahead and click in front of it in order to switch to that Comp. And so, the idea is we want to create a cool color variation of the monster with all of the shading intact. So I'll go ahead and switch over to our file in progress here. And for the most part, what we want to do is remove some Gradient Overlays and these Gradient Overlays are responsible for the green color scheme, inside of the monster's flesh and on its arms and legs and so forth.
To see those Gradient Overlay effects. Go up to the search criteria popup menu in the corner of the Layers panel and switch to Effect. And then, change the second popup menu from its default setting of bevel and emboss to overlay and you'll see this long list of layers here. We need to able the small list of layers. We need to be able to see the layer effects, so press the Alt key or the Option key on the Mac, along the right side of the Layers panel, in order to expand all the effects. And then go ahead and scroll all the way to the bottom of the panel like so and turn off the Color Overlay effect that's assigned to the forest layer.
Now, as soon as you do that, the Forest layer will disappear because it no longer matches our search criteria. You can skip the Cartoon layer at the bottom of the stack and move up to Fake ear Tip R. Now, I want to get rid of both the Inner Shadow and the Gradient Overlay in this case. But if I turn off Gradient Overlay first, then I'll lose this layer and I won't be able to turn off Inner shadow without either switching or clearing out the search criteria. So, the better thing to do just to keep this guy on screen for a moment, is to turn off Inner Shadow first and then turn off Gradient Overlay, like so.
And now, of course, that layer disappears. Now we've got Outer ear R in its place. Just turn off Gradient Overlay in this case. Next we've got fake ear tip l. Turn off Inner Shadow first and then turn off Gradient Overlay. And of course you can go your own way, by the way here. This is just the effect I came up with. I'm going to turn off Gradient Overlay for outer ear l as well. Now, we've got the Leg layers, right here. For leg R, I'll turn off Gradient Overlay. For leg L, I'll do the same. For the body layer, I'll turn off Gradient Overlay.
And then, for the Button layer, which is this guy's belly button, right there. I'll turn off Gradient Overlay, as well. Next come to two Arms layers and again, all we need to do is turn off Gradient Overlay for one, turn off Gradient Overlay for the other. All that's left is these eyelids right there. And they appear at the top of the stats, so go ahead and scroll your way to the top. You'll see the Highlights layer, go ahead and ignore that one. And next you should see Eyelids l, go ahead and turn of Gradient Overlay for it.
As well as Eyelids R. And then you want to turn off the Gradient Overlay for Bag 3, Bag 2 and Bag 1. Which represent these eyebags right here. Finally, you want to drop down to this Tooth layer and turn off its Gradient Overlay, in order to produce this blanched version of the monster, that you see on-screen now. Alright, now let's save off our work, as a Layers Comp. Because after all, even though, the fact that we have these filtering options here in the Layers Panel.
That's made our life way easier, than it would have been in the past. But it's by no means the kind of thing you want to do on a regular basis. So, to save things off, drop down to little page icon at the bottom of the Layer Combs panel and click on it. That displays the new Layer comb dialog box. Go ahead and name this com additional shading. Or something along those lines. And make sure to turn on visibility. That'll keep track of which layers and which layer groups are visible and invisible. It also keeps track of whether the layer mask assigned to a layer or a group is turned on.
You want to turn Position off in our case and I dare say in most cases as well. Because Position keeps track of the x and y coordinates of the objects on all the layers, which would be useful if you plan on moving an object from one Comp to the next. Problem is if you then turn around and decide you want to move this entire monster to a new location and you kept track of its position where any of these Layer Comps is concerned, that's going to throw you off. And I'll actually show you what I mean by that in a future movie, but for now again just leave the check box off.
And then we definitely want appearance to be turned on. Because that'll keep track of the fact that we turned those Gradient Overlay effects off. Now click OK, in order to create that Comp and I'm going to move it by dragging it to between white monster and final artwork. So it appears at this stage in the development of the composition. And now, I can click in front of white monster to see what it looks like. Notice that none of the shading is intact where this Comp is concerned. Now, here's our new Comp and then here's the final version of the artwork.
And Photoshop at all times is keeping track of exactly what's going on with the various layers. And we haven't lost a single bit of our work. Now, presumably, at this point you want to go ahead and tidy up the Layers panel, by Alt or Option clicking on any one of the up pointing arrow heads, along the ride side of the panel. And then go ahead and Alt or Option click the little Switch icon at the top of the panel, in order to clear out the search criteria. And that friends is how you create a variation on your art work, as well as save out that variation, as an entirely dynamic Layer Com.
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