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Creating a multicolor Outer Glow


Photoshop CS4 One-on-One: Advanced

with Deke McClelland

Video: Creating a multicolor Outer Glow

I have saved my progress so far as Talk balloon & tagline.psd; so called because we do have the tagline down here at the bottom, as well as this talk balloon. Notice that it's a great tasting non-nutritive liquid that makes kids cheerful and obedient. And there he is, being both cheerful in expression and obedient in words. So indeed I don't know what is big? But anyway the next thing that we are going to do is we are going to gussy up this logo up here at the top of the screen. And this is a pixel-based layer. If you go to the top of the layer stack, you will see this Logo layer right there.
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  1. 22m 25s
    1. Welcome to Photoshop CS4 One-on-One Advanced
      1m 43s
    2. Installing the DekeKeys keyboard shortcuts
      6m 9s
    3. Resetting the function keys on a Mac
      3m 51s
    4. Installing the CS4 color settings
      4m 37s
    5. Setting up the CS4 color settings
      6m 5s
  2. 2h 44m
    1. Highlights, shadows, and midtones
    2. Low contrast, bad meter
      5m 57s
    3. Auto tone, contrast, and color
      8m 1s
    4. Cache levels and the Histogram palette
      7m 16s
    5. How the auto commands work
      10m 15s
    6. A first look at Levels
      6m 11s
    7. Target colors and clipping
      9m 6s
    8. Modifying input levels
      9m 44s
    9. Adjusting the gamma value
      7m 35s
    10. Previewing clipping
      7m 18s
    11. The futility of output levels
      4m 56s
    12. Channel-by-channel edits
      11m 54s
    13. When levels fail
      4m 35s
    14. A first look at Curves
      8m 46s
    15. Static Curves layer tricks
      7m 45s
    16. Dynamic Curves layer tricks
      7m 25s
    17. Correcting the composite image
      8m 30s
    18. Neutralizing a color cast
      6m 52s
    19. The Target Adjustment tool in Curves
      8m 29s
    20. Correcting an image in Lab
      10m 7s
    21. The Shadows/Highlights filter
      4m 19s
    22. Radius and tonal width
      8m 11s
  3. 1h 48m
    1. Edge-enhancement tricks
      1m 13s
    2. How sharpening works
      3m 48s
    3. The single-shot sharpeners
      4m 29s
    4. The Unsharp Mask filter
      7m 57s
    5. Understanding the Radius value
      6m 25s
    6. Gauging the best settings
      7m 47s
    7. Previewing how sharpening will print
      3m 37s
    8. Measuring and setting screen resolution
      6m 57s
    9. Tweaking the screen resolution
      4m 28s
    10. Sharpening the luminance data
      8m 23s
    11. USM vs. Smart Sharpen
      4m 23s
    12. Smart Sharpen's Remove settings
      5m 50s
    13. High-resolution sharpening
      6m 16s
    14. When to leave More Accurate off
      3m 48s
    15. When to turn More Accurate on
      4m 24s
    16. The advanced options
      7m 57s
    17. Saving Smart Sharpen settings
      4m 23s
    18. Accounting for camera shake
      7m 7s
    19. Sharpening with the High Pass filter
      9m 8s
  4. 2h 16m
    1. Why would you blur?
      1m 8s
    2. Fading after an undo
      3m 27s
    3. The "bell-shaped" Gaussian Blur
      5m 43s
    4. The linear Box Blur
      3m 6s
    5. Add Noise vs. Median
      4m 50s
    6. Despeckle vs. Dust & Scratches
      6m 31s
    7. Smart Blur vs. Surface Blur
      8m 13s
    8. The Motion Blur filter
      4m 33s
    9. Radial Blur's Spin and Zoom variations
      5m 48s
    10. Mixing filtered effects
      3m 56s
    11. The "Captain Kirk in Love" effect
      5m 4s
    12. Diffusing focus with Blur and Overlay
      8m 50s
    13. Simulating Vaseline and film grain
      8m 2s
    14. Filling a layer with a neutral color
      2m 55s
    15. Old-school contrast reduction
      3m 39s
    16. Three steps to diffused focus
      7m 36s
    17. Averaging skin tones
      9m 45s
    18. Addressing the stubborn patches
      5m 26s
    19. Combining Gaussian Blur and Average
      6m 1s
    20. Blurring surface details
      3m 3s
    21. Smoothing blemishes while matching noise
      8m 6s
    22. Reducing digital noise
      8m 47s
    23. Striking a smooth/sharpen compromise
      4m 36s
    24. Smoothing over JPEG artifacts
      7m 38s
  5. 2h 31m
    1. Independent layers of color adjustment
      1m 7s
    2. Undersea color channels
      4m 2s
    3. Inventing a Red channel with Lab
      8m 20s
    4. Mixing color channels
      6m 55s
    5. Making shadows with Levels
      7m 5s
    6. Applying small color adjustments
      6m 0s
    7. Further modifying Levels in Lab
      8m 50s
    8. Creating a dynamic fill layer
      4m 38s
    9. Brushing and blending color
      4m 42s
    10. Working with "found masks"
      7m 31s
    11. Saturation, sharpen, and crop
      8m 9s
    12. Mixing a monochromatic image
      7m 2s
    13. Masking an adjustment layer
      4m 45s
    14. Working with Opacity and blend modes
      3m 39s
    15. Adding a black-and-white adjustment
      5m 53s
    16. The Target Adjustment tool in black and white
      6m 12s
    17. Tinting a monochrome photo
      3m 20s
    18. Introducing Gradient Map
      4m 17s
    19. Adjusting both color and luminance
      5m 44s
    20. Infusing elements with different colors
      6m 22s
    21. Adjustment layers as creative tools
      4m 34s
    22. Inverting and brightening the background
      5m 14s
    23. Blurring live, editable type
      5m 44s
    24. Hue, saturation, and darkness
      6m 51s
    25. Filling type with a color adjustment
      3m 24s
    26. Using one adjustment to modify another
      3m 21s
    27. Breathing color into the title
      3m 38s
    28. The Hue/Saturation humanoid
      3m 44s
  6. 1h 48m
    1. Parametric operations
      1m 23s
    2. The power of blend modes
      6m 16s
    3. Changing the Opacity value
      5m 46s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      6m 4s
    6. Blend mode shortcuts
      7m 8s
    7. Darken, Multiply, and the Burn modes
      6m 33s
    8. Tempering a Burn effect with Fill
      4m 43s
    9. Saving a blended state
      4m 18s
    10. Lighten, Screen, and the Dodge modes
      8m 22s
    11. Linear Burn = Add minus white
      5m 31s
    12. Overlay and the contrast modes
      6m 52s
    13. Fill Opacity takes priority
      6m 19s
    14. Difference and exclusion
      5m 21s
    15. Using difference for golden highlights
      4m 2s
    16. The composite (HSL) modes
      6m 8s
    17. The brush-only modes: Behind and Clear
      10m 31s
    18. Layer groups and the Pass Through mode
      8m 54s
  7. 1h 53m
    1. It's all about the presentation
    2. Moving a layer a specific number of pixels
      6m 59s
    3. Adding a pixel mask to a layer
      5m 48s
    4. Editing a layer mask
      7m 19s
    5. Combining layers into a clipping mask
      6m 19s
    6. Introducing the Advanced Blending options
      4m 45s
    7. Using the luminance blending sliders
      7m 26s
    8. Forcing through underlying luminance
      4m 32s
    9. Masking with a path outline
      5m 45s
    10. Refining a mask from the Masks palette
      7m 18s
    11. Creating and modifying a layer group
      3m 29s
    12. Establishing a knockout group
      5m 29s
    13. Fixing last-minute problems
      6m 23s
    14. Introducing layer comps
      6m 40s
    15. Exploring layered states
      6m 43s
    16. Deleting layers and updating comps
      6m 18s
    17. Saving a basic composition
      6m 21s
    18. Assigning and saving appearance attributes
      7m 15s
    19. Layer comps dos and don'ts
      7m 27s
  8. 1h 56m
    1. Type: The great imaging exception
    2. Establishing default formatting attributes
      4m 6s
    3. Saving formatting attributes as a preset
      8m 5s
    4. Making a point text layer
      6m 18s
    5. Editing size and leading
      6m 44s
    6. Working with vector-based text
      6m 12s
    7. Formatting area text
      4m 16s
    8. Creating a layer of area text
      3m 20s
    9. Resizing the text frame
      4m 34s
    10. Changing the anti-aliasing setting
      3m 58s
    11. Obscure but important formatting options
      6m 31s
    12. Text editing tricks and shortcuts
      8m 44s
    13. Creating a cast shadow
      6m 1s
    14. Blurred shadows and beveled text
      7m 16s
    15. Drawing a path outline
      4m 51s
    16. Creating type on a path
      6m 39s
    17. Flipping text across a circle
      3m 18s
    18. Vertical alignment with baseline shift
      4m 16s
    19. Warping text
      4m 57s
    20. Scaling your text to taste
      3m 33s
    21. Applying a custom warp
      6m 24s
    22. Creating an engraved text effect
      5m 11s
  9. 2h 17m
    1. Bending an image to fit your needs
    2. Creating a canvas texture
      6m 48s
    3. Masking objects against a white background
      5m 42s
    4. Scaling an image to fit a composition
      8m 9s
    5. Aligning one layer to fit another
      3m 52s
    6. Changing the Image Interpolation
      8m 10s
    7. Merging faces
      5m 32s
    8. Rotating the first clock hand
      7m 17s
    9. Adding hands and pasting styles
      6m 40s
    10. Series duplication in Photoshop
      4m 35s
    11. Masking objects against a black background
      6m 34s
    12. Skews and perspective distortions
      7m 57s
    13. Envelope-style warps
      9m 2s
    14. Old-school distortion filters
      8m 50s
    15. Introducing the Liquify filter
      4m 9s
    16. Reconstructing an image
      6m 55s
    17. Using the Warp tool
      5m 16s
    18. The Pucker and Bloat tools
      5m 53s
    19. Push, Turbulence, and Twirl
      6m 41s
    20. The Freeze and Thaw mask tools
      5m 45s
    21. Saving and loading a mesh file
      3m 59s
    22. Creating and applying a texture layer
      8m 30s
  10. 1h 28m
    1. Effects vs. styles
      1m 11s
    2. Of layer styles and masks
      4m 37s
    3. Everything about drop shadow
      8m 2s
    4. Adding a directional glow
      4m 39s
    5. Colorizing with Color Overlay
      5m 18s
    6. Stroke and fill opacity
      5m 48s
    7. Creating a multicolor Outer Glow
      9m 22s
    8. Introducing Bevel and Emboss
      7m 48s
    9. Contour and Texture
      4m 35s
    10. Simulating liquid reflections
      6m 28s
    11. Saving layer styles
      6m 18s
    12. Applying and appending styles
      4m 36s
    13. Saving and swapping style presets
      3m 16s
    14. The five effect helpers
      3m 47s
    15. Blending the effect before the layer
      5m 1s
    16. Colorizing a signature
      3m 30s
    17. Clipping an effect with a mask
      4m 5s
  11. 1h 50m
    1. Welcome to the digital darkroom
      1m 46s
    2. Opening Camera Raw in the Bridge
      5m 44s
    3. The Camera Raw 5 interface
      4m 39s
    4. Adjusting the white balance
      5m 0s
    5. Finessing and saving changes
      7m 55s
    6. Using the White Balance tool
      2m 43s
    7. Working with the Exposure controls
      7m 34s
    8. Straightening and cropping a raw image
      5m 53s
    9. Applying automatic exposure adjustments
      6m 6s
    10. Exposure warnings
      5m 44s
    11. Clarity, Vibrance, and Saturation
      4m 47s
    12. Using the Graduated Filter tool
      3m 33s
    13. Dodging with the Adjustment brush
      9m 24s
    14. Tone Curve adjustments
      6m 54s
    15. Using the Spot Removal tool
      2m 48s
    16. Removing noise and sharpening detail
      4m 5s
    17. Adjusting HSL values
      4m 18s
    18. Adjusting luminance, color by color
      4m 14s
    19. Black and white and split toning
      5m 16s
    20. Camera Raw tips and tricks
      7m 32s
    21. Correcting JPEG and TIFF images
      4m 43s
  12. 57s
    1. Until next time

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Watch the Online Video Course Photoshop CS4 One-on-One: Advanced
20h 57m Intermediate May 01, 2009

Viewers: in countries Watching now:

Photoshop is one of the world’s most powerful image editors, and it can be daunting to try to use skillfully. Photoshop CS4 One-on-One: Advanced, the second part of the popular and comprehensive series, follows internationally renowned Photoshop guru Deke McClelland as he dives into the workings of Photoshop. He explores such digital-age wonders as the Levels and Curves commands, edge-detection filters, advanced compositing techniques, vector-based text, the Liquify filter, and Camera Raw. Deke also teaches tried-and-true methods for sharpening details, smoothing over wrinkles and imperfections, and enhancing colors without harming the original image. Exercise files accompany the course.

Recommended prerequisite: Photoshop CS4 One-on-One: Fundamentals.

Download Deke's customized keyboard layouts and color settings for Photoshop from the Exercise Files tab.

Topics include:
  • Using blend modes, adjustment layers, and layer styles
  • Organizing a layered composition so it is fluid and editable
  • Creating and editing type in Photoshop
  • Using blur effectively
  • Using adjustment layers to add color
  • Combining layers into a clipping mask
  • Working with Camera Raw
Design Photography
Deke McClelland

Creating a multicolor Outer Glow

I have saved my progress so far as Talk balloon & tagline.psd; so called because we do have the tagline down here at the bottom, as well as this talk balloon. Notice that it's a great tasting non-nutritive liquid that makes kids cheerful and obedient. And there he is, being both cheerful in expression and obedient in words. So indeed I don't know what is big? But anyway the next thing that we are going to do is we are going to gussy up this logo up here at the top of the screen. And this is a pixel-based layer. If you go to the top of the layer stack, you will see this Logo layer right there.

And I want you to go ahead and expand the layer affects, so that you can see them by Clicking what was formerly a down-pointing arrowhead there and then go ahead and Click on the eyeball in front of the word Effects to display both it's Drop Shadow and Bevel and Emboss. Now we haven't seen Bevel and Emboss yet, don't worry about that. I'm going to show you how that works. But I went ahead and precreated this specific Bevel and Emboss effect, and if you want to see how it's put together, all you have to do is Double-Click on it and play around with the settings to your heart's content. All right, I'm going to cancel it out because my heart is content as it is. I have no desire to see what's going on with that Bevel and Emboss effect right yet. Now, the next thing that I want to do with this Logo. It's not quite done; it needs a gradient stroke that's going outward. It's basically kind of a Double-color Stroke effect. And I'm going to use Outer Glow to pull that off.

Now you may wonder why in the world I'm going to use Outer Glow instead of just playing old Stroke, because I was telling you in the previous exercise, strokes can include gradients. Well, let me show you what that looks like. We are going to scroll down to spokesboy. There is two reasons that we are not going to use Stroke. So I'll go ahead and select the spokesboy layer to show this off. Click FX. Click Stroke in order to bring up the Stroke options here. I'll move this over just a little bit. Increase the Size value to something fairly extreme. But actually let's keep it fairly low, because that shows of the imperfections better. Basically, here is the idea. If I drag the image around a little bit, you can see that we have these weird little edges along the Max's sleeve, and we didn't see them before. If I turned Stroke off, they don't really seem to be there. It looks like we have nice smooth edges.

Stroke will exaggerate any imperfection in the edges of a pixel-based layer, that's something to watch out for. All right so there is that, but also let's go ahead and increase the size of that stroke that starts getting rid of those imperfections, so as covering him up. But now let's say I want a Gradient. Well, if I change the Fill Type from Color to Gradient right here. Notice that I get a continuous gradient in one direction or other. And it could be Linear or it can be Radial. But it's not going to be a Double-color effect, the way that I want it to be.

So basically when it comes down to Stroke, it just isn't going to work for me. So I'm going to cancel out of here. Obviously, we don't want a stroke around Max, gee whiz. We want some sort of Stroke effect around Happy Juice. So let's go back to the top, Click on Logo, here inside the Layers palette. Go down to FX, make sure that you can see your effects right there. So make sure that all three of the effect's eyeballs are on. And then Click on the FX icon down here at the bottom of the palette and choose Outer Glow. And here are the effects I want you to apply.

Now we are not creating a Glow effect, we are creating a Stroke. So we just want this to be 100% opaque stroke. So I'm going to change the Opacity to 100% and the Mode to Normal. Then we are also going to increase the Size and Spread values a little bit here. So we are going to skip this Color value for now. You do have a Noise option, in case you want to match the Noise in your digital photograph. So that's an option right there. We are going to leave it set to zero. As I say, we are skipping the color and gradient, this is what we are going to take advantage of right there, the gradient option. But we will come back. I'm going to go ahead and increase the Size value quite a bit, just so that we can test out some of these other settings and I'll increase the Spread value. Notice that Spread is going to go ahead and fill up the size of the glow if you wanted to.

Obviously, we would want something a little bit backed off, I would think. I'll go ahead and actually change the Spread value all the way back down to zero. Notice that when the Technique is set to Softer that we get a very soft Gaussian style blur from our Outer Glow effect. If you want something that does a better job of tracing the corners inside of your layer, around the edges of your layer that is, then you want to switch to your Technique to Precise, which gives you something that's more analogous to a Box Blur effect, if you remember our Blur discussion from several chapters ago now.

And let's go ahead and take the Size value down just a little bit, so you can see it. And if I start increasing the Spread value you will also be able to see how we have corners in our Blur, which is something you don't get if your Technique is set to Softer, you don't have any corners anymore. They all get mushed together. And then you have a Contour option available to you, so you can create some outstanding wacky Glow effects if you want to. And those of course are going to change in terms of their behavior. If you switch to Precise you are going to get more of this kind of effect with Precise and more of this kind of effect with Softer. Gosh! It's nice just to see the effect on screen.

And then Range. All right, Range is set to 50% by default. That is the location of this 50% mark in the Contour. So let's go ahead and take Spread all the way back down to zero once again. If I want to move that 50% mark out, I want to move the Contour out, I would decrease the Range like this, that's going to shove it out there, and if I want to move it in there, I would increase the Range value like so. So now the Contour starts at the very beginning, not at the outside of the letters. And you also have this Jitter option. Jitter is specifically useful when you are using a Gradient style Outer Glow.

So we will see how that works in just a moment, but first I want you to make sure that your Contour is Linear. Anti- aliased is just useful, if you have got your spiky Contour there. And I want you to set Range to 50%. And I want you to set Size to 10 pixels, and then I want you to increase the Spread value to 40, like so, to 40% and that's looking good, except as I was saying, I want a Double-color effect and I'm going to get that Double-color effect by switching over to a Gradient which I'll do by Clicking on this Gradient bar, which will bring up the Gradient Editor dialog box. And actually, I'm going to cancel out just to make sure -- oh! It did, it does go ahead and select the Gradient, all right.

I wanted to make sure the radio button is switched over here. I'll Click on that Gradient Stripe once again. And then I'll Click on Load. I would like you to do this as well. You can choose one of these other Gradients if you want some bizarre affect. But notice that all these gradients result in multi-color effects that wrap evenly around the letters. So it's not a continuous gradient in one direction or the other. The way it is with Stroke, instead the gradient is going outward from the letters. All right so we want to use a different series of colors. So I'm going to Click on Load. Go to the 21_layers_styles folder, therein you will find this file right there, Logo gradient.grd, go ahead and load it on up, it's this one right there, then Click on it and you will get the effect that you see right here on screen. And that's all there is to it.

And notice that it disappears, it goes ahead and descends into transparency at the end there. And that allows the Outer Glow to drop-off right there at the end and get Soft on us, which is nice, and it also helps to accommodate the Spread and Size value. So if you were to play around this, you'd see that you are going to get quite different effects if you start moving this outward. Notice that we start to lose the gradient at this location. What was the location there? Let's go ahead and Click on this Happy Juice logo gradient to reinstate it. So we are right there at 50%. So I'll move the Opacity stop out here a little bit and you will see that things start getting harsher, our transitions start harshening up. All right, anyway Click on that.

So I've spent a fair amount of time designing this gradient to work with my values. Click OK and that is the effect. Now I do want you to see what Jitter does. Jitter is going to randomize the gradients. So notice as I bring up the Jitter value, I have all kinds of little nasty maggots in my gradient, which is absurd. I don't want nasty maggots. Let's get rid of that. It doesn't make me think of Happy Juice at all. It makes me think infected poison. All right, I'm going to go ahead and Click OK in order to accept this effect. Now something I also want you to notice and this becomes very, very apparent with this effect right here.

You are going to get the best sense of how an effect looks when you view the effect at 100% View Size or larger. Then you are going to see the actual affect. Notice how the affect looks, beautiful right? If you start zooming out, it's going to start getting weirder, this is 50%, what was formerly some nice bright whites right there, have kind of turned murky on us and that's just not accurate. So Photoshop starts having accuracy problems with layer effects when you start zooming out from your image. Obviously, it's going to print just fine, but it's something to bear in mind when you are zooming inside of the Image window.

That looks terrible, right? Anyway Ctrl +1 or Command+1 to zoom in to 100% and there is our bright beautiful logo right there. In the next exercise, we are going to simulate reflections with Bevel and Emboss, this you have got to see.

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