# Creating spherical highlights

## Video: Creating spherical highlights

I've saved my progress as Blended smile.psd, found inside the 22_warp folder and in this exercise, we're going to set about creating the eyes. Because if the robot has a smile, he ought to have some bright eyes as well I figured, instead of these holes in his head, and we are going to be drawling these eyes using the Elliptical Marquee tool. So make sure your good smile layer is selected which is the top layer in the stack and then go down to the Shape tool flyout menu and select the Ellipse tool, and then I'm going to drag around the eye like so, and I am going to press the Shift key, so that we're getting an exact circle, and I'll use the Spacebar to align that circle exactly over that cavernous black eye, over on the left-hand side, because the left-hand eye is bigger than the right-hand eye inside of this illustration.

## Creating spherical highlights

I've saved my progress as Blended smile.psd, found inside the 22_warp folder and in this exercise, we're going to set about creating the eyes. Because if the robot has a smile, he ought to have some bright eyes as well I figured, instead of these holes in his head, and we are going to be drawling these eyes using the Elliptical Marquee tool. So make sure your good smile layer is selected which is the top layer in the stack and then go down to the Shape tool flyout menu and select the Ellipse tool, and then I'm going to drag around the eye like so, and I am going to press the Shift key, so that we're getting an exact circle, and I'll use the Spacebar to align that circle exactly over that cavernous black eye, over on the left-hand side, because the left-hand eye is bigger than the right-hand eye inside of this illustration.

So I just want to make sure I am going to cover both of them with this one circle. So I am just going to draw one circle and then clone it in just a moment. Anyway, make sure that your circle is all the way around the eye and then release and with any luck you should see this effect here. You should see a big white kind of pearl in front of the robot's face and what Photoshop has done is it has gone ahead and picked up the last settings we applied. These were the settings that we used to create the teeth. So in other words, White is the color and the Fill Opacity value for me is 100%.

Now if it's 5% for you, it doesn't matter. It's not going to change the effect. What's more important is that you see these effects listed; Drop Shadow, Inner Shadow, Bevel and Emboss, and Color Overlay. If you don't and you have access to those styles that I provided you with in a previous chapter, then you can go ahead and apply the water style to this new shape layer that you've created, and that should go ahead and fill things out. Then let's go ahead and rename the new layer eyes, because after all, that's what they're going to be. Then I want you to switch to your Black Arrow tool either by clicking on it in the toolbox or pressing the A key, and then click on the path outline in order to select it, that circle, that is, and then Alt+Drag it or Option+Drag it over the right eye of the robot.

And if you feel some snapping occurring as you very likely will, just try to avoid it as much as possible and put that eye in place, and I want to keep it from covering too much of the right-hand edge of that stripe. So right about there, looks pretty good to me, and we now have two pearls sitting in front of the robot. Well, obviously, the pearl effect has got go, but we're going to build the eye effect complete with pupils incidentally, using these existing layer effects. We're just going to add one, an inner glow as you'll see; otherwise we're going to modify the effects that we currently have.

All right, to get rid of the vector outlines here inside the Image window, click on the vector mask thumbnail in the Layers panel to go ahead and turn it off, and then what I want you to do is double-click on Color Overlay because the first thing that we need to switch out is the color. It needs to be green after all. So double-click on Color Overlay. Now you can see here right off the bat we have some blend mode problems. We are not going to get anywhere with imparting color inside these irises at an opacity of 5%. So go ahead and crank that all the way up to 100%. It still doesn't look any different.

That's because of the Linear Light blend mode. So we are applying this light blue to the white background using Linear Light, and the white is absolutely washing out the blue. In order to see the color full on, let's switch the blend mode from Linear Light to Normal. So we are just basically replacing the color of these eyes. Now they're at least blue, so they have some color associated with them, that happens to be the wrong color, of course. So click on the color swatch in order to bring up the color picker dialog box, then move your cursor out into the robot and click on the green just below the right-hand eye in order to lift the dark green, like that.

And here's the Hue, Saturation, and Brightness values I lifted; these are the ones I ended up coming up with. I took the Hue value to 105 degrees so very close to what I had. I took the Saturation value down to 50% and then I raised the Brightness value quite a bit, because those eyes look way too dark, to 65% like so, and now we have these very bright green irises. They will be irises anyway once we're done. Click OK to accept that modification. Now then I want to change the highlights.

These highlights, by the way, are being imparted by the Bevel and Emboss effect. I want to scoot the highlights down so that we lose this kind of ribbon of highlight along the bottom-right edge, and we keep just a big burst of highlight that will appear both over the iris and the pupil that we'll create in the next exercise. So, click on Bevel and Emboss in order to select it, and this is all the function of that Altitude value. Remember Altitude from the previous chapter; it determines the location of the sun in the sky.

So that is, is it 0 degrees and right on the horizon, or Is it 90 degrees and straight up ahead, so high noon? Well, we want to go ahead and raise the altitude, but remember that altitude and angle make up global light, and there is some other directional effects going on inside of this composition, including some other Bevel and Emboss effects that use Altitude. So I don't want to override the global altitude while I change this one here. So I am going to turn off Use Global Light. Now that's going to mess up the Angle value.

If I turn it back on, notice the Angle value was 135 degrees. As soon as I turn off Use Global Light, it sinks down to 120 degrees. Let's go ahead and reinstate the angle of 135 because I like that, and now the Altitude is dipped down to 30 degrees that's way too low. We have a much more dramatic ribbon of color through the robot's eyes. So it seems to me we're going to be able to displace this ribbon by raising the Altitude value, and I'm saying that because lowering the Altitude value, which happened by default, gave us a bigger ribbon.

All right, so I am going to press Shift+ Up Arrow to take it to 40 degrees which is where it was just a moment ago. Press Shift+Up Arrow again, notice I am moving that ribbon downward, and I'm bringing out this highlight in the upper left-hand corner. That's good. Press Shift+Up Arrow again; we're almost, there one more time, and it takes us to an Altitude of 70 degrees. So we now have this wonderful highlight inside of these robot eyes. The only thing that we're missing at this point is the pupil, and we are going to create the pupil using an unusual application of Inner Glow, as I'll explain in the next exercise.

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#### This video is part of

247 video lessons · 32797 viewers

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1. ### Introduction

40m 2s
1. Welcome
2m 1s
2. Making Photoshop your default image editor
7m 43s
3. Installing the dekeKeys keyboard shortcuts
8m 10s
4. Remapping OS shortcuts
7m 37s
5. Installing the Best Workflow color settings
4m 31s
6. The color settings explained
6m 54s
3m 6s
2. ### 13. What Photoshop Can Do, Pt. 2: The Eyes

1h 5m
1. What you can do with Photoshop
1m 46s
2. The mission-critical eyes
2m 44s
3. Copy Merged and Paste in Place
6m 52s
4. Sharpening details to match
4m 34s
9m 22s
9m 5s
8m 10s
8. Color and highlight effects
4m 2s
5m 43s
10. Fabricating the highlights in the pupils
7m 33s
11. Using a merged copy to sharpen
5m 34s
3. ### 14. Levels and Curves

2h 14m
1m 16s
2. Introducing the Auto commands
7m 23s
6m 8s
6m 21s
5. How the Auto commands work
5m 22s
6. Auto Tone, Auto Contrast, and Auto Color
7m 7s
7. Blending the Auto results
4m 4s
8. Introducing the Levels command
6m 15s
9. Using Levels as an adjustment layer
3m 12s
6m 8s
11. Understanding the gamma value
7m 39s
12. The futility of Output Levels
2m 56s
5m 48s
3m 40s
15. Previewing clipped pixels
4m 51s
16. The black, white, and gray eyedroppers
5m 7s
17. Gray card tips and tricks
6m 5s
7m 29s
19. Introducing the Curves command
7m 44s
20. Curves dialog box tricks
7m 16s
5m 45s
22. Correcting an image with Curves
5m 32s
23. Filling in the highlights
5m 42s
24. Neutralizing casts and smoothing transitions
5m 37s
4. ### 15. Sharpening Details

1h 46m
1. The art of enhancing edges
1m 26s
2. How sharpening works
6m 2s
3. The single-shot sharpeners
6m 7s
6m 19s
6m 24s
6. Sharpening colors vs. luminosity
5m 56s
7. Gauging the ideal settings
8m 59s
8. Unsharp Mask vs. Smart Sharpen
7m 1s
9. Using the Remove settings
9m 30s
10. The More Accurate checkbox
6m 8s
11. Saving your Smart Filter settings
5m 31s
7m 52s
13. Accounting for camera shake
6m 18s
14. Sharpening with the Emboss filter
6m 43s
15. Sharpening with High Pass
9m 23s
16. The new and improved Sharpen tool
6m 22s
5. ### 16. Noise and Texture

1h 34m
1. Edge's evil twin: noise
1m 12s
2. Color vs. luminance noise
7m 21s
3. Reducing color noise
7m 45s
4. Reducing luminance noise
4m 59s
5. Relegating an effect to the shadows
6m 27s
6. Switching between layer and mask
6m 59s
7. The Dust & Scratches filter
4m 56s
5m 52s
9. Combining High Pass with Lens Blur
6m 57s
10. Masking a layer of Lens Blur
7m 34s
11. Painting away High Pass sharpening
8m 22s
12. Building up a noise pattern
6m 40s
13. Converting noise to texture
4m 24s
14. Bleeding colors into paper
6m 16s
15. Matching different noise levels
8m 31s
6. ### 17. Shadows, Highlights, and Contours

1h 32m
1. We are the stuff of light
1m 24s
2. Applying automatic lens correction
5m 53s
3m 44s
7m 59s
5. Creating a "bounce" with Gaussian Blur
4m 43s
6. Sharpening on top of blur
7m 3s
7. Sharpening the merged composition
6m 16s
5m 40s
7m 14s
5m 47s
6m 23s
6m 21s
13. Smoothing skin details with Gaussian Blur
3m 56s
14. Smoothing with High Pass
5m 44s
15. Lowering contrast with Gaussian Blur
7m 4s
16. Inverting a sharpening effect
7m 5s
7. ### 18. Black & White and Colorize

2h 32m
1. Color becomes monochrome
1m 31s
2. Converting an image to grayscale
6m 49s
3. Extracting luminance information
7m 37s
4. Introducing the Channel Mixer
10m 23s
5. Aggressive channel mixing
9m 42s
6. Proofing CMYK colors
7m 49s
7. Color settings and intent
7m 6s
8. Practical Channel Mixer variations
4m 30s
9. Saving variations as layer comps
7m 57s
10. The default grayscale recipe
8m 55s
11. Creating a custom black-and-white mix
6m 59s
12. Shadows/Highlights in black and white
4m 58s
13. Introducing the Black & White command
5m 55s
14. Adjusting Black & White settings
9m 39s
15. Mixing a Black & White portrait
6m 32s
16. Black & White vs. Channel Mixer
9m 21s
8m 0s
7m 10s
4m 32s
9m 58s
21. Colorizing with blend modes and Opacity
7m 13s
8. ### 19. Color Range and Refine Edge

2h 10m
1. Two great commands working great together
1m 18s
2. Introducing the Color Range command
5m 13s
3. Setting key colors and Fuzziness
5m 38s
4. Predefined vs. sampled colors
3m 57s
5. The Localized Color Clusters option
5m 41s
6. Defining a selection with care
4m 44s
7. Introducing the Quick Mask mode
5m 20s
8. Testing edges with the Magic Wand
5m 14s
9. Hand-brushing a selection
5m 39s
4m 35s
11. Converting a selection to a layer mask
2m 46s
12. Switching between an image and a layer mask
6m 58s
13. Protecting elements with a layer mask
8m 5s
14. Duplicating and editing a layer mask
7m 34s
15. Introducing the Refine Edge command
4m 46s
16. Accessing the various Refine Edge options
5m 35s
17. Refine Edge's preview options
6m 21s
4m 11s
19. Edge Detection and Smart Radius
6m 5s
20. Using the Refine Radius tool
8m 8s
21. Using the Decontaminate Colors option
7m 30s
7m 7s
8m 33s
9. ### 20. Text and Shape Layers

3h 13m
1. Photoshop's vector exceptions
1m 11s
2. Making text in Photoshop
6m 18s
3. Creating and editing a text layer
6m 56s
4. Font and type style
7m 35s
5. Type size and color
7m 52s
6. Combining layer effects and type
10m 57s
7. Drawing a custom shape layer
8m 34s
8. Side bearing, kerning, and tracking
10m 36s
9. Point text vs. area text
8m 26s
10. Selecting and formatting a paragraph
5m 19s
11. Copying and pasting unformatted text
7m 45s
12. Creating text inside a custom path
6m 26s
13. Creating text along a path
8m 13s
6m 16s
7m 29s
5m 32s
17. Logo creation and Fill Opacity
7m 44s
18. Stretching a background element
6m 9s
19. Drawing with shape outlines
6m 18s
20. Combining vector-based shapes
6m 42s
6m 7s
22. Correcting spacing problems
7m 44s
23. Drawing the ultimate specular sparkle
8m 45s
24. Preparing text for commercial output
5m 9s
25. Saving a high-resolution PDF file
7m 11s
26. Inspecting the final PDF document
7m 8s
27. Saving large poster art
9m 32s
10. ### 21. Layer Effects and Styles

2h 36m
1. What filters ought to be
1m 25s
2. Layer effects vs. filters
6m 14s
3. Carving with an Inner Shadow effect
7m 45s
4. Selling an effect with Drop Shadow
7m 17s
5m 30s
6. Saving custom default settings
6m 22s
7. Creating a custom contour
7m 3s
8. Introducing Bevel and Emboss
7m 35s
7m 8s
10. Exploiting global light
8m 11s
11. Gloss and edge contour
5m 8s
12. Applying and creating layer styles
6m 45s
6m 17s
14. Creating a textured bevel effect
6m 56s
7m 39s
16. Combining filters and effects
6m 58s
17. Working with random effects
6m 55s
18. Smoothing with Gaussian Blur and Levels
6m 13s
4m 37s
20. Applying liquid styles
4m 36s
21. Simulating liquid reflections
8m 12s
22. Finessing and cropping a liquid effect
7m 25s
23. Initiating a displacement map
6m 17s
24. Applying a displacement map
7m 37s
11. ### 22. Transform, Distort, and Warp

1h 12m
1. Two words: Free Transform
34s
2. Scale, rotate, and constrain
6m 30s
3. Using the transformation origin
7m 42s
4. Applying a slant (aka skew)
3m 37s
5. The four-point "perspective" distortion
7m 51s
6. Two ways to make gradient text
5m 59s
7. Building complexity from a simple shape
4m 42s
8. Duplicating a series of transformations
6m 3s
9. Rasterizing a layer with its effects
6m 41s
10. Applying a custom warp
7m 24s
11. Blending and softening a warped layer
4m 39s
12. Creating spherical highlights
6m 30s
13. Using a center-source inner glow
3m 51s
12. ### 23. Puppet Warp and Liquify

2h 42m
1. Distorting reality
1m 33s
2. Extracting a foreground element
6m 45s
3. Introducing the Puppet Warp command
7m 20s
4. Setting and manipulating pins
7m 48s
5. Rotating pins and switching warp modes
6m 41s
6. Expanding and contracting the mesh
6m 11s
7. Changing the Density setting
8m 0s
5m 18s
9. Winding an image into a pretzel
6m 2s
10. Applying Puppet Warp to type
6m 30s
11. Warping single characters
6m 25s
12. Editing puppet-warped text
8m 24s
13. Extending an image with Free Transform
8m 46s
14. Extracting from a white background
10m 5s
15. Tracing a shape with Puppet Warp
9m 1s
16. Introducing the Liquify command
5m 4s
17. Warp, Twirl, Pucker, and Bloat
8m 53s
5m 59s
19. Push, Mirror, and Turbulence
11m 49s
20. Lifting and slimming details
8m 22s
21. Warping fabric, arms, and legs
7m 1s
22. Masking and finessing the results
10m 8s
13. ### 24. Adobe Camera Raw

3h 3m
1. Welcome to the digital darkroom
1m 44s
2. Introducing Camera Raw
7m 40s
7m 0s
4. Selecting and synchronizing images
6m 9s
5. Making automatic adjustments and saving changes
7m 19s
6. Creating and managing snapshots
8m 23s
6m 24s
8. Working with clipping warnings
5m 5s
7m 35s
10. Vibrance, Saturation, and Clarity
9m 25s
11. Recovery and Fill Light
6m 57s
12. Using the Graduated Filter tool
7m 2s
13. Painting edits with the Adjustment Brush
9m 44s
14. Straighten, crop, and geometric distortions
7m 49s
15. Applying manual lens corrections
7m 19s
16. Vignette and chromatic aberrations
6m 21s
17. Introducing the Tone Curves
6m 9s
18. Parametric curves and targeted adjustments
6m 26s
19. Correcting a low-noise photograph
7m 35s
20. Sharpening and high-noise photos
8m 25s
5m 34s
5m 39s
23. Adding grain and vignetting effects
5m 23s
24. Mixing a subjective black-and-white image
7m 53s
25. Colorizing with the Split Toning options
4m 29s
26. Opening a raw image as a Smart Object
5m 39s
27. Camera Raw wrap-up
8m 38s
14. ### Conclusion

55s
1. Until next time
55s

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