Start learning with our library of video tutorials taught by experts. Get started

Photoshop CS4 One-on-One: Mastery

Enhancing a filter with a layer effect


From:

Photoshop CS4 One-on-One: Mastery

with Deke McClelland

Video: Enhancing a filter with a layer effect

All right gang, now for the final exercise in which we bolster the effects of our Motion Blur filters using an application of an Inner Shadow layer effect. Bizarre as that may sound, it's going to work out beautifully for us. So I've gone ahead and saved my progress as 95 percent.psd, so-called because we're 95% the way there. Make sure that the KILL JILL layer is still turned on, still active here inside the Layers palette. I'm going to scroll to the top so that we can see headliner and tagline, which we'll be turning on in just a moment. But first, let's go down to the fx icon and I want you to choose Stroke, just so you get a sense of how things are liable to work.
Expand all | Collapse all
  1. 21m 17s
    1. Welcome
      1m 21s
    2. Installing the DekeKeys keyboard shortcuts
      5m 38s
    3. Resetting the Function keys on a Mac
      3m 51s
    4. Installing the CS4 color settings
      4m 34s
    5. Setting up the CS4 color settings
      5m 53s
  2. 2h 31m
    1. Introduction to masking
      51s
    2. Introducing color range
      4m 22s
    3. Adding base colors and adjusting fuzziness
      4m 46s
    4. Localized color clusters
      6m 12s
    5. The Quick Mask mode
      7m 33s
    6. Viewing a quick mask by itself
      6m 40s
    7. Testing the quality of edges
      3m 55s
    8. Introducing the Masks palette
      7m 45s
    9. Editing a layer mask
      6m 18s
    10. Choking a mask with Gaussian Blur and Levels
      6m 44s
    11. Choking a mask with Mask Edge
      7m 43s
    12. Adding a Gradient Overlay shadow
      4m 23s
    13. Using live Density and Feather
      6m 12s
    14. Journeyman masking
      5m 44s
    15. Creating an alpha channel
      7m 6s
    16. Increasing contrast
      7m 15s
    17. Overlay painting
      8m 28s
    18. Cleaning up whites and blacks
      5m 48s
    19. Soft light painting
      5m 47s
    20. Selecting in style
      6m 55s
    21. Employing masks as selections
      5m 2s
    22. Scaling and compositing layers
      6m 30s
    23. Compositing glass
      5m 10s
    24. Selecting glass highlights
      8m 41s
    25. Working with found masks
      5m 46s
  3. 1h 34m
    1. Introduction to vector-based shapes
      1m 10s
    2. Vector-based type outlines
      7m 23s
    3. The benefits of vectors
      6m 27s
    4. Upsampling vs. nondestructive scaling
      7m 35s
    5. Vectors and effects
      8m 7s
    6. Fill Opacity and clipped layers
      4m 24s
    7. Basic shape creation
      3m 15s
    8. Drawing interacting shapes
      6m 21s
    9. Power-duplicating paths
      3m 12s
    10. Combining pixels and vector masks
      5m 19s
    11. Line tool and layer attributes
      7m 5s
    12. Copying and pasting path outlines
      3m 28s
    13. Drawing custom shapes
      3m 59s
    14. Drawing with the Pen tool
      7m 48s
    15. Creating cusp points
      7m 28s
    16. Defining a custom shape
      3m 34s
    17. Assigning a vector mask to an image
      2m 38s
    18. Adding a vector object to a composition
      5m 40s
  4. 1h 23m
    1. Introduction to Vanishing Point
      1m 11s
    2. Creating and saving the first plane
      8m 9s
    3. Creating perpendicular planes
      5m 16s
    4. Healing in perspective
      8m 47s
    5. Cloning and scaling in perspective
      8m 33s
    6. Patching an irregularly shaped area
      6m 59s
    7. Healing between planes
      3m 34s
    8. Importing an image into a 3D scene
      5m 45s
    9. Adding perspective type
      5m 37s
    10. Removing and matching perspective
      5m 36s
    11. Applying a reflection in perspective
      5m 1s
    12. Creating a perspective gradient
      6m 11s
    13. Converting a gradient to a mask
      2m 58s
    14. Swinging planes to custom angles
      4m 32s
    15. Wrapping art around multiple surfaces
      5m 49s
  5. 1h 15m
    1. Introduction to Smart Objects
      58s
    2. Placing a Smart Object
      5m 7s
    3. Saving a PDF-compatible AI file
      4m 27s
    4. Performing nondestructive transformations
      6m 7s
    5. Editing a Smart Object in Illustrator
      6m 50s
    6. Converting an image to a Smart Object
      6m 50s
    7. Cloning Smart Objects
      5m 24s
    8. Creating a multilayer Smart Object
      5m 51s
    9. Updating multiple instances at once
      2m 54s
    10. Creating a Camera Raw Smart Object
      4m 17s
    11. Editing a Camera Raw Smart Object
      3m 25s
    12. Assembling a layered ACR composition
      5m 54s
    13. Using an ACR Smart Object to effect
      3m 41s
    14. Blending multiple ACR portraits
      6m 56s
    15. Live type that inverts everything behind it
      6m 32s
  6. 1h 48m
    1. Introducing nondestructive Smart Filters
      46s
    2. Applying a Smart Filter
      4m 22s
    3. Adjusting filter and blend settings
      4m 25s
    4. Heaping on the Smart Filters
      5m 19s
    5. Smart Filter stacking order
      7m 23s
    6. Resolution and Smart Filter radius
      6m 12s
    7. Masking Smart Filters
      4m 41s
    8. Employing nested Smart Objects
      5m 5s
    9. Dragging and dropping Smart Filters
      6m 31s
    10. Using the Shadows/Highlights filter
      5m 53s
    11. Regaining access to the pixels
      7m 8s
    12. Parametric wonderland
      5m 52s
    13. Working with the Filter Gallery
      6m 28s
    14. Freeform filter jam
      5m 51s
    15. Swapping filters from the Filter Gallery
      3m 45s
    16. Mixing all varieties of parametric effects
      7m 30s
    17. Addressing a few Smart Filter bugs
      3m 11s
    18. Applying a Smart Filter to live type
      5m 30s
    19. Choking letters with Maximum
      3m 7s
    20. Duplicating a Smart Filter
      2m 38s
    21. Enhancing a filter with a layer effect
      6m 30s
  7. 1h 6m
    1. Introduction to Auto-Align, Auto-Blend, and Photomerge
      1m 2s
    2. Merging two shots into one
      3m 49s
    3. Applying Auto-Align layers
      3m 44s
    4. Masking images into a common scene
      1m 38s
    5. Auto-Align plus Auto-Blend
      8m 11s
    6. Assigning weighted Opacity values
      4m 7s
    7. Employing a Difference mask
      7m 17s
    8. Masking smarter, not harder
      3m 53s
    9. Capturing multiple depths of field
      3m 37s
    10. Auto-blending real focus
      8m 31s
    11. Creating a panorama with Photomerge
      7m 27s
    12. Correcting a seamless panorama
      4m 52s
    13. An altogether nondestructive Lab correction
      7m 59s
  8. 1h 44m
    1. Introduction to new CS4 technologies
      1m 1s
    2. Applying Content-Aware Scale
      7m 18s
    3. What works and what doesn't with Content-Aware Scale
      4m 19s
    4. Protecting areas with masks
      7m 31s
    5. Applying incremental edits
      7m 6s
    6. Protecting skin tones
      7m 12s
    7. Scaling around a model with TLC
      9m 0s
    8. Adjusting the scale threshold
      5m 22s
    9. When Content-Aware Scale fails
      4m 2s
    10. Creating a lens distortion effect
      8m 39s
    11. Layer masking the family
      11m 44s
    12. Installing the Pixel Bender
      3m 42s
    13. Introducing Pixel Bender kernels
      6m 50s
    14. Pixel Bender kernel roundup
      7m 24s
    15. Tube View and Ripple Blocks
      3m 58s
    16. Making a seamless pattern with Kaleidoscope
      6m 13s
    17. Introducing the Pixel Bender Toolkit
      3m 24s
  9. 1h 20m
    1. Introduction to actions
      42s
    2. Creating an action
      5m 45s
    3. Recording operations
      5m 12s
    4. Reviewing and editing an action
      4m 45s
    5. Playing an action (the Button Mode)
      4m 50s
    6. Saving and loading actions
      5m 0s
    7. Copying and modifying an action
      4m 8s
    8. Permitting the user to change settings
      5m 50s
    9. The Best Chrome Effect Ever II
      3m 41s
    10. Recording a fail-safe action
      7m 33s
    11. Rounding corners with a mask
      4m 33s
    12. Cleaning up layers
      3m 51s
    13. Automating layer effects
      7m 1s
    14. Applying chrome with Gradient Map
      6m 24s
    15. Action anomalies
      4m 11s
    16. Rendering effects to layers
      5m 1s
    17. Testing that it works
      2m 0s
  10. 1m 14s
    1. See ya
      1m 14s

Watch this entire course now—plus get access to every course in the library. Each course includes high-quality videos taught by expert instructors.

Become a member
Please wait...
Photoshop CS4 One-on-One: Mastery
13h 7m Advanced May 29, 2009

Viewers: in countries Watching now:

Photoshop mastery can be elusive, but in Photoshop CS4 One-on-One: Mastery, best-selling author and video trainer Deke McClelland teaches the most powerful, unconventional, and flexible features of the program. In this third and final installment of the popular and comprehensive series, Deke delves into the strongest features that Photoshop has to offer, including scalable vector graphics, Smart Objects, and Photomerge. Exercise files accompany the course.

Recommended prerequisites: Photoshop CS4 One-on-One: Fundamentals and Photoshop CS4 One-on-One: Advanced, both part of the lynda.com Online Training Library®.

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

Topics include:
  • Defining the essentials of masking
  • Resizing images with content-aware scaling
  • Adjusting perspective with Vanishing Point
  • Applying Smart Filters to create complex effects
  • Using the Auto-Align tool to build composite images
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Enhancing a filter with a layer effect

All right gang, now for the final exercise in which we bolster the effects of our Motion Blur filters using an application of an Inner Shadow layer effect. Bizarre as that may sound, it's going to work out beautifully for us. So I've gone ahead and saved my progress as 95 percent.psd, so-called because we're 95% the way there. Make sure that the KILL JILL layer is still turned on, still active here inside the Layers palette. I'm going to scroll to the top so that we can see headliner and tagline, which we'll be turning on in just a moment. But first, let's go down to the fx icon and I want you to choose Stroke, just so you get a sense of how things are liable to work.

That brings up the big old Layer Style dialog box right here, and I'll move it over a little bit, because we don't need to see all that stuff over there on the right hand side. I'm going to go ahead and click on the color, which is Black, by default, here inside Photoshop CS4. I'm going to change the color to white and click OK. Then I'll nudge the Size value down to 1. Now you can see that we have 1-point strokes on the left-hand side of the letters and on the right-hand side of the letters as well. You can just see these tiny, little strokes right there. Why do we have these big gargantuan things above and below? Well, because Photoshop is trying to stroke the effect itself. The effects are so tall that it means just a single point stroke extends all the way to the ceiling of that Motion Blur effect.

So we can exploit that using our other layer effects as well. So let's turn Stroke off and let's try Inner Shadow instead. Now the reason I'm going with Inner Shadow as opposed to Outer Glow or Inner Glow is because it has a little bit of direction associated with it, and that little bit of direction is going to work out beautifully for us. So turn on Inner Shadow. That of course, adds a dark shadow, we don't want that. We want a bright highlight. So, I'm going to change the color from black to white, like so. Click OK, because the blend mode is set to Multiply, we're completely dropping out the white. So let's change the blend mode from Multiply to its theoretical opposite Screen, and we'll get this effect here much nicer.

Now notice that we have a little bit of an angle associated with this effect, which means that we have some highlights on the top and left edges of the letters, which adds a little depth in my opinion, and I like it. So I'm going to leave the Angle set to the Global Light setting of 130 degrees. I am, however, going to take the Opacity value up to 100% and then I'll raise the Distance value right here to 8 pixels, like so. And that's it. Size of 5 works out beautifully. Everything else looks just hunky-dory. So now I'll click OK in order to accept that effect and you can see that it makes a big contribution. This is without the Inner Shadow. This is with the Inner Shadow. We get a lot of dynamic Motion Blurring that's being traced across the underlying Motion Blur with the Inner Shadow effect.

However, it goes a little too far into the eyes. So before you go any further, I want to turn on the remaining text inside of this composition. We've got the headliner at the top of the poster right here, Celestius Quatsund. Then down here at the bottom we've got the tagline. I'll go ahead and scroll down to that tagline. It's JILL, who is going to be doing the killing. Notice that I've scrupulously avoided having the ellipses go underneath the Motion Blur, I want things as separated as possible. But I do need to mask away the Motion Blur that's going into her eyes. Now I could try to apply a Filter Mask, but that's not going to get rid of the effects of the Inner Shadow effect there, we'll still have some Inner Shadow that's popping up into the eye region. So we're better off creating a layer mask that we can then use to crop away the effect.

So I've got KILL, JILL active once again. I'm going to go ahead and add a layer mask, like so, using the Rectangular Marquee tool. I want to select this area underneath her eyes, so going down to the bottom of the first Drop Shadow, so right before we hit the second contour right there. This area is probably good enough, but just to be safe, I'm going to take this higher, and that is start higher than I started before. This looks pretty good to me. Then what I'm going to do, because this is the area I want to mask away.

I'm going to Alt-click or Option-click on this Layer Mask icon down here at the bottom of the Layers palette. That will add a black layer mask. Now you might look at this and say, Deke, that's awfully sharp here. Won't it be nice if it kind of blurred away so that we have a little bit of Motion Blur associated with the mask of the Motion Blur effect? I think that's exactly right. I think that's just exactly what we ought to be doing. So with the layer mask active, let's go up here to the Filter menu, and let's choose Blur and let's choose Motion Blur.

Now this is a static application of Motion Blur, because we're applying it to a layer mask and you can't have layers associated with channels, which is ultimately where the layer mask is. You can't associate Smart Objects with channels or any of that layering folder, also. Everything is always static where channels are concerned. But we don't have to have this much distance associated with the effects. So the Angle value of 90 is right, but the Distance value, maybe we'll nudge it up incrementally from the keyboard and watch what happens on screen. Once I arrive at something that looks pretty good, like 16 pixels, looks all right to me.

Then I'll go ahead and click OK in order to accept that effect. Then finally, I'd like to have the layer mask go ahead and mask away the Inner Shadow effect as opposed to mask the layer itself and then have the Inner Shadow drawn on top of that. So I'm going to double-click in an empty portion of this layer in order to bring up the big old Layer Style dialog box, and I'll turn on Layer Mask Hides Effects, and you need to see this. So let me move this over little bit. Keep an eye on the tops of the letters. It's only going to make a slight difference. There we have it. By turning on Layer Mask Hides Effects, we're masking away the tops of those Inner Shadow effects there.

And that's it friends, I'm going to go ahead and click OK in order to accept that modification. This is the effect I'm looking for. I'm going to go ahead and press Shift+F to enter the Full Screen mode directly from the standard mode there. This is the final version of the movie poster, thanks to all sorts of parametric effects working together : We've got Smart Filters, we've got adjustment layers, we've got layer masks and we have layer effects. Not a single pixel was altered in the production of this image. We didn't even have to rasterize a single letter of text, nice work, us!

Find answers to the most frequently asked questions about Photoshop CS4 One-on-One: Mastery.


Expand all | Collapse all
Please wait...
Q: My Polygon tool is locked into a very small size. I can use the Transform tool to increase it's size once drawn, but I must have something set that will not allow me to freely draw it like I can the other shapes. What could be causing this problem?
A: This could be caused by a value associated with the Radius option of the tool. Click the down-pointing arrowhead to the right (a few tool icons over) from the Polygon tool in the options bar at the top of the screen. This brings up pop-up panel. If the Radius option has a number value, select that value and press Delete or Backspace to clear it out. That should fix the problem.
Share a link to this course
Please wait... Please wait...
Upgrade to get access to exercise files.

Exercise files video

How to use exercise files.

Learn by watching, listening, and doing, Exercise files are the same files the author uses in the course, so you can download them and follow along Premium memberships include access to all exercise files in the library.
Upgrade now


Exercise files

Exercise files video

How to use exercise files.

For additional information on downloading and using exercise files, watch our instructional video or read the instructions in the FAQ.

This course includes free exercise files, so you can practice while you watch the course. To access all the exercise files in our library, become a Premium Member.

join now

Are you sure you want to mark all the videos in this course as unwatched?

This will not affect your course history, your reports, or your certificates of completion for this course.


Mark all as unwatched Cancel

Congratulations

You have completed Photoshop CS4 One-on-One: Mastery.

Return to your organization's learning portal to continue training, or close this page.


OK
Become a member to add this course to a playlist

Join today and get unlimited access to the entire library of video courses—and create as many playlists as you like.

Get started

Already a member?

Become a member to like this course.

Join today and get unlimited access to the entire library of video courses.

Get started

Already a member?

Exercise files

Learn by watching, listening, and doing! Exercise files are the same files the author uses in the course, so you can download them and follow along. Exercise files are available with all Premium memberships. Learn more

Get started

Already a Premium member?

Exercise files video

How to use exercise files.

Ask a question

Thanks for contacting us.
You’ll hear from our Customer Service team within 24 hours.

Please enter the text shown below:

The classic layout automatically defaults to the latest Flash Player.

To choose a different player, hold the cursor over your name at the top right of any lynda.com page and choose Site preferencesfrom the dropdown menu.

Continue to classic layout Stay on new layout
Welcome to the redesigned course page.

We’ve moved some things around, and now you can



Exercise files

Access exercise files from a button right under the course name.

Mark videos as unwatched

Remove icons showing you already watched videos if you want to start over.

Control your viewing experience

Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.

Interactive transcripts

Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.

Thanks for signing up.

We’ll send you a confirmation email shortly.


Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

Keep up with news, tips, and latest courses with emails from lynda.com.

Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

   
submit Lightbox submit clicked