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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.
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!
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