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Everything about drop shadow

From: Photoshop CS4 One-on-One: Advanced

Video: Everything about drop shadow

I've gone ahead and saved what little progress I've made so far as Incredible composition.psd, so-called because we have Max set inside of this incredible multi-layered composition. It's not the least big credible. Well, that is to say he sure looks okay. The edges around his shirt look just fine, but his hair, I'm not bind that hair was really set against that blue background. Now we're never going to make him look like he was really shot here because, I mean, it's obvious that we have a bunch of fake elements going on inside of this advertisement, just as is true for all advertisements. After all, it's all fakery. We know that by now. But we do want to make him look at home and we want the viewer to like us. So we're going to fix this up using some Layer Styles.

Everything about drop shadow

I've gone ahead and saved what little progress I've made so far as Incredible composition.psd, so-called because we have Max set inside of this incredible multi-layered composition. It's not the least big credible. Well, that is to say he sure looks okay. The edges around his shirt look just fine, but his hair, I'm not bind that hair was really set against that blue background. Now we're never going to make him look like he was really shot here because, I mean, it's obvious that we have a bunch of fake elements going on inside of this advertisement, just as is true for all advertisements. After all, it's all fakery. We know that by now. But we do want to make him look at home and we want the viewer to like us. So we're going to fix this up using some Layer Styles.

So I'm going to switch over to the Layers palette and notice that I haven't named Max's layer yet. So let's go and Double-Click on that and call him spokesboy because he is our spokesboy and we're going to start with a Drop Shadow. Now that may seem insane, I mean, since when do people cast Drop Shadows onto sky? That just doesn't happen. That's okay. It's going to help set Max off from his background, which is a good thing, and again, we're not going for realism here, we're going for effect and Drop Shadows are our first effect. Even those of you who think you know everything about Drop Shadows; get set to learn a few more things about them.

So spokesboy is selected, go down to the FX icon, that's where all of your ten layer effects reside, count them if you like. We're going to go ahead and choose Drop Shadow to bring up the massive Layer Style dialog box right here. Make sure Preview is turned on so you can see what you're doing. It is, by default, there is no reason it wouldn't be. I'm going to raise the Opacity value to 100% because again I'm not looking for subtlety where this composition is concerned and the blend mode is set to Multiply. The color is set to black. Now you could change that color. If you do change the color to something other than black, make sure the blend mode is set to Multiply if you want a shadow effect. There is a lot of other effects you can get if you want, but if you want a shadow effect, Multiply is your guide. However, if you're using black, it really doesn't matter; you can set this to Normal. And you're still going to get exactly the same effect, because black is black and after all black always darkens. It can't ever lighten.

But anyway, I'll leave it set to Multiply because it's not doing any harm and that is the default setting. Then we have an angle of 130 degrees. That's the angle at which the sun "fingers" the light source is hitting Max. So it's coming down from this angle. That means it's projecting the shadow in the opposite direction, which happens to be -50 degrees. So down this way. So just bear that in mind, that's the angle of the light. Use Global Light, go ahead and leave that checkbox turned on. What that does is it ensures that all of the directional effects work in the same direction and your directional effects include these, Drop Shadow, Inner Shadow and Bevel and Emboss. Those are your three directional effects. The glows are on the directional meaning that they trace all the way around the edges, either on the outside or the inside depending on whether it's Outer Glow or Inner Glow. Just something to bear in mind that will make even more sense as we work through these various effects.

I'm going to take the Distance value up to 14 pixels and I'll come down here to the Size value and take it up to 7 pixels just to give you an idea. The Distance is how far the shadow is away from the object that's casting it. So that's pretty easy. Size is the size of the blur, which blurs both in and out, and so it does grow the shadow even though it blurs it at the same time. You're going to notice the growth. I'll go ahead and take this pretty high, like so. Right now it just looks like we're blurring and blurring. So it's pretty much now I guess to a 49 pixel Gaussian Blur. But you can spread into that size, that's why it's called the Size value. By raising the Spread value and notice if you take the Spread all the way up to 100%, then Size does exactly what it says it does. It's growing and shrinking the shadow.

So you can go ahead and spread that shadow effect if you want a harsher effect or if you want to grow the shadow outward. We don't. So go ahead and reduce the Spread value to 0% and then I'm going to take, as I said, the Size value to 7 pixels. Now it's telling you where Distance is concerned, there is another way to handle Distance other than just entering it into this Distance value. You can actually drag the shadow around. Check this out. This not only affects Distance, see the other value that's changing, it affects Angle. If Use Global Light is turned on, that's going to end up changing the direction of all of your directional effects. So if you have some other Drop Shadows or Inner Shadows or Bevel and Emboss, apply to other layers inside of your composition.

Then they will all change as you drag the shadow around. So beware of that. Anyway, I want to reset things the way they were. Can I do an Undo? No, you can't undo that. How interesting is that! When I press Ctrl+Z or Command+Z on the Mac that undid my Spread modification. Thank you Photoshop, that was helpful. Let's change Angle back to 130 degrees and let's change Distance back to 14. I just want you to know. You can drag them if you want to; it's a heck of a trick. Let's actually go with a higher Size value for just a moment my friends. I'll take this up to 24 pixels and let's actually take the Distance value up too.

What Contour does is it changes the behavior of the edges of the shadow. So, for example, you could get kind of this in and out shadow effect here by changing the Contour to this one right there, Ring, or we've got this one next door, Ring Double and so on. We've got this lumpy guy right here that you can try a rounded step. Now they don't tend to be too useful for standard Drop Shadows. You typically just want to leave this set to Linear. Your other choice though when creating Drop Shadows can be Gaussian if you want a steep drop-off, meaning that you're going to have a harsher shadow effect and it's going to drop off rather rapidly right there at the end, then give Gaussian a try.

But most of the time, your standard everyday average Drop Shadow is going to be a Linear shadow. Anti-alias is only useful if your Contour has spikes in it. Ours does not. It's Linear so Anti- alias isn't going to do us any good. So you don't have to turn it on, no reason to do anything with it. Then Noise will give you noise, see, see that noisy shadow right there? Why would you ever want it to be noisy, because you're creating shadows for whiskers? No, this is the reason, because you're trying to match the noise that's inherent inside of a digital photograph. So if you're trying to do that, then you probably want a noise value under 10%. It's probably going to be somewhere around 3%, 4%, 5%, 6%, something in that range. What you're going to do is zoom in, and by the way you can zoom in, when you have the Layer Style dialog box up on screen by Ctrl+Spacebar+Clicking or Command+Spacebar+Clicking on a Mac.

Then check out your noise and see if you can match it. Now I don't really have that much noise to speak of inside of this image, I'm not really interested in matching it anyway. So I'm just going to leave my Noise set to 0%. Finally, Layer Knocks Out Drop Shadow, I showed you how this checkbox behaves in a previous chapter, but I'm going to show you again just because here we are and I want you to know everything. If I were to switch over to Blending Options right here and I were to reduce the Fill Opacity to 0, then notice that Max still knocks out his Drop Shadow.

So Max is a hole inside of his own Drop Shadow unless I were to switch back to the Drop Shadow option here and then turn off Layer Knocks Out Drop Shadow, then you would just see a big shadow on screen. So it's great for blurring type. That's what I was telling you before. But not so good for Max, might as well keep this turned on. Let's go ahead and set Max back to a Fill Opacity of 100% and let's reset those values to where I said I want in the first place. 14 for Distance, 7 for Size, these are your settings.

Go ahead and Click OK if you want to or just stay inside this dialog box because we're not done. In the next exercise, we're going to take care of these hairs. We're going to make them look much better and we're going to do so using, believe it or not, an Inner Shadow. Stay tuned.

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This video is part of

Image for Photoshop CS4 One-on-One: Advanced
Photoshop CS4 One-on-One: Advanced

218 video lessons · 23902 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 22m 32s
    1. Welcome to Photoshop CS4 One-on-One Advanced
      1m 43s
    2. Installing the DekeKeys keyboard shortcuts
      6m 17s
    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 4s
  2. 2h 43m
    1. Highlights, shadows, and midtones
      49s
    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 34s
    10. Previewing clipping
      7m 17s
    11. The futility of output levels
      4m 56s
    12. Channel-by-channel edits
      11m 54s
    13. When levels fail
      4m 34s
    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 18s
    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 56s
    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 23s
    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 2s
    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 19s
    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 33s
    22. Inverting and brightening the background
      5m 14s
    23. Blurring live, editable type
      5m 43s
    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
      58s
    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
      56s
    2. Establishing default formatting attributes
      4m 5s
    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
      53s
    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 51s
    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 42s
  12. 57s
    1. Until next time
      57s

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