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Global Light and rasterizing effects

From: Photoshop CC One-on-One: Intermediate

Video: Global Light and rasterizing effects

In this movie, we'll take a look at the inner workings of global light. And I'll show you how to rasterize your layer effects, that is convert them with pixels, so that you can edit them with other tools. Global light is that unifying force that insures that you have a consistent lighting angle inside of your image. And it applies to the three directional layer effects, which are Drop shadow, Inner shadow, and Bevel and Emboss. And as a function of two options, angle and altitude, now there's only one layer effect that gives you access to both of those actions, and that's Bevel and Emboss.

Global Light and rasterizing effects

In this movie, we'll take a look at the inner workings of global light. And I'll show you how to rasterize your layer effects, that is convert them with pixels, so that you can edit them with other tools. Global light is that unifying force that insures that you have a consistent lighting angle inside of your image. And it applies to the three directional layer effects, which are Drop shadow, Inner shadow, and Bevel and Emboss. And as a function of two options, angle and altitude, now there's only one layer effect that gives you access to both of those actions, and that's Bevel and Emboss.

So, I'm going to go ahead and expand the Spiners layer. And double click on Bevel and Emboss in order to open the layer style dialogue box. And you can see that use global light is turned on. So this effect is part of the global light system. And so are the other directional effects inside of this image, including by the way, the inner shadow and drop shadow effects that are assigned to this layer. Both of those have used global light turned on. Were I to make an modifications inside of this little circle, I would change the lighting through out the image.

Let's say I don't want to do that, let's say I want to do is change the lighting angle for this effect only. Then the first thing you need to do is turn use global light off. Notice now that my values have changed. Formerly, I was seeing an angle of 135 and an altitude of 50. And now, if I turn use Global Light off, I'm seeing an angle of 120 and an altitude of 30 degrees. Those are the default settings by the way. Which may make you wonder, well, then why the first time, when we applied Bevel and Emboss Did it come up with 135 and 50? And the reason is because those with the global light settings that were at work inside this image.

Global light is saved as part of the image file. So having said that I'll go ahead and drag that little cross around. Inside the circle, and you can see I'm changing this one effect independently of the others. Compare that to what happened if you turn Use Global Light back on. Which goes ahead and stacks those values back in place. And then you start modifying the setting. In that case, you're going to change the lighting for every single effect inside of the image, subject to global light.

And so you can see the shadows have changed their angles both for the spider layer and for the frame. and we're not seeing any changes to the shadow type and that's because I had set the distance of the effect to zero pixels, so there's no possible movement. But if you take a look here, now my angle is randomly negative 146 degrees, my altitude is 32 degrees If I switch over to drop shadow, its angle is also 146, and same with inner shadow. The other way to work, by the way, is to switch to either inner shadow or drop shadow.

And then, assuming Use Global Light is turned on, then just go ahead and drag that effect inside of the image window, and that's going to change all the effects, as we're seeing here. Also worth noting, by the way, distance is not part of global light. This distance value that I just got done changing, by dragging the shadow around, will affect the drop shadow, and nothing more. Now, let's say, at some point in time, you go ahead, and dragged things around, and you decide, oops, you've made a terrible mistake. These are not the settings you want at all.

Remember that you can press the Alt key or the option key on a Mac in order to turn the cancel button into a reset button. And then just go ahead and click on it in order to re-establish those original settings. But I think I will go ahead and make some modifications here. Just by dragging around inside the circle for the (INAUDIBLE) emboss effect. And I end achieving the under-lighting effect we see here. Than I'll go ahead and click the OK button in order to accept my modifications. There's one more way to modify global lighting, and that's to right click on the effects icon, for any of the affective layers.

And then choose the global light command. And that gives you access to those very same values that we saw inside the layer style dialog box. And that way, I can go ahead and re-establish the original settings if I want to, of 135 degree, and 50 degrees for the altitude. Now I'll go ahead and click OK. Now as long as we're looking at the menu, the right click on the FX menu that is to say, I want you to understand how these other commands down here at the bottom of the menu work. Notice starting at the bottom we have scale effects, and if you choose that command and enter for example 200% then you'll expand all of your size values associated with the layer effects by a factor of two.

You'll also increase the thickness of your strokes. I'll go ahead and cancel out of there. The next command up if I right-click on the effects icon is Hide All Effects. What that's going to do is hide all of the effects throughout the entire composition. To turn the effects back on, right-click on that effects icon and choose Show All Effects. If you want to turn off the effects for a single layer, then you right click on the Effects Icon and chose this first command Disable Layer Effects. And if you want to you turn it back on by right clicking on that icon and choosing the Enable Layer Effects command or you can simply click in front of the word effects to bring back it's eyeball.

And finally we have this command called Create Layers which rasterizes the layer effects onto independent layers. Now it's going to succeed as long as the layer's opaque. But chances are good things are going to fall apart if there's any translucency. By which I mean, incidentally. The fact that the fill value for this layer is set to 0% is going to create a problem for us. Let's try it out anyway. I'll right click on the fx icon and choose create layers. You'll get this alert message that's telling you some aspects of the effects cannot be reproduced with layers.

Now that's not always true. You're going to see that alert message just about every time you choose this command, but it doesn't mean anything's necessarily going to fall apart. In the case of this layer, yes. Things are going to go haywire on us as you see right there, but we now do have independent access to each one of the effects. And you keep trying to rebuild things or modify things if you like. Whereas, I'll go ahead and switch over to this other image, and incidentally this is a gold-letter effect. You can check out all of the layer effects that are assigned to it.

It's all layer effects, by the way, everything that we're seeing here. If I turn off the effects you could see that it's just white type underneath. Anyway I'll go ahead and turn the effects back on. If you're interested to know how I created this effect you can check out my course Deke's Techniques and look for episode 5. That's 005. Anyway this layer is absolutely opaque. So if we right click on its effects icon and go ahead and choose create layers We still get that same Alert message as you can see right there.

However, when I click OK, we're not seeing any difference in the image. The whole thing is holding up beautifully. And we now have access to each one of the effects on an independent layer. And in some cases, where Bevel and Emboss is concerned. You'll see two layers devoted to the effect. This layer, below the original layer right there, is the drop shadow. I'm going to press Ctrl+Z, or Cmd+Z on the Mac, to undo that change. Generally what I recommend is that before you go choosing that command, you go ahead and press Ctrl+j, or Cmd+j on a Mac.

To create a copy of the layer, then, go ahead and collapse the original, and turn it off for safekeeping. And that way you can always come back to it. Your final option is to rasterize the effect into the layer. However, we don't see that command in this menu. Instead, you go up to the layer menu, and then you choose rasterize, and you choose layer style. And that'll go ahead and fuse the entire thing together, into a single layer. Again, it's going to work best if the layer itself is fully opaque.

And that's how you adjust global light, as well as rasterize layer effects, here inside Photoshop.

Show transcript

This video is part of

Image for Photoshop CC One-on-One: Intermediate
Photoshop CC One-on-One: Intermediate

119 video lessons · 9316 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 2m 4s
    1. Welcome to One-on-One
      2m 4s
  2. 29m 46s
    1. The best of Photoshop automation
      35s
    2. Introducing the Patch tool
      3m 43s
    3. Using Content-Aware Patch
      5m 42s
    4. Retouching with Content-Aware Patch
      2m 5s
    5. Using the Content-Aware Move tool
      3m 9s
    6. Using Content-Aware Extend
      2m 4s
    7. The Content-Aware Scale command
      6m 35s
    8. Scaling in multiple passes
      2m 22s
    9. Protecting skin tones
      3m 31s
  3. 32m 55s
    1. Editing the histogram
      1m 50s
    2. The new automatic Levels adjustment
      4m 33s
    3. Customizing a Levels adjustment
      4m 53s
    4. Understanding the Gamma value
      2m 7s
    5. Opening up the shadows
      2m 48s
    6. Previewing clipped pixels
      3m 40s
    7. Retouching with Output Levels
      4m 25s
    8. Making channel-by-channel adjustments
      2m 19s
    9. Faking a gray card in post
      2m 51s
    10. Assigning shortcuts to adjustment layers
      3m 29s
  4. 57m 43s
    1. How sharpening works
      1m 38s
    2. Introducing the Smart Sharpen filter
      6m 56s
    3. Understanding the Radius value
      5m 20s
    4. Gauging the best sharpening settings
      5m 45s
    5. Addressing color artifacts and clipping
      5m 49s
    6. The Remove and Reduce Noise options
      4m 22s
    7. The Shadows/Highlights options
      7m 36s
    8. Correcting for camera shake
      6m 47s
    9. Sharpening with the Emboss filter
      5m 45s
    10. Sharpening with the High Pass filter
      4m 44s
    11. Painting in sharpness
      3m 1s
  5. 1h 9m
    1. Vector-based type
      1m 35s
    2. Creating and editing point text
      5m 58s
    3. Font and type style tricks
      7m 10s
    4. Type size and color tricks
      6m 42s
    5. Kerning and tracking characters
      8m 7s
    6. Creating and editing area text
      3m 50s
    7. Selecting and formatting paragraphs
      6m 36s
    8. Setting text inside a custom path
      5m 32s
    9. Creating text along a path
      6m 12s
    10. Adjusting baseline shift
      4m 45s
    11. Creating and stylizing a logo
      6m 49s
    12. Masking text into image elements
      6m 14s
  6. 57m 13s
    1. The other vector-based layer
      1m 39s
    2. Dotted borders and corner roundness
      8m 14s
    3. Drawing and aligning custom shapes
      3m 55s
    4. Creating your own repeatable custom shape
      5m 43s
    5. Selecting paths and isolating layers
      4m 11s
    6. Combining simple shapes to make complex ones
      5m 59s
    7. Cropping, adjusting, and merging shapes
      5m 50s
    8. Creating a soft, synthetic sparkle
      6m 22s
    9. Saving a resolution-independent PDF file
      6m 42s
    10. Turning a small image into a huge one
      8m 38s
  7. 1h 14m
    1. Depth, contour, and texture
      1m 28s
    2. Imparting depth with a layer effect
      9m 9s
    3. The power of the drop shadow
      7m 37s
    4. Modifying a layer and its effects
      6m 21s
    5. Saving custom default settings
      4m 12s
    6. Creating a custom contour
      8m 5s
    7. Introducing Bevel and Emboss
      8m 8s
    8. Multiple effects and multiple layers
      7m 45s
    9. Global Light and rasterizing effects
      8m 5s
    10. Gloss and surface contour
      6m 4s
    11. Adding texture to Bevel and Emboss
      7m 21s
  8. 34m 48s
    1. Styles store settings
      1m 38s
    2. Creating and applying a paragraph style
      3m 41s
    3. Redefining a style and styling a word
      5m 38s
    4. Creating and styling a placeholder style
      5m 43s
    5. Applying and creating layer styles
      5m 45s
    6. Loading and customizing layer styles
      5m 42s
    7. Merging and saving layer styles
      6m 41s
  9. 56m 48s
    1. Meet the transformations
      1m 55s
    2. Transformations and Smart Objects
      5m 46s
    3. Adjusting the interpolation setting
      5m 10s
    4. Rotating a layer with Free Transform
      5m 22s
    5. Scale, duplicate, and repeat
      4m 30s
    6. Creating a synthetic star field
      5m 20s
    7. Warping a logo with Arc and Flag
      5m 34s
    8. Distort, perspective, and skew
      4m 15s
    9. Using transformations to draw and correct
      7m 0s
    10. Bolstering text with layer effects
      5m 43s
    11. Adding highlights with Lens Flare
      6m 13s
  10. 43m 36s
    1. Removing the weight that the camera adds
      1m 7s
    2. The Warp and Reconstruct tools
      6m 44s
    3. Brush size, hardness, and opacity
      4m 29s
    4. The Pucker, Bloat, Push, and Twirl tools
      7m 12s
    5. Saving and reapplying Liquify settings
      4m 9s
    6. Lifting and slimming details
      9m 42s
    7. Warping legs, arms, and fabric
      5m 33s
    8. Improving a model's posture
      4m 40s
  11. 58m 46s
    1. Shoot in color, convert to black and white
      1m 55s
    2. Three ways to grayscale
      5m 36s
    3. Mixing a custom black-and-white image
      7m 31s
    4. Simulating an infrared photograph
      6m 39s
    5. Creating a sienna-infused sepia tone
      5m 38s
    6. Creating a hyper-saturated image
      5m 26s
    7. Introducing the Black & White command
      3m 16s
    8. Customizing the Black & White settings
      4m 50s
    9. Black & White meets the Channel Mixer
      7m 29s
    10. Infusing an image with tint and color
      5m 9s
    11. Grayscale and Split Tone in Camera Raw
      5m 17s
  12. 41m 34s
    1. The many ways to print
      1m 41s
    2. Using the test document
      3m 18s
    3. Print, position, and size
      5m 57s
    4. Description and printing marks
      3m 3s
    5. Establishing a bleed
      3m 44s
    6. Getting reliable color
      5m 54s
    7. Special printing options
      5m 1s
    8. Previewing an image at print size
      4m 16s
    9. Creating contact sheets
      4m 49s
    10. Creating a multipage PDF
      3m 51s
  13. 31m 9s
    1. Making Internet imagery
      1m 6s
    2. Introducing Save for Web
      4m 39s
    3. Creating the perfect JPEG image
      5m 14s
    4. Creating a high-contrast GIF image
      6m 23s
    5. The two varieties of PNG
      3m 57s
    6. Downsampling for the web
      5m 59s
    7. Adding copyright and contact info
      3m 51s
  14. 1m 3s
    1. Until next time
      1m 3s

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