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Photoshop CC One-on-One: Intermediate
Illustration by John Hersey

Gloss and surface contour


From:

Photoshop CC One-on-One: Intermediate

with Deke McClelland

Video: Gloss and surface contour

In this movie, I'm going to introduce you to gloss and surface contours, both of which affect Bevel and Emboss. And while they're a little tricky to understand, even a little bit of experimentation with these options can make a big difference in your images. So, I've gone ahead and zoomed in on the word spiders here and I'm going to expand it. And notice that we've got three effects, one of which appears behind the letters Drop Shadow and two of which appear inside the letters Bevel and Emboss and inner shadow. We need to turn inner shadow off, if we're going to have any understanding of what's going on here so that we can Bevel and Emboss by itself.
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  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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Photoshop CC One-on-One: Intermediate
9h 51m Intermediate Aug 19, 2013

Viewers: in countries Watching now:

Photoshop CC One-on-One is back, and this installment teaches you how to build on your basic knowledge and achieve next-level effects with this premiere image-editing program. Industry pro Deke McClelland shows you how to seamlessly move and patch areas of a photo with the Content-Aware toolset; stretch the brightness of a scene with automatic and custom Levels adjustments; create intricate designs with text and shapes; and morph an image with layer effects and transformations. Deke also shares his techniques for sharpening details, whether addressing noise and highlight/shadow clipping or camera shake, and converting a full-color image to black and white. The final chapters show you how to best print and save images for the web, making sure all your hard work pays off in the final output.

Topics include:
  • Performing automatic retouch, scaling, and more with the Content-Aware tools
  • Editing the histogram
  • Customizing a Levels adjustment
  • Making channel-by-channel Levels adjustments
  • Sharpening with the Smart Sharpen, Emboss, and High Pass filters
  • Working with vector-based type
  • Kerning and tracking characters
  • Creating text on a path
  • Drawing and customizing shapes
  • Creating depth, contour, and texture with layer effects
  • Liquifying an image
  • Simulating an infrared photo
  • Adjusting print position, size, and color
  • Creating the perfect JPEG image
  • Downsampling for the web
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Gloss and surface contour

In this movie, I'm going to introduce you to gloss and surface contours, both of which affect Bevel and Emboss. And while they're a little tricky to understand, even a little bit of experimentation with these options can make a big difference in your images. So, I've gone ahead and zoomed in on the word spiders here and I'm going to expand it. And notice that we've got three effects, one of which appears behind the letters Drop Shadow and two of which appear inside the letters Bevel and Emboss and inner shadow. We need to turn inner shadow off, if we're going to have any understanding of what's going on here so that we can Bevel and Emboss by itself.

Then go ahead and double-click on Bevel and Emboss, in order to bring up the Layer Style dialogue box which as you can see I've scooted well over to the right, so that we can see what we're doing. There's our gloss contour and rather than affecting opacity as our contour does for our shadows and glow effects, gloss contour affects luminosity. So, I'm going to go ahead and click on the little graph icon to bring up the contour editor dialog box. So just as with the histogram, the left side of the graph indicates black and the right side indicates white, and then you're mapping those luminous levels from black at the bottom to white at the top.

So currently black is black over here in the bottom left corner and white is white up here in the upper right corner. And then of course, your mid tones would be here in the center. Let's say I want to darken the overall effect. And I just go ahead and click to set a point in the center here and then drag it down and that's going to darken the effect uniformly. While allowing the highlights to survive over here, in the upper right corner. Another option is to brighten the shadows and tone down the midtones. And so, what I'm going to do is take the blacks all the way up to white.

Now at the top of the graph, now that's not really showing us any bright shadows at this point and the reason is because the shadows were pretty light in the first place. So, I'm going to drag this down and then in other words I need to move this area up if I'm going to lighten those shadows and then I'll go ahead and move this over and I'll drag this up a little, its a little tricky working with curves some time. And I'm going to take this guy up. What I'm trying to avoid is any flattening, like I'm having at the bottom of the graph here, because that'll end up posterizing the effect by which I mean, you'll change a bunch of luminence level to black in this case.

You can see that we're going from bright shadows down to dark mid-tones and back up to bright highlights. It's unlikely you're really going to spend that much time inside the contour editor when you're mapping a glass contour. What you might prefer to do instead, is just choose from the presets that ship along with Photoshop, and I'll give you a great example here. I'm going to Esc out of the dialog box and switch over to this other image, which is showing us our gold text, but it doesn't look gold at all. It looks like yellow plastic. We can turn this yellow plastic into gold in a matter of seconds.

I'm going to double-click on Bevel and Emboss, in order to bring up the dialog box here. And I'm going to switch the gloss contour from linear to ring double. And this is a great use for ring double, by the way. It's almost as if it was designed for gloss contours. And then I decided I wanted to reverse the direction of the light, so I switched the direction from up to down. And ended up with this effect here, and that's all there is to it. A moment ago, we were seeing this effect and then, you know, ten seconds later we end up with this thanks to the application of a preset gloss contour.

Alright, I'm going to switch back to my spider image here. Double-click on Bevel and Emboss again. Now, let's take a look at the Contour option which is inset under Bevel and Emboss. And the reason is, it's not an independent layer effect, rather it allows you to apply a surface contour that is a contoured volumetric surface on these letters, for example, to the Bevel and Emboss effect. Now just so we can see what we're doing, I'm going to open up this size value. So I'm going to set it to 50 pixels, which pretty much consumes the entirety of the letters as you can see here.

So now we're steeping up and then steeping down. It's almost like each one of the letters is a kind of pyramid. Now I'll click on Contour, in order to select the function and turn it on. And then, I'm going to change my Contour setting to the rig preset. And notice now what we get. This very map that we're seeing right here is the shape of the contour, it's the shape of the surface of these letters. So, we're actually mapping this into the letter forms. So it's as if we're creating a kind of 3D extrusion.

And that's the reason, by the way that rounded steps preset even exists. Notice when you select it, you end up getting these round forms like so. And then if you want to compress these forms inside the letters, you can change the range value. So, notice as I take this value down in 10% increments, we're progressively slipping the contour into those letter forms. I'm going to take this value up to 80%. That looked best to me. And then I'm going to switch back over to Bevel and Emboss.

And I'm going to change the Gloss Contour to another one of the presets, rolling slope. And then finally, I'm going to take the altitude value down to 40 degrees. And I'll change the direction from up to down, in order to produce this effect. It seemed to me at this point that the Drop Shadow needed some work, so I'll go ahead and switch to the drop shadow. And change its blend mode from multiply to linear burn to give it some more color. And then I'll take the opacity value down to 70% and I'll press the Enter key, or the Return key on a Mac in order to accept my change.

And then press Ctrl+0, Cmd+0 on the Mac, in order to zoom out. And that is my final effect. And just to give you a sense of what we've been able to accomplish here, I'll press the F12 key in order to revert the image. So, this is the before image and this is the after image. Thanks to our ability to apply gloss and surface contours to the Bevel and Emboss effect.

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