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

Imparting depth with a layer effect


From:

Photoshop CC One-on-One: Intermediate

with Deke McClelland

Video: Imparting depth with a layer effect

In this movie, I'll show you how to infuse an image with a sense of depth using a typical layer effect. Specifically, Inner Shadow. Now, I'm going to be demonstrating layer effects as applied to Text and Shape layers. But don't be thinking that's all they're good for. You can apply a layer effect to any layer that has a boundary associated with it. In other words, some portions of the layer are opaque and other portions are transparent. Take this frame layer, for example, here. I'll go ahead and expand the effects assigned to it by clicking on that little down pointing arrow head.
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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

Imparting depth with a layer effect

In this movie, I'll show you how to infuse an image with a sense of depth using a typical layer effect. Specifically, Inner Shadow. Now, I'm going to be demonstrating layer effects as applied to Text and Shape layers. But don't be thinking that's all they're good for. You can apply a layer effect to any layer that has a boundary associated with it. In other words, some portions of the layer are opaque and other portions are transparent. Take this frame layer, for example, here. I'll go ahead and expand the effects assigned to it by clicking on that little down pointing arrow head.

And you'll see that we have three layer effects in all. I'm going to right click on the FX icon and choose Clear Layer Style, in order to remove all the layer effects. And incidentally by the way, a style is a combination of layer effects and blend settings. So, I'll go ahead and choose that command and you can see we're left with a boring beige rectangle, that's all that's really going on where this layer is concerned. However, if I press Ctrl+Z or Cmd+Z on the Mac to reinstate those effects, they make all the difference in the world.

And the effects are clinging to the boundaries of the layer as you can see. Now go ahead and switch back to the Carving layer. To apply a layer effect, you drop down to the FX icon at the bottom of the Layers panel and click on it. And those of you who have used previous versions of Photoshop, may notice that the order of the effects has changed. We don't have any new effects, they're just reordered. And the reason is that this new order represents the actual stacking order of the effects. So Drop Shadows are always at the bottom, and Bevel and Emboss are always at the top.

We're going to choose the third one down, Inner Shadow, in order to bring up the very large and powerful Layer Style dialog box. And notice that we've now applied an inner shadow. What happens is we create a shadow inside the letters almost as if we've carved into this wooden frame here and revealed some sort of flat brown layer below. Now you can modify the angle value in order to change the angle of the shadow. For example, if I set it here to 90 degrees, then the shadow is coming straight down.

I can also change the distance at which the shadow is cast. For example, I'll take it up to 20 pixels, and you can see that moves the shadow to a new location. Another way to change both the angle and distance values, and this works when you're working with Inner Shadow or Drop Shadow, is to go ahead and drag the shadow around directly here inside the image window. I'm going to go ahead and reset my values however, I'll change the angle value to 135 degrees. And I'll take the distance value up to 20 pixels.

And then I'll take the size value up to 20 pixels as well. And we'll come to what size means in just a moment, but first I want to change the color of my shadow. Right now it's black, which is the default shadow color. I'm not a big fan of black shadows, because they end up looking murky and muddy, and so forth. It's better to go with either a color that's endemic to the scene, or one that's complementary to the scene. So, I'm going to click on this Black Swatch in order to bring up the Color Picker dialog box.

And then, I'll click with my eyedropper on some representative pixel of wood in order to lift its color. And my experience with this image is that the hue should be a little oranger than this. So I'm going to take it up to 35 degrees, and you typically want when you're creating a shadow a very low brightness value. For example, let's say, 20%. In order to compensate for that low brightness, if you want to see any color whatsoever, you want to take that saturation value up very high. And I typically work with 100% saturation, and that way you can actually see a little bit of the color at work.

This would be an endemic color by the way, because I lifted it from the scene. The other way to work is to apply complimentary color. And to do that, you want to take your endemic hue value and either add or subtract 180 degrees, whichever makes sense. So if the value's bigger than 180 degrees, you subtract 180. If it's smaller than 180 degrees, as in my case, you add 180. 35 plus 180 is 215, and that ends up giving me a shade of blue that is complementary to the natural orange inside of the wood.

Anyway, I'm going to take that value back down to 35 degrees, and I'll click OK in order to accept that change. Now, let's take a look at the size and choke values. When you start working with size, it seems as if it's actually affecting the blurriness of the shadow. For example, if I take the size value down to 4 pixels, it's less blurry than it was before. If I take it up to 54 pixels, for example, its very blurry indeed. And that is the way size works initially. That is when the chokes value set to 0%.

However, if I take this size value back down to 20 pixels here. Notice as I increase the choke value, I'm growing the shadow like so. So I'm filling that shadow in, and I'm making it sharper all the way all the way up to 100 degrees when the shadow gets very sharp indeed. Now, it's rounded at the corners, but it is sharp in terms of the luminance transitions here. Then when I change the size value, you'll see that you're really modifying the size. So if I reduce the value to 0 pixels, I have a small shadow.

If I increase the size say to about 26 pixels, then we end up getting a very large shadow. I'm looking for these values. I'm going to change the choke to 30% and increase the size value to 55 pixels. So we have a very diffuse shadow indeed. I'll leave the opacity set to 75%. And I'm going to end up leaving the Blend mode set to multiply, but I do want to give you a sense of what's going on here. I'll be devoting an entire chapter to Blend modes in the advanced course in this series.

However, for now you should know, when you're trying to create shadows, you have three different modes you can work with. Multiply is your go to mode. Generally speaking, that's the mode you'll use. But if you want to amp things up, then you go with Linear Burn. And you'll end up burning that shadow in even more deeply and creating richer color saturation. If you're more interested in the saturation than the burn, then you go with Color Burn instead. And you'll see that in this case, it gives us this really interesting sort of red look.

And I'm not sure your going to use Color Burn very often, but you might want to check it out. I never recommend darkened or darker colors for shadows. Alright. I'm going to switch this guy back to multiply. And then I'll click on blending options in the left-hand column. And here Photoshop shows me all the blending settings that are associated with the layer. And by the way, this is saved along with the style. So, I was telling you that style means all layer effects along with the blend setting. I'm going to move this dialog box over, because these first three blending options are all duplicates of the blending settings up here on the Layers panel.

So, we've got blend mode and blend mode, we have opacity and opacity. We've got fill opacity, which is the same as fill. Now, I move this guy back over here for a second. You may recall from previous chapters, that if you reduce the opacity value, you're reducing not only the opacity of the layer, but also of any effects assigned to that layer. So I'll go ahead and restore that opacity value to 100%. Imagine what I prefer to do instead, is reduce the opacity of the letters and leave the effects alone.

In that case, I would change the fill opacity. So you're reducing the opacity of the fill of those letters. And notice if I take it down to 0%, then all we have is layer effects and nothing more. So I'm going to take that fill value up a little bit to 20%. And then I'm going to burn those letters in to the background by changing the blend mode to multiply, and we end up achieving this effect here. Now click OK in order to accept the effect. Thanks to the fact that this was all handled as one operation, we can do a before and after comparison just by pressing Ctrl+Z or Cmd+Z on a Mac.

So those are original letter. I also want you to notice down here in the bottom left corner of the window that layered image takes up 19.9 megs in RAM. Now I'll go ahead and press Ctrl Z or Command Z again in order to reinstate the effect. And we'll see that the layered image takes up the exact same amount of room, 19.9 megs. And that's because not only are layer effects extremely flexible, I could double-click on Inner Shadow in order to bring up the layer style dialog box and modify the settings at will.

But they're also extremely efficient as well. And they can be applied to anything inside of Photoshop. So, for example, this is still live editable text, I can press the T key in order to switch to the Type tool. Select some of the text, and change it out here like so. And then press the Enter key on the numerical keypad in order to accept my changes. And that's how you impart depth using a layer effect here inside Photoshop

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