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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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