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Photoshop CS5 One-on-One: Advanced
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Introducing Bevel and Emboss


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Photoshop CS5 One-on-One: Advanced

with Deke McClelland

Video: Introducing Bevel and Emboss

I've saved the results from the previous exercise as Keepsakes.psd found inside the 21_layer_FX folder. In this exercise, I'm going to introduce you to the Bevel and Emboss effect, which has by far the most bells and whistles associated with it. Along the way, I'm going to show you how I crafted this lid layer right here, which is the vector based rectangle. The name of which is just called dash for the sake of expediency, so that I'm not wasting any horizontal space here inside the Layers panel. Notice that, I guess, it's a kind of lid in which the seams exactly match.
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  1. 40m 2s
    1. Welcome
      2m 1s
    2. Making Photoshop your default image editor
      7m 43s
    3. Installing the dekeKeys keyboard shortcuts
      8m 10s
    4. Remapping OS shortcuts
      7m 37s
    5. Installing the Best Workflow color settings
      4m 31s
    6. The color settings explained
      6m 54s
    7. Loading the CS5 color settings in Bridge
      3m 6s
  2. 1h 5m
    1. What you can do with Photoshop
      1m 46s
    2. The mission-critical eyes
      2m 44s
    3. Copy Merged and Paste in Place
      6m 52s
    4. Sharpening details to match
      4m 34s
    5. Masking eyes
      9m 22s
    6. Working with clipping-mask layers
      9m 5s
    7. Shading with layer effects
      8m 10s
    8. Color and highlight effects
      4m 2s
    9. Refining layer masks
      5m 43s
    10. Fabricating the highlights in the pupils
      7m 33s
    11. Using a merged copy to sharpen
      5m 34s
  3. 2h 14m
    1. Highlights, shadows, and midtones
      1m 16s
    2. Introducing the Auto commands
      7m 23s
    3. Adjusting Cache Level settings
      6m 8s
    4. Reading a channel-by-channel histogram
      6m 21s
    5. How the Auto commands work
      5m 22s
    6. Auto Tone, Auto Contrast, and Auto Color
      7m 7s
    7. Blending the Auto results
      4m 4s
    8. Introducing the Levels command
      6m 15s
    9. Using Levels as an adjustment layer
      3m 12s
    10. Applying custom Levels adjustments
      6m 8s
    11. Understanding the gamma value
      7m 39s
    12. The futility of Output Levels
      2m 56s
    13. Selections and adjustment layers
      5m 48s
    14. Opening up the shadows
      3m 40s
    15. Previewing clipped pixels
      4m 51s
    16. The black, white, and gray eyedroppers
      5m 7s
    17. Gray card tips and tricks
      6m 5s
    18. Making channel-by-channel adjustments
      7m 29s
    19. Introducing the Curves command
      7m 44s
    20. Curves dialog box tricks
      7m 16s
    21. Curves adjustment layer tricks
      5m 45s
    22. Correcting an image with Curves
      5m 32s
    23. Filling in the highlights
      5m 42s
    24. Neutralizing casts and smoothing transitions
      5m 37s
  4. 1h 46m
    1. The art of enhancing edges
      1m 26s
    2. How sharpening works
      6m 2s
    3. The single-shot sharpeners
      6m 7s
    4. Introducing Unsharp Mask
      6m 19s
    5. Radius and Threshold
      6m 24s
    6. Sharpening colors vs. luminosity
      5m 56s
    7. Gauging the ideal settings
      8m 59s
    8. Unsharp Mask vs. Smart Sharpen
      7m 1s
    9. Using the Remove settings
      9m 30s
    10. The More Accurate checkbox
      6m 8s
    11. Saving your Smart Filter settings
      5m 31s
    12. The Advanced sharpening settings
      7m 52s
    13. Accounting for camera shake
      6m 18s
    14. Sharpening with the Emboss filter
      6m 43s
    15. Sharpening with High Pass
      9m 23s
    16. The new and improved Sharpen tool
      6m 22s
  5. 1h 34m
    1. Edge's evil twin: noise
      1m 12s
    2. Color vs. luminance noise
      7m 21s
    3. Reducing color noise
      7m 45s
    4. Reducing luminance noise
      4m 59s
    5. Relegating an effect to the shadows
      6m 27s
    6. Switching between layer and mask
      6m 59s
    7. The Dust & Scratches filter
      4m 56s
    8. Adjusting shadow saturation
      5m 52s
    9. Combining High Pass with Lens Blur
      6m 57s
    10. Masking a layer of Lens Blur
      7m 34s
    11. Painting away High Pass sharpening
      8m 22s
    12. Building up a noise pattern
      6m 40s
    13. Converting noise to texture
      4m 24s
    14. Bleeding colors into paper
      6m 16s
    15. Matching different noise levels
      8m 31s
  6. 1h 32m
    1. We are the stuff of light
      1m 24s
    2. Applying automatic lens correction
      5m 53s
    3. Introducing Shadows/Highlights
      3m 44s
    4. Shadows/Highlights in depth
      7m 59s
    5. Creating a "bounce" with Gaussian Blur
      4m 43s
    6. Sharpening on top of blur
      7m 3s
    7. Sharpening the merged composition
      6m 16s
    8. Grouping and masking layers
      5m 40s
    9. Adjusting the density of a mask
      7m 14s
    10. Creating a Shadows/Highlights shortcut
      5m 47s
    11. Restoring detail with Shadows/Highlights
      6m 23s
    12. Changing the Shadows/Highlights defaults
      6m 21s
    13. Smoothing skin details with Gaussian Blur
      3m 56s
    14. Smoothing with High Pass
      5m 44s
    15. Lowering contrast with Gaussian Blur
      7m 4s
    16. Inverting a sharpening effect
      7m 5s
  7. 2h 32m
    1. Color becomes monochrome
      1m 31s
    2. Converting an image to grayscale
      6m 49s
    3. Extracting luminance information
      7m 37s
    4. Introducing the Channel Mixer
      10m 23s
    5. Aggressive channel mixing
      9m 42s
    6. Proofing CMYK colors
      7m 49s
    7. Color settings and intent
      7m 6s
    8. Practical Channel Mixer variations
      4m 30s
    9. Saving variations as layer comps
      7m 57s
    10. The default grayscale recipe
      8m 55s
    11. Creating a custom black-and-white mix
      6m 59s
    12. Shadows/Highlights in black and white
      4m 58s
    13. Introducing the Black & White command
      5m 55s
    14. Adjusting Black & White settings
      9m 39s
    15. Mixing a Black & White portrait
      6m 32s
    16. Black & White vs. Channel Mixer
      9m 21s
    17. Adding tint and color
      8m 0s
    18. Introducing the Gradient Map
      7m 10s
    19. Loading custom gradients
      4m 32s
    20. Editing gradient color stops
      9m 58s
    21. Colorizing with blend modes and Opacity
      7m 13s
  8. 2h 10m
    1. Two great commands working great together
      1m 18s
    2. Introducing the Color Range command
      5m 13s
    3. Setting key colors and Fuzziness
      5m 38s
    4. Predefined vs. sampled colors
      3m 57s
    5. The Localized Color Clusters option
      5m 41s
    6. Defining a selection with care
      4m 44s
    7. Introducing the Quick Mask mode
      5m 20s
    8. Testing edges with the Magic Wand
      5m 14s
    9. Hand-brushing a selection
      5m 39s
    10. Saving and loading an alpha channel
      4m 35s
    11. Converting a selection to a layer mask
      2m 46s
    12. Switching between an image and a layer mask
      6m 58s
    13. Protecting elements with a layer mask
      8m 5s
    14. Duplicating and editing a layer mask
      7m 34s
    15. Introducing the Refine Edge command
      4m 46s
    16. Accessing the various Refine Edge options
      5m 35s
    17. Refine Edge's preview options
      6m 21s
    18. The Adjust Edge values
      4m 11s
    19. Edge Detection and Smart Radius
      6m 5s
    20. Using the Refine Radius tool
      8m 8s
    21. Using the Decontaminate Colors option
      7m 30s
    22. Old-school masking adjustments
      7m 7s
    23. Four micro mask adjustments
      8m 33s
  9. 3h 13m
    1. Photoshop's vector exceptions
      1m 11s
    2. Making text in Photoshop
      6m 18s
    3. Creating and editing a text layer
      6m 56s
    4. Font and type style
      7m 35s
    5. Type size and color
      7m 52s
    6. Combining layer effects and type
      10m 57s
    7. Drawing a custom shape layer
      8m 34s
    8. Side bearing, kerning, and tracking
      10m 36s
    9. Point text vs. area text
      8m 26s
    10. Selecting and formatting a paragraph
      5m 19s
    11. Copying and pasting unformatted text
      7m 45s
    12. Creating text inside a custom path
      6m 26s
    13. Creating text along a path
      8m 13s
    14. Adjusting baseline shift
      6m 16s
    15. Drawing a fading arrowhead
      7m 29s
    16. Fading a shadow with a layer
      5m 32s
    17. Logo creation and Fill Opacity
      7m 44s
    18. Stretching a background element
      6m 9s
    19. Drawing with shape outlines
      6m 18s
    20. Combining vector-based shapes
      6m 42s
    21. Masking vector-based shape layers
      6m 7s
    22. Correcting spacing problems
      7m 44s
    23. Drawing the ultimate specular sparkle
      8m 45s
    24. Preparing text for commercial output
      5m 9s
    25. Saving a high-resolution PDF file
      7m 11s
    26. Inspecting the final PDF document
      7m 8s
    27. Saving large poster art
      9m 32s
  10. 2h 36m
    1. What filters ought to be
      1m 25s
    2. Layer effects vs. filters
      6m 14s
    3. Carving with an Inner Shadow effect
      7m 45s
    4. Selling an effect with Drop Shadow
      7m 17s
    5. Creating blurry shadow type
      5m 30s
    6. Saving custom default settings
      6m 22s
    7. Creating a custom contour
      7m 3s
    8. Introducing Bevel and Emboss
      7m 35s
    9. Adjusting Angle and Altitude
      7m 8s
    10. Exploiting global light
      8m 11s
    11. Gloss and edge contour
      5m 8s
    12. Applying and creating layer styles
      6m 45s
    13. Loading, saving, and merging styles
      6m 17s
    14. Creating a textured bevel effect
      6m 56s
    15. Using shadows as highlights
      7m 39s
    16. Combining filters and effects
      6m 58s
    17. Working with random effects
      6m 55s
    18. Smoothing with Gaussian Blur and Levels
      6m 13s
    19. Masking blacks from whites
      4m 37s
    20. Applying liquid styles
      4m 36s
    21. Simulating liquid reflections
      8m 12s
    22. Finessing and cropping a liquid effect
      7m 25s
    23. Initiating a displacement map
      6m 17s
    24. Applying a displacement map
      7m 37s
  11. 1h 12m
    1. Two words: Free Transform
      34s
    2. Scale, rotate, and constrain
      6m 30s
    3. Using the transformation origin
      7m 42s
    4. Applying a slant (aka skew)
      3m 37s
    5. The four-point "perspective" distortion
      7m 51s
    6. Two ways to make gradient text
      5m 59s
    7. Building complexity from a simple shape
      4m 42s
    8. Duplicating a series of transformations
      6m 3s
    9. Rasterizing a layer with its effects
      6m 41s
    10. Applying a custom warp
      7m 24s
    11. Blending and softening a warped layer
      4m 39s
    12. Creating spherical highlights
      6m 30s
    13. Using a center-source inner glow
      3m 51s
  12. 2h 42m
    1. Distorting reality
      1m 33s
    2. Extracting a foreground element
      6m 45s
    3. Introducing the Puppet Warp command
      7m 20s
    4. Setting and manipulating pins
      7m 48s
    5. Rotating pins and switching warp modes
      6m 41s
    6. Expanding and contracting the mesh
      6m 11s
    7. Changing the Density setting
      8m 0s
    8. Adjusting the pin depth
      5m 18s
    9. Winding an image into a pretzel
      6m 2s
    10. Applying Puppet Warp to type
      6m 30s
    11. Warping single characters
      6m 25s
    12. Editing puppet-warped text
      8m 24s
    13. Extending an image with Free Transform
      8m 46s
    14. Extracting from a white background
      10m 5s
    15. Tracing a shape with Puppet Warp
      9m 1s
    16. Introducing the Liquify command
      5m 4s
    17. Warp, Twirl, Pucker, and Bloat
      8m 53s
    18. Saving and loading a mesh
      5m 59s
    19. Push, Mirror, and Turbulence
      11m 49s
    20. Lifting and slimming details
      8m 22s
    21. Warping fabric, arms, and legs
      7m 1s
    22. Masking and finessing the results
      10m 8s
  13. 3h 3m
    1. Welcome to the digital darkroom
      1m 44s
    2. Introducing Camera Raw
      7m 40s
    3. Adjusting white balance
      7m 0s
    4. Selecting and synchronizing images
      6m 9s
    5. Making automatic adjustments and saving changes
      7m 19s
    6. Creating and managing snapshots
      8m 23s
    7. Adjusting the Exposure value
      6m 24s
    8. Working with clipping warnings
      5m 5s
    9. Adjusting Brightness and Contrast
      7m 35s
    10. Vibrance, Saturation, and Clarity
      9m 25s
    11. Recovery and Fill Light
      6m 57s
    12. Using the Graduated Filter tool
      7m 2s
    13. Painting edits with the Adjustment Brush
      9m 44s
    14. Straighten, crop, and geometric distortions
      7m 49s
    15. Applying manual lens corrections
      7m 19s
    16. Vignette and chromatic aberrations
      6m 21s
    17. Introducing the Tone Curves
      6m 9s
    18. Parametric curves and targeted adjustments
      6m 26s
    19. Correcting a low-noise photograph
      7m 35s
    20. Sharpening and high-noise photos
      8m 25s
    21. Selective Hue/Saturation adjustments
      5m 34s
    22. Selective Luminance adjustments
      5m 39s
    23. Adding grain and vignetting effects
      5m 23s
    24. Mixing a subjective black-and-white image
      7m 53s
    25. Colorizing with the Split Toning options
      4m 29s
    26. Opening a raw image as a Smart Object
      5m 39s
    27. Camera Raw wrap-up
      8m 38s
  14. 55s
    1. Until next time
      55s

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Photoshop CS5 One-on-One: Advanced
26h 24m Intermediate Aug 13, 2010 Updated Aug 31, 2010

Viewers: in countries Watching now:

Photoshop CS5 One-on-One: Advanced, the second part of the popular and comprehensive series, updated for CS5, follows internationally renowned Photoshop guru Deke McClelland as he dives into the workings of Photoshop. He explores such digital-age wonders as the Levels and Curves commands, edge-detection filters, advanced compositing techniques, vector-based text, the Liquify filter, and Camera Raw. Deke also teaches tried-and-true methods for sharpening details, smoothing over wrinkles and imperfections, and enhancing colors without harming the original image. Exercise files accompany the course.

Recommended prerequisite: Photoshop CS5 One-on-One: Fundamentals.

Topics include:
  • Using blend modes, adjustment layers, and layer styles
  • Organizing a layered composition so it is fluid and editable
  • Creating and editing type in Photoshop
  • Using blur effectively
  • Using adjustment layers to add color
  • Combining layers into a clipping mask
  • Working with Camera Raw
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Introducing Bevel and Emboss

I've saved the results from the previous exercise as Keepsakes.psd found inside the 21_layer_FX folder. In this exercise, I'm going to introduce you to the Bevel and Emboss effect, which has by far the most bells and whistles associated with it. Along the way, I'm going to show you how I crafted this lid layer right here, which is the vector based rectangle. The name of which is just called dash for the sake of expediency, so that I'm not wasting any horizontal space here inside the Layers panel. Notice that, I guess, it's a kind of lid in which the seams exactly match.

I put that down to the fact that whoever was the carpenter of this thing, was an absolute perfectionist. He or she worked like crazy, just to make sure those seams lined up exactly, like the pattern on a shirt when you button it up, and the pattern goes right over and It looks awesome; same thing here. Anyway, it started off though, as a kind of frame effect. You may recall that the name of my original file was Word processor, because I was crafting a primitive a word processing environment. So I'm going to switch over here to Collection.psd, also found inside the 21_layer_FX folder.

I'll show you how I put together the original frame effect. I'm going to go ahead and click on this layer once again, called Dash. It's still a vector based rectangle. The difference is that the rectangle defines the shape of the hole, and everything outside the rectangle is colored. So in order to see how that's arranged, I'm going to go ahead and grab my Black Arrow tool. Then I'll click on the outline for the rectangle, like so. If you go up here to the options bar, you'll see that this second icon is selected, the one that says Subtract from shape area.

So normally, when you draw a shape, it's Add to shape area that's active, so that you're filling in the shape, and the area outside the shape is transparent. But if you switch to the Subtract from shape area, then the shape itself becomes a hole, and the area outside the shape is filled. So as a result, I get this frame effect. Well, of course, it's an extremely ugly frame, because I'm using an even duller beige than I've been using for the central word. So in order to create a little bit of dynamic interaction, I switch my Blend mode from Normal to Overlay. You can see how just a little bit of color saturation really goes a long way when combined with that Overlay mode.

Then I'll press the Escape key, so the mode is no longer active here on a PC. I'll press Shift+5, in order to reduce the Fill value to 50%. All right, now I'm going to click on this vector mask thumbnail, so that we're not seeing the rectangular outline anymore. You can just barely see the framing effect now. To help offset it, I went ahead and added a Bevel and Emboss effect. This is where I started, actually. was with Bevel and Emboss. You can see that there are a couple of other layer effects. I'll show you how those work in just a moment. But I'm going to start things off by double-clicking on Bevel and Emboss, so that you can see how I put together this very simple effect, by the way, with a dark edge up left, and a bright edge down right.

So the bright edge is catching the light. The dark edge is obviously slightly in shadow. I'll go ahead and double-click on Bevel and Emboss to bring up the layer Style dialog box with the most options you'll see in any one panel. So let's go ahead and run through the list here. I might very well make a mess of things, as I work inside of this dialog box. No problem. If I do, I can always restore the last settings I applied to the specific layer, by pressing and holding the Alt key or the Option key on the Mac.

Notice the Cancel button switches to Reset. So if you Alt+Click or Option+Click on that button, then you will restore my original settings. Anyway, let's go ahead and reduce the Soften value for now. Increase the Size value quite a bit, so we have a big thick edge although not that big. Let's try about 40, for example,. Then I want you to see how these options work. By default, Technique is going to be set to Smooth, so that you're going to get a blurry effect. So typically, you'll get a little bit of a blurry shadow like we're seeing here and a blurry highlight as well.

Although, because of my Altitude value, which I'll come to in moment, I'm catching the edge a little bit, so that I have a little bit of darkness before the highlight appears, right there on that bottom right edge. Anyway, as I say, I'll come back to that soon. You also have a couple of other techniques that are much sharper. There is Chisel Hard. That gives you that hard edge like we're seeing here. You can see right there at the corner, the chiseling that's going on. Then we also have a Chisel Soft effect. I doubt you're going to see any difference here; no, not much.

The reason being that these two differ from each other, Chisel Hard and Chisel Soft, when you have smooth contours like letterforms, for example, then you're going to see something of a difference. Typically, I have to admit, I don't take much advantage of Chisel Soft. I'll either go with Smooth or Chisel Hard, one way or the other. All right, so I'll reset this guy to Chisel Hard, which is the way it was. Notice we also have a handful of Style options. Inner Bevel is going to keep the highlight and shadow edges inside of the shape.

By inside the shape, I mean Outside in this case, because remember that the rectangle is serving as a hole, and it's the area outside the rectangle that's being filled. So it's really a frame layer. And Inner Bevel is keeping the shadow and highlight edges inside of that frame. If I want to wander out of the frame, I would choose Outer Bevel to get this kind of effect, which could prove very useful for a framing effect as we're seeing right there. That's actually a heck of a good frame, although I will say Inner Bevel is the default setting, and very likely to be the one that you'll use most often.

Emboss is going to go ahead and stride the edge. So it's going to center the effect on the edge of the rectangle, like so. Then Pillow Emboss is going to create a double-edged effect. So in this case, we're going to get a shadow in the upper-left corner. Then immediately after that, we're going to catch a highlight, as if there is a groove along the edge, along that rectangular outline. Then we have the opposite effect down right. Then finally, we have Stroke Emboss. If I choose it right now, we won't see anything. The reason is that you have to go ahead and apply a Stroke, which is a heavy outline.

Then the beveling effect will appear inside of that Stroke. Anyway, I'm going to switch this guy back to Inner Bevel for our demonstration here. Soften is most useful when combined with the Technique of Chisel Hard or Chisel Soft. This allows you to take that sharp edge, and blur it to taste. So you can Soften it up a little bit, which I did to create my effect by the way. Now I'm going to drop down here to the Highlight and Shadow modes, and I want you to see that by default, these guys are set to Screen for the Highlight just as with your glows, the default setting for the glows that is.

Then Shadow is set to Multiply by default, which is the exact same default setting for your shadows. That's going to create a kind of diffused darkness for the Shadow edge, and a kind of diffused brightness for the Highlight edge. In my case, I wanted to up the ante a little bit. So I took Multiply all the way up to Linear Burn, which I was telling you. If Multiply isn't quite doing it for you, and you want a sharper, more intense effect, then go with Linear Burn. If Screen isn't quite doing it for you, and you want a sharper, more intense effect, go with Linear Dodge (Add).

That's exactly what I did in this case. Now finally, we've got these guys right here. Gloss Contour, which is different than the Contour options that we've seen so far. We'll come to it shortly. Then we've got Angle and Altitude, which define the location of the light source. I'll explain how those work in the next exercise.

Find answers to the most frequently asked questions about Photoshop CS5 One-on-One: Advanced.


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Q: The instructions for installing the dekeKeys don't work on my computer (which is running Mac OS X Lion). Is there an update to these?
A: The dekeKeys distributed with this course will still work for Lion. You just need to add them to a slightly different folder than in previous versions of OS X.

Open a new Finder window and choose Go > Go to Folder. Type the following file path exactly as written below. Copying and pasting may result in an error.

~/Library/Application Support/Adobe/Adobe Photoshop CS5/Presets/Keyboard Shortcuts

Move and/or copy/paste the dekeKeys to this folder and follow the rest of the instructions as outlined in the video, "Installing the dekeKeys keyboard shortcuts."
 
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