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In this movie, I'll show you how to load a library of styles that i have created for you in advance. How to employ those styles to create cool effects? And finally, how to customize one of the styles to (INAUDIBLE) Now what, I have here is a collection of images, that represent techniques that I've demonstrated in my (INAUDIBLE) techniques course here at the lynda.com online training lab. And you can check those movies out to find out exactly how these images were put together. But in the meantime, we can quickly assemble these effects using layer styles.
To load my style library, make sure your styles panel is open, and then go to the flyout menu and choose the load styles command. Then navigate to the 17 styles folder and click on type effects and then click the load button. Now there is 7 styles in all that we're going to apply over 4 images here. I'll start by turning off, this border layer, and you can see that we have this kind of blue grid outline in the background I'm going to turn it into heavy metal type by clicking on the outlines. And then clicking on the first of my styles, "Heavy Metal Outlines".
And just like that, we completely transform the composition bbb. Using a collection of three layer effects in all, and they're really actually fairly straightforward. For example, the bevel and emboss effect doesn't include any custom contour or texture or any of that stuff, just straightforward embossing. All right, I'm going to cancel out of there. Now I'll turn on the border layer, which is designed to emphasize the border, and catch some shadows and highlights. And I'll now apply my second style, Heavy Metal Border, in order to achieve (INAUDIBLE) Which I think is pretty impressive given that I spent about 30 seconds on it.
All right, I'm going to switch over to the next image. It's an ice type effect created using the wind filter, but it's not going to be finished until we style it. So with the ice effect layer selected, I'll move forward to my third style, which is ice type, click on it, and it's done. Now this one does involve a texture. If you double click on bevel and emboss, then you'll see that there is a texture item right there, and it's that molecular pattern That we checked out in the previous chapter. So it's a pretty flexible pattern actually. I'll go ahead and click Cancel and then I'll move on to my next image.
Now this one doesn't look like there's anything going on, but there's actually a text layer as well as this interior layer which is a rectangle and a larger main rectangle behind it. So I'll start by clicking on a main rectangle and then I'll click on my 4th style brush copper back in order to produce that effect now you can tell that the interior rectangle which I'll turn off for a moment. Is a central light rectangle, I'll go ahead and select it, turn it on, and then apply brush copper in, in order to achieve that effect. And, then finally, I'll click on a text layer which is called plate, and I'll apply brush copper type.
And, this is our most complex style by the way. It contains a total of 7 out of the possible 10 layer effects Finally, let's go ahead and switch forward to gold of letters And we can turn these white letters gold, by clicking on the final style, which is called gold type And this is that same gold text effect that we saw in the previous chapter. But let's try our hand at customizing it. If you double-click on bevel and emboss, you may recall that much of the success of the effect relies on this gloss contour. But there's also a satin effect in the background.
And I haven't showed you satin yet, so let's go ahead and modify it. I'll turn off bevel and emboss for the moment, and I'll click on satin to select it. And I'm going to change the color to a hue value of 30 degrees, just so we can see it a little better, and click OK. And then I'll reduce the size value to let's say two. So you can get a sense of what's going on and now I'll start dragging inside the image and you can see what's happening is that I'm moving the G. Do you see I'm moving the yellow of the G which is caused by color overlay into this sort of orange area.
So satin fills this sort of brownish orange. Inside the negative space between the letters. Alright, I'm going to go ahead and put those guys back just a little bit like so. And as I'm dragging I'm changing the angle and distance values on the fly. And you can sometimes get better effects if you try out contours like ring or ring double. Now you're not going to believe me at first because Looks pretty ratty when the science value is so low. Now let's go and select that value and change it to something like 50, and that blurs up that effect quite nicely as you can see.
Now I want to try out a different color overlay, something that's going to go with that differently colored satin effect. So I'll click on color overlay, then click on that yellow swatch. And let's take the hue value down to 30 degrees again, and reduce the saturation to, let's say, 50%, and click OK. And now, I'll bring back the bevel and emboss effect, and things get pretty dark as you can see, there. I'll click OK in order to accept that effect. But, I think it's going to look better if we do a couple of things. First of all, I want to reduce the fill value to 70% by pressing Shift+7, and that darkens up those letters even more, because they're starting to blend with the background.
And then I'll expand my layer effects for this black layer, which is black, and you'll see how black it is when I turn off the pattern overlay. And we end up getting this effect here. So let's go ahead and create a new style b clicking in this empty area of the Styles panel. And I'll call this Tarnish, let's say. And notice this time, Include Blending Options is turned on, because there are blending options to save, namely our new fill value. Now I'll click OK. In order to make that change I'm going to press shift tab to hide the right side panels. Press the T key to switch to the type tool and I'm going to replace those last two letters like so.
And that is how you load a library of styles created by another user, employ them effectively inside your own images. And then finally customize the style so that it includes blend settings. And then finally customize the style so that it includes blend settings. And then finally customize the style so that it includes blend settings.
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