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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.
I've saved my progress as Secret panel.psd, because what in the world might be hiding behind a panel labeled craving, and it's found inside the 21_layer_FX folder. In this exercise, I want to instill just a little bit of respect for the common Drop Shadow because it can be extremely useful for heightening the realism of other effects inside Photoshop. So with craving selected, there's a couple of different ways I can apply a Drop Shadow. One is I can go ahead and double-click on Effects, or Inner Shadow or this fx icon.
Any of those will go ahead and bring up the layer Style dialog box, and I would just switch to Drop Shadow, or If I want, I could drop down to the fx icon, click on it and then choose the Drop Shadow command. Now I have got access to my Drop Shadow options. Obviously, I'm going to change the color again. I am not going to have a black Drop Shadow mixed in with the nice rich brown inner shadow. That doesn't make any sense at all. So, I will click on that black swatch, and I'll change my HSB values to 35, 100, and 20; those very same values that I employed with the inner shadow. Now I'll click OK.
Now, I'm going to drop down here to my Size value, and I am going to take that up to 30 pixels so we have an awful lot of blur going on because I'm not changing my Spread value. So when I am working with the Drop Shadow, what was formerly called Choke in the case of Inner Shadow, is now called Spread. But I will leave that guy 0% so Size is all about blur at this point. A Distance value of 5 pixels is just perfect actually because I want the shadow to appear on all sides of the letters to some extent or other. So we're not only seeing the shadow down and to the right, thanks to this Angle value, but we are also seeing it slightly up and to the left.
Finally, I am going to increase my Opacity value to 100%. So we are darkening up that effect, like so. Then I will click OK in order to accept that modification. So you can see we're not applying a Drop Shadow, per se, that would be ridiculous. It won't make any sense. For example, if I double-click on Drop Shadow here, and I took that Distance value up to 30 or something like that. It'd be like well, what in the world happened here, how did you carve the letters out and then make them jump in the air and cast a shadow? That doesn't work, but I will go ahead and cancel out.
Instead what I've applied is a little bit of edge darkening, so that it looks like the wood was burnt as it was carved. And that ends up producing a pretty nice effect all the way around. So notice, if I turn Drop Shadow off, the letters look a little bit too sharp. They don't necessarily look organic to the image where with Drop Shadow on we have more a credible effect. And, because this is live text, my gosh, I can change it as much as I want. I might press the T key to get my Type tool, and I will switch the Font this time around from Myriad Pro to something like Old English Text.
You're not going to have that necessarily. So you can choose some other black letter gothic font, or you can just go your own way, and I'm going to change my text here. I am going to double-click on the T here inside the LAYERS panel, and I am going to enter some new text, press Ctrl+A, Cmd+A on the Mac, in order to select all that text, and I am going to take advantage of that type size keyboard shortcut, mash your fist with the period key. So Ctrl+Shift+Alt+> or Cmd+Shift+Option+> on the Mac.
A couple of times there, and then I will press Alt+Left Arrow, or Option+Left Arrow on the Mac to scoot the letters together a little bit, and I will press Ctrl+Enter or Cmd+Return on the Mac to accept my modifications. I am going to press Ctrl+ Shift+Down Arrow a few times. This is Cmd+Shift+Down Arrow on the Mac in order to nudge my letters downward. Now, you might not have this font. It's not one of the fonts that's automatically installed along with any version of the Creative Suite. So just to make sure that you can open this document and check it out after I get done messing around with it here, I will go ahead and convert my type to a Shape layer by right-clicking over in this empty region of the layer here.
So neither on the layer name nor the thumbnail, over in this region, I will right-click, and then I'll choose Convert to Shape, and that will go ahead and convert my letters to shape outlines. Notice that they're now independent vector-based shapes inside of this vector mask, and that means I can add other shapes as well if I like. For example, I am going to grab my Custom Shape tool and notice that I have gone ahead and selected a shape in advance right there. It's Leaf Ornament 2, and it's located, if I bring up my list of shapes, and this is, of course, the All library, by the way.
I have gone ahead and selected All as you may recall from the previous chapter and right there is Leaf Ornament 2. So I will go ahead and grab it, if you're working along with me. And I want to make sure that my Shape mode is here is not set as by default to Create new shape layer, but rather to Add to shape area. So, I will go ahead and click on that icon or press the Plus key, and then I will draw a shape, like so. I'm pressing the Shift key as I drag to ensure that I'm maintaining the proportions of the original leaf illustration, and I'm also pressing the spacebar to move this leaf around.
I will go ahead and release the spacebar to make it a little smaller like so, use the spacebar to position that object once again. And then once I get it into the desired location like so, I am trying to more or less center it above the eye there. Then I will switch over to my Black Arrow tool, the Path Selection tool, and I will click on the shape in order to select the entire thing as you can see, and I will Shift+Alt+drag it or Shift+Option+drag it downward. That allows me to make a duplicate that's exactly vertically aligned in this case because I drag downward with respect to the previous leaf.
I will go up to the Edit menu and choose Free Transform path or press Ctrl+T, Cmd+T on the Mac, to enter the Free Transform mode right there. I will right-click inside of the leaf, and I'll choose Rotate 180 degrees. So that just happens to be the easiest way to work in my opinion, and I will press the Enter key or the Return key on the Mac in order to accept that modification. That is that's the easiest way to rotate something 180 degrees. You can also go up to the Edit menu and choose Transform Path and then rotate 180 degrees.
But if you get in the habit of just pressing Ctrl+T or Cmd+T first and then right-clicking, I find that it saves time. Anyway, this is the effect, ultimately. I am going to click on the Vector Mask thumbnail in order to hide those path outlines. And you know, looking at this, I want to open up those letters a little. So I will double-click on Inner Shadow, and I am going to reduce the Size value by pressing Shift+Down Arrow. So take it from 55 pixels down to 45 pixels. That looks good to me, and we have achieved, when everything's said and done, a very different effect than we had before, using the simplest application of a Drop Shadow without, you may have noted, harming the editability of our layer one iota.
In fact, I have completely transformed its appearance over the course of this exercise. In the next exercise, I am going to show you how to use a combination of a shadow and a glow in order to communicate depth.
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