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Wrapping the background around the text

From: Photoshop CS3 Channels & Masks: Advanced Techniques

Video: Wrapping the background around the text

Welcome to the last exercise in this entire series, the last exercise in Photoshop CS3 Channels and Masks Advanced Techniques. And this is an advanced technique, folks; once you master displacement maps, you have mastered a lot; you are in a rarefied group of people, believe in me. So we are going to have to generate a displacement map and apply it to this credit card image here. The name of this particular image, if you want to join me, is called Lit letters.psd. It's found inside the 18_displamaps folder and I am going to go ahead and switch over to channels palette and we need to take this GBlur 16 Alpha channel right here and convert it into a displacement map.

Wrapping the background around the text

Welcome to the last exercise in this entire series, the last exercise in Photoshop CS3 Channels and Masks Advanced Techniques. And this is an advanced technique, folks; once you master displacement maps, you have mastered a lot; you are in a rarefied group of people, believe in me. So we are going to have to generate a displacement map and apply it to this credit card image here. The name of this particular image, if you want to join me, is called Lit letters.psd. It's found inside the 18_displamaps folder and I am going to go ahead and switch over to channels palette and we need to take this GBlur 16 Alpha channel right here and convert it into a displacement map.

And here is how we are going to do it. First of all, we need to copy this Alpha channel to a new image and you can do that either by dragging the channel on to the little Page icon and pressing and holding the Alt key or the Option key and then releasing the mouse button, or let's go and try a different way. You can go up to the Channels palette menu and you can choose the Duplicate Channel command, that works as well. And you will get this dialog box. Either way you will get the Duplicate Channel dialog box. Let's go ahead and copy the channel to a new image, like so, to a new document and we will just go ahead and call it GBlur 16, because that's what it is after all and then click on the OK button and you will get a new image window filled with this single channel image here, and of course, its a multi-channel image at this point. That's the kind of image it is, even though it just has one channel.

Let's go ahead and convert it to a grayscale image since grayscale images are more compatible; across the board they don't behave any differently where the displace filter is concerned, but where other functions are concerned. Grayscale turns out to be better. So let's go ahead and convert it to grayscale. Now if we were to apply the image you see before you as a displacement map, then we would move the white letters up into the left and we would move the black background down into the right. Well, I don't to move the black background anywhere. I want the background to remain stationary. I just want to move the letters up and potentially to the left.

So what that means is we need to send the background to neutral gray, 50% gray, and here is how we are going do it. Press Ctrl+L or Command+L on the Mac. Go ahead and select the first Output Levels value and change that value to 128; that's all you need to do. So we are sending black to 128, to medium gray. Then click OK to accept that change, and you are going to end up with this image here. It's not a lot to look at, it doesn't look very good, it lacks impact but it's great. It will serve us very well as a displacement map. So now I want you to go up to the File menu, choose the Save As command. Let's go ahead and save this image into the 18_displacemaps folder. You will want the format to be Photoshop, .psd, and the file name as a result will be Gblur_16.psd. Go ahead and click Save in order to save off that image.

Now, let's switch back to our composition at hand, right here. I am going to click on the RGB composite at the top of the Channels palette. Then I am going to switch over to the Layers palette. Let's go ahead and grab that background layer and just to protect it, let's jump in. so press Ctrl+Alt+J or Command+Option+J on the Mac and let's call this the Displaced layers, essentially displaced, and click OK, all right. Now let's do the deed people. Let's go up to the Filter menu, choose Distort and then choose Displace like so. And here are the values I want you to enter.

I don't want any, sort of, horizontal scale going on at all. I don't want any horizontal displacement. I was telling you that, if anything, I want to scale the letters up and to the left. Well, I really don't want them to go to the left. So we will do a horizontal scale value of 0, but I do want the letters to move up quite a bit. So let's change the vertical scale value to 25%. Now the other options don't matter, because our displacement map is the exact same size as our composition here. Stretch to Fit and Tile will produce identical results. And there aren't any undefined areas because the outer zone there, the background is gray. So there's going to be no movement in the background. All right, so just go ahead and click OK, 0, 25, click OK, and then find that file you just created which should be called Gblur_16.psd and click on the Open button. And that is it, check that out. Let's go ahead and zoom in on this.

Ah! It's just amazing; look at how that background just bows around the letters. This is before, flat, not believable, not credible at all, not credible credit card, and this is after. Just gorgeous! Just wonderful that it is capable of producing this kind of 3D effect. I mean, Photoshop is not a 3D program, and yet, these two functions, these two old functions here, Displace and Lighting Effects do produce true 3D effects inside of the program. It's just amazing.

Now I want to tell you a little bit of a story here. Let's go back to the Channels palette for a moment. This little edge, right here, this little bit of edge, so the approach to the letters on both the right side of any given letter and the left side of the letter, is a function of this modicum of Gaussian Blur that we applied, this little 4 pixel radius, this edge, right there, that's responsible for the approach from the background, so the beginning of the Sculptural wrap. Then, let's go back over here again, the fact that it wraps all the way around the letter like so, and it doesn't wrap in the background, notice the background is nice and flat, that's a function of applying Gaussian Blur with a radius of 16, strictly inside the letters, thanks to the fact that we faded Gaussian Blur to multiply. So we didn't affect the background at all. The background is nice and flat. And then we have nice sculptural stuff going on inside of those letters.

Oh! Just too amazing, I swear to you. I am going to tab away those palettes. I am going to go ahead and fill the screen with the image; let's back out a little bit. So there is the final effect, 3D highlights and shadows thanks to the Lighting Effects Filter. 3D contouring, thanks to the Ancient Displace Filter. We have now seen at this point just about everything conceivable related to the topics of channels, Alpha channels, masks inside Photoshop CS3.

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Photoshop CS3 Channels & Masks: Advanced Techniques

190 video lessons · 26280 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 2h 13m
    1. The Odyssey Continues
      2m 39s
    2. Mapping one image onto another
      7m 12s
    3. Making a custom contrast mode
      7m 10s
    4. Luminance blending
      8m 40s
    5. Forcing the visibility of underlying layers
      4m 4s
    6. Adjusting the appearance of clipped layers
      4m 34s
    7. Selecting a Blend If channel
      6m 12s
    8. Enhancing highlights by hiding them
      5m 9s
    9. Smart Object first, layer mask second
      7m 22s
    10. The Fill Opacity Eight
      4m 30s
    11. Blending Smart Filters
      7m 24s
    12. Cleaning up edges
      7m 39s
    13. More fun with luminance blending
      6m 22s
    14. A first peek at the Calculations command
      12m 11s
    15. Masking a softly focused model
      11m 46s
    16. Moving layers and masks between images
      7m 35s
    17. Matching colors
      9m 13s
    18. Building transitional blended layers
      6m 33s
    19. Restoring normal colors
      6m 50s
  2. 2h 33m
    1. Layer masks, clipping masks, and knockouts
      1m 20s
    2. Rotating and stretching
      7m 54s
    3. A jet of motion blur
      9m 18s
    4. Keyboard tricks
      5m 4s
    5. Merging sky and landscape
      6m 3s
    6. Masking an adjustment layer
      6m 37s
    7. Creating two windows into an image
      7m 42s
    8. Whitening teeth and adding other highlights
      3m 46s
    9. Mapping a texture onto an image
      4m 1s
    10. Isolating a texture with a layer mask
      6m 44s
    11. Welcome to the glass composition
      3m 18s
    12. Balancing shadows and highlights
      5m 51s
    13. Masking the glass
      7m 24s
    14. Masking the text
      9m 23s
    15. Adding and blending the goldfish
      8m 45s
    16. Assembling the perfect group photo
      5m 12s
    17. Aligning photographs automatically
      5m 26s
    18. Masking in each person's best shot
      5m 18s
    19. Masking densely packed people
      6m 17s
    20. Crafting the perfect final poster
      5m 16s
    21. From the improbable to the impossible
      1m 56s
    22. The fantastical "world of clones" effect
      10m 0s
    23. Upsampling and blurring a background
      8m 39s
    24. Adding a knockout mask
      8m 3s
    25. Choking edges with Gaussian Blur and Levels
      3m 46s
  3. 2h 27m
    1. The corrective power of masking
      1m 6s
    2. The amazing luminance mask
      7m 22s
    3. Brightening and neutralizing the eyes
      8m 22s
    4. Adjusting a nondestructive composition
      5m 52s
    5. Creating a corrective mask
      6m 4s
    6. Averaging away irregular flesh tones
      3m 52s
    7. Modifying specific colors
      7m 46s
    8. Initiating the color mask
      6m 0s
    9. Refining the color mask
      6m 40s
    10. Adjusting the edges around fabric
      7m 56s
    11. Perfecting hair
      9m 35s
    12. Sharpening with a High Pass layer
      10m 12s
    13. The also-amazing density mask
      4m 48s
    14. Adjusting the knockout depth
      8m 48s
    15. Fashioning a depth map
      6m 12s
    16. Invoking a depth mask from Lens Blur
      6m 38s
    17. The perfect depth-of-field effect
      6m 25s
    18. Sharpening an archival photograph
      7m 7s
    19. Creating an edge mask
      8m 29s
    20. Making a High Pass sandwich
      7m 46s
    21. Applying the edge mask
      6m 2s
    22. Customizing your sharpening effect
      4m 6s
  4. 2h 3m
    1. Channel Mixer, I am your father!
      1m 39s
    2. Three ways to gray
      7m 49s
    3. Meet the Channel Mixer
      8m 26s
    4. Mixing a custom black-and-white image
      7m 10s
    5. Creating a professional-level sepia tone
      5m 36s
    6. Employing the Black & White command
      8m 1s
    7. Extreme channel mixing
      4m 50s
    8. The infrared photography effect
      6m 43s
    9. Taking shadows to the brink of black
      3m 56s
    10. Elevating highlights, leeching saturation
      5m 58s
    11. Deepening a black-and-white sky
      5m 49s
    12. Infusing luminance levels with color
      5m 44s
    13. Creating an opposing colorization scheme
      4m 58s
    14. Bolstering contrast with the Green channel
      5m 37s
    15. A tiny improvement to a terrific technique
      7m 39s
    16. The simple (but wrong) approach to red-eye correction
      6m 39s
    17. Channel-mixing red pupils
      9m 18s
    18. The expert approach to red-eye correction
      5m 20s
    19. Fixing problem coronas (pupil edges)
      8m 9s
    20. Making pupils match
      4m 8s
  5. 2h 33m
    1. Chops are dead; long live maskops
      1m 37s
    2. The Calculations command
      8m 16s
    3. Blue Screen blending
      7m 40s
    4. Refining the Blue Screen mask
      5m 53s
    5. Brushing away color fringing
      7m 24s
    6. Locking the transparency of a layer
      6m 22s
    7. Nondestructive layer painting
      7m 36s
    8. How the Add blend mode works
      8m 40s
    9. How the Subtract blend mode works
      6m 43s
    10. Focus, noise, and other masking challenges
      5m 33s
    11. The Add mode in action
      7m 51s
    12. The Subtract mode in action
      8m 25s
    13. Comparing two channels with Difference
      5m 24s
    14. Enhancing the contrast with Curves
      9m 11s
    15. Gathering details with Apply Image
      9m 43s
    16. Dodge highlights, burn shadows
      6m 6s
    17. Dodge and Burn in action
      8m 24s
    18. Painting in the scalp
      10m 1s
    19. Painting away the face and chin
      4m 53s
    20. Compositing complementary images
      4m 13s
    21. Multiply, Minimum, Blur, and Apply Image
      6m 40s
    22. Crafting the final composition
      7m 7s
  6. 1h 57m
    1. Mark of the Pen tool
      1m 35s
    2. The big paths project overview
      6m 51s
    3. How to make a path
      8m 25s
    4. Corner points and freeform polygons
      8m 6s
    5. Editing paths with the arrow tools
      5m 2s
    6. Adding and deleting endpoints
      5m 15s
    7. Adding and deleting interior points
      6m 6s
    8. Converting a path to a selection
      3m 35s
    9. Converting a path to a mask
      6m 38s
    10. Smooth points and control handles
      8m 57s
    11. Making cusp points
      6m 0s
    12. Combining paths in a vector mask
      7m 55s
    13. Turning a path into a shape layer
      8m 57s
    14. Combining paths to make a layer mask
      7m 52s
    15. Mixing layer and vector masks
      10m 14s
    16. Editing character outlines as paths
      8m 39s
    17. Using the Convert Point tool
      7m 8s
  7. 3h 17m
    1. Where there's a will, there's a way
      1m 18s
    2. Masking natural cast shadows
      4m 10s
    3. Applying the cast show
      4m 2s
    4. Creating a difference mask
      3m 7s
    5. Applying an arbitrary map
      3m 50s
    6. Making the flesh mask
      7m 17s
    7. Roughing in an object mask
      6m 49s
    8. Drawing missing details with the Lasso tool
      4m 7s
    9. Combining flesh and object masks
      3m 53s
    10. Amplifying the cast shadow
      4m 10s
    11. Selectively choking edges
      3m 58s
    12. Power duplication in Photoshop
      7m 9s
    13. Masking blond hair
      5m 48s
    14. Using Levels to mask iterations
      3m 14s
    15. Drawing an iteration boundary
      4m 55s
    16. Merging the best of two Levels iterations
      4m 4s
    17. More fun with Dodge and Burn
      6m 14s
    18. Fixing edges with the Pen and Stamp tools
      7m 29s
    19. Pulling from another file with Apply Image
      4m 52s
    20. Blending clipped layers independently
      5m 43s
    21. Building the flame mask
      9m 22s
    22. Amplifying the flame
      3m 53s
    23. Masking an image against a busy background
      5m 15s
    24. The Freeform and Magnetic Pen tools
      6m 52s
    25. Masking with arbitrary maps
      9m 32s
    26. A more deliberate approach to arb maps
      10m 51s
    27. Combining arb maps with paths
      9m 28s
    28. Masking with the help of the History brush
      11m 38s
    29. Creating a High Pass mask
      7m 25s
    30. Coloring in the outlines
      8m 31s
    31. Mastering Calculations
      7m 29s
    32. Subtracting and merging the beak
      11m 6s
  8. 1h 33m
    1. The meaning of bit depth (and why you care)
      2m 50s
    2. Scanning line art in 8-bit and 16-bit
      5m 9s
    3. Measuring the 16-bit difference
      8m 9s
    4. Correcting 8-bit images in the 16-bit space
      9m 31s
    5. Opening a raw image directly in 16-bit
      6m 13s
    6. Editing in Camera Raw, opening in 16-bit
      8m 22s
    7. 16-Bit/channel vs. 32-bit/channel (HDR)
      8m 18s
    8. Working with auto-bracketed photographs
      5m 6s
    9. Using the Merge to HDR command
      6m 0s
    10. Adjusting the HDR preview
      6m 0s
    11. Building a 32-bit sky mask
      6m 29s
    12. Properly exposing land and sky
      4m 25s
    13. Modifying a layer mask in 32-bit
      4m 56s
    14. Converting to and correcting in 16-bit Lab
      12m 7s
  9. 2h 8m
    1. Photoshop flirts with the third dimension
      1m 13s
    2. The displacement map
      8m 24s
    3. Making custom waves
      7m 14s
    4. Creating a Gaussian distribution
      4m 32s
    5. Using a two-channel displacement map
      6m 28s
    6. Creating a rustic edge effect
      8m 21s
    7. Distorting and shading with a DMap
      6m 34s
    8. Moonlight reflecting off water
      8m 48s
    9. Mapping the reflection onto the water
      7m 7s
    10. Dipping the moon into the water
      6m 18s
    11. Turning flesh into stone
      7m 55s
    12. Wrapping the stone around the face
      7m 27s
    13. Softening a displacement map
      8m 5s
    14. Making a repeating watermark pattern
      9m 22s
    15. 3D embossing with Lighting Effects
      10m 48s
    16. The amazing credit card type effect
      6m 56s
    17. Lightening the credit card letters
      6m 16s
    18. Wrapping the background around the text
      6m 27s
  10. 1m 43s
    1. Goodbye
      1m 43s

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