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Photoshop CS3 Channels & Masks: Advanced Techniques

The amazing credit card type effect


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Photoshop CS3 Channels & Masks: Advanced Techniques

with Deke McClelland

Video: The amazing credit card type effect

Now at this point you may have noticed that we are so close to the end of this series. These are the final three exercises of this gargantuan two part Photoshop CS3 channel to mask series. And you maybe sitting there thinking in sort of this wistful way or kind of thinking about all the stuff that you have learned in this highly entertaining series, and you are thinking to yourself, while your brain has swelled to three times its former size in the last million exercises. Wouldn't it be great, if we could end the whole thing with this terrific happy trails project that brought together the best of displacement maps and lightning effects working together in order to create a true 3-D effect inside Photoshop. And you know what's amazing about that? That's exactly what I have in store for you; we are as one my friend. How exciting is that? All right, so I want you to open this image, it's called, Credit comp.psd and we are going to be creating the classic credit card effect in which letters actually rise out of a background and this will serve as our background here.
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  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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Photoshop CS3 Channels & Masks: Advanced Techniques
20h 48m Advanced Nov 21, 2007

Viewers: in countries Watching now:

The elusive alpha channel remains one of the most misunderstood yet powerful tools in Photoshop. Alpha channels are collections of luminance data that control the transparency of an image, and they inform just about every aspect of Photoshop. As he builds transitional blended layers, fashions a depth map, makes edge adjustments, and takes on extreme channel mixing, Omni Award-winning expert Deke McClelland teaches Photoshop users that where there's a will, there's a way. Photoshop CS3 Channels and Masks: Advanced Techniques covers mapping texture on an image, turning flesh into stone, using vector masks, working with all different channels, creating a rustic edge effect, and much more. Exercise files accompany the tutorials.

Download Deke's customized keyboard layouts for Channels and Masks from the Exercise Files tab."

Topics include:
  • Distorting and shading with a DMap
  • Understanding bits and channels
  • Creating paths with the Pen tool
  • Using blend modes and the Dodge and Burn feature
  • Understanding channel mixing
  • Using layer masks, clipping masks, and knockouts
  • Applying Smart Filters
Subjects:
Design Photography Masking + Compositing
Software:
Photoshop
Author:
Deke McClelland

The amazing credit card type effect

Now at this point you may have noticed that we are so close to the end of this series. These are the final three exercises of this gargantuan two part Photoshop CS3 channel to mask series. And you maybe sitting there thinking in sort of this wistful way or kind of thinking about all the stuff that you have learned in this highly entertaining series, and you are thinking to yourself, while your brain has swelled to three times its former size in the last million exercises. Wouldn't it be great, if we could end the whole thing with this terrific happy trails project that brought together the best of displacement maps and lightning effects working together in order to create a true 3-D effect inside Photoshop. And you know what's amazing about that? That's exactly what I have in store for you; we are as one my friend. How exciting is that? All right, so I want you to open this image, it's called, Credit comp.psd and we are going to be creating the classic credit card effect in which letters actually rise out of a background and this will serve as our background here.

And this art is actually the combination of a couple of different artists and you can check out who those artists are by going to the File Info command under the File menu if you like. I have the Layer Comps palette up so that I can just wander through what we are about to see, we just have three layer comps. This is the flat background essentially and this here is the final effect that we are going to create, is that not amazing? And this is totally a function of the displace and lightning effects filters working together. So the embossed effect that you see, all of the lightning, that's thanks to lightning effects of course.

And then I am going to go ahead and zoom in on the letters here so that you can see the way that the background art is wrapping around the contours of the layers and that is totally a function of the displacement map. Just amazing that you can pull this kind of thing off inside Photoshop especially using such ancient features really. And now I would want you to go to the next Layer Comp, which is the NuCard text, this is the Alpha channel information that we are going to be working with. So this is the starting point for this project, go ahead and switch to NuCard text here and then I want you to hide the Layer Comps palette, we are done with that.

Let's go ahead and bring back up the layers palette, we will need that and I am going to suggest for now we would just go ahead and take the elements, the elements are the pieces that produce the credit card effect, that rounded sculptural stuff, we are going to be creating that though ourselves. So go ahead and take the elements group and throw it in the trash, get rid of it. Now we are going to need an Alpha channel in order to do our work here, in order to satisfy the needs of the Lightning Effects filter and ultimately in order to satisfy the needs of the Displace filter as well. So we have got to create an Alpha channel here inside the Channels palette. Right now, we are just seeing Red, Green and Blue channels, all of which admittedly are identical to each other.

So go ahead and make sure that you can see the black layer and the NuCard layer and what's going on by the way, I will go ahead and turn those off so you can see; the black layer is just a layer of black to establish our black background for the letters. The NuCard layer is the letters themselves and these letters could be editable text but they aren't, I have gone ahead and converted the text to outlines because I used a special font that you probably don't have on your system. But you do want white letters against the black background. Then go to the Channels palette and let's turn that into an Alpha channel by grabbing one of the color channels, doesn't matter which one. I will grab Green because it's a good when in doubt channel and let's go ahead and drag it onto the Page icon and drop it and let's go ahead and rename that layer NuCard logo or something along those lines.

All right, and now we are ready to work on this Alpha channel, or you can go back to the Layers palette and you can take NuCard and black, take both of those layers and throw them away by Alt+Clicking on the trash can or Option+clicking on the trash can. All we want left over inside the Layers palette is the flat background art. Now go to the Channels palette once again. Now in order to light the text, I will go ahead and switch over to this Alpha channel. If we were to light the text the way it is now, we would end up with some very harsh transitions, the lighting effects filter would produce very harsh transitions.

We would have some harsh highlights and some shadows and it would basically look terrible. It wouldn't look like sculptural credit card text, that slowly raised credit card text and the Displace filter would really make a mess of things because we would have a radical transition from white to black and if you think about it, think about that way things worked at the outset of this chapter with that white box and that black box and how they just shoved the American flag around and how terrible that looked, that's the effect we would get here as well. So we need to create nice, soft transitions and we are going to do that, of course, using the Gaussian Blur filter. So I want you to take this Alpha channel and I want you to duplicate it by dragging it down on to the little Page icon. And let's go ahead and call this one GBlur4 because we are going to be applying the Gaussian Blur filter with a radius of 4 pixels.

I kind of spoiled the surprise but that's what's coming. I want you to go up to the Filter menu, choose Blur and then choose Gaussian Blur like so. And then let's go ahead and apply a radius of 4 pixels and click OK. And now we have the nice, soft transition at this point so the letters are going to raise gradually. Now I want both the lightning and the displace to wrap very gradually around the interior of the letters, so I am going to apply a second larger application of Gaussian Blur strictly inside the white area, not inside the black area. And here is how that is going to work. Go ahead and make another duplicate of this Alpha channel by dragging the channel down on to the little Page icon and let's call this one GBlur16 because we will be using a radius of 16 pixels. Press Ctrl+Alt+F or Command+Option+F on the Mac and enter a radius value of 16 pixels like so and click OK.

Now if we were to just leave things as it is, there would have been no point in applying a Gaussian Blur of 4 pixels because we just completely overwrote it with this much larger value here. But what we are going to do is we are going to apply that last filter effect just inside the white of the letters and we are going to do that by going up to the Edit menu and choosing Fade Gaussian Blur or pressing Ctrl+Shift+F, Command+Shift+F on the Mac and then change the mode to Multiply because we only want to affect the white letters, we don't want to affect the black. So we are going to multiply the effect into place and you will get this soft lettering effect that you see here on screen.

It's like kind of an old film credit effect, looks pretty cool. Like something you might see at the outset side of Citizen Kane or something. Then go ahead and click OK in order to accept that modification and we now have our Alpha channels in place. We will be able to use this channel in order to light the image with lightning effects and distort the image using the Displace filter. We will visit lightning effects in the very next exercise and in the final exercise of this entire series, we will apply Displace. See you soon.

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