Join Nigel French for an in-depth discussion in this video Creating chocolate text, part of Photoshop for Designers: Type Effects.
Here we're going to see some different approaches to working with a Chocolate Effect for text. I'm using Cooper Black, a nice, big, chunky, round and very friendly typeface, and I'm using it in all caps. And we're going to start out by embossing the Chocolate type and then we can melt it and then we can coat it. And along the way we're not going to let subtlety get in the way of us having a good time with this. I'm going to turn on the begin layer group.
So here I have just the word chocolate on top of a solid layer of color. And I'm going to apply a Bevel & Emboss to this. The key here is that we need to emboss the Contour of the type and that we're going to whack the Range up to 100% and change the Contour map to an inverted cone. Then I'm just going to come back to the Bevel & Emboss options. I'll turn off Global Light and I'm now going to experiment with the Angle, and I'm also going to increase the Size, almost like we're inflating the Type and I'm going to Soften it as well.
All right, that's my starting point. Now from here, I want to melt it and this is going to require me rasterizing the type. In fact, I'm not even going to rasterize the type, but what I am going to do is create a new layer above this and then I am going to activate the selection for the type, and then I'm going to fill that selection with the color of the type.
And I'm actually going to use the color of the background. So Opt- or Alt+Delete will fill that and then what I'm going to do is I'm going to copy the Bevel & Emboss from the type layer beneath. So I'm going to hold down the Option or Alt key and drag that up. Then I'll turn off the original type layer. I can now deselect that, Cmd+D or Ctrl+D. I'll press B to go to my Brush tool and make sure that I have an Opacity set to 100%. And I want my Brush Hardness also to be set to 100%.
So on this rasterized layer, I can now just melt my top deck of chocolate into the deck beneath. Perhaps, optionally, I might also want to add some Liquify to it just to mush it up even more, and here I want to start out using a large brush, a brush big enough to pretty much cover it all. And then just very slightly tweak it a little bit and then I'm going to reduce the size of my brush and maybe work on some of the edges of the letters individually.
Okay, that's looking good. Now let's give it some coating. Well, one way we could do this is just by adding a layer above it and then keeping the same brush that we are working with, painting on that layer, clipping the layer to the layer below and then copying the Bevel & Emboss from the layer below. So I'm just going to hold down the Option or Alt key and drag up from that fx icon, and we can now see that it's like I'm putting ripples in the chocolate.
Well, maybe that's a little bit too much but we can leave that layer around and come back to that one if we want. But what I would like to do is now give it some coating. Remember the coating appearance. I'm just going to come to my Layer Comps here and turn that one on so you can see what it is we're aiming for, something like this. So to do this, I need to create myself a sampled brush and that sampled brush is going to be based upon a twirled layer.
So I'm going to create a New Layer and I'm going to render some clouds on that layer. So to render clouds it uses the foreground color and the background color, and what I have right now is probably going to work just fine. You want to make sure there's enough contrast but not too much. So I have a dark brown and an orange. Then I'm going to come to Filter> Render>Clouds and then I'm going to return there and come to Distort and Twirl, and I'm going to Twirl it to the max.
Now with this Twirl layer, what I want to do is apply a Threshold Adjustment layer. And then I'm going to use my Adjustment slider so that I get a good mix of black and white values. So pretty much in the middle of whatever values we have. Okay. Then I'm going to merge the Adjustment layer and the Twirl layer into one, Cmd+Opt+Shift+E. We'll put them on to one layer.
I can now turn those two off and on the resulting layer, I'm going to come and delete all of the white pixels. I'll use my Magic Wand tool, click on the white and then Delete. In order for that to work you will need to make sure that you do not have the Contiguous checkbox checked. Now, I'm going to make sure that I've got everything else turned off so that we are just going to see through that and then I can deselect that, Cmd+D, come to my Edit Menu and Define that as a Brush Preset. Okay.
I can now turn that off. Turn back on my melted chocolate layer and its background and come and create a layer above it and this layer does need to be clipped to it which it automatically became clipped but if that didn't happen, hold down the Option or the Alt key to click on the line between them. Now, I'm going to choose my Brush Tool and come and get that sampled brush which is going to look rather unwieldy and difficult to manage.
I'll press my Caps Lock key so that I don't have to stare at that massive sample size and then reducing my Opacity first, I'll try 60%, I'm going to paint with that brush and we're not seeing anything happening, so maybe I just need to perhaps use a lighter color. All right. Let's try that again. Ah, that's more like it. So I'm just going to add a couple of dabs with this.
Probably that's enough. And then to make this standout, I'm going to get the Bevel & Emboss Effect that's currently on the layer beneath it and I'm going to copy that to the layer that I was just painting on. So I'm holding down Option or Alt and I'm dragging that up right there and it's looking a little bit too rounded. The problem with this I think is it looks like somebody just used the Twirl Filter and then made into a sample brush, and that's not how I'd like it to look.
So, I'm going to come to the Liquify filter where I just wanted to sort of try and disrupt the circular nature of it and it might have been an idea had I done this first rather than after the fact, but I think I can get away with it. Okay, that's better. Now if you do feel like the coating is a little bit too strong, well of course, we can reduce the Opacity on it and we can also adjust the amount of Bevel & Emboss that is actually applied.
Maybe we don't need to emboss the Contour in this case. Having taken off the Contour, I think I will go back to the original Opacity. Of course, you can just play with this all day long but I'm going to stop there. I hope that's given you some ideas for how we can create some interesting chocolatey effects for our text.
- Illustrating with shape layers, layer masks, and clipping masks
- Modifying letterforms
- Using a displacement map
- Illustrating words
- Creating effects such as smoky or fiery type
- Working with brushes and type
- Warping text
- Using a Vanishing Point grid
- Incorporating repetition and pattern
- Layering type