Skip to main content

photo & video

Adobe Photoshop CC Bootcamp

Lesson 31 of 118

Introduction to Layer Styles

Blake Rudis

Adobe Photoshop CC Bootcamp

Blake Rudis

buy this class

$00

$00
Sale Ends Soon!

starting under

$13/month*

Unlock this classplus 2000+ more >

Lesson Info

31. Introduction to Layer Styles

Lessons

Class Trailer
1

Bootcamp Introduction

16:22
2

The Bridge Interface

13:33
3

Setting up Bridge

06:55
4

Overview of Bridge

11:29
5

Practical Application of Bridge

27:56
6

Introduction to Raw Editing

11:00
7

Setting up ACR Preferences & Interface

07:39
8

Global Tools Part 1

16:44
9

Global Tools Part 2

20:01
10

Local Tools

22:56
11

Introduction to the Photoshop Interface

07:13
12

Toolbars, Menus and Windows

25:07
13

Setup and Interface

11:48
14

Adobe Libraries

05:57
15

Saving Files

07:39
16

Introduction to Cropping

12:10
17

Cropping for Composition in ACR

04:44
18

Cropping for Composition in Photoshop

12:40
19

Cropping for the Subject in Post

03:25
20

Cropping for Print

07:34
21

Perspective Cropping in Photoshop

07:11
22

Introduction to Layers

08:42
23

Vector & Raster Layers Basics

05:05
24

Adjustment Layers in Photoshop

27:35
25

Organizing and Managing Layers

15:35
26

Introduction to Layer Tools and Blend Modes

21:34
27

Screen and Multiply and Overlay

09:15
28

Soft Light Blend Mode

07:34
29

Color and Luminosity Blend Modes

12:47
30

Color Burn and Color Dodge Blend Modes

07:43
31

Introduction to Layer Styles

11:43
32

Practical Application: Layer Tools

13:06
33

Introduction to Masks and Brushes

04:43
34

Brush Basics

09:22
35

Custom Brushes

04:01
36

Brush Mask: Vignettes

06:58
37

Brush Mask: Curves Dodge & Burn

06:53
38

Brush Mask: Hue & Saturation

07:52
39

Mask Groups

05:52
40

Clipping Masks

04:11
41

Masking in Adobe Camera Raw

07:06
42

Practical Applications: Masks

14:03
43

Introduction to Selections

05:42
44

Basic Selection Tools

17:41
45

The Pen Tool

11:56
46

Masks from Selections

04:22
47

Selecting Subjects and Masking

07:11
48

Color Range Mask

17:35
49

Luminosity Masks Basics

12:00
50

Introduction to Cleanup Tools

07:02
51

Adobe Camera Raw

10:16
52

Healing and Spot Healing Brush

14:56
53

The Clone Stamp Tool

10:20
54

The Patch Tool

06:38
55

Content Aware Move Tool

04:56
56

Content Aware Fill

06:46
57

Custom Cleanup Selections

15:42
58

Introduction to Shapes and Text

13:46
59

Text Basics

15:57
60

Shape Basics

07:00
61

Adding Text to Pictures

09:46
62

Custom Water Marks

14:05
63

Introduction to Smart Objects

04:37
64

Smart Object Basics

09:13
65

Smart Objects and Filters

09:05
66

Smart Objects and Image Transformation

10:57
67

Smart Objects and Album Layouts

11:40
68

Smart Objects and Composites

10:47
69

Introduction to Image Transforming

04:34
70

ACR and Lens Correction

09:45
71

Photoshop and Lens Correction

14:26
72

The Warp Tool

11:16
73

Perspective Transformations

20:33
74

Introduction to Actions in Photoshop

09:27
75

Introduction to the Actions Panel Interface

05:06
76

Making Your First Action

03:49
77

Modifying Actions After You Record Them

11:38
78

Adding Stops to Actions

04:01
79

Conditional Actions

07:36
80

Actions that Communicate

25:26
81

Introduction to Filters

04:38
82

ACR as a Filter

09:20
83

Helpful Artistic Filters

17:08
84

Helpful Practical Filters

07:08
85

Sharpening with Filters

07:32
86

Rendering Trees

08:20
87

The Oil Paint and Add Noise Filters

15:08
88

Introduction to Editing Video

06:20
89

Timeline for Video

08:15
90

Cropping Video

03:34
91

Adjustment Layers and Video

05:25
92

Building Lookup Tables

07:00
93

Layers, Masking Video & Working with Type

15:11
94

ACR to Edit Video

06:10
95

Animated Gifs

11:39
96

Introduction to Creative Effects

06:08
97

Black, White, and Monochrome

18:05
98

Matte and Cinematic Effects

08:23
99

Gradient Maps and Solid Color Grades

12:20
100

Gradients

04:21
101

Glow and Haze

10:23
102

Introduction to Natural Retouching

05:33
103

Brightening Teeth

10:25
104

Clean Up with the Clone Stamp Tool

08:07
105

Cleaning and Brightening Eyes

16:58
106

Advanced Clean Up Techniques

24:47
107

Introduction to Portrait Workflow & Bridge Organization

14:47
108

ACR for Portraits Pre-Edits

21:27
109

Portrait Workflow Techniques

18:46
110

Introduction to Landscape Workflow & Bridge Organization

12:17
111

Landscape Workflow Techniques

37:36
112

Introduction to Compositing & Bridge

06:59
113

Composite Workflow Techniques

34:01
114

Landscape Composite Projects

24:14
115

Bonus: Rothko and Workspace

05:15
116

Bonus: Adding Textures to Photos

07:05
117

Bonus: The Mask (Extras)

05:18
118

Bonus: The Color Range Mask in ACR

04:54

Lesson Info

Introduction to Layer Styles

So the layer of styles I told you about something called Blend If, and that's what we're gonna be targeting here. And Blend If, I did say will also change your life forever when you edit. And once you see this I hope you're just like, puuh, 'Cause I know when I started playing around with it, it was game over, and I thought I knew just about everything in Photoshop. Never say that, too. That's rule number one of Photoshop, never say I know everything about Photoshop. So, here we have a solid color fill layer over a gradient. We've talked about opacity and how that's a calculation. We've talked about fill, how that's a calculation. Opacity being the intensity of the calculation. We've talked about blend modes. So now let's kind of stack all of this together and look at Blend If. We'll separate Blend If for a little bit then we'll stack it all together. So Blend If is found within the layer styles, and it gives you the ability to protect any of the underlying things or allow only the one...

thing happening to that layer to affect the image. And you'll see what I'm talkin' about in a second, 'cause I like to look at Blend If in one way, and that's the protection way, and I'll show you that and how this works. But I will show you everything about it. Blend If will allow the white areas to show through and the black areas to show through without using a mask, without using a blend mode, and without using opacity. Because again, this is an application all by itself in that cellphone that we have of Photoshop or layers, I should say, that can be tapped into without even tapping into the blend modes or the opacity or the fill. So this solid fill layer, if I double click on it, right here, you don't want to double click in the little square because, again, if I double click in this square, because it's a color fill, it's gonna bring up the color fill dialogue. I'm gonna double click anywhere next to the text. So you can double click here. You can also right click and say layer styles if you wanted to as well. But I like the fast approach, double click, and now I'm in layer styles. And this is where things just go haywire. You know, it's like my wife with options. If we have a street that has restaurants all over it, we're probably not gonna eat, but if we have one street that has one restaurant, I know I'm gonna get fed, because it's sensory overload. Same thing happens when you get into here. So I want you to narrow your focus in on this area right here that says Blend If. And Blend If is exactly what is states. Blend if the underlying layer or this layer is black. Blend if the underlying layer or this layer is white. So, we can move this off to the side so we can see what's going on with our gradient underneath there. It's kinda difficult. We'll go right about... I can't really make the size different. We'll go right there. So if I move this underlying layer, so if I grab this underlying layer, and I move this over to the right, this is going to protect the underlying layer, all of the shadow areas, transitioning into the midtones. So when we talk about pixel values, this is where pixel values are incredibly important, 0 to 255. This is saying that I am not going to allow this magenta to affect any pixels that are black, any pixels that are gray, any pixels that have the exact value of 130. The trippy part about this is that if I press alt or option, there's a little line right here. I can split this and I can feather it. Because we want a nice, clean, smooth transition, right? So as I split this and feather this you can see how this is transitioning from any pixel values that are 49 to 158, it will not affect those areas, and it will feather its way through them. The other side of this is the highlights. So if we bring this over, move this over to the left, it's protecting our highlights all the way to about here, which is our midtones, at 128 would be our midtones. So this magenta layer cannot affect anything that is 127, split and feather, alt or option, to here. That's a nice smooth transition and affect. But notice how this is not using a blend mode, this is not using opacity, it's not using fill. So now let's go ahead and press OK on this. I'm gonna go ahead and pull this away so I can move this around and see this a little bit better. There we go, perfect. So now I'm gonna click this layer. So that was the underlying layer principle. This is the this layer principle. If I double click on this, we're gonna have Blend if, this layer is black or this layer is white. Now typically I did say that I like to stay in one place on Blend If because it makes me life a lot easier, and that's with the underlying layer thing. But I do want to show you how this also plays into effect. So if I move this layer over to the right, we're seeing that this layer is losing all of its black and allowing the underlying layers to show through. Press alt or option again, split and feather, you can see that transition. So anything that's black in this layer will now disappear and slowly transition into those midtones. Same thing here. Move this down. Anything that's white in this layer will disappear and then alt or option, split and feather, slowly transition into the brightest bright areas of that image. Blend If is kind of difficult to wrap your head around, so we're gonna do another explanation of this. It can also be very difficult to see on your photographs, too, which you'll see in our practical application. But what I want you to gather from this is mainly that I'm going to protect the underlying layer's shadow areas from this effect. Notice how when I talk about layers, I always talk about things in the layer stack, with the layer that's on top affecting the layers basically that are happening below it. And that's why it's easier for me to think about things with, okay I want this layer to protect itself from anything that is below. Very rarely do I step into this top option of this layer. Because I'm usually thinking about things in terms of how does it build up. This comes from my screen printing days. I used to be a printmaker. And in screen printing, you wanna print in a way that your lightest light colors get printed first, and then as you build your screens, you go to your darker colors. Because if you were to put black onto your page and then try to print yellow on it, it'll look green. So you have to think about things as what is happening with those underlying layers, and that is one of the best ways I can explain that. But if you're not a printmaker, it probably doesn't help you at all. I'm gonna go ahead and go into our image that we have here for our example. If you see me zooming in and out here, control or command and minus will make that smaller within the frame, control and plus will make it bigger. Control and alt and plus will make the whole thing bigger, the whole frame bigger, control and minus will make the whole frame smaller. So those are just some hotkeys for you as you've seen me doing it. I want to explain that to you. Let me make that a little bit smaller. Bring this out. Okay, perfect. So now Blend If and how it works with our photographs. So if I were to take a layer, like let's say the solid color fill and change this to red. If I were to just apply a blend mode to this like soft light or color, that could work. But what if, as I'm applying that soft light or that color, I also say to myself, well you know what, it would be really nice if that red just did not affect the highlights at all. Don't do any calculations for me. Just don't affect my highlights at all. So if I double click in this color fill, and we look at our image, I want to protect the underlying layer's highlights. Correct? So as I pull this over, you can see how it's starting to protect those underlying layers, press alt or option to split and feather it, to get a really nice transition between what is dark and what is white, and there we go. Now we're only applying that red to the dark areas, transitioning into the midtones. And we're not doing it with a calculation, we're not doing it with a mask, we're not doing it with opacity. But that doesn't mean that we can't use all of these things combined as well, okay? On the flip side of that, if I move this over, bring this up, bring this over, now my dark areas are getting that red applied and my highlights are not. Press alt or option to split and feather this. So I'm gonna go ahead, I liked the way that looked with the highlights there. I'm gonna do something real quick and show you kind of how this looks like this. Okay? Looks good. Press OK. This can be very difficult to see, and I'm the person when I'm masking my images, which when we get into masks in the next lesson you'll see this, I like to press alt or option to look at my masks, but I can't press alt or option to look at Blend If. But if I double click here and I go into something called color overlay, it might seem really counterintuitive. I'm gonna change this color overlay to magenta. So for those of you who may not realize this, magenta doesn't appear a lot in our images. Magenta is a color that typically you'll only see it in errors in your images, especially when it comes straight from camera. You might see these magenta and cyan fringes that we call chromatic aberrations. So anytime I wanna test what's happening in my image, you're gonna see me use magenta. If I'm in Adobe Camera Raw and I wanna see what my masks look like, I'm gonna use magenta. I think the default is red, but magenta allows me to see it a lot better. Because there could be a red door, and if I've got a red door with a red mask, that doesn't help me at all. So magenta really helps to fill that in. With this magenta color overlay, what this is showing me, is it's showing me exactly what's happening with my Blend If settings. So if I go back to my blend options, and I bring this up to here, you can see that the whole thing is magenta. Why is the whole thing magenta? I'm not using a magenta color overlay, I'm using a red color overlay. Well, I'm using a red color fill, but within the layer styles, I'm telling that color fill to become the color magenta. And I'm not doing that because I want to color grade with magenta. Don't think that. I'm doing that because I want to see what happens with Blend If. So with the Blend If settings down here, the underlying layer, if I move this over, watch that. Boom. Oh that's so awesome. Every time I do it I still feel the same way. So if I press alt or option and I split and feather this over, you can see that nice transition between light and dark in the image and where Blend If is actually affecting. So I'm saying that Blend If is going to protect the underlying layer shadows, but how do I know that? I don't know that unless I turn this color overlay layer style on to show me that. Now if I turn that color overlay off, you don't see the magenta anymore. That is strictly only for me to see what's happening with Blend If. So I'm gonna go ahead and bring this down because (mumbles) highlights. Bring this down. Look at that. Man, that's like magic. So if I press okay, and we don't have to turn that color overlay off now, notice in the layer styles now. The layer styles are telling me I've got two things down there. I've got effects, I've got my blending effects, and I also have that color overlay. So if I turn that eyeball off at anytime I have access to that color overlay magenta without actually going into the layer styles every time and turning that visible layer on and off. And this is a great way to see the effects of your Blend If. And that's especially true when we start to get into opacity. If I drop this opacity a little bit, it gets really difficult to see what exactly is happening with that Blend If. But if I turn that color overlay on, we can still see that magenta through, and still see what colors, where it's affecting and what colors it's affecting.

Class Description

Adobe® Photoshop CC® is a valuable tool for photographers, but it can also be intimidating. In this all-inclusive 20 lesson course, you’ll go from opening the program for the first time to creating images that really stand out. Join Blake Rudis, Photoshop expert and founder of f64 Academy, as he shows you how to maximize your use of Photoshop. 

Topics covered will include:

  • Class Introduction & Bridge, Adobe Camera Raw, Setup Interface, Cropping and Layers
  • Layer Tools, Masks, Selections, Clean-Up Tools and Shapes & Text
  • Smart Objects, Transforming, Actions, Filters, and Editing Video
  • Custom Creative Effects, Natural Retouching, Portrait Workflow, Landscape Workflow, and Composite Workflow

Don’t let the many aspects of Photoshop prevent you from maximizing your use of this amazing app. Blake will help you develop the confidence to use your imagination and create the images that you will be proud to share with your clients.


SOFTWARE USED:

Adobe Photoshop CC 2018

Class Materials

Bonus Materials with Purchase

Photoshop Bootcamp Plug-In

Textures

Clouds

Painted Backgrounds

1 – Intro to Photoshop Bootcamp

6 – Intro to Raw Editing.zip

11 – Interface and Setup

16 – Intro to Cropping and Composition.zip

22 – Intro to Layers.zip

26 – Intro to Layer Tools.zip

43 – Intro to Selections.zip

50 – Intro to Cleanup Tools.zip

58 – Intro to Shapes and Text.zip

63 – Intro to Smart Objects.zip

69 – Intro to Image Transforming.zip

74 – Intro to Actions.zip

81 – Filters.zip

88 – Intro to Editing Video.zip

96 – Custom Effects.zip

102 – Natural Retouching.zip

107 – Intro to Portrait Workflow.pdf

110 – Intro to Landscape Workflow.zip

112 – Intro to Compositing.zip

115 – Rothko and Interfaces (Bonus Video).zip

33 – Intro to Masks and Brushes.zip

106 - Frequency Separation.zip

Ratings and Reviews

Student Work

Related Classes

Reviews

a Creativelive Student
 

Amazing course, but don't be fooled into thinking this is a beginner's course for photographers. The problem isn't Blake's explanations; they're top. The problem is the vast scope of this course and the order in which the topics are presented. Take layers for example. When I was first learning Photoshop (back when we learned from books), I found I learned little or nothing from, for example, books that covered layers before they covered how to improve/process photographs. These books taught me how to organize, move, and link layers before they showed me what a layer was actually for. Those books tended to teach me everything there is to know about layers (types of layers, how to organize them, how to move them, how to move them two at a time, how to move them two at a time even if there are other layers between the two you're interested in, useful troubleshooting tips, etc. ) all before I even know (from a photographer's point of view) what it is the things actually do. The examples of organizing, linking, and moving mean everything for graphic designers from Day One, but for photographers not so much. Blake does the same thing as those books. Topics he covers extremely early demand a lot of theoretical imagination for a photographer who doesn't already know quite a bit about what he is talking about. Learning about abstract things first and concrete things later only makes PS that much harder to understand. If you AREN'T a beginner, however, this course is amazing. I thought it would be like an Army Bootcamp, taking you from zero and building you into a fit, competent Photoshop grunt. Now I think it's more like Army Bootcamp for high school varsity jocks. It isn't going to take you from the beginning, but the amount you'll get out of it is nonetheless more than your brain can imagine. I've been using PS for years to improve my photographs, and even to create the odd artistic composite or two. The amount I've learned in the first week is amazing, and every day I learn something -- more like many things -- which I immediately implement to improve my productivity and/or widen the horizons of what I can achieve. If you ARE a photographer who's a Photoshop beginner, I'd take very seriously the advice Blake gives in the introduction: Watch one lesson, and practice the skills and principles you learn in that one lesson for two weeks. THEN watch the next lesson. You can't do that of course without buying the course, so it's up to you to decide whether you'd like to learn Photoshop and master Photoshop all from the same course. Learning it first and mastering it later will cost more money, but I think you'll understand everything better and have a much more enjoyable ride in the process. As for me? I'm going to have to find the money to buy this course. There is simply way too much content in each lesson for me to try to take on all at once, but on the other hand I don't want to miss anything at all that he has to share.

Robert Andrews
 

Blake Rudis is the absolute best in teaching photoshop. His knowledge and how he presents the instruction is clear and concise - there is NO ONE BETTER. Yes, his classes require some basic skills, and maybe I'd organize the order of (or group) the classes in a different order, but, let me be clear - if anyone is to be successful or famous in the Photoshop world, it should be Blake Rudis. I strongly recommend his teaching. I started photography and post processing in 2018, and because of this class, I'm know what Im doing. The energy you get when you create something beautiful is profound, it makes you bounce out of bed (at 4AM) like a 5 year old, to go create. It's a great ride! Thanks Blake, & Thanks Creative live.

Esther Gambrell
 

WOW!!! I've been purchasing CL classes for several years now and have watched HOURS of "How-To Photoshop" classes, but this is the first one I've actually purchased because of the AWESOME BONUS content!!! SERIOUSLY??!!?!? A PLUG-IN??? But not only that, Blake is SO easy to understand, and he breaks down concepts in different ways to connect with different people's learning styles. I REALLY appreciated this approach because I am a LEFT-BRAINED creative that has an engineering background, so I really connected to what Blake was saying. THANK YOU FOR THAT! There are TONS of Photoshop courses out there, but I found this one to be the most helpful in they way Blake teaches concepts so that you know WHY you're doing what your doing. I feel like he taught me how to fish with Photoshop to feed me for a lifetime instead of just giving me a fish to feed me for one day. This is the BEST overall PS course out there!!! Thank you!!!!