Layer Effects

Lesson 3 of 16

Layer Style: Bevel & Emboss

 

Layer Effects

Lesson 3 of 16

Layer Style: Bevel & Emboss

 

Lesson Info

Layer Style: Bevel & Emboss

Going through the basics of layer effects here, I'm just going to grab my image up here, and it is going to start with layer effects two different ways you can get to that later effect you can double click on your layer, which you always do when it always comes up with us, and you simply dismiss it. But this layer effect right here has all of the buttons that you could go ahead and click and it's the same thing as clicking on your layer effects down here, choosing one, and it calls up the exact same layer style dialog box. You may not have ever paid attention to it, but this is the layer style dialog box with a hint on style. Ok, yes, I know, because we have this weird window palate under here that has the same name, okay, so double click on by a layer and I'm going to call up all of my styles and I'm going to be able to go through here and it's hard to take this seriously, isn't it so here's? My layer styles and what I'd like to do is I'd like to run through these styles fairly quickl...

y, so first and foremost, I'm gonna start off with my double in boss. People have used doubling in boss, and we have our depth which controls the depth of our bevel and the size of this, which is going to be kind of the angles right there. We can do the upper down which, by the way, on ly, just shifts the highlight from one side to the other that's all it is and the size is just going to create more angles. And then I could go ahead and do to soften. So it's just going to kind of do the soft edges, so no one gets hurt. But we also have the ability here to d'oh an inter bevel as well as an outer bevel. Okay, so it kind of looks like it's raised above the surface. It is defaulting to inter bevel, which is going to take anything inside and devil it to the inside. We can also do the m boss, which is kind of cool, because then it kind of gives this kind a little pillow style, but we actually do have pillow in boss, which is really cool. So it looks like it actually comes down, drops into the surface, and then the object is flush with the surface to and then, of course, with the pill, if in pillow in boston of the stroke in boss, which is if we have a stroke around an object it will actually in boss the stroke as well so let's just go ahead but a stroke on there for now so we can see that and there's our stroke let's get a different color so we could actually see what's going on there we go so if we get a stroke in there and we do our bevel in boston we do a stroke in boss that will go ahead and in boss just a stroke itself pretty cool so of course the depth is not going to be affected much when we do the stroking boss but I'm normal basically inter double here the depth is going to allow us to adjust there's our size up and down like that it's often as we go most people like okay that's really cool but what we end up with the turn off my stroke at this point what we end up with is we end up the typical highlights and shadows okay highlight coming from the upper left shadow coming from the lower right we don't have to because with a bevel on in boss here we don't deal with just a singular direction of light like we wanna drop shadow we have our object light comes in upper left shadow cast down to the lower right and it just simply cast it off we have this really cool shading right here and in some of these, like we have with the drop shadow it's just simply a line that radiates from the middle of me just kind of run the line around this little circle, and it just basically controls the angle the light comes from with this, we can go ahead and we can control this. But this little dot here also allows us to control the light kind of overhead. So it doesn't just say ok, it's coming from over here is coming from over here. It allows us to come up over the top of our object here. So if I dragged my little dot to the top of the object now it's actually shining from directly up above. But wait a second. Why is it changing this one over here? I'm not using that one. I'm on this layer. Why is it changing this one? Because of global light like global warming, it happens everywhere. Global light means that it's actually affecting every single thing in that document. As one client argue with me, it's fine to have a drop shadow coming from the left and having a drop shadow coming from the light into products in the exact same image. No, it's not okay, we have a lot of crazy things in this world. But two opposite light sources forming two different shadows doesn't work so global like basically make sure that all of the direction of your light is going to be consistent throughout your entire document that's really handy, but it can also be really tricky, because as you see, it begins to change the overall effect of everything dead has based on the direction of the light. So you got to be really careful on when you're using this when you're not it's on by default, which is fine, you shift the drop shadow over you would like everything in your document to then shift the drop shadow over to the other side makes sense, so I'm going to run this around and you can see how that changes sure it does, but just the effect of going up over the top of this really can have an interesting effect on this whole thing and it's the exact same inner bevel okay, so we get into a lot of different combinations of these things really, really, really quickly, I'm going to bump this off to the side here, so we get a little bit more of a cast right here, and I'm also going to control how this bubble is going to appear right now is just a very soft devil. And we control the depth of the devil, but I can do a chiseled hard surface which is going to make it kind of nice and hardened button like and I can also do a chisel soft as well so it can affect these things differently all depending on the angle of the light if I go ahead and do it really big so there's chisel soft there's chisel hard can't see much difference on these particular ones so there's my global light and I can control the direction and they can control the altitude of that too and get some cool, cool stuff with it and a lot of times people look in there like how did you do that? Well, a lot of the times is just going in and messing around. Now we're going to show you later on how we can get these altogether, but if you ever want to learn anything about these cool effects that you see go online, tens of thousands of people have posted videos and all these cool things and it's getting everything dialed in just right is you can see there's millions of combinations and we haven't even gotten halfway through bevel and in boss. So then what I'd like to control is not only going to control the direction of the light here, but I'm in control what's called the gloss contour and I know it sounds really funky it isn't the gloss contour when we click on this is just basically saying, how is going toe look on how the light reflects off those particular surfaces, and right now I just haven't angled surface that's all so the light just comes and reflects often angled surface, it just bounces right off. But what happens if I have a surface like this? That kind of is going to go in and allow different types of light reflection to be bounced off the surface differently so that basically what I'm doing is I'm controlling the quality of the surface to give it a different type of light refraction off the surface, then what's cool with this is I can actually go in, and I can make this cool little bumpy thing kind of make it look like a gems down because what it's doing is it's causing the light to reflect off, you know, these different parameters, which is actually pretty cool so I can get kind of a plastic effect I could get kind of more like an emerald effect in this glowing effect all by going in and changing these gloss contours, so you're like, wow, I've got all these choices, you have more any time you see this little gear right there. That's going to allow you to go ahead and import ones if you've created important ones that other people have created or get the entire stash of ones that are already built into photo shop so I can go in and aiken load the contours, aiken save contours right here in this particular one photoshopped doesn't have anything war than this particular list of contours that it has, but they have other ones in here, so we're going to show you that. But this is where you're going to go win, and you're going to find a list of brushes, styles, everything else, any time you see that little gear there that's your hidden little thing. So if you download something online with somebody's got a really cool gloss contour, this is where you're gonna put it in, you're going to say, but to your hard try, if you're going to go into a load and you're going to navigate to where that is and is gonna load that contour, that surface contour in there and you can then create that cool effect, so we're gonna go back here and now we're also dealing with how the light is going to hit this. It's not just the way the light's hitting it that's the contour but what color of light we're going to use right now we basically have white light hitting the highlights there, but what happens if we're in a room where we're going blue light hitting the highlights, here's my little box, I can click on that and I can click on blue and say, yeah, you know what I want? Blue is a highlight coming in there, but then how do I want this blue to actually be affected? I can control the opacity of this blue light plus, if you know anything about blending modes, I could have these thirty odd blending modes on how that light is now going to react with the surface of my object. I know it's like doing your taxes, yes, right, so we aren't really going to get into blending mode that much. Today we have an entire class on blending modes and how they all work, but just a quick little idea of how these blending modes air split out. So if you go in here, you'll see these lines that are broken in between the dark and right here is basically what all these were going to do based on colors that are lighter or darker, but the majority of these things are going to cause a darkening effect the majority of these are going to call cause a lightening effect an overlay effect so it's going to kind of like cancel out or mix colors together here the difference so it's going to add or subtract things and then this is all going to be your basic hughes so if you don't know what you're looking for you can at least look at the very top here and she say ok, anything here is going to darken mike ahlers anything here is going to lighten my colors in different ways and this has been going to overlay so I'm going to get this combination of colors right here and then this is going to add or subtract get a difference between and then affect all my colors so for those of you that had no idea what goes on there that's just kind of a little overview of what you've got so I can control this light and just say ok make it normal light right there and have it show up on their aiken say no make it dark and make it lightened screen it whatever and then my shadow here same way how do I want my shadow to be cast well I can cast that shadow as a very dark color I can cast is a very light color I could make it as a green and then it will cast kind of as a green shadow on my bevel right there and so if I go back just to my normal contour I can have it lightened with blue kind of shadow vote a little bit of green there I can really bump that up and you can see that the green is then going to multiply on top of the red and then they can do that and I can kind of get a little bit of blue hinting on the side right there so I can control the light you can see that you know it's got a little bit of blue added on there because I have it lightened so it's going lighten that if I go to the dark and mel there than the blue is simply going to go in and dark in that as I go so that's the general ideas of going in and using these right there so you can also see this little preview window right here that's a little bit hard to see what's going on we've done an awful lot that these preview windows basically show you what's happening from these items now you think ok, we're done with the devil and in boston now we hard ok all we did was we just set the bevel in the in boss and in the way the light hits the surface that's it but we also have two subsets here of the bevel on boss and this one is the contour and this one is the texture so with this if I go onto the contour here this is different than the gloss contour the gloss contour is how the light reflects off the surf do you want it to be plastic? Do you want to be meddled? You want it look kind of you know stone like so it's super highly reflective that's the way the light reflects off the surface and that is your gloss contour gloss matt shiny that that the actual contour is the surface itself so here I can go in and I can control the surface which will literally change the surface to match this particular contour. So no longer is my red box just a bread box if you will look at the profile here it actually has this up and down which gives us these little ribs on here okay? So I can do all this other stuff I can do a little statue pyramid things like that little jag at the little round. So if I want to have it kind of like a nice little puffy pillow right there I can do that awesome. And this is where I can get multiple contours from my little drop down menu and I want tio load my contours and I want to upend and now I can go in and get tons more contours here that I normally wouldn't have and these are all built in the photo shop okay, so when you see something that's really wild and crazy and wacky and it's like, oh my gosh, how did you build that? Well, didn't it's just literally a red box with all these different things being imagined now most people don't ever get past the devil in the box. They think you button up button down how we looking to go so you can do all these great things, light reflection off it from any direction that you want left, right. Top bottom overhead the colors of the light that are going to be reflected the colors of light that are going to be shadowed and how that light is going to interact with your object. Then you can change your contour of the actual shape. Right now, the default is simply set to beveled edge. You know, we always thought that was so cool. And now, ten minutes into this, you're like that it's so boring, you know, who needs to deal with a beveled edge? We need something awesome. I mean, that looks pretty cool. Yeah, right there. That little inverted. The last. Right? Sure. So we can then add a texture to this as well, so any type of texture and a texture is nothing more than a grayscale image. Okay, so if you get a great scale image, you can actually create your own textures and patterns and put them in here. And we have some of them in here and we can actually apply these textures on top of our object in our map here so I can get this really cool. If I make this a copper color, I could actually make this look like it's little copper nothing in here that's all been nicely hammered and all done like that. Yeah, course we can you know, who would have thought you could ever get placed a bevel on in boss and a drop shadow and still look really cool. I know you know. So again, if you want patterns here, you click on that old gear and here are all the textures and patterns in here, okay? So this is just the very basic there's hundreds, if not thousands of these once that you could make one that you can download as well. I don't have time to show you how to make them today, but they're available and literally they just come in as an image there just captured as an image and saved in here, so if you have a row double textures and you upend right there these air all your different erode herbal textures, I mean shag carpet you know, those little things that your parents used to put under that chair so that you didn't like, scrape up the floors? Yeah, that's what they are there, you have it so that's the devil in boss feature right there. It was just doubling in, boss, when you're going through these particular items here, this is something that people get caught up on every once in a while just because I go in and I turn on or turn off something here doesn't mean I actually have it selected it's kind of weird. So if I turn off my contour here and then I go and turn off my texture and in turn my text around, I'm not actually on texture. I actually have to physically click on the word to see it highlighted. There came it's, a two step process, a couple other places and photo shop you have to do that clicking on it isn't enough, like a layer you have to not only click on it but also make it visible, so keep that in mind when you're using knows so there's my devil in in boss, on my object, right there far beyond just flat sides, you know, light source, that's it pretty sweet.

Class Description

You might know how to add a drop shadow to a layer or add a bevel and emboss to type, but what about more complex layer effects? Join Jason Hoppe for Layer Effects and advance your Photoshop layering skills.

The tips, tricks, and tools you learn in this course will help you create water droplets, gold embossed type, and ghost drop shadows. You’ll also explore troubleshooting strategies for removing background from logos and scaling layer effects when images change size. By the end of this course, you’ll be layering like a pro.


Software Used: Adobe Photoshop CC 2014.2.2

Reviews

nancy marckus
 

Jason's teaching style is staight forward and easy to understand. My first, but not going to be my last, course with Jason.