Layer Style: Inner Shadow
Time to jump down to my flower here we're going to continue on down the list to add different things to this so I'm gonna double click on my shape and coming over here we go in and do this all over so we can have the window up there we go so what this we've already done our bubble in boston or stroke I'm gonna do with my inner shadow an inner shadow kind of acts like a bubble in in boss but it doesn't actually give me my angled size here basically what the inner shadow does is what a normal drop shadow would do on the outside and inner shadow just does in the inside so it's basically implying that is kind of like inverted so the lights kind of casting a shadow into this little flower right here and again we choose our shadow color so if I would like a red shadow color coming in aiken shadow that and read and then I can control the opacity light or dark and I can control the distance and the distance is basically where the light is coming in so if it's lower on the horizon is going to c...
ast a much longer distant shadow the shorter the distance there a short of the distances so it's going to cast much smaller shadow right there so I don't want to do it too far over and I can go ahead and do the size and the size is basically the blur if I have a very small size going to give me a really tight shadow and the bigger the size is actually more of the blur okay? And the choke is really weird okay? The choke is basically taking the feathered edge off. Okay? So think of it as having a sharp edge or not having a sharp edge okay, so the choke I know distance choking size it's kind of weird terminology but anyway, so the choke just takes the edge off okay hard joke is going to choke it really hard and it's going to be a fine edge no choke whatsoever there we have it and yet again, when we go through here we can control the light this lights a little different because we're not talking about light that's going to operate on three different access here we're just going ahead and we're going to rotate around a search so we can't have this light come up overhead like we could with the bevel and in boston this is just this little one that I can just run around and as I do that you see it's changing absolutely everything because I have it set to global lite I can't drag the light over the top but I can control the direction of the light in this case I may want to go in and use a dramatic effect here as if no, this is dramatic, I want to go into an off global light, so I'm only affecting this particular image right there. So I have my inner shadow coming in from the opposite direction, not that big of a deal, because we're not going to get, like, super picky on all the shadow directions there we haven't, and now we're also condemn o in and of course, we have all of our contours, and our contours are also going to go ahead and control on how this basically works, and you have to kind of, like, wrap your brain around how these things are, because we're not dealing with kind of the extrusion of the object we're dealing with kind of the intrusion of the object of the contours, so in essence, they're working exactly backwards of what we know this to be takes a little bit of time to get used to this, and most people just go through and click until they find something and then they can't do it ever again. But we'll show you howto save your bacon if we had big anyway, so this allows us to go and we get some really cool effects here just by going through and seeing how that lightest hitting that particular contour and then the noise feature allows us to go in and do a little crusty bits on there and the old crusty bits there show you those alleges, so it's pretty cool, you know, I can have a nice and smooth, or I can have them very noisy. Yeah, so that's. The inner shadow, yeah, technical terms, little crusty bits, not to be confused with bacon bits, crusty bits. I mean, we'll show you crackly bits, but those were the dissolved in the little crusty bits. Time to get in all this terminology here, and we'll just keep it simple, okay?
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