Layer Effects

Lesson 16/16 - Raindrops and Frozen Effects


Layer Effects


Lesson Info

Raindrops and Frozen Effects

But the coolest one that I'm going to leave you with his raindrops ok yes raindrops there it is folks thank you for coming so what I did is I just created this kind of simple little stainless steel background I would like to do raindrops on the back of here so it seems really weird to start this way and these are not the kind of things that people like oh, I think I'm gonna do this I just want to show you how you can begin to understand just how many things you can do with layer effects so what I did is I just kind of painted random sizes of hard edge things and you can't really do things with soft edges you really need those hard edge pixels to get those all of those later effects to have a defined edge in order to apply them so what I did is I just painted on its own separate transparent layer just these black dots and then I just went under the filter here and I just kind of did a few little you know fun things with them just kind of mess up the you know, the number of the dots a li...

ttle bit and boy just kind of make a look kind of water droplet e okay, this kind of make little funny shapes you like my description of them allegedly bits crunchy bits in a water droplet e sure and then what I did is I went through with my effects and I went through and I decided to put a bevel on boss on there and with the double on in boss, what I did is I just went in and I just wanted to get a little bit of highlight there and I did a smooth one, so they get kind of a soft edges like, you know, raindrops don't have a forty five degree bevel on them and so that was my devil in boss and then I did a little inner shadow and I did a little drop shadow when I say, wow, that looks awesome, but the key to this is when I went in and did my drop shadow and my devlin and boss and things like that this is the fun stuff that I did so we can go in and we can choose use a whole bunch of different ways that we can begin to see how these colors actually look now these air all black, right? But watch what happens when I take that fill all the way back? Uh so here's, the thing the thought process is not a linear thought process you think ok, I'm gonna draw water first I'm going to make it look like water no, what I did is I just did black because they're going to give me a really solid effect now I'm gonna walk through these so we can understand how this actually works and this is where the phil works beautifully I don't want to see any color ok I just want to see transparency and I want to be able to see everything through that and I just want the water droplets which don't exist to have them so we'll start off with my devil in boss there's my doubling in boss and very soft edges ok because if I don't do a soft edge here and I dio you know kind of an angled edge is going to give me angles on there so I want it very soft as I do that and then I also went in and instead of just doing like normal white highlights there I wanted to do just kind of a very soft screen highlight and not much because I could make them really intense but I don't want that watch reflection I want just enough that it kind of shows me a bit and then for here it was normally set to multiply which gives me really heavy shadows we didn't want that but he didn't quite know what it is there was looking for but I know the lightened section is going to end up ultimately lightning and there's going to be lightened or is it going to be screen or is it going to be color dodge what's going to work for me? And I just go through the lighten things and I find out I've done this numerous times before but I just want to walk you through kind of the thought process okay? So there it is now the next one is my interval so we turn on my interview bubble here are my inner shadow and I go to me in her shadow and this is really interesting because I haven't set to black but as an overlay there so it's going to you kind of mixed with it I'm just gonna do normal here and you see that that's what it looks like so my inner shadow so is going to be casting from one side because clearly when the light comes through the water droplets, the shadow is going to be cast so obviously I don't want them to be black there you know, when I do some type of you know, I think it did color dodge on their can't remember which one it didn't have to cancel inner shadow, so there it is weighted overlay on that one okay, so I can see the opacity on that with the overlay and that overlay is part of this soft light kind of mixing being right there and then the last one I did was the drop shadow and with that drop shadow it kind of casts a nice little shadow there because water does have a little bit of translucency or a lot of translucency, but it does kind of slow the light down a little bit. So what that drop shadow? Now I'm going to go in and they realize ok, that shadow, maybe a bit strong, so I can really cut that back, so I don't want no shadow because and it doesn't give it any depth, but ever so slight bit of shadow just really helps, and I have to be careful about adjusting to size the shadow, the distance of the shadow, the width of the shadow, the flavor of the shadow of the shadow of the shadow. And so I don't want it too far because it looks like it's hovering up above wanted fairly close, but then the size and there it isthe so now I have water droplets, and if I ever want to add any more water droplets to this is going to go back with my brush right here and I'm going to do just a hard edge brush and I could go in that's, a soft edge, russian here's what happens with a soft edge? You see what I do that with a soft edge, it doesn't define it, so I have to go in with a hard edge brush, and when I do a hard edge brush right here, I can add little water droplets and get this so I can dio you know I can do like little water droplets that come down and then they just kind of go and, you know, little drippy things yeah, not so you can do it now I just created water droplets how do I save these? Because they evaporate not a problem I'm gonna go to my style's panel, but I will click on my effects and I don't even have to go under new style here I can do it even easier click on my layer that has a layer effects hover over any of the open portion of my layer effects here I get little paint bucket right there and just simply click there is my water I click ok it's now saved I'm gonna jump over here and I'm going to see so I'm going to take one of my objects here like this and see if my water actually works doesn't really give me that same kind of effect because I don't have all those other things applied, but if I ever did want that and I wanted to have my water effect, I could have my water effect doesn't look like water because of the way I had these things working and that's the thing with layer effects, they don't always look the same, but that's what it looks like and the biggest thing is is the difference between that which looks like nothing and that which allows me to have no pixel showing but all of the effects showing through you want to frozen water of course you want to be frozen water because and you see this all over the place the little like frozen jebali bits that air around the type and things like that you see a fast food restaurants you know I know yes libbets ti m e I thought of it you can't have it so one of the things we can dio to get those little jimmy lee bits right here is I'm gonna do and outer glow around the whole thing because I want the frozen theme around this and I'm going to an outer glow and then we have this one little standalone weirdness in terms of layer effects it's called dissolve it does nothing like you think it does okay no do you think it just like each things up now it doesn't dissolve literally literally gives you those little jim leavitt ok? And so you actually get those little frozen djibouti bits around those so what you can do is you khun spread them and you can do the size there it looks like something growing in a petri dish but if you want to give those kind of frozen effect you can go ahead and do more noise or less noise there to kind of give that effect of the frozen things and you can control the opacity of it as well to kind of imply a little bit of frozen this little, you know, cheesy but it's kind of a cool way to make those things look somewhat frozen. Yeah, I know so there it is with or without little frozen juliette's and that's why you're effects it's just not for kids it's where people acting like kids question so this is amazing, but so if we're looking at the water and it's like an orb shape the lines underneath, could you use the what? What do you have it as layer one to select it and then go on too late or too and bevel everything underneath that selection, so they're kind of the orb shaped also like a magnified look there's, always a troublemaker in every class and that's that's what I love because in the reality of this it's like you look at this and this is the reason why I put on the statement steele surface, you put in a normal flat surface, it doesn't look like anything but then people like, well, I kind of want these things to kind of bubble up sure, guess what I'm going to go into this layer here I'm gonna command click on that layer and I get my selection around every single one of my bubbles yeah and I can actually shut those off because I'm going to be doing all my work on this layer right here and I can actually go in and if I wanted to is a little bit of a tedious process but so salmon and work on this particular one I want to kind of curve this a little bit I have filters that I can go in that I can go ahead and I can do my distort where I can go ahead and with historic here I go ahead and spear eyes things so if I spear eyes this what happens is it'll go through but it's going to do this as a global sphere so let me go in and do this and then turn this on and I'm going tio examine us like that but then I'm going to de select everything else here I'm just taking my selection tool with my option held down some of this attract from it somebody isolate that one right there click on this layer just shut the water off for now but there is my layer with my selection right there I'm going to my filter I go into my distort and I can do my sphere rise which is literally creating a sphere and then I can go in and I can see this your eyes effect right there within my selection so I can kind of do something like that with it and do that and when I do that and I turned their back on I can kind of get that effect as I go through I would like to be able to go win based on every selection and do a specific sized sphere for that but I think you'd have to go through and do every selection in order to do that like that would be really cool we do have the tools over here where we can go in we can sharpen and blur but even with the sharpen and blur and this much tool we don't have the ability to go in and actually, you know, pull things together, open things up the other thing well, wait a second I u s o the filter menu here um we go in and we use the filter I want to use liquefy here we go I knew there was a way I was just thinking of it every year to liquefy filter the only works on water bythe so with a liquefied filter trying to think through this here liquefy filter now that I've got this election done liquefy feel older allows me to go in here and allows me to work things so I could actually pull things and work things like that this is great for people's eyeballs by the way you come like drag things all over but what I want to use is I want to use the bloat filter right here. And the blow actually works just like a brush. So I could go in here and I could individually go in because I have them in selection. I could go in, and I could bloat those areas a lot faster like that. So I could go in. And aiken bloat those but it's only gonna happen inside my selected area. So that's going to work a whole lot better. This is going to be a little bit tricky because I'm going to go in and it's kind of hard for me to bloat that whole area when I do that. Now, when I come out, I have that. And if I turn that off, you can kind of see those areas that were affected right there to do that so I would use the liquefy filter. And if you've never seen the liquefy filter actually work. This is the best part about the liquefy filter. So something like this with a liquefy filter let me open up somebody here. We have to open up a person here. This is what I love about the liquefy filter. Nothing to deal with layer effects, but the liquefy filter allows you to do this, so if you do the forward warp right here, it just basically allows you to grab something in poll, okay, so the pucker and bloat filter is you know, for those people that are slightly out of proportion you know, I think he needs a much bigger chest, you know? And maybe he needs a very small head that's what it does and then of course you khun do the whole swirl filter and everything else but, you know, we won't get into that, but this is what people do in order to, you know, kind of suck things in, you know, give that great hourglass effect, and I actually taught a class on how to do this. I mean, this is really horrible, but that's, what the liquefy filter does. So in that case, I think selecting those areas and then using the bloat filter brings it out beautifully before after, but with that, go in and select your object and then with your selection active, you could go into liquefy filter and it gives you those areas to go in and just isolate what's been your most challenging, a challenging shape or effect. Tio make realistic. My gosh. Well, I the reason why I learned this years and years and years ago is I was working for triple a of southern california and they want they had this car in the driveway and they're just like we need to make it look like somebody's washing it well, that's, easy to darken the concrete and everything and have the hose and get some water, you know, but it's really hard to make the vehicle look wet. So I had to go through and do this over, like the entire vehicle to make it all look wet and it's hard to make it look wet, because there's, all these random spots doing this, you can make them ever so random. But then you could get some weird looking thing. Something is like, oh, my gosh, is that king got wearing carried on there, so you can't just I mean, it's, very difficult to make something random, but it was. We did, you know. Luckily, we didn't need to show the whole thing, but that was probably the most difficult that's, the one that stuck with me, like, for ever.

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


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.