Adobe® Photoshop® Intensive

Lesson 14 of 68

Creating Reflections

 

Adobe® Photoshop® Intensive

Lesson 14 of 68

Creating Reflections

 

Lesson Info

Creating Reflections

So layers are lots and lots of fun and what crazy things can you do with layers of oil? Let's create a reflection? This is a great exercise in duplicating a layer free transforming it, we're going to rotate it and then we're going to add a layer mask okay? And then we're going to add another solid color background the see through so let's just take a look at how I've created this image then we're going to go through and do it and then I've got another image that we're going to do the same thing on again okay, so don't forget if you don't get the first time, we're going to do it again. All right, so if you look in the layers panel, you can see what's happening here this first layer, okay here's, my layer thumbnail and I've I'm seeing this transparency here that this means that I've used the move tool and I've scooted that down past the edges of the canvas so it's hanging out down there underneath well, we decided earlier that this layer thumbnail over here is a mask and if black conceal...

s and why it reveals if I look at this layer mask, which is a miniature of what I'm seeing in the previous year, the image I can see that that little sliver the images on lee being revealed kind of in this gray area right here because if black conceals and white reveals what do you think gray would do a little of both okay so that's what's happening here this next layer down that's the original image later that I started out with this one right here that's a solid color phil layer also an adjustment later okay so that's got the slider we know it's an adjustment layer still with black we know that layers filled with black every adjustment layer comes with a layer mask automatically nothing's happening in this layer mask it's solid white so all that means is that whatever is happening on this layer is being revealed in its entirety okay? Because it's white and if you don't remember what why does think of the rhyme black conceals white reveals okay, so everything on that layer is being shown okay? So that's what's going on in the image so let's create it so what I'm going to do and I have engineered these exercise files so that you can easily get back to the original but do try not to save over what I've given you on ly because six months from now when you actually go to try this technique out you may forget what we did so if you keep my exercise files the ps d's then you can reverse engineer it and it'll help you remember how to make the thing happened okay? So I'm gonna go ahead and delete these layers and then I'm going to use our trim command that we used a minute ago to get rid of this transparent space down here. So I'm gonna go up to image she's, trend it's already set to trim transparent pixels, so I say, ok, now I'm pretty much, um a one more thing to make me back to square one now I've got a locked background layer, so first step for this would be to double click the background later to make it editable. Now we want to give our spate ourself room for that reflection, ok, so we're going to do that with the crop tool, so I'm gonna press see to gather crops, fool draw boxer in the whole image, and again, you can start the click and drag outside the image bounds and you can even drag past the image bounds on the bottom right at crop box will still snap to the boundaries of the document. Now, since I want to add a reflection, I really only need space underneath the photo, so I'm going to click and drag that bottom handle downward, and I'm just going to do it kind of arbitrarily and then press return. So now I've got my extra canvas space now the next step to create the reflection we need to duplicate this layer, and then we're going to flip it so you can do that by clicking and dragging the thumbnail down on top of the new layer icon in the layers panel you can do it by choosing layer duplicate or you can do it by pressing command jay on the mac or control j on a pc okay, so now I have got my duplicate layer now we need to flip flop it all of your re sizing in rotating commands are hiding within that free transform realm so we can go up to the edit menu and choose free transform or press commander control t either way, it doesn't matter now if you hovering your mouse cursor outside one of the corner handles just a hair outside see how it changes to a curved double sided arrow that's your rotation tool you can click and drag in either direction to rotate that image that takes too much time faster way to do it let me invoke free transform again is too control click or right click within that free transformed bounding box and I know it's abounding pots because I've got those re sizing handles up. If you right click on a pc or control clique within that bounding box you get a shortcut menu fabulous things one of them is flip vertical that way you don't have to worry about getting the precise rotation angle down for your reflection, so I'm gonna click flip vertical and now we've got upside down little girls hiding in leaves, which I think is the cutest I stopped photo shot ever so now that I've got what I want, I can press return to let photoshopped know that I'm finished with the transform yes, ok, when I'm flipping it it's slipping both of my layers, he must have had both of them activated its on ly one is blue, though, but it's it's flipping both it's in the shape I'm retired. Okay, thank you. Okay, so do you think his flower shop has a one track mind? You have to tell that you're finished with the rotation, okay, so go ahead and press return and now I want to move that duplicated rotated photo down because I only need the top couple of inches of it, so I'm gonna grab the move tool because I want to move something that's on that layer and then remember our shift drag trick that I talked about earlier if you want to restrict your moving to be perfectly vertical or perfectly horizontal, you can hold down the shift key. So I'm going to do that now when a whole downshift and I'm on the layer that I want to effect, which is our duplicated layer and I'm going to click and drag down were with my mouse and I want to drag it just a hair down beneath the original layer, and then I'm going to use the arrow keys on my keyboard to nudge that difficult layer up just a hair. What you want is the tiniest space in between the original photo and the reflection for it to look real, or rather for it to look exactly like apple's reflections that they use in my photo, and I will be in everything else, everything okay? So you can use your arrow keys to nudge layers around when you need to make precise movements. Okay, now we're ready to add our layer mask, which we're going to use to hide, or fade out that reflection so that it looks like a real reflection, but in doing so, it's going to reveal that checkerboard pattern of transparency, which makes it kind of hard to see. So what I suggest is going ahead and adding a solid color background layer before you find him the reflection. So we're gonna do that just like we did a minute ago. We're going to go up to the layer menu, choose new phil layer, and we're gonna choose solid color, and I'm going to fill it with black, but I'm going to change it to white, so I don't want to be too specific in my name in here, so we're just going to call this solid background and when you do get into creating a slew of layers, it is really helpful to start naming them that's just good kind of habit especially if you ever have to share this footage shot file with anybody else they'll never be able to figure out what the heck is going on where unless you name it okay, so I'll go ahead and click ok flower shop opens the color picker and lets us pick a color this time I just want black ok, so I'm going to click down here at the bottom left and you can see the new color in the current color and a synergy click ok that phil layer changes colors that's another benefit of using a phil layer when you want to create a solid layer of color because any other way you'd be creating an empty layer then you'd be picking the color and then you choose edit phil and it ask you what color and you tell it what color and then if you changed your mind what do you do? You got to go pick another color and you got to go back into the edit menu tell foa shot to feel it again with a new color and it's not helpful for experimentation but with this phil adjustment layer solid color adjustment layer rather if you want to reopen that color picker, all you have to do is double click that layer thumbnail color picker pops right back open you decide you want white great you've got white and you've not had to retrace your steps as you would with an image layer filled with color manually same same in game much more efficient way to create it then a lot of people use okay adjustment layers were in photo shop but beginning layers enough layers were in there at the beginning I'm getting some nose around here so there are simply more efficient ways to create tried and true techniques these days and there were and that's the stuff that you're learning here so phil layers when you want to add solid color to layer ok so now we need for this to be a the bottom of our layer stat because right now this white layers covering up everything else so it's click and drag from the thumbnail click and hold down your mouse but and drag it all the way down to the bottom of your layer stack release your mouse button now we've got a white background layer going on good okay now what we want to do is we want to find him are actual reflection so we're going to click to activate the layer which is our reflection and forget habits I could actually name it there we go and I just double clicks the name toe activate that for editing now we want to add a layer mask so we're going to do that you can do that by choosing the layer menu layer mask and either reveal our hide all that's a little I have trouble figuring out what I want to do you wanna add a layer mass that way I'm like in my revealing everything in my hiding everything what the heck am I doing so that kind of confuses me so what I would suggest is using the icon at the bottom of the layers panel this little circle within a square icon that's how I am my layer masks and I find that to be the most efficient method for me so give it a single click and as I zoom back out you'll see now we have a mask well nothing changed in my image because my mask is white and if black conceals a white reveals there's no change for me to see there so now what we want to do is I want to paint with black on that bottom part of that layer mass because I want to hide part of this other image here but I need to do it in a way where it looks like it's fading out not just you know it just ends like if I just painted with solid black it would just end I wanted to fade out which means I need to add a great aunt in my layer mask I don't want a black grady and a black toe white grady it ok so you can do that easily by using the grady and tool in the tool bar okay, so it actually looks like a great ingredient is simply a fade from one color to another a soft fate that's it and you can control how wide that fate is or how soft it is with the tool ok, so we're going to give the grading tool a click to activate it it's easy to remember too that geeky is the keyboard shortcut for ge radiant so the other thing that we need to do is from the options bar we need to make sure that we've got a a black and white grady it going on okay, so the grady and toll looks at your color chips so if you had a black and why as your color chips you're fine, but if you didn't, you don't have to d select your deactivate the grainy and tool and then go change of color chips you can simply set the grading colors appear in the grady in preset picker so I'll zoom in what you want to do is click that little downward pointing triangle and you get a little pop up menu of the built ingredients in the program this third one right here will always always, always be a black toe white grainy it okay, this one right here this preset is picking up your foreground and background color chips, okay this one will always be I think it's ah background of foreground too transparent so why does my foreground colored ship nail that's? Why it's? Why too transparent but what I want is black to white and so this is a built in pre set you would have to jump through many, many hoops to delete this from photo shop so it will always be there. So you want to give that one a click and then also in the options bar? You want to make sure that you have linear grady in't activated and it is the setting straight from the factory. So unless you played around with different grady and types, you probably don't even have to click that, but just make sure that linear grady in is active now the next thing we need to do is make sure that we have the right thing activated in the layers panel see how there's an extra little brackett around the layer mask right now extra little corner bracket I think on pcs you get an extra quite outline around the whole miss okay on max, you're going to get this extra little corner bracket that bracket or extra by outline lets you know what is active at that time is it the layer content? See how the bracket switched when I clicked the slayer thumbnail or is it the mask later content layer mask if you want to do something that affects the mask, you have to make sure the mask is active else you're gonna be painting on top of your original image ok, so with the mask active, I can come over here and I'll zoom in just so you can see the cursor it's a little cross hair and what you do is you click in drag with a little cross hair and the length of your drag controls the width of the radiant hey or the fade between the two colors housing back out so what I'm gonna do is I'm gonna click oh, about halfway down in in that portion of the image there and I'm gonna drag upward and because I don't want my grady it to be angled I want it to be perfectly vertical I'm gonna hold the shift key. Did you see it? Pop my my grady int grady it dragging line preview whatever is called it snapped it to be perfectly vertical, ok, so I'm going to click and drag it just up to the top of where that layer starts. You see that? So I'm going to zoom in a little bit and go down in my image so we're all we can all see that so as soon as I let go of my mouse but see how it filled in my layer mask over here with black and gray sea it's a faith okay, so I'll do it again. I'm I started my click about in the middle of that little piece and then I held on my shift key and I dragged upward to about the top of it and this is purely your call however you want that toe look and if you are a non pleased with your first grading and dragging a tent, you can keep clicking, see how as I clicked doing that, I'm changing my results so keep clicking and dragging experiment with different places, see how the shorter the distance that I dragged with the line, the sharper the fate is the farther that I draw, the softer the fade becomes and depending upon where you start out, clicking in your image is how much of that part of the layer you're going to see. Ok, so that's how you get a reflection, saul, zoom back out and see the whole thing so it looks pretty good to me let's say, I want to I want to give it a little bit more pop. I want to change that solid color film layer back to black, so I'm going to double click that layer thumbnail to some in the color picker choose black press ok, so now that might let you see it a little bit better, but it's a super easy way to add a a nice soft fade it's really, really great so let me show you that one more time on one more image just to make it sink in real good okay, so our first step was to unlock the background layer so that we can add more transparent campus space so we're going to give it a double click. Now we're going to go grab the crop tool because we like adding our extra space for the crop tool so press see to grab the crop tool, draw a box from the whole image and then take that bottom center handle, click and drag it down word for an inch or so here we go to give yourself some extra space actually I'm gonna zoom out because I need more space than that, so I can actually see where I'm dragging my handle that should be enough now we want to duplicate our layer and flip it so layer, duplicate layer or command j or control j is your keyboard shortcut for that? Duplicate the layer name that reflections and with that layer active now we want to flip it and we do that with free transform so edit free transform or commander control t and since we don't want to have to rotate it all the way around that's a lot of clicking and dragging, we're going to bring up a shortcut menu of transform commands by right clicking or control clicking inside that free transformed bounty box if you control, click out here nothing's gonna happen you have to control or right click within the box so now we're going to choose flip vertical have to tell photo shot we're finished it's a press return or enter now we need to move it down so we're going to grab the move tool and because we want to move it perfectly vertical, we're going to hold down the shift key as we drag it downward. I'm gonna stop about there in the nominee used my up arrow key to nudge the soon to be a reflection layer closer to the original. Now I'm gonna add a solid color background so I can see before I add my mask. I want to add that solid color background else you're fading to transparency, which makes it impossible to see what your reflection is really going to look like, so we're going to go up to the layer menu she's new phil layer solid color will make this one black as well, remembering that we can always change it with a quick double click of this layer thumbnail, click and drag the layer thumbnail to the bottom of the layer stack now we're ready to add our layer mask to the reflection layer so we need to click to activate the reflection layer now we need to go at the mask so click the circle within a square icon at the very bottom of your layers panel so now we have the mask and as soon as you add the mask, the mask is active so I've got my bracket or on a pc the extra wide outline now I can go grab my great aunt tool I compressed g to grab the grading and tool take a peek up at the grady it preset picker in the options bar and make sure you've got a black to white grady and going on if you don't single, click the downward pointing triangle and click that third little preset, which will always be a black to white radiant give it a click if you need to click the linear grady in style probably won't need to do that if you haven't messed with it before and then you're going to come over to your document and experiment with clicking and dragging from the bottom up. Okay, so this time that this pictures will be easier if use actually seen my cursor, so I'm gonna start my click when we see if I can zoom in and see and see it better I'll start my click about here and it doesn't matter horizontally where you are in the image it doesn't at all not when you're doing a straight vertical drag okay saw start about here single click hold down your mouse button hold down the shift key to constrain your drag to be perfectly vertical and drag up to near where the top of that layer is and then release and if you don't like it, keep it clicking and dragon until you do and you don't have to hold down the shift key. I mean, if you got a pretty city hand, you can draw that line without, but you just don't want it to be angled because then that's something else entirely. But the thing I love about using the grady it tool inside the layer mask is that that mass keeps updating with every drag of the great it's not like you've got to empty it out and start over, which would be a drag, huh? Pun intended, yeah, and then the last step to make it look a little bit more realistic let's say you like the grady in, but the reflections still a little bit too strong drop the opacity, so make sure you're on the layer that you want to effect and I am and I can simply click and drag to drop down that opacity not that much about their to something that looks riel to you any questions on the reflection technique? I did see a question of if if there's a way to make the reflection look like water rippling not with this technique, you can try to add the ripple look with filters, there is an ocean ripple filter and a question from adrian j, is there a difference in file size from filling with color, then using the phil color adjustment layer that was from right before we got to? Yeah, yeah, using a phil adjustment layers is much better for file size. Your foul sounds will be smaller because there's it's really not filled with pixels it's kind of like an instructions that with our lbi harasses their way to do a grady and without it, having a hard edge, so greeting with a feathered edge that doesn't have the hardage showing through, well, that's kind of what we've created here by using the grady and toll in the mask so you can fade that mask from concealing or revealing, you can also use the brush tool inside of a mask and that kind of stuff. Um, we're actually been going to be doing in the last part of the day. We'll use a soft edge brush. She'll kind of get that soft effect as well. And a question from a diana livingston can you add an additional layer mask on the same layer? Yes, you can have two masks on the same layer, I haven't figured out a real give use for that, but you can ford's photos had asked, how would you print the composite of the lady checks, plus the reflection on another document without flattening layers? You can just print straight from photo shop, so if he created reflection and you print, it is gonna be there. Yeah, you can print straight from photo shop, you know, it's really no need to flatten. This was a question from earlier and from a elisa hall, courtney khun ukrop, not resize. Only one layer in front of negative cropping is happens on a document level. Yeah, if you wanted tio delete part of a layer, you could create a selection of that part and then delete it, but that's kind of some of the stuff that we're going to begin into later in the day when we start adding later mass, making some collages. So, uh, when mick had asked, how can I blend the content of two layers and ingredient like effect? Using the black and seals? White reveals, edwin says, I know there's a way, but I don't remember well, you can faii layers together by adding layer masks to them. So that's, kind of what we're doing here were fading these two layers together with layer mask, and we're going to be doing that for the rest of the day, so

Class Description

In this special photoshop tutorial, you'll dig into Adobe® Photoshop® CS5 with Lesa Snider, author of Photoshop® CS5: The Missing Manual. There is so much to cover in Adobe® Photoshop® CS5 that we need almost a week to cover everything. In this special 4-day workshop you'll dig into Adobe® Photoshop® CS5 with Lesa Snider, internationally acclaimed instructor and author. Lesa is informative yet entertaining with a unique way of explaining difficult concepts so you understand the "why" behind the "how". Get ready to spend a fun, high-energy week digging into the power of Photoshop.


Software Used: Adobe Photoshop CS 5.1

Lessons

  1. Introduction: Nitty Gritty Basics + Layers
  2. Workspace Overview
  3. Q&A: Workspace
  4. The Truth About Resolution and File Formats
  5. Changing Resolution Without Changing Quality
  6. Q&A: Resolution and File Formats
  7. Resizing with the Crop Tool
  8. Cropping with the Ruler Tool
  9. Resizing with Content-Aware Scale
  10. Resizing for Print/Web
  11. Layers and Layer Types
  12. Duplicating, Moving, and and Aligning Layers
  13. Q&A: Layers
  14. Creating Reflections
  15. Layer Alignment Tools
  16. Simple Slimming Technique (Resizing Layers)
  17. Colorizing a Black and White Image
  18. Creating a Solid Color Fade with Fill Layers
  19. Layer Masks: Hand Painted Image Collage
  20. Layer Masks: Gradient Mask Collage
  21. Layer Blend Mode Collage (Include Load Images as Stack)
  1. Using Selections Part 1
  2. Using Selections Part 2
  3. Q&A: Selection Tools
  4. Color Selections: Fixing Animal White Eyes
  5. Tightening Up Layer Masks
  6. Painting Selections with QuickMasks
  7. Using Vector Drawing Tools
  8. Vector Shapes: Creating an Oval Vignette
  9. Vector Shapes: Rounded Edges to Photo
  10. Use Channels to Create Selections
  11. Tough Selections Around Hair & Fur
  12. Refine Edges Part 1
  13. Refine Edges Part 2
  14. Creative Edges on Photos
  15. Embellishing with Vector Art
  16. Creative Vector Photo Frames
  17. Editing Smart Objects
  18. Smart Objects Template: Creating Dark Edge Vignette
  1. Smart Objects: Selective Blurring
  2. Smart Objects: Selective Sharpening
  3. Sharpening with the High Pass Filter
  4. Q&A: Sharpening
  5. Auto Color Adjustments
  6. Shadows and Highlights
  7. Using Levels
  8. When to Use Smart Objects
  9. Using Curves
  10. Lightening and Darkening with Blend Modes
  11. Enhancing Eyes and Teeth
  12. Changing Colors with Hue/Saturation
  13. Changing Colors by Hand Painting
  14. Faux Dodge/Burn: Reduce Wrinkle
  15. Color to Black and White
  1. Healing Brush
  2. Content Aware Fill
  3. Using Text in Photoshop
  4. Designing with Baseline Shift
  5. OpenType Fonts
  6. Placing Text Behind an Object
  7. Barely There Text: Faded and Hollow Text
  8. Pushing Photos Through Text
  9. Adding Texture to Your Text
  10. Convert Text to Paths
  11. Combine Images using Advanced Blending
  12. Realistic Photo Aging
  13. Faking HDR
  14. Wrapping Texture Around an Object

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