Adobe® Photoshop®: Creative Explorations, Lighting Effects & More

 

Adobe® Photoshop®: Creative Explorations, Lighting Effects & More

 

Lesson Info

Displacement Maps

Here is my original going to clear the glock the guides or at least hide them? I need to see him. Those were useful in the creation of this, but not in the end results. And what I've done here is I've just built up a little design uh, it's sitting in a group here, if I turn off the eyeballs on these, you'll see what it's made out of it's just the lair full of white, some text, some more text rectangles and that spills are all other than the text those were all created with a shaped tool and so that's my little design, this is going to be hopefully created in such a way where I could change the design at any time, so if I wanted to update it, make us say, you know, two thousand twenty or something, I'll be able to do it after I end up being done with the effect. What I want this to look like is a button you could put on your shirt. We're quite a ways away from it right here aren't so what I'm gonna do is I'm gonna make a selection that represents of the size of the button I want the sun...

now I have my design larger than I need, because if you think about the way of button works, what if you make a piece of paper the exact same size as the button you want to put it on well when you apply it to the button doesn't have to bend down the sides and actually need mohr material to do that so I made sure I just had a bunch of extra I don't need anywhere near this amount, but the main thing is this gives me space to have a button and then some background around it now I already defined a circle I'm just gonna load uh is this a selection just because I've done it before I go to the select menu choose load selection and I'm just going to say button outline is just gonna bring me a circle selection but I went to the select menu choose load selection again it there's my circle that's how big? I'm gonna have my button and I might first experiment with this where the text within this is centered within that circle but after experimenting a little bit once it bends it onto the button it kind of distorts it a bit and I think it might need to be offset like that but we can always adjust it s so I just have a round selection there's nothing special about that selection uh it's just a simple one um we need to create something that's called a displacement map to tell photoshopped what shape our button should be what does it look like? Is it one that has a completely flat surface and then straight sides like you know like a top of one of my water bottles or something or is that one that has a curved top to it? Well, we need to be able to find that and the way you do that if he used the feature we're going to use which is called displacement map is by defining different shades of gray and so I'm gonna make those in this document here uh and let's do it I'm gonna go to the channels panel on the right side of my screen I've layers channels and pounds click on channels and if you don't have that visible on your screen remember the window menu list every panel you can possibly have so uh that's where you can find it I have some existing channels in here that will ignore their ones that just in case the ones I make if they mess up I have some backups in here so I could say oh yeah this is how it's supposed to work but I'm going to end up working in there I have a selection active when the selection is active I'm going to go to the bottom of my uh channels panel and there's an icon for saving that selection into my channels and that is the one that looks like a circle inside of a rectangle this guy when I do that it's going to take my selection and is going to put it here in the channels panel if I click on the name of that newly produced channel you'll see it all it is it says let's save the shape of the selection stored in the channels panel and it does it by making that middle part um white and everything else black now in here I need to find this button based on brightness levels where photo shop is going to think of white is being close to me in black is being far away so right now thinking that way photoshopped thinks this is like equipment to a can of soup sitting there and we're looking straight down at the top of it in that white means close to me which means like the top of the can of soup and the black part would be something far away from me like a desktop that is straight below that and that's how photo shop is thinking about this in order to make this look like more of a button what I'm going to do is go to the grady in't tool and introduce some shades of gray with a great idiot tool you have different types of radiance here the normal one goes in a linear fashion across a just a straight line but I'm going to use the one next to that called radio it radiates out from the middle and with that, I mean a click right in the center of this circle and I'm approximating the center usually I would be overly precise I'd have guides in the center of my document before even created the the rounds selection this will be close enough I'll click there and I'm just going to drag out to the edge and when I let go it should I hope put my foreground color right in the middle which is white and where I let go what she put my background color which is black will be out there on the edge and a radiate like that this remember is going to define the shape of our button where bright things are close to us dark things or further away and since this is evenly fading out it would think of this being like a cone where you looking straight down on the cone because white is the closest you can get to you and it's evenly coming out darker and darker as you go further away, that means it's being further and further away from your of standing position. Isaac it's getting further away I know it's a weird way of thinking where you have to think about brightness levels but it's how photo shops gonna think if you think about a button though a button should have a possibly a flat top and only on the edges it should suddenly bend so what I want here is a white top and then it suddenly falls off on the edge there's a bunch of a bunch of different ways of doing that one of those methods as somewhat interesting and that is if I go to curves we talked about curves in a previous seminar as well, this is actually kind of showing us what we have right now if you see this diagonal line just imagine there's another one to the right of it going back down the other side do you see that diagonal line there? Just imagine there's one straight over here where this is showing us half of our buttons if we sliced it right down the middle that's how photo shop is thinking about it as if this is high and this is low and all I'm going to do in here is draw the shape I want imagine this is the button what you've done is you sliced it right down the middle like here I'll take the cap off of my water if I had a knife right now and I sliced this right down the middle and I'm just looking at the side of it I want to draw the shape that I want so I'm going to do this we're gonna add a dot pull it out here to get a flat top and I'm going to just kind of something like that maybe I'm not sure exactly what we best but it's going to be a flat top and then it's going to start curving and then it's going to come down pretty abruptly although I might want it to be even more abrupt on the edge like this so I need to find tune what I'm getting here it might need a few other dots more like that so we're gonna have a flat top on our button and there is going to suddenly curve down like that just to mention this is literally looking at it from ah profile view and doing this now I think I actually did one of these when I was actually careful let me see if that's the case uh let's see I'm gonna load a preset I think I have one saved I made it years ago so who knows if it'll be good or not that's the shape I originally used so it's pretty close to what I had a minute ago is not but all I did there was I went to the side menu and let's say you're going to make buttons all the time you might want to save the shapes they can use it you can go right next to the okay but there's a little gear icon and you can load and save what you have in here and I chose load preset and inside the folder where I'm storing these images I had one called button edge all right, so I'm gonna apply that look, okay? Now that's what I'm going to use to bend our button it's going to think about that as a description of the shape I want and I'm going to use that also when I light the button and when I light the button it's goingto therefore think it's three dimensional and therefore the lad I'll highlight and shadow and that kind of thing is going to be pretty cool now actually need this saved in two different places one is right here in the channels panel, the other is I need it saved as a file in my hard drive separate from this one in order to get it to be in a separate document, I'm going to go to the select menu and select all I'm gonna copy it and I'm just going to create a brand new document whatever you create a brand new document have you ever noticed the size it has typed in always seems to change well, it's based on whatever you copied last, so this is the exact within the exact height of whatever I just copied it's also in the mode of whatever that info is, so I just click okay and I have a perfectly sized document that I could go to the edit menu and she's paste on now I'm going to just save that file I should touch up that little white ring do you see the little kid into the white ring uh but I'm not going to just for time say vows and I'm just going to put it on my desktop someplace where it's easy to get to and I'm gonna call it and photoshopped file formats fine don't want any layers though so that's what saved on my hard drive that's also what if I close this file is back in my button uh image here just sitting here in what's known as a channel so we got in two spots and now we have this document set up to be able to bend in light a button I'm just going to click on the top most channel called rgb click right on the name that will get me back to the full color image I'll click back on the layers tab and we've prepped it ford's photo had a question earlier we'd like you teo address they were working on lighting effects and the option was great out you did it was a little bit about that let's talk first off about filters in general if there ever great out what I do the first thing I would do is check the mode of your picture is in an eight bit mode or sixteen there's a lot of filters that are not available to sixteen bit images and so that's the first thing I would check that's image mode steve it's an eight bit mode that's where you'd want teo be for most filters a few of the filter's working sixteen bit, but the vast majority don't also a lot of the filters either don't work or working a subpar fashion if you're in scene, why came out if I know I'm gonna end up on a printing press that I have to end up in seeing white came out at some point I usually did at the end of the process because the filters and often a lot of the adjustments work better in rgb and there's just simply more filters available. Other things I'd look for is their selection active, where you might be working on a tiny area. You can't tell that kind of thing, but when it comes specifically, the lighting effects when they remade lighting effects for photoshopped cs six to the best of my knowledge, they end up using some of the technology that they built for doing three d uh to be able to do the lighting and that makes it so it needs to have a certain type of video card. If you have an older computer that doesn't have the more modern video card in it, it might be one that doesn't support the technology adobe uses to do that, and so if you can't get the things like the three filters are the three features is well, because of that that's most likely why? So we have that happening on one of the machines here, and I kind of was trying to troubleshoot it. And then I finally just looked at the machine went wait a minute, this machine could have been a little bit older where doesn't have the hardware needed? So that's probably it right? So let's continue on what we've done thus far is we have a graphic made uh and we ended up making a selection of where we want her button to be. We ended up putting a radio grady int uh, inside of that shape, we did this in the channels panel and we ended up adjusting that radial grady ints using curves to kind of define the shape we want the edge of our button. B I know we're gonna end up with one issue and that is around the edge of ours. When I was done, did you see a little bitty white kind of line and that's? Probably because when I adjusted it with curves, I think I still have that selection active and it made it so right around the edge it didn't end up getting in there in a weird way, so that's something we might need a touch up later, but we have that circular thing that's got our grey in it saved in two places, the places that saved is one is in our channel's panel. The second one is on our hard drive and photoshopped file format has a grayscale document now let's see how we can use that information and tried to turn this into something that looks like a three dimensional object instead of just this flat graphic, I'm going to take all of the pieces that make up this graphic, and I'm going to put them in a smart object so that I can always go back in later on and make changes to him. So I'm just clicking on the folder that contains thes because that should, in essence, work on everything that's within it. If I didn't have them in that folder, I would just hold shift and I click on the bottom most layer you get to get him all, uh and I'm just gonna go to the filter menu and choose convert for smart filters. So now whatever we had originally is protected inside of that smart object. Whatever filtering we apply to it. It's just gonna be accessory on top. Uh, next I'm going to go to the filter menu. I'm gonna choose, distort and that's where I find the choice called displace and displace its full name is a displacement map. In the map is that grayscale image we're going to feed it that's why it's called displacement map the map tells it how to push the image in various directions so I'm going to choose displays this comes up in the number that I type in here determines how high is the top most surface of the button going to be is it a mile tall or is it only an inch? You know the higher the number tall it will be I'm going to use the setting of fifteen just I got to start somewhere and if it's not enough I can always go back and change the settings especially if it's applied to a smart object just double click on the filter after it's been applied and feed it higher or lower settings so you started with fifteen usually the horizontal and vertical I type it is being the same and then down below we have the choices of what should it do if the file we feed it is a different size than this image we're applying it to like what if the file I feed it is only it's small it's a quarter of the size of the same it should it's just stretch it to fit or should it tile it repeating it over and over again uh that doesn't matter in this case because the file we have saved on a hard drive is exactly the same size is this file below that, it says undefined areas, and that means if it ends up needing to pull or push this image in such a way where it has to pull it away from the edge of the picture it's gonna have to act as if there was more information beyond that edge so that once it pulls it over, it knows what to fill in. And so here, it says, shouldn't wrap around, which means whatever would be pushed off this end would be pulled around to the opposite end, similar to when you we used the filter called offset where it's pushed it around the other side, or should it just repeat the edge pixels in this case since our buttons in the middle of the frame it's not going to matter, but just so you know, that's what those two things do. If I had my graphic extending all the way over, so it touched the edges, then I would just have it. Either one of these choices would work because repeating the edge pixels, they're just solid colors would look fine and wrapping it around would just take whatever is on the right side, push it off and have a filling left, so if my graphic extended all the way across, it wouldn't matter anyway. So in this case we don't worry about that it's mainly the numbers I'm gonna click okay in the moment I do it's gonna ask me for a file on my hard drive and it just brought this up and I think I saved that on my hard drive it says band using me pleaser I didn't even know I put the yarra uh but that's where I say it was right on my desktop I'm just going to finding it gonna hit the open button in what I do it's going to try to bend my button now it might have some issues with it we have to deal with they don't expect it to look absolutely perfect to begin with we'll see what we get open, okay? I don't think it's too bad it looks bent in general doesn't, but what we're missing is shadows and highlights and our button designs still goes all the way out to the edges of the document and we just wanted to be sitting inside of a button shape. So do you remember when I originally got my circle the way I got it is I loaded a selection so I already had it saved in my file? Well, I want to get back that exact same selection I'm just going to go up to the select menu choose load selection and whichever one I think was called button outline but it just means giving back the same selection I had earlier, and all I'm going to do is mask this with layer masks so that we don't have the graphic extending out everywhere, so I'll just add a layer mass by clicking on the layer mask icon okay, now, it's, I can see some bend this but it's really hard to get a sense for what it looks like without shadows and highlights so let's, figure out how we could, uh, do that I'm going to first experiment with something, and this is the way that I would not do this, but I want to show you why I wouldn't do it this way, but anyway, what we're going to end up doing is coming in here in doing lighting effects and with lighting effects. The problem is that, um, it usually ends up giving you a non smooth and result. A moment ago, my lighting effects was great out, and the only reason it was great out is because what was active in my layers panel was the mask because that's, the last thing I had added in the image itself wasn't active to see her where if you noticed, but I'm going to try to do straight up lighting effects, we got one light source up here, it was the default one and it's just sitting there let's find actually, it wasn't remembering all three lights from the last time we were in here. So why don't we come in here and maybe do just a let's? See, I'll get rid of the infinite light. I'll get rid of the point light, actually, actually, let's, get rid of all these things, you know, I can't do him also, I'm going to just change this one over to an infinite light. We're going to act like there's a light source way out here, and I want to make it so it's in the upper left taking command h to hide it him will bring up its intensity a bit, and I wanted to think of this button is being shiny because aren't usually political buttons they like, covered with plastic or something that's shiny, so I'll bring up the gloss. Now it doesn't look three d to me because there are no highlights and shadows in order to get it, to add the highlights and shadows I'm gonna come down here, I get need a scroll through my little settings here. There's one called texture texture means really three dimensional. If I click here, I can tell it to use any one of these choices and where these choices air coming from is my channels panel. That's why I need to save our little gray scale button shape within the channels panel and I think it was the last one I saved it might have been called alpha two because I didn't give it a name I'm going to choose that watch what happens to my button when I d'oh now if I controlled the exposure here a little better maybe get some shadowy areas there is a choice in here of height. Also, height means how mountainous is this going to be? And right now it's set toe one, which means this is like the thickness of a dime on nothing less than a dime thicknesses sheet of paper. Do you remember when I was in the filter called displace? Remember what number I typed in was like wasn't fifteen I'm going to bring this up so at least a fifteen because then it's going to have the same height that makes sense I'm using the same number and you can see that now we're getting a shadow on the right side. We're getting a highlight somewhat on the left, but here's the problem and here's why I wouldn't apply this directly to my image if you look close at this can you see texture and there that's the problem whenever you use lighting effects with a texture like that, it ends up always having this kind of noisy looking texture in no, I want to show you how to solve that so I'm gonna click ok on this just so I hope it remembers all these settings not certain if it will or not but I know when I came back in a second ago it still had the settings from last time so that's the only reason I'm clicking ok, I'm going to choose undo to actually get it off of this layer and now I'm going to show you the right way I want to put the lighting on its own layer independent of this layer because any time I use that setting called texture it always has this grainy feel to it and in order to if I get it on its own layer, if I can get some howto apply from a separate layer, I'm going to be able to blur it and if I blow it it's gonna look soft so let's figure out how that could be done if I create a brand new empty layer and I go to the filter menu and I render lighting effects, it doesn't work because the only thing lighting effects khun do is to light what you feed it. What did I just feed it and empty layer nothing in it, so what I'm gonna do is I'm going to fill that layer with fifty percent gray there's a bunch of different ways of doing that I'll just go to the edit menu and choose fill in one of the choices when you choose edit phil is fifty percent gray the reason why I'm using fifty percent gray instead of white toward black or something else is with fifty percent gray it can both brighten it and darken it if I started with black, it wouldn't build a dark and black would it if I started with white wouldn't be able to brighton white, you know, it's, we'd be at the extremes of being at fifty percent gray makes it so can both bright and dark and what we're feeding it now to make this so I can change the settings in the filter if I happen to need to, I'm going to turn this into a smart object even though it's not really critical because I'm not concerned about protecting this fifty percent gray, but I'll just go over here and say convert for smart filters, then I'll come up and I hope lighting effects works on a smart object I haven't really tested that, yeah, it does, so we have a fifty percent grade later we converted it to a smart object and now we're doing lighting effects and here's our end result because it remembered the settings for the last time I applied it and I'm just going to use those settings from now we can always come back and change it since it's on a smart object I'd have to do is double click I can come right back here in fine tune this ah, the only thing I might do is see if metallic gives us anything it's not really, but I might come back later on and end up just messing with the lights little better. I'm gonna click okay. And now that's sitting on its own layer independent of the button that's below in order to get that so that it now applies to what's below there's a blending mode that would make fifty percent grey go away this fact there's a whole group of blending modes that makes fifty percent craig go away. All you need to do is when that layer is active. Click on the bloody mode, poppet menu up here and choose any of the modes that are in this general section but the one that I usually start with his hard light and with that fifty percent gray will go away. Areas that are darker than fifty fifty percent gray will darken the image that's underneath areas that are brighter than fifty percent. Gray will brighten the image that's underneath so here's hard light mode. So that should look very similar to what we had earlier when I applied lighting effects but what's nice about it now is sense it on its own layer I can blur it, and it won't blur the text that's on the button because the texts on the button is on a completely different layer, so I'll simply go up in the filter menu choose blur gazi ambler, and I'm just going to bring it up high enough that we get rid of that little texture that's in there about like that, just causing more. The other thing that I might do is make it to the gray that's out here doesn't show up because we don't we're not really using it in so I can make it so this layer on lee shows up where there's information on the layer below, and we can do that the same way that I think yesterday. What was that today? I can't even remember. Remember we made a photo show up inside of text where the layer that contained the photos said hey only show up where there's stuff below there's a couple different ways of invoking it, but you go to the layer menu there's, a choice called create clipping mask, and when you do that, you'll find it down, pointing arrow next to layer you're working on, which is hey make it only show up with that stuff is below, so there is our buttons thus far. Now we're not locked into any of this let's say that that the graphic on the button needs to be repositioned it looks to me like I might need to make the campaign two twenty sixteen a little smaller so it's not distorted by the edge of the button and I might need to possibly move it up a little bit you think if that's what I need, I just need to find out what layers it in and I could just look in my layers panel and see it right there it's inside of a smart object, isn't it so I'll just double click on the thumbnail for the smart object that should bring it up as a separate document and now I can scale this I could reposition it I do whatever I want so why don't you just see if I can come in here and free transform this? I'm working on the group or the folder that contains everything that means it should scale hopefully everything can I just say hey, make this a little smaller and I'll move it up just a little bit press returner entered a sam dunn and now I'm going to save in close this, so hopefully we'll update the other file now with displacing math sometimes or some a little oddities in here that we might have to deal with and we'll see if we'll run into it right now or not what? I'm just going to type command us to save it, and then I'll close it and now let's see if it made the change I just chose undo you see the difference, so looks to me like I might need to move it up further, even mohr, and maybe scale it down a little more double click on the thumb now for the smart object again, I'll just type command tea for transform get down we went up save and I don't have to close it. You can just switch over just in case you need to tweak it more and just go back and forth. I'm going to move it to the left a little bit looked like that needs it because the number six starting to go off the edge so just go right back to this document used the move tool and move it to the left command us for save switch back uh, maybe just the teeniest bit mohr all I'm doing is fine tune in this typing command asked each time so that it will update this and now you see how I'm getting the position tau look relatively good, right? But then what if what I needed changes instead the shape of the button instead, the curvature of the button is a little bit different than I want well there you have to think about where are those pieces saved where is it picking up the shape of that button and it's in two places that one is in my channels panel and one is on a file in my hard drive well I can go over here to channels and I can find that one called alfa to and I could modify this just to show you that you can modify it I'm going to make it dramatically different it'll probably make this look really ugly but it's just to show you that you could make changes I'll go to curves and I'm just gonna do a weird looking curve I'll make the curve go up and down and that's gonna be one weird but it doesn't matter what shape and putting in a making it look weird so we have modified this I'd want to select it all and copy and then I would want to get this again into that other document I can just go on my hard drive it's sitting on my desktop bend using me please I think double click on it it just opened it and I'll just paste this inside and then I'm gonna save enclose it saved in closer we're back in the original document so now it didn't automatically update this what back it would be nice if it went realised that our filing my hard drive and change in that channel had changed but that's beyond photos of a mansion it's photoshopped constantly kept an eye and every file you've ever used to figure out if they've changed and try to update him, I wouldn't want to do it but let's figure out how we could get it to go back and re look at those various places well, let's see four are displaced filter I think if we double click on the word displace, we'll go back and we could just use the same settings the moment we click ok, it should ask us for the file again and I'm just going to come up here and use that file no, I don't know I can see that I'll choose un dio see the weird edge now we're getting, then I'm going to go up to this that in called lighting effects and I'm just gonna double click on it it's just telling me here that I have two filters after this one is the blur filter and it's going to temporarily turn off the blur filter so it can change this when it's done, it'll turn it back on and you see how it automatically take took a fresh look at the channel that had originally referred to and I'm just going to click okay and now you see how we have another dated version but we had to come in and double click on it now it looks more like a hat like looking down at the top of a uh a little hat there uh but you get the idea that if we needed to we could have modified those files sometimes it's a matter of going in and just touching you up with a brush to say I need a slightly higher point in the middle so you grab a really soft brush and paint in the change you want in that grayscale image uh sometimes it's other things but we can get them to update if we really need them too, but the main thing is we can start with something flat in with a displacement map it's gonna bend it, but when you bend it it doesn't automatically add highlights and shadows in order to add highlights and shadows we need to feed it that displacement map that little file and we can do that for all sorts of things and create more complex images if we want this particular image has different channel in here that we haven't used it's called texture and if you look at the content it might look slightly familiar it's ad noise, motion blur, horizontal motion blur vertical just the contrast a little and then in boss but we did that the other day didn't weigh, so if you actually have the course you could rewind and go on look, we actually made a texture just like this one well, it's, just sitting here in the channel, I happen to put it in there and let's just see what we could do with it just remember it's, a channel called texture, I'm just going to make a background for this thing. I'm gonna come in here and create a solid color layer, and I'm just going to choose what color would I want my background to be gonna put that on the bottom? Because that's where the background should go and I'm just gonna do things to it, I'll come in here and turn into a a smart filter, and after turning into a smart filter, all I think I need to do is since there's no detail in it is light it. So I'll come into my filter lighting effects, and instead of using that lighting that was set up previously, which was using the one for our button, I'll change it to texture in had I experimented mohr with the lighting and actually got a better light like a flashlight, maybe pointed out we have a highlight and things this might look a little better, but I'm going to bring down the height because I don't need it to be overly textured just know that there's also a negative height, so the middle is none not far left usually you're thinking of sliders as far left is lowest far less does negative. That means make a canyon uh instead of a mountain go down to start up. Uh, so anyway could do that and this would usually take on the same lighting as the actual button. That was their fact. If I take a flashlight here this is only shining on the background of the moment but we'll see if we can get it to look a little bit more. I'll just click okay and I will go to the one that's on the button up here double click and all at a similar light source. If these two light sources matched then the background would have a similar lighting to the former it's how the light? So if I had played mohr with the lighting the very first time I did it, then it would be easy to keep it, maintain it consistent between the two and I'd be able to get highlights and all that kind of stuff so know that you can create a lot of interesting, very photo realistic stuff using displacement maps it doesn't have to be limited to taking bricks, which is what I had earlier in a previous class and making them conform to my shirt. You khun make this do anything you desire and here is one example I made this using displacement maps, huh? That's just taking what we just did further in that we imagine you did the exact same thing with a button and you stood at more than one time and instead of using that grayscale thing of our button that we made up, the only thing I used here in order to make this flag wave is if I stop, it should be my channels panel it wasn't overly complex it's just me painting with black and white with a soft brush remember white means close to you black means far away in fifty resentment gray means don't move so this is causing this to move, and I simply changed it in each one of the channels. So it's moving over do you remember the filter that's called offset that just moves things over? It made all these for me, and the only other thing I did is I added little fifty percent grade dots where the flag should be attached to the flagpole to say, don't move here. So this is beyond what we, you know, cover within the you know, the exact part of this because it would take so long to do this, but it's just to let you know that you can push this a ce faras he would like and in doing so create stuff that is pretty interesting and the only reason they're highlights and shadows on that is because of the lighting effects, all right what questions two people have when you have a couple questions for you question from sampler do you have any tips for grady in't banding removal other than adding noise other than adding noise uh well are they talking specifically about this technique or just in general it sounds like it might be just in general uh if you're doing over a large distance you could work in sixteen bit mode sixteen bit mode allows you to have more brightness levels in your picture and therefore maur shades in that radiant and sometimes that can help but noises kind of the universal one so if working in sixteen bit where you have a lot of shades is not enough then you might need to add your noise uh I mean add noises is like the standard solution here for this particular technique blurring helps just because we have the texture there texture and they were trying to get rid of so I never said I would like to know could use that do the same effect using the bevel in boss layer style not going to look anywhere near as realistic and the beveling abbas is just going to generically do it imagine the shape that we're making was um was ridged you know where the button was not flat instead it it undulated up and down up and down evelyn boss it's just going to look at the shape of the contents that layer ignoring it's variation and brightness and just put a, uh a round thing in this particular case. Bevel in boss might have helped a little bit. Might have gotten a little bit close, but I don't think it's gonna look anywhere near as good, especially if you got a bright highlight on it. It's just gonna look much more engineer. Cool. Thank you. Maybe one final one. Sure. This is from m nash. P who's married from illinois and she asked my graduated filters shows up in segmented strips instead of smooth. Do you have any idea why that would happening for graduated filter? Um, I'm not sure she is by graduated filter. We will ask her. Okay, marry let us now. Does she mean your radio? Grady in't. That was the setting I used when I applied a grady in't. She mean, you could go back to that noise question earlier where people are saying they're not seeing perfect radiance in photoshopped potentially I'm guessing that's probably what it is well in and part of that just say no and use a grady in't part of what actually made it have texture was that the grady in't tool itself has a setting up here called dither and what that's doing is adding extra little specks within the grady in to try to make it look smoother than usual well, any little specks that vary in brightness is going to be like pushing something forward or down when it comes to both displacement map and when it comes to lighting effects and that's part of what created it but even if you have that turned off you don't get a completely smooth lighting effect she is talking about the grady in and she says my bani is not pixelated not the regular graduation our great nation is what she said okay what wide strips of blocks of different greys okay, you most likely have some sort of banning you might have weird settings in here. What I would do is grab your grady in tool in the upper left right here where you see the grady in't um press the right mouse button their insane reset tool you probably have a weird setting in there somewhere and it might be the actual grady in pre set you're using it could be uh uh one that various it but if you reset the tool it should make sure all these things are in default locations. The other thing I would do it is then click on this little down pointing arrow next to the grady in preview and make sure you have the very first choice chosen and by doing that your tools should be in default sightings if it's still having an issue it should be something that's not having to do with your radiant tool it might have to with the document you're working on or something else but the greatest tool itself should be set up by okay we'll try that it's hard sometimes for and troubleshoot think attacks I mean like glanced at it I could probably what's that we try to tell those at once in a while yeah don't you made and then does file resolution have any effect over the over banding if you're if you're dealing with a you know three hundred make file well yeah, the distance you have to travel in the grady int the longer it iss in the less of a change there is and the grady int the mohr probable it is that banding if I tried to take a document the width of this table in have two percent gray right here in on ly five percent grand the other side well if there's two percent here in five percent there we only have two percent three percent four percent five we're not changing very much but we're going over a really wide distance and so it's easy to get big blocks between it if yu on lee are working an eight bit mode you only have two hundred fifty six brightness levels and you're going to get those big chunks if you're in sixteen bit mode you get thousands and thousands of brightness levels and it can do that transition in smaller increments and it can look smoother so, yeah, higher the resolution, your document in the wider the area that grady goes across and less of a change. There is from one side to the other side of the great. All those things make it so there's. A higher potential of having banding.

Class Description

Part of the Complete Photoshop Mastery Bundle.

Explore the creative side of Adobe® Photoshop®. Take a walk down the filter menu and learn what's lurking in the not-so-obvious filters like Displacement Maps and Lighting Effects. See how the simple text and shape tools can be taken to the next level by incorporating layer styles, clipping masks and more.

  • Learn which filters have a special relationship with the Adobe® Photoshop® Blending Modes, which allows for unexpectedly creative results
  • See how puppet warping and layer masks will allow you to make a single layer look as if it's intertwined around another layer
  • Start to use Adobe® Photoshop® 3D features to add dimension to otherwise flat imagery
  • Create animated slide shows that better keep your viewer's attention
  • Add texture to your images to give them more personality
  • Software Used: Adobe Photoshop CC 14.0