It was a lot of hard work and I finally made up for all the tutorials
1. Open photoshop and create a new white image with dimensions of 600×350 pixels and a resolution of 72 pixels/inch. Reset the color palette and write the text on the background in black. In this case, we want a bolder font, and preferably less regular. Here, I’m using a font called “Cartoon”, 155 point size, anti-aliased to Smooth. If you want the text to have some undulations, you can use the deformation text tool in Photoshop, make sure all the characters are in one layer, and then choose the desired deformation effect from the preset types; if you are like me and don’t like those more rigid presets shape, and are too lazy to put each text into a separate layer to adjust the position, then you can select individual text, open the Switch Character and Paragraph palette in the text toolbar, and set the baseline offset of the character. Positive values move the character upward, negative values move it downward. This way, you can adjust the uneven text. But if you need more deformation effects, you can only place each character on a separate layer. (Picture 01)
Figure 01
2. Hold down Ctrl and click on the text layer to load the text selection. Go to the channel panel, press the Alt key while clicking the “Save selection as channel” button at the bottom of the channel panel. In the pop-up new channel dialog box, name the new channel “orig”, and keep the rest as default. Reset the channel palette, fill the channel selection with white and deselect it. Select Blur > Gaussian Blur filter from the filter menu, set the blur radius to 4.0 pixels, and blur the channel image; then open the Image > Adjustments > Brightness/Contrast command and set the contrast to +90. Of course, if you are used to using the Levels Tool to adjust, you can also use the Levels Tool to adjust it here. This channel will serve as the original shape selection. (Picture 02)
Figure 02
3. Duplicate the orig channel and rename the duplicate channel to “holes”. This channel is used to determine the selection of decorative round holes. First use the Gaussian blur filter and set the blur radius to 6.0 pixels to further blur the image; then open the Adjustment>Levels tool and set the input level to 224, 1.00, 255 to reduce the white area; (Figure 03a)
Figure 03a
Now we decorate the channel holes with a halftone pattern filter. Select Filter>Sketch>Halftone Pattern Filter, set the size to 10, the contrast to 10, and the pattern type to dots. The image of the channel is now as shown in Figure 03b. Next, we use the Levels and Blur commands to refine the channel image: open the Levels tool and first set the input levels to 243, 1.00, 255. This eliminates the blur, but the white edges are obviously jagged; we use Use the Gaussian Blur command with a radius of 2.0 pixels to blur the channel image. Use the Levels command again and set the input levels to 72, 1.00, and 162 to smooth out the jagged edges of the image. (Figure 03c)
Figure 03b
Figure 03c
4. Return to the RGB channel, and in the Layers panel, delete the text layer. Create a new layer above the background layer, name it “mainobject”, reset the color palette, and fill the layer with white. Load the selection of channel orig, invert the selection, fill the selection with black, and cancel the selection – this is what the conventional method should be, but many times I am lazy. Once you understand what you should do, think about ways to achieve the same effect in as few steps as possible. For example, here, you will find that the image processed by the conventional method is exactly the same as the image in the channel orig. In this case, we can press Ctrl+A in the channel orig to select all channel images, return to the RGB channel, and press Ctrl+V pastes the image into the mainobject layer. Now, turn on the Gaussian Blur filter, set the radius to 6.0 pixels, adjust the color levels, set the input color levels to 113, 1.00, 255, and reduce the blur range. (Picture 04)
Figure 04
5. In the channel panel, copy the channel orig and name the copied channel “highlights”. Use a Gaussian filter with a radius of 6.0 pixels to blur the image, then adjust the color level of the channel and set the input level to 209, 1.00, 255; next we want to add a relief effect, open Stylization > Relief filter, set the angle to 135 degrees, the height is 3 pixels, the quantity is 100%, invert the channel image and adjust the color levels. Set the input color levels to 127, 1.00, 255; use a Gaussian filter with a radius of 2.0 pixels to blur, and then adjust the color levels. , eliminate gray pixels, and set the input color level to 44, 1.00, 85. (Picture 05)
Figure 05
6. Now we color the image. Return to the RGB comprehensive channel, use the mainobject layer as the target layer, select the Image > Adjustment > Hue/Saturation command, select the coloring mode, and set the values to the color you like. Here, we use hue 215, saturation Degree 75, lightness -25, the image appears a beautiful pink-blue. Load the selection of channel highlights, fill it with white again, and cancel the selection to complete the highlight effect. (Figure 06a)
Figure 06a
If we place the Load Highlight Selection – Fill White – Deselect command before adjusting the Hue/Saturation command, we will get a very weak highlight effect. Sometimes you may use this slight brightening effect. (Figure 06b)
Figure 06b
Double-click the mainobject layer to open the layer style dialog box and select the gradient overlay effect. Set the blending mode of the gradient to Overlay, the opacity to 35%, select the gradient from black to white, click on the gradient preview, and move the positions of the black and white color stops closer to the middle in the gradient editor, roughly 35% respectively. and 54% (Fig. 06c). The gradient style is linear, the selection is aligned to the layer, the angle is 90 degrees, and the scale is 100%. This will give the text a gradient tone from white to blue. Now, load the selection of channel holes, clear and deselect them, and the image will look like Figure 06d. Create a new layer on the main object layer, merge the empty layer with the main object layer link, and restore the main object layer to an ordinary layer, but retain the layer effect.
Figure 06c
Figure 06d
If you want the image to be more detailed and have more free time, you might as well add some detail effects to the image. Before adding the gradient overlay effect to the main layer, select Filter > Artistic Effect > Plastic Packaging, set the highlight intensity to 15, the detail to 9, and the smoothness to 7; then use the fade command under the edit menu to fade the plastic Reduce the opacity of the packed filter effect to 21% and set the mode to Overlay. In this way, the high-intensity filter effect will be weakened a lot; then select Sketch > Chrome Filter, set the details to 4 and the smoothness to 7; use Eliminate Use the Fade command to lower the opacity to 9% and set the mode to Screen (you can get various effects by using different opacity and modes. You may wish to try more, you will be surprised by the effects!). We use these two filters to increase the details inside the blue text, as shown in Figure 06e. If you like to experiment with filter effects, you can experiment more. If there is no space, then omitting these two filters will not affect our final image effect.
Figure 06e
7. Next we will create the sunken effect in the image. We can use a simple stroke + move method to create a sunken visual effect. Create a new layer above the mainobject layer and name it “shadow”, and create a new layer above it and name it “highlight”. Make sure you are currently in the highlight layer, load the selection of channel holes, open the Edit > Stroke command dialog box, set the width to 1 pixel and the color to white.��, the stroke position is centered, and the blending is normal; keep the selection, now select the shadow layer, and stroke the selection with the same settings as before, but this time the stroke color is black, and then deselect it. Select Other > Displacement Filter, and set both the horizontal and vertical movement amounts in the Displacement dialog box to -1 pixel. You can set it as you like for undefined areas. In this way, the black stroke in the shadow layer is moved 1 pixel to the left and 1 pixel upward, making the sunken shadow more obvious. Similarly, we select the highlight layer and use the displacement filter to move the white stroke 1 pixel to the right and 1 pixel down.
Next, we need to clean up the excess caused by the move. In the highlight layer, load the selection of channel holes, clear the excess white pixels in the selection, cancel the selection, then turn on the displacement filter, set the horizontal and vertical movement amount to -1 pixel, that is, the cleaned white outline The edge moves to the position before the first displacement. We also do the same process for the black stroke of the shadow layer: select the shadow layer, press Shift+Ctrl+D, reload the selection, clear the image in the selection, cancel the selection, and use the displacement filter to move the cleaned black stroke toward Move 1 pixel to the right and 1 pixel below to return to the position where you just finished the stroke. After such cleaning and movement, the image will be much more detailed, and the shadows in the depressions will be very obvious (Figure 07a). Now select the mainobject layer and link the highlight layer and shadow layer to it. Note that since the background of the image is white, you may not see the hollowing effect now, so you can hide the background first and see if your image is hollow as shown in Figure 07b.
Figure 07a
Figure 07b
8. Next, we need to fill in the sunken parts of the image with patterns. Select the background layer, create a new layer above it, and name it “back”. Reset the color palette, then set the foreground color to RGB (204, 51, 153), and fill the back layer with this rose red color. Open Sketch > Halftone Pattern Filter, set the pattern size to 2, the contrast to 0, and the pattern type to straight line; then use the fade command to reduce the opacity of the halftone pattern to 60% and reduce the contrast.
Note: The foreground and background colors you set are directly related to the effect of the halftone pattern filter. It is these that determine the color of the halftone pattern.
Then, we use the Stylize > Emboss filter to add some special effects to the image. Open the relief effect filter, set the angle to 135 degrees, the height to 3 pixels, and the amount to 100%; then use the fade command to reduce the opacity of the relief effect to 50% and set the mode to Overlay. Here, we’re using the Emboss filter and the Fade command to create a soft transition between the white stripes and the red, something that wouldn’t be possible with just the Halftone Pattern filter. Now, let’s adjust the color of the image using the Hue/Saturation command, increasing the saturation by 30 to make the image a little more vivid. (Picture 08)
Figure 08
9. If you want the “shell” of the text to be more obvious, we can use a simple shadow effect. Select the mainobject layer, open the Layer Style dialog box, select the Drop Shadow effect, keep the default blending mode and color unchanged, set the Opacity to 63%, Angle to 135 degrees, Distance to 5 pixels, Expand to 0%, and Size to 4 pixels, shadow quality remains unchanged. This creates a shadow effect between the text shell and the content, making the image more three-dimensional. We link the mainobject with the back layer and merge it into the main object layer. At this point, we want to eliminate the extra black background around the image. Load the selection of channel orig, invert the selection, delete and then deselect. If you want the black edge to be wider, you can add a stroke effect to the mainobject layer. Open the layer style, select the stroke effect, set the size to 3 pixels, the stroke position to outside, the blending mode to normal, the opacity to 100%, and the stroke color to black. Create a new layer above the main object layer, link it with the main object layer, and eliminate the layer style.
In the previous step, when we added a shadow effect to the mainobject layer, because the layer effect is based on the layer content, the black shadow not only appears on the text, but also on the right and bottom of the canvas. Now let’s get rid of these extra shadows. In the mainobject layer, use the Rectangular Marquee Tool to select a rectangular selection around the image that encompasses the entire image. Then invert the selection and delete. The shadows on the right and bottom of the canvas are deleted within the selection and deselected (Figure 09). But this is not enough, there are still some shadows remaining outside the canvas. Do not believe? Then please open the Image > Canvas Size command, increase the width and height of the canvas by 50 pixels, and keep the canvas layout unchanged. On the added canvas you will see the��The hidden shadow you see (Note: The added canvas will be filled with the current background color. If your current background color is black, you will only see an added black frame.). The step before selecting Canvas Size in the History panel, which is the step before deselecting the excess shadow after removing it, we continue from here. Press Ctrl+A, select all images, select the Crop command from the Image menu, and crop the document to the size of the current selection. The excess hidden shadows are cut off and the selection is cancelled. When I checked again with the canvas size command, I couldn’t see any extra images.
Figure 09
10. Next we are going to add some stroke effects to the image, first hide the background layer temporarily. In the mainobject layer, open layer styles, select the stroke effect, set the stroke size to 2 pixels, the position to outside, the blending mode to normal, the opacity to 100%, and the color to white. Create a new layer and link it with the main object layer. In this way, the white stroke also becomes the layer content of the mainobject layer; use the layer stroke again, set the small to 11 pixels, the position to the outside, the blending mode to normal, the opacity to 100%, and the color to RGB (204, 51, 153), which is the rose color we set before using the halftone pattern fill in step 8. Then, just like before, the method of merging new layers with links is that the red stroke also becomes the layer content. Show background layer. (Figure 10a)
Figure 10a
The main purpose of the second stroke is to connect the characters, so the stroke width is up to you. If you find that a smaller stroke width does the trick, there’s no need to make it very large. Conversely, if your images are widely spaced, you may need a wider stroke.
Now let’s add some other effects to the red stroke. Load the opaque area of the mainobject layer, go to the Channel Panel, hold down the Alt key, click the “Save Selection as Channel” button below the Channel Panel, and in the New Channel dialog box, set the channel name to “outer”. Return to the Layers panel, with the selection still active. Use the Select > Modify > Shrink command to shrink the selection inward by 3 pixels. Then use the Feather command to soften the edge of the selection with a radius of 3 pixels. Invert the selection and use the Levels command to adjust the selection. Color, set the input level to 175, 1.00, 255, darken the outer edge of the red stroke, and cancel the selection. (Figure 10b)
Figure 10b
11. Next, we are going to add highlights and shadows to the image. Let’s first create a selection channel for the highlight part. Select the Channel panel, copy the outer channel, and rename the copied channel “outerhighlights”. We will make a highlight selection in this channel. Make sure it is in the outerhighlights channel, use the Other > Shift filter to move the white image in the channel, set both the horizontal and vertical movement amounts to -3 pixels, that is, move the image up and to the left by 3 pixels, and set the undefined area to fold. Reset the channel color palette, load the selection of channel outer, invert the selection, fill the selection in channel outerhighlights with black, and cancel the selection. Then use the displacement filter to move the channel image down and to the right by 3 pixels each, and the undefined area is still set to fold. Copy the channel outer again and name the copy channel cut. Turn on the displacement filter, set both the horizontal and vertical movement amount to 8 pixels, load the current channel selection, select the channel outerhighlights, fill the selection with black, and deselect it. The white pixels in the picture are the highlight selection we need, and we will further process it below. The first is still the blur command. You can use the Gaussian blur filter, or you can use the further blur command to roughly blur the image. If you choose the further blur command, then this command needs to be repeated again. Then, use the Levels tool to eliminate blur and set the input levels to 48, 1.00, 190 to get clear edges. (Figure 11a)
Figure 11a
After loading the current channel selection, return to the RGB channel. In the main object layer, use the brightness/contrast command to increase the brightness in the selection by +60 and cancel the selection. In this way, we get a very smooth highlight effect, which adds a lot of color to the image. (Figure 11b)
Figure 11b
12. Next we will create a selection channel for the dark part. In the Channels panel, duplicate the channel orig and rename the copied channel to “shadow”. Load the current channel selection, open the Edit > Stroke command, set the stroke width to 10 pixels, the color to white, the position to the center, blending to normal, and deselect. Use the displacement filter to move the image down and to the right by 2 pixels each; load the selection of channel orig in the current channel, use the Select > Modify > Expand command to widen the selection range, the expansion amount is 5 pixels, fill the selection with black and cancel choose. The dark areas are different from the highlights. We want the highlights to be as clear as possible, but the dark areas to be softer. So, use the Further Blur command in the Blur filter group to blur the image a little bit, and that’s the dark part of the selection we want. (Figure 12a)
Figure 12a
Load the current channel selection, return to the RGB channel, we use the color level tool to adjust the color of the selection. Since the selection is relatively small, and the flashing selection frame may affect your observation, we can use Ctrl+H to hide the edges of the selection, so that the image can be adjusted as accurately as possible. Open the Levels tool dialog box, set the input levels to 179, 1.00, 255, and darken the image in the selection. Press Ctrl+H again to restore the display of the selection edges, and then cancel the selection (Figure 12b).
Figure 12b
Note: You must develop this good habit of starting and ending! Because the selection edges are hidden and easily overlooked, deselecting is often forgotten. But you should know that just because the selection is not displayed does not mean that the selection has been cancelled. The hidden selection still controls your actions – and when it’s forgotten, it can get you into big trouble! Many times we have to work on images with multiple layers, and it is really not necessary to hide the layers above the current operating layer one by one. In this way, due to the occlusion of the upper layer, it is sometimes difficult to judge at once whether the operation on the lower layer is correct. Smaller layer thumbnails also make it difficult to reflect whether changes to the image correctly convey your meaning. There’s a huge difference between filling a selection and filling an entire layer, but after hiding the edges of the selection, what you need to do looks the same. These errors will appear if you are not careful, and sometimes they are extremely difficult to detect, causing great damage to the image. Therefore, we must develop a good habit of dealing with the aftermath – after processing the image while hiding the edge of the selection, we must display the edge of the selection again before proceeding to the next step. Even if we cancel the selection immediately, we must first display the selection. edge. ——Good habits will benefit you for life! It is impossible for us not to make mistakes, but we should at least avoid them as much as possible. 13. Let’s create a second dark tone selection channel. Copy the channel orig again and name the copy channel “shadow2”. Load the current channel selection, open the Stroke command dialog box, set the stroke width to 6 pixels, the color to white, the stroke position to the center, blending to normal, and deselect after the stroke. Turn on the displacement filter, set both the horizontal and vertical movement amounts to 2 pixels, set the undefined area to foldback, and move the white image in the channel 2 pixels to the right and 2 pixels down. Load the selection of channel orig, use the expand command to expand the selection by 3 pixels, and in channel shadow2, fill the selection with black and cancel the selection. Blur the white areas with two further blur commands. This is the second dark section of the selection. Compared with the first dark selection shadow, the white area of this selection is weaker and located closer to the upper left. (Figure 13a)
Figure 13a
Load the current channel selection, return to the RGB channel, open the Brightness/Contrast dialog box, reduce the brightness in the selection to -100, use Brightness/Contrast again, reduce it to -60, and cancel the selection. The main function of this dark selection is to reduce the brightness of the white stroke on the right side of the text to unify the light and dark of the image. (Figure 13b)
Figure 13b
14. Let’s add some simple layer effects to the image to make it more three-dimensional. Open the layer style of the mainobject layer, first select the shadow effect, keep the blending mode, color and opacity of the shadow as default, the angle is 135 degrees, the distance is 5 pixels, the expansion is 0%, the size is 10 pixels, and the quality remains unchanged. ; Then select the outer glow effect, set the glow blending mode to normal, the opacity to 35%, the color to the rose red we used earlier, the glow method to softer, the expansion to 0%, the size to 5 pixels, and the quality to default . In this way, the main image part is completed. (Figure 14)
Figure 14
15. Finally, we decorate the background of the image a little. Set the foreground color to RGB (204, 153, 0) and fill the background layer. Then we render the background layer with a lighting effects filter. The settings in the example picture are as follows: the lighting type is point light, intensity is 35, focus is 69, gloss is 0, material is 69, exposure is 0, environment is 0, no texture channel, light source color and environment color are both set to White, the light source center is set at the center of the image, and the illumination direction is from the upper left to the lower right, as shown in Figure 15. If you like, you can also add some small decorations to the image, such as a reflective brush, a cartoon image, etc. The cartoon image in the picture uses a graphic font and has a gradient overlay effect added. (Picture Carto)
Picture Carto
Author: Anonymous Source: pconline
It was a lot of hard work and I finally made up for all the tutorials
1. Open photoshop and create a new white image with dimensions of 600×350 pixels and a resolution of 72 pixels/inch. Reset the color palette and write the text on the background in black. In this case, we want a bolder font, and preferably less regular. Here, I’m using a font called “Cartoon”, 155 point size, anti-aliased to Smooth. If you want the text to have some undulations, you can use the deformation text tool in Photoshop, make sure all the characters are in one layer, and then choose the desired deformation effect from the preset types; if you are like me and don’t like those more rigid presets shape, and are too lazy to put each text into a separate layer to adjust the position, then you can select individual text, open the Switch Character and Paragraph palette in the text toolbar, and set the baseline offset of the character. Positive values move the character upward, negative values move it downward. This way, you can adjust the uneven text. But if you need more deformation effects, you can only place each character on a separate layer. (Picture 01)
Figure 01
2. Hold down Ctrl and click on the text layer to load the text selection. Go to the channel panel, press the Alt key while clicking the “Save selection as channel” button at the bottom of the channel panel. In the pop-up new channel dialog box, name the new channel “orig”, and keep the rest as default. Reset the channel palette, fill the channel selection with white and deselect it. Select Blur > Gaussian Blur filter from the filter menu, set the blur radius to 4.0 pixels, and blur the channel image; then open the Image > Adjustments > Brightness/Contrast command and set the contrast to +90. Of course, if you are used to using the Levels Tool to adjust, you can also use the Levels Tool to adjust it here. This channel will serve as the original shape selection. (Picture 02)
Figure 02
3. Duplicate the orig channel and rename the duplicate channel to “holes”. This channel is used to determine the selection of decorative round holes. First use the Gaussian blur filter and set the blur radius to 6.0 pixels to further blur the image; then open the Adjustment>Levels tool and set the input level to 224, 1.00, 255 to reduce the white area; (Figure 03a)
Figure 03a
Now we decorate the channel holes with a halftone pattern filter. Select Filter>Sketch>Halftone Pattern Filter, set the size to 10, the contrast to 10, and the pattern type to dots. The image of the channel is now as shown in Figure 03b. Next, we use the Levels and Blur commands to refine the channel image: open the Levels tool and first set the input levels to 243, 1.00, 255. This eliminates the blur, but the white edges are obviously jagged; we use Use the Gaussian Blur command with a radius of 2.0 pixels to blur the channel image. Use the Levels command again and set the input levels to 72, 1.00, and 162 to smooth out the jagged edges of the image. (Figure 03c)
Figure 03b
Figure 03c
4. Return to the RGB channel, and in the Layers panel, delete the text layer. Create a new layer above the background layer, name it “mainobject”, reset the color palette, and fill the layer with white. Load the selection of channel orig, invert the selection, fill the selection with black, and cancel the selection – this is what the conventional method should be, but many times I am lazy. Once you understand what you should do, think about ways to achieve the same effect in as few steps as possible. For example, here, you will find that the image processed by the conventional method is exactly the same as the image in the channel orig. In this case, we can press Ctrl+A in the channel orig to select all channel images, return to the RGB channel, and press Ctrl+V pastes the image into the mainobject layer. Now, turn on the Gaussian Blur filter, set the radius to 6.0 pixels, adjust the color levels, set the input color levels to 113, 1.00, 255, and reduce the blur range. (Picture 04)
Figure 04
5. In the channel panel, copy the channel orig and name the copied channel “highlights”. Use a Gaussian filter with a radius of 6.0 pixels to blur the image, then adjust the color level of the channel and set the input level to 209, 1.00, 255; next we want to add a relief effect, open Stylization > Relief filter, set the angle to 135 degrees, the height is 3 pixels, the quantity is 100%, invert the channel image and adjust the color levels. Set the input color levels to 127, 1.00, 255; use a Gaussian filter with a radius of 2.0 pixels to blur, and then adjust the color levels. , eliminate gray pixels, and set the input color level to 44, 1.00, 85. (Picture 05)
Figure 05
6. Now we color the image. Return to the RGB comprehensive channel, use the mainobject layer as the target layer, select the Image > Adjustment > Hue/Saturation command, select the coloring mode, and set the values to the color you like. Here, we use hue 215, saturation Degree 75, lightness -25, the image appears a beautiful pink-blue. Load the selection of channel highlights, fill it with white again, and cancel the selection to complete the highlight effect. (Figure 06a)
Figure 06a
If we place the Load Highlight Selection – Fill White – Deselect command before adjusting the Hue/Saturation command, we will get a very weak highlight effect. Sometimes you may use this slight brightening effect. (Figure 06b)
Figure 06b
Double-click the mainobject layer to open the layer style dialog box and select the gradient overlay effect. Set the blending mode of the gradient to Overlay, the opacity to 35%, select the gradient from black to white, click on the gradient preview, and move the positions of the black and white color stops closer to the middle in the gradient editor, roughly 35% respectively. and 54% (Fig. 06c). The gradient style is linear, the selection is aligned to the layer, the angle is 90 degrees, and the scale is 100%. This will give the text a gradient tone from white to blue. Now, load the selection of channel holes, clear and deselect, the image is as shown in Figure 06d��� indication. Create a new layer on the main object layer, merge the empty layer with the main object layer link, and restore the main object layer to an ordinary layer, but retain the layer effect.
Figure 06c
Figure 06d
If you want the image to be more detailed and have more free time, you might as well add some detail effects to the image. Before adding the gradient overlay effect to the main layer, select Filter > Artistic Effect > Plastic Packaging, set the highlight intensity to 15, the detail to 9, and the smoothness to 7; then use the fade command under the edit menu to fade the plastic Reduce the opacity of the packed filter effect to 21% and set the mode to Overlay. In this way, the high-intensity filter effect will be weakened a lot; then select Sketch > Chrome Filter, set the details to 4 and the smoothness to 7; use Eliminate Use the Fade command to lower the opacity to 9% and set the mode to Screen (you can get various effects by using different opacity and modes. You may wish to try more, you will be surprised by the effects!). We use these two filters to increase the details inside the blue text, as shown in Figure 06e. If you like to experiment with filter effects, you can experiment more. If there is no space, then omitting these two filters will not affect our final image effect.
Figure 06e
7. Next we will create the sunken effect in the image. We can use a simple stroke + move method to create a sunken visual effect. Create a new layer above the mainobject layer and name it “shadow”, and create a new layer above it and name it “highlight”. Make sure you are currently in the highlight layer, load the selection of channel holes, open the Edit > Stroke command dialog box, set the width to 1 pixel, the color to white, the stroke position to the center, and the blending to normal; keep the selection, now select shadow Layer, stroke the selection with the same settings as before, but this time with a black stroke color, and then deselect. Select Other > Displacement Filter, and set both the horizontal and vertical movement amounts in the Displacement dialog box to -1 pixel. You can set it as you like for undefined areas. In this way, the black stroke in the shadow layer is moved 1 pixel to the left and 1 pixel upward, making the sunken shadow more obvious. Similarly, we select the highlight layer and use the displacement filter to move the white stroke 1 pixel to the right and 1 pixel down.
Next, we need to clean up the excess caused by the move. In the highlight layer, load the selection of channel holes, clear the excess white pixels in the selection, cancel the selection, then turn on the displacement filter, set the horizontal and vertical movement amount to -1 pixel, that is, the cleaned white outline The edge moves to the position before the first displacement. We also do the same process for the black stroke of the shadow layer: select the shadow layer, press Shift+Ctrl+D, reload the selection, clear the image in the selection, cancel the selection, and use the displacement filter to move the cleaned black stroke toward Move 1 pixel to the right and 1 pixel below to return to the position where you just finished the stroke. After such cleaning and movement, the image will be much more detailed, and the shadows in the depressions will be very obvious (Figure 07a). Now select the mainobject layer and link the highlight layer and shadow layer to it. Note that since the background of the image is white, you may not see the hollowing effect now, so you can hide the background first and see if your image is hollow as shown in Figure 07b.
Figure 07a
Figure 07b
8. Next, we need to fill in the sunken parts of the image with patterns. Select the background layer, create a new layer above it, and name it “back”. Reset the color palette, then set the foreground color to RGB (204, 51, 153), and fill the back layer with this rose red color. Open Sketch > Halftone Pattern Filter, set the pattern size to 2, the contrast to 0, and the pattern type to straight line; then use the fade command to reduce the opacity of the halftone pattern to 60% and reduce the contrast.
Note: The foreground and background colors you set are directly related to the effect of the halftone pattern filter. It is these that determine the color of the halftone pattern.
Then, we use the Stylize > Emboss filter to add some special effects to the image. Open the Emboss effect filter, set the angle to 135 degrees and the height to 3 images.��, the amount is 100%; then use the Fade command to reduce the opacity of the relief effect to 50%, and the mode is Overlay. Here, we’re using the Emboss filter and the Fade command to create a soft transition between the white stripes and the red, something that wouldn’t be possible with just the Halftone Pattern filter. Now, let’s adjust the color of the image using the Hue/Saturation command, increasing the saturation by 30 to make the image a little more vivid. (Picture 08)
Figure 08
9. If you want the “shell” of the text to be more obvious, we can use a simple shadow effect. Select the mainobject layer, open the Layer Style dialog box, select the Drop Shadow effect, keep the default blending mode and color unchanged, set the Opacity to 63%, Angle to 135 degrees, Distance to 5 pixels, Expand to 0%, and Size to 4 pixels, shadow quality remains unchanged. This creates a shadow effect between the text shell and the content, making the image more three-dimensional. We link the mainobject with the back layer and merge it into the main object layer. At this point, we want to eliminate the extra black background around the image. Load the selection of channel orig, invert the selection, delete and then deselect. If you want the black edge to be wider, you can add a stroke effect to the mainobject layer. Open the layer style, select the stroke effect, set the size to 3 pixels, the stroke position to outside, the blending mode to normal, the opacity to 100%, and the stroke color to black. Create a new layer above the main object layer, link it with the main object layer, and eliminate the layer style.
In the previous step, when we added a shadow effect to the mainobject layer, because the layer effect is based on the layer content, the black shadow not only appears on the text, but also on the right and bottom of the canvas. Now let’s get rid of these extra shadows. In the mainobject layer, use the Rectangular Marquee Tool to select a rectangular selection around the image that encompasses the entire image. Then invert the selection and delete. The shadows on the right and bottom of the canvas are deleted within the selection and deselected (Figure 09). But this is not enough, there are still some shadows remaining outside the canvas. Do not believe? Then please open the Image > Canvas Size command, increase the width and height of the canvas by 50 pixels, and keep the canvas layout unchanged. On the added canvas, you will see hidden shadows that you did not see just now (note: the added canvas will be filled with the current background color. If your current background color is black, you will only see a circle of added black. frame.). The step before selecting Canvas Size in the History panel, which is the step before deselecting the excess shadow after removing it, we continue from here. Press Ctrl+A, select all images, select the Crop command from the Image menu, and crop the document to the size of the current selection. The excess hidden shadows are cut off and the selection is cancelled. When I checked again with the canvas size command, I couldn’t see any extra images.
Figure 09
10. Next we are going to add some stroke effects to the image, first hide the background layer temporarily. In the mainobject layer, open layer styles, select the stroke effect, set the stroke size to 2 pixels, the position to outside, the blending mode to normal, the opacity to 100%, and the color to white. Create a new layer and link it with the main object layer. In this way, the white stroke also becomes the layer content of the mainobject layer; use the layer stroke again, set the small to 11 pixels, the position to the outside, the blending mode to normal, the opacity to 100%, and the color to RGB (204, 51, 153), which is the rose color we set before using the halftone pattern fill in step 8. Then, just like before, the method of merging new layers with links is that the red stroke also becomes the layer content. Show background layer. (Figure 10a)
Figure 10a
The main purpose of the second stroke is to connect the characters, so the stroke width is up to you. If you find that a smaller stroke width does the trick, there’s no need to make it very large. Conversely, if your images are widely spaced, you may need a wider stroke.
Now let’s add some other effects to the red stroke. Load the opaque area of the mainobject layer, go to the Channel Panel, hold down the Alt key, click the “Save Selection as Channel” button below the Channel Panel, and in the New Channel dialog box, set the channel name to “outer”. Return to the Layers panel, with the selection still active. Use the Select > Modify > Shrink command to shrink the selection inward by 3 pixels. Then use the Feather command to soften the edge of the selection with a radius of 3 pixels. Invert the selection and use the Levels command to adjust the selection. Color, set the input level to 175, 1.00, 255, darken the outer edge of the red stroke, and cancel the selection. (Figure 10b)
Figure 10b
11. Next, we are going to add highlights and shadows to the image. Let’s first create a selection channel for the highlight part. Select the Channel panel, copy the outer channel, and rename the copied channel “outerhighlights”. We will make a highlight selection in this channel. Make sure it is in the outerhighlights channel, use the Other > Shift filter to move the white image in the channel, set both the horizontal and vertical movement amounts to -3 pixels, that is, move the image up and to the left by 3 pixels, and set the undefined area to fold. Reset the channel color palette, load the selection of channel outer, invert the selection, fill the selection in channel outerhighlights with black, and cancel the selection. Then use the displacement filter to move the channel image down and to the right by 3 pixels each, and the undefined area is still set to fold. Copy the channel outer again and name the copy channel cut. Turn on the displacement filter, set both the horizontal and vertical movement amount to 8 pixels, load the current channel selection, select the channel outerhighlights, fill the selection with black, and deselect it. The white pixels in the picture are the highlight selection we need, and we will further process it below. The first is still the blur command. You can use the Gaussian blur filter, or you can use the further blur command to roughly blur the image. If you choose the further blur command, then this command needs to be repeated again. Then, use the Levels tool to eliminate blur and set the input levels to 48, 1.00, 190 to get clear edges. (Figure 11a)
Figure 11a
After loading the current channel selection, return to the RGB channel. In the main object layer, use the brightness/contrast command to increase the brightness in the selection by +60 and cancel the selection. In this way, we get a very smooth highlight effect, which adds a lot of color to the image. (Figure 11b)
Figure 11b
12. Next we will create a selection channel for the dark part. In the Channels panel, duplicate the channel orig and rename the copied channel to “shadow”. Load the current channel selection, open the Edit > Stroke command, set the stroke width to 10 pixels, the color to white, the position to the center, blending to normal, and deselect. Use the displacement filter to move the image down and to the right by 2 pixels each; load the selection of channel orig in the current channel, use the Select > Modify > Expand command to widen the selection range, the expansion amount is 5 pixels, fill the selection with black and cancel choose. The dark areas are different from the highlights. We want the highlights to be as clear as possible, but the dark areas to be softer. So, use the Further Blur command in the Blur filter group to blur the image a little bit, and that’s the dark part of the selection we want. (Figure 12a)
Figure 12a
Load the current channel selection, return to the RGB channel, we use the color level tool to adjust the color of the selection. Since the selection is relatively small, and the flashing selection frame may affect your observation, we can use Ctrl+H to hide the edges of the selection, so that the image can be adjusted as accurately as possible. Open the Levels tool dialog box, set the input levels to 179, 1.00, 255, and darken the image in the selection. Press Ctrl+H again to restore the display of the selection edges, and then cancel the selection (Figure 12b).
Figure 12b
Note: You must develop this good habit of starting and ending! Because the selection edges are hidden and easily overlooked, deselecting is often forgotten. But you should know that just because the selection is not displayed does not mean that the selection has been cancelled. The hidden selection still controls your actions – and when it’s forgotten, it can get you into big trouble! Many times we have to work on images with multiple layers, and it is really not necessary to hide the layers above the current operating layer one by one. In this way, due to the occlusion of the upper layer, it is sometimes difficult to judge at once whether the operation on the lower layer is correct. Smaller layer thumbnail�It is also difficult to reflect whether the changes in the image correctly convey your meaning. There’s a huge difference between filling a selection and filling an entire layer, but after hiding the edges of the selection, what you need to do looks the same. These errors will appear if you are not careful, and sometimes they are extremely difficult to detect, causing great damage to the image. Therefore, we must develop a good habit of dealing with the aftermath – after processing the image while hiding the edge of the selection, we must display the edge of the selection again before proceeding to the next step. Even if we cancel the selection immediately, we must first display the selection. edge. ——Good habits will benefit you for life! It is impossible for us not to make mistakes, but we should at least avoid them as much as possible. 13. Let’s create a second dark tone selection channel. Copy the channel orig again and name the copy channel “shadow2”. Load the current channel selection, open the Stroke command dialog box, set the stroke width to 6 pixels, the color to white, the stroke position to the center, blending to normal, and deselect after the stroke. Turn on the displacement filter, set both the horizontal and vertical movement amounts to 2 pixels, set the undefined area to foldback, and move the white image in the channel 2 pixels to the right and 2 pixels down. Load the selection of channel orig, use the expand command to expand the selection by 3 pixels, and in channel shadow2, fill the selection with black and cancel the selection. Blur the white areas with two further blur commands. This is the second dark section of the selection. Compared with the first dark selection shadow, the white area of this selection is weaker and located closer to the upper left. (Figure 13a)
Figure 13a
Load the current channel selection, return to the RGB channel, open the Brightness/Contrast dialog box, reduce the brightness in the selection to -100, use Brightness/Contrast again, reduce it to -60, and cancel the selection. The main function of this dark selection is to reduce the brightness of the white stroke on the right side of the text to unify the light and dark of the image. (Figure 13b)
Figure 13b
14. Let’s add some simple layer effects to the image to make it more three-dimensional. Open the layer style of the mainobject layer, first select the shadow effect, keep the blending mode, color and opacity of the shadow as default, the angle is 135 degrees, the distance is 5 pixels, the expansion is 0%, the size is 10 pixels, and the quality remains unchanged. ; Then select the outer glow effect, set the glow blending mode to normal, the opacity to 35%, the color to the rose red we used earlier, the glow method to softer, the expansion to 0%, the size to 5 pixels, and the quality to default . In this way, the main image part is completed. (Figure 14)
Figure 14
15. Finally, we decorate the background of the image a little. Set the foreground color to RGB (204, 153, 0) and fill the background layer. Then we render the background layer with a lighting effects filter. The settings in the example picture are as follows: the lighting type is point light, intensity is 35, focus is 69, gloss is 0, material is 69, exposure is 0, environment is 0, no texture channel, light source color and environment color are both set to White, the light source center is set at the center of the image, and the illumination direction is from the upper left to the lower right, as shown in Figure 15. If you like, you can also add some small decorations to the image, such as a reflective brush, a cartoon image, etc. The cartoon image in the picture uses a graphic font and has a gradient overlay effect added. (Picture Carto)
Picture Carto
Author: Anonymous Source: pconline
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