| Photoshop Tutorials » Effect » Shadow |
Some things to take note of when working with layer style effects and the Layer Style dialog: - Layer styles cannot be applied to the Background layer. - Layer styles can be applied to only a single selected layer at a time???not to multiple selected layers or to layer groups. - Layer styles are attached to the layer. Therefore, when you move the layer in the Layers palette, the effects tag along. - Type layers remain editable even after a layer style effect is applied. - Layer styles can be copied from one layer to another. - Adobe Photoshop displays applied Layer style effects as items in the Layers palette. - Clicking the eye icon next to each effect???s name in the Layers palette temporarily disables the layer style. Click the eye next to the word Effects to temporarily disable all the applied layer styles for that layer. - Lowering the Fill percentage in the Layers palette reduces the Opacity of the layer, but not the applied Layer styles. - The Global Light option in the Layer Style dialog box tells Adobe Photoshop to apply the same angle to all direction-dependent effects, such as Drop Shadow, Inner Shadow, and Bevel And Emboss. The idea here is to simulate consistent real-world lighting. - Combinations of layer style effects can be saved for later use in the Styles palette.
Give your render realistic shadow on ANY surface. This is great for when you want to add shadows to various objects! Just remember from which way the sun comes.
Let?s start by applying a Drop Shadow style to the shape layer. Go to Layer-> Layer Style -> Drop Shadow (or just double click on the layer at the layers palette) and use these settings.
Creating a shadow for a complex object is a little more involved than the freehand shading we've done so far. In this section, we'll create a shadow for a more intricate object, a complex tree .
Learn how to enhance shadow and highlight details. Some images have detail across such a large dynamic range that it's time-consuming or difficult to make both the shadows and the highlights look good using Levels and Curves. The Shadow/Highlight command uses advanced blending techniques that can't be duplicated using Levels or Curves alone, and Shadow/Highlight can often get you where you want in one step:
5. Select the middl3e color (same as background. Choose a 27 soft brush with opacity of 45 %. Set to COLOR BURN and run up one side the nose and down the other, shade in between the nostrils and above the nostrils.
6. You can see the other layer so just use the paint brush to cover over that in the background color. (To save doing this you can cut out the blood drip/syringe from the back ground and make them their own layer and hide the previous layer each time but I couldn't be asked to do that it all works out the same...kind of. BUT if you want something behind the drip you will have to do this)
7. On the Layer Style panel check the box for Inner Shadow and highlight it.. You will see a panel that looks like the one below. Select the options you want for your text. If you arrange this panel where you can see your text also, you will be able to preview your selections as you go. When you have made the shadow you want, adjusting all the options to your needs, click ok.
With your text tool type in the word you want to shadow. For this exercise I used "Designing Webs". Set your Text tool to Times Roman, Bold, 18 point
This tutorial will show you how to create realistic shadows using simple methods this can be applied to any object that needs a shadow and the same principles apply for each.
The drop shadow can have many uses in web design. You can use it to subtly define space (such as defining where the main content area in a design is) or you can use it to transition from one part of a design to the next, as shown above. In the header of PhotoshopandYou, it's used to define the banner area on the sides. I'm sure there's many more uses for it that are escaping me right now, so next time you're designing a layout in photoshop, you might come up with a perfect use for it.
We need plenty of room to cast our shadow. We will create a duplicate of the text layer by right-clicking and choosing Duplicate Layer, or dragging the layer onto the New Layer button. Now with this duplicated layer, we will first Rasterize it (right-click and then choose Rasterize Type). Now we goto Edit > Transform > Skew. We should be able to drag the top of the rasterized text across to the right, so it looks like this (the original text layer is hidden):
Before we begin, we need to resize it to the size we want the final results to be. Because this is a pixelation effect, you need to enlarge the image to compensate for the extra space each pixel takes up. If you don't set the dimensions large enough, you might not see enough details for someone to understand what the picture is. I recommend at 2000 pixels or more for the width and height.
Hit Ctrl+J on your keyboard to make a layer copy via cut. Then use Filter-Artistic-Paint Daubs Play around with settings until you like the results:
Perfect. Nice and simple, and exactly how it should be done, It is worth noting that if you have a detailed backdrop for your item you can adjust the fill and opacity of the shadow layer until it looks right.
Obviously we'll need a photo to work with so open up your photo press Command-A (PC: Ctrl-A) to Select All, then copy the photo by pressing Command-C (PC: Ctrl-C) then close the photo file to return to your newly created working document.
You must start by cutting out the background from the object that you want to cast the shadow. When you have done this you duplicate the layer that you have the object in, call it shadow to make it easy to work with. Place the shadow layer underneath the object layer.
Title: Learn to create shadow effect. Adobe software photoshop tutorial : The Shadow effect tutorial is one of the special effects Adobe Photoshop. This tutorial shows how to apply shadow of an object. In this tutorial we will use Polygonal lasso Tool.
Title: Draw a blue @ osign logo and give some shading. This tutorial has photoshop instructions to draw at sign as used in email.
The creation of cel-shaded graphics is a lengthy laborious process usually carried out in Adobe Illustrator and/or Macromedia Flash by patient professionals. If, however, you want to bypass all the hard work, and merely require a basic cel-shaded image for a quick illustration at a pre-defined resolution, then this technique may be far more useful to you then a fully-fledged vector graphic. Unlike our hard-edged cel-shading tutorial, the results of this process have much softer edges and are more suited to illustrations in printed material.
Adobe Illustrator and/or Macromedia Flash may be the preferred tools of choice for serious artists wishing to make professional-quality animations, but this does not mean that simple single-frame cel-shading effects are impossible in Adobe Photoshop. This tutorial describes a very simple technique for creating images with cartoon-style effects using nothing more than a photograph and the basic Photoshop tools. The end result is as impressive as it is simple!
Step 5: After a little processing time you will be left with a brand new Shadow layer that conforms to the underlying material... just like a real shadow! This shadow works well, but we can still see the shadow pouring over past the woman and onto the background under the hammock, which is some distance away. A real shadow wouldn't be cast this way, so bring out the Eraser Tool and delete the erroneous shadow elements wherever they lie. This shadow is much better, but real shadows exhibit light diffusion, meaning that they are much darker at their base than at their ends. Thankfully, however, this problem is remarkably easy to correct with a little layer effects magic!
Overemphatic shadows can often ruin the balance of photos, and they can even mask out details. There are several methods and features for retaining balance (e.g. Shadow/Highlights, contained in Photoshop CS and above), but the most effective way is to handle the problem yourself.
We have earlier published a tip titled �Lightening shadows�. The problem is the same here: to deal with broader dynamics ranges in a photo. Too dark and too light areas can often dominate a photo. We'd like to see more details �under� the shadows, or repair some of the bleaching. Now we try the "mysterious" Apply Image command. This is a rather obscure option although it can come handy by a number of different editing methods, so it is suitable for multiple purposes. For example, the one we are trying to accomplish right now.
Buy. Download. Create. Get Photoshop now at the Adobe Store. Photoshop for Students. Get super savings at the Adobe Education Store. Working With Shadows In Photoshop - Advanced Shadow Techniques Extract from "Photoshop CS2: Essential Skills" by Mark Galer and Philip Andrews Learn the fine art of isolating and preserving delicate and complex shadows for transplantation to exotic new backgrounds. Mark Galer reveals how to introduce a world of exciting textures to your ever so subtle... not... studio tabletop. Desert Camelia Humble beginnings ? take one flower, a desk lamp and some white paper. The flower for this tutorial was photographed (using a Fuji FinePix) on a cold winters morning in Victoria whilst the sand (shot on Kodachrome film) hails from the Great Indian Desert in Rajasthan. Unlikely bedfellows, but with a little craft the two can lie together comfortably within the same frame ? but only if the subtle shadow (created by a not-so-subtle 75 watt globe and a couple of pieces of white paper) is captured with all of its subtlety and delicately transplanted to its new home in the desert. This is how...! Botanical Health Warning: The delicate petals of the flower can be cooked, frazzled or fried by the heat of a tungsten lamp in just a few minutes. Be prepared to work quickly or use soft window light as a low-temperature alternative. Duplicate the background layer. Step 1 Duplicate the background layer by dragging the layer to the 'New Layer' icon in the layers palette. Don't worry if the edges of your white paper are in the frame. Just be sure to capture the subject and its shadow. Note: The surface used does not have to be white, but should be relatively texture-free. This will avoid mismatched textures when the shadow is transported to its new home. Use the gradient tool in Quick Mask mode. Step 2 The initial steps in this tutorial aim to reduce the background tone to white and leave the shadows intact. The fall-off of light from the directional light source (the white background gradually becoming grey on the side furthest from the light) can be balanced using an adjustment layer. Select the 'Default Foreground and Background Colors', 'Quick Mask Mode' and the 'Gradient Tool' in the 'Tools Palette'. Select the 'Linear Gradient' and the 'Foreground to Transparent', or 'Foreground to Background' option in the 'Options' bar. Drag a gradient from the brighter side of the image to the darker side of the image. A gradient in the default masking color wi...
NOW, WILL START THE PRO WAY TO WORK WITH SHADOWS. At the layer 2, right click the mouse at the letter fx, and choose create layer...
Hello everyone, and escpecially rob7676! Today i will try to explain how to give shadow to elements on your image. The things i will show can be used from Photoshop 7 and older. First, we need an image. My chose was a random guy that i picked off from sxc.hu (one of the best stock photo site). I will name this guy Ali for instance. So i made a new document, and pasted my little random avarage (handsome) guy. But in order to give Ali some shadow, we will need to cut him out from the background. There is a lot of tools to achive this, but i used the "Color Range" selection tool. So if you want to follow me stricktly then go to Select>Color Range and click on the white background beside Ali. You have to play with Fuzziness because the value will depend on your image.
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Nevertheless, you can see the difference this one adjustment can make. Though I pulled the slider up to about 60%, the highlights of the photo weren?t molested in any way (the differences you see came from a little color correction using Curves in the ?After? shot). Same is true in reverse when adjusting highlights?Photoshop will leave your shadows alone. So the next time you need a little digital fill flash, be sure to reach for this adjustment.
This is a really fun and popular effect to create in Photoshop, and you may remember seeing it used heavily a few years back in the promotional posters for "Star Wars, Episode I - The Phantom Menace", where a very young and innocent looking Anakin Skywalkwer was casting the shadow of Darth Vader behind him. Fortunately, you don't need to be a special effects wizard to create the same effect with your own images. All you need is a copy of Photoshop and a little imagination.
[23]-Thanks for read this Photoshop Tutorial. I hope U have enjoyed & the Final Output of this tutorial is shown below
Light creates shadow and shadow in return, enhances the appearance of the subject. The interaction of the two is fascinating. Light can make the subject feisty or dull while shadows can make it mysterious or terrifying. Shadows add facet and meaning to an image. Without shadows the object may appear plain and boring. Lights and shadows establish the correlation of one object to another and their place in the full scene. The position and strength of the lights and shadows also set the general mood of the subject. It is engrossing to play with lights because you can do amazing things to your subject just by manipulating it. The sun is inviting and the objects are responding. The latter casts bright and translucent blaze that overly saturates the colors of the scene making sharp shadows. Artificial light also exudes brightness that illuminates a scene from different perspectives. It allows innumerable shadows that collide and contends for prominence. Artificial light comes in a wide array of colors. Colored shadows are then created by colored light sources. With the help of Photoshop, the object is vested an illusion that it has a third dimension. Photoshop's files are configurations of pixels that are put across the width and down the height of an image. Third dimension's illusion is created through the use of accurate shading and perspective. The sun's shadow identifies the time of the day. It can tell whether it is morning, noon or afternoon just by its shadow. Shadows are also essential in some types of arts like painting, photography and stage play. With Photoshop you can lower your subject's opacity and blur the layer with the Gaussian Blur filter. Select Filter> Blur> Gaussian Blur. By this you can manipulate and play the time of your masterpieces. Shadows are created in various shapes and sizes. You can play with it to create an amusing blend of objects forming a remarkable artwork! There are instances when the object casting the shadow is hidden. There are also times when you have to make them visible to the scene. Drop shadow, a distinct type of shadow, has the identical shape of the object casting it. The distance of the object and the path of light source resolve the position of the shadow. Layer Styles allows you to add a drop shadow to layers. It can be controlled in many ways. To position the shadow, adjust the Angle field's value in the Structure of the dialog box. The distance verifies how far the shadow will fall. The Spread field works like...
Let's face it, Photoshop's built-in drop shadow effect has it's limitations. It's fine for basic shadow effects, like making text appear to be raised slightly off the background on a web page, but if you're after something more photo realistic, the drop shadow on its own doesn't cut it. With a little help though, we can turn those plain, uninteresting drop shadows into something much more realistic looking by "mapping" our shadows onto the image using what's called a displacement map. Displacement maps are what the pros use to add realism to images, but don't let that scare you away. You don't need to be a pro to use them. In fact, they're really quite simple.
This tutorial will teach you a quick and easy technique to lighten the areas of a digital photo that are too dark or underexposed. This acts as a sort of digital fill flash. Photoshop's own Highlight and Shadow Recovery tool is quite effective in many cases, however there are times when you want and/or need greater control to get exactly the look you want.
Sometimes I would advise them to crop tighter or change their center of balance, but by far the most common problem they had was with Shadows and Highlights. I would ask a student to show me a pure "white" in their print and they would point to a cloud or something similar. I would say that's not white, and they would argue with me. Now admittedly this was done under safelights; but once I asked them to fold over the edge of the print so they could see the back of the photo paper, that's when I would say "Now that's a pure white." They didn't argue because they actually did have a pure white, they argued because that's how they remembered the scene in their mind. I had to remind students again and again that unless you do something different, the camera only exposes at 18% gray. Likewise, in a darkroom, unless you do something different the prints that come out are also 18% gray. When you expose something at only 18% gray, you are using a middle of the road type exposure. That should be your starting point, not your final destination. In the Zone System developed by Ansel Adams there are 10 zones or shades from pure white to pure black. If you take a close look at most exposure compensation settings; regardless if your camera is digital or 35mm, most of them only give you a plus or minus range of two f-stops. If the original setting that your camera uses (18% gray) is zone 5 and you can only expose at plus or minus two stops, that only gives you a visual range of five f-stops. What happened to the other five zones? Camera manufactures keep coming out with bigger and better units every day, but to date, none of them have developed a sensor as sensitive as the human eye. You may remember those awesome white puffy clouds, but that is because your eye sees and comprehends a wider range of colors than just the standard 18% gray. Remember, if you want a subject to actually be white (a wedding dress for example) you will have to give the shot more light than the camera suggest. If you want it to actually be black, (a black cat for example) you have to give the shot less light than what the camera is indicating. When it comes to light, it seems that many photographers become totally obsessed by the idea of controlling it. I mean we buy studio lights so we can get more of it. We get reflectors and bounce things off the wall. Why? All for the mistaken idea that we need to get rid of the shadows. Let's just take a moment, breath deep, and remember the classics. When ...
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1. Open a photo containing shadow or highlight areas that need adjusting.
Now the best part. Make the RELIEF layer visible, and choose LUMINOSITY as the layer blending type and voila! we have a shaded relief map.
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Ctrl/Cmd Click the object's layer to select it's border.
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Finally Set the shadow to multiply mode and the opacity of the top shadow layer to about 50% and the bottom shadow to about 30%
[6]- Go to Filter>Blur>Gaussian Blur use the following settings Use this effect 3 times go to filter>Blur>Gaussian Blur, Radius:3%, at last Radius:1pixel
[6] Then go to Filter>Blur>Motion Blur use these settings.
[1]-First of all Open New Document of Custom size,Height & Width 300�400 pixels,Resolution 72 & Mode RGB Color
Apply red to black gradient in radial mode.