Advanced 3D Typography Techniques In Photoshop | Rabii Mhamdi | Skillshare

Advanced 3D Typography Techniques In Photoshop

Rabii Mhamdi, Online Instructor | Digital Artist

Advanced 3D Typography Techniques In Photoshop

Rabii Mhamdi, Online Instructor | Digital Artist

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14 Lessons (1h 27m)
    • 1. Advanced 3D Typography Techniques in Photoshop

      3:24
    • 2. Lesson 1 Quick Intro To The 3D Interface

      6:47
    • 3. Lesson 2 Creating The 3D Text

      9:33
    • 4. Lesson 3 Adding Text Shine

      3:40
    • 5. Lesson 4 Adding Layer Style

      6:19
    • 6. Lesson 5 using the mixer brush to create amazing 3D art

      8:00
    • 7. Lesson 6 Creating the typography path

      2:50
    • 8. Lesson 7 Creating the 3D typography

      5:08
    • 9. Lesson 8 Adding shading to the typography

      5:42
    • 10. Lesson 9 Adding shadows

      7:47
    • 11. Lesson 10 creating the drip effect

      12:11
    • 12. Lesson 11 creating the 3D ribbon

      8:14
    • 13. Lesson 12 Finishing touches

      7:05
    • 14. Your Class Project

      0:40
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About This Class

This class is designed to teach you a variety of advanced Design techniques by creating a real world Typography text effect project with the 3D features of Photoshop, The goal is to walk you step by step and teach you how to design professional looking projects in Photoshop.

 we focus on a real world case by teaching you the best techniques that produces maximum results. I'll be using the latest version of the program - Photoshop CC 2018, but all the content can be created in Photoshop CS6 and above

What will you learn?

  • create 3D objects and apply materials to them
  • create reflections and realistic shadows
  • create advanced layer style and adding it to a 3D object
  • create a realistic dripping effect
  • Move, select, and edit layers
  • Work with the Pen Tool like a pro
  • Create and modify shapes
  • combine multiple 3D objects
  • create directional light source and shadows 
  • apply lighting effects
  • Learn an exclusive custom 3D Typography technique

… and so much more!

Why is this course different?

  • great quality video tutorials
  • one of the most unique and professional courses on the platform
  • Quality instructor support: I respond to most questions in under 12 hours
  • All lectures are straight to the point - minimal effort, maximum results
  • Learn by working, not by watching!

By the end of this course, you will be More familiar with the Software especially the 3D interface. You'll feel in control as you pursue and complete more ambitious projects. Whether you are contemplating a career change, considering freelancing opportunities, or developing a personal skill, get started today on your Photoshop career!

Meet Your Teacher

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Rabii Mhamdi

Online Instructor | Digital Artist

Teacher

Hello, I'm Rabii online instructor, Digital Artist, and founder of retutstudio.com

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Transcripts

1. Advanced 3D Typography Techniques in Photoshop: welcome to advanced three D typography techniques in Photoshopped. My name is Robbie, and I'll be leaving you through this course over a number of years of working on graphic design and creative retouching projects. I've had a tremendous knowledge, photoshopped and retouching, and I know exactly how frustrating and overwhelming it can be trying to learn for a shop. But after following along with this course, you'll be head of the game in terms off, creating reward projects that involved three D and I pop in for a shop. I will walk you step by step on her, creating three D type of work, a poster and get you my secret techniques. E have created several courses before on your enemy and thought over 11,000 students how to master for a shop great in projects with full of shops. Three D features can be a little bit tricky and intimidating, and there's not much tutorials out their petitions. You the full potential off what you can really cheap with this software. That is why I created this course. This course is for existing Polish up users who wants to expand their knowledge and design skills off the software Of course, you load 103 D objects and apply materials them how to create reflections and realistic shadows. I'll be showing you how to enhance the three D object by adding advanced layer style on top . How to create any realistic dripping effect, how to combine multiple three D objects, how to create directional light source and shadows and apply like me effects. And lastly, I will introduce you to an exclusive custom three D typography technique. So there is no reason for you to hesitate because you are backed up by a 30 day money back guarantee in case you didn't like the course. But I'm sure you will find something useful for you regardless of your previous experience . And feel free to take a look at the free preview videos and check the course description to get an idea of what's inside. So in role now and I'm looking forward tissue inside 2. Lesson 1 Quick Intro To The 3D Interface: the four shop three D features are getting better and better over time. But it's still not the best software for three D modeling because it has limitations, and the interface can look a little intimidating, especially if you are working with three D for the first time. But I'm here to introduce you to the interface, give you a little introduction and show you how to use the essential tools if you're not familiar with. So let's start by selecting the rectangle tool and draw a simple square, and then I'll choose any other color than white so I can see a little bit better. Make sure to select the move toe that is very important in order for the toolbar on the top to show up, and now we need to convert this shape to a three D object. And to do that right click on the layer and select new three D extrusion from the selected layer and foolish up will ask you if you want to switch to the three D interface and I'll click. Yes, now the first thing I want you to look at is up here at the Options bar. These are the tools that you'll be using all the time to control the same view and more objects When working with three D. The 1st 1 is the orbiting three D camera tool, and this one will allow you to orbit around your three D object and give you a 3 60 degree view. Next is the role the three D camera tool, and this one will allow you to rotate the view. The next one is depending camera tool, and it will allow you to pan the camera view up and down and left and right. The next tool is the slide, the camera tool, and this time the camera will be rotating and sliding in and out. And the last one is the zoom, the camera toll, and this one is presuming the camera in and out. And one important thing to remember is that these tools will show up and function on Lee if you select the move toe. And if I select, for example, the hand tooled Now I see the options off the tool that I selected, and also the mesh has disappeared. And by the way, if you don't see the mess great even if the move towards selected, it is probably hitting on. You can't ogle its visibility by clicking on control or command age. All right, so now that you know how these tools work, it is also very important to know that their response and reaction is dependent on what element you select right here in the three D panel. For example, if I click on the rectangle element and choose the orbiting three D camera tool, you can see now that Onley the cube is moving. Because we selected the rectangle element and the same goes for all the other tools, they will respond differently and dependent on what element you select in the three d Palo . I hope this makes sense to you. This is very important to understand, to avoid confusion and frustration when you're working with three D for the first time, you can also use the keyboard shortcut shift V, the cycle between the tools. That way you could work faster. And if you don't like cycling between the tools this morning, left corner will come in handy because from here you can orbit then and only the camera view, regardless off what is selected in the three D panel. If you want to reset the view, you can go to the properties panel and click on the coordinates that and then click reset coordinates and moved to Playground, then click on the default camera in the three D panel to reset the view. Let's now show you how you control the actual three D layer. If you click on the rectangle on the three d panel and zoom in, you can see the on screen manipulator, which has three control points to manipulate the three D layer in X, y and Z directions. And if I hover on it, it will. So a tool tip indicator. This one will move the three D object on the Y axis. This one will rotate it around the Z axis, and this one will scale it around the Y axis, and the same goes for the other control points. You move, rotate and scale to three. The object around the X Y and Z axis, and one important thing to mention is this Middle control point. If you click on it and drag, you can scale the object uniformly, and that is very helpful. If you're working with a three D object, and you want to scale it without messing its shape and proportion. You can also do the same thing as we did before and control your object from the properties panel. If you click on this icon, you will see the cordant step, and from here you can control position, rotation and the scale off the object by changing the values off the X Y and Z axis. If you want to be more accurate with the CO ordinance now, up here on the top left corner, you have the second view window, and you can change the view by selecting one from the drop down menu. This will come in handy when you want to see your object for multiple views at the same time. And if you want the big review off this window, you can click on this icon to swap between the main and the second a review. Now, back to the three D panel, we can see that there is multiple elements in our scene. If you click on the infinite light, for example, the screen manipulator will appear, and now you can control the light direction by clicking and dragging on this handle and you can control the light value from the properties panel. You can choose to show or hide the shadow control, the softness, the intensity and so on. Now let's go to the actual three D object and click on one of these materials. And if you look at the properties panel, we see the material step, and from here, you can choose from a set off different materials. This is the front inflation material. And if I choose this blue one, you can see that it changes in the Cube. Don't. Here you can control things like shine and reflection, and each one of these has a material assigned to it, and you can control it from the properties panel. Don't worry if I didn't explain every detail about the material staff right now because we are going to be working with it in a future video and you will be able to understand it better. Lastly, you can filter through the scene by clicking on these icons. For example, this will only show the materials on the scene. This will show the lights and this will show the meshes. Okay, that's pretty much what do you need to know about three D interface to get you started. Now, in the next video, we will start by creating the three D text. 3. Lesson 2 Creating The 3D Text: So now that you're more familiar with the three D interface, let's start creating our 30 text. So start by creating a new document with the dimension off 2800 by 3500 pixels and then click create, then ari salted color and choose a light gray color. The hex code is D C D C D C, which is going to be our base color for the background. All right, so now let's add the text and I'm gonna type the world knock, and it is a part off the sentence can't knock the hustle. But I chose for this course. Now we need to convert it to a three D text by right clicking on the layer and selecting new extrusion from the selected layer. Now, this is how the text extrusion will look like by default, and we need to make some changes to it. First, I'm going to click on the text object, go to the messed up and reduce the extrusion death that looks good for now. Now we need to lay this text flat on the ground plane. So again, make sure to select the text object, go to the coordinates step click on the top middle box, and that is the X rotation angle and change the angles to 90 degrees. And now, as he can see, the text has been rotated 90 degrees. But we have a problem. If I were did the camera angle, you can see that the text is floating and it fix that. You need to select the object and then click on the move to ground plane bottle. And now the text is flush to the ground. Okay, let's zoom in the camera view, and now we need to work on the text extrusion and materials. So on the three D panel, select all materials by holding, shift and clicking on the last one. Then go to the material step and choose this blue glossy material and then change the color toe a dark, almost black color. And now we need to play with the parameters a little bit. First, we need the sign value to be high and also the reflection, in my case, 80%. And if you go to seen an orbit the camera view, you can see that the text is shiny and reflecting the light, and it's reacting based on the light source from the scene. And if you click on environment, you can control the image based light from here and that is controlled from the Environment Dept. In the properties battle called the IBL, which stands for the image based light. If you click here, you can enter the texture of the IBL at a new one from scratch or replace it with existent extra. You have. I'm gonna click on edit texture on this. Is that the force texture of the IBL and you're going to be modifying it a little bit. So I'm gonna creating new layer and fill it with black by pressing control backspace and the nostrils, the rectangle tool with the white foreground color, and start adding random rectangles with the random order and shapes. This is going to be the new IBL, and it's going to be reflected on the three D object. You don't want to add too much rectangles that looks good to me. Now I'm gonna select all theirs and merge them with control e. Then save the file. Close the document. And now when you go back to the environment, you can see how it's affecting the text when I start moving the IBL and also when I moved the text itself, make sure to keep it subtle and not at too much rectangles. And you can always go back and edit it. Okay, Now we need the text to be at the center of the document. So I'm going to click on the the false camera view and hear from the camera of you Drop down. I'll switch to the top you and I'll take the zoom tool and zoom in the camera. Now I'm going to tilt the camera view to the bottom a little bit, but I want to text to stay aligned in the middle. In this case, I can hold shift and now the camera is only moving vertically. I will align it right here and then I go to environment and start playing with the IBL to change how the reflection looks on the text. Basically here I'm looking for a nice shine on the extrusion and for the front park to stay black. And this can be a little bit tricky to find the perfect spot. Okay, so that looks good for now. And that can always control the extrusion caller and illumination by selecting the extrusion material from the three D panel and changing the color off the diffuse speculator , illumination and ambient from the properties panel. Great. Now I'm going to click on the infinite light and start changing the light direction by moving this handle. And as you saw in the finished image, the light source is coming from the bottom right corner. So I'll make sure to move the handle to that direction, and that will create the long shadow. Okay, right now, the shadow is looking very harsh and ugly. So from the Properties panel, I'm going to increase the shadow of softness and make sure the intensity is very low. Now, the thing is that full shop render preview is very bad, and you cannot exactly see what you're doing unless you click the render bottom from here, let it render for a little bit and get an idea on how it's gonna look like and then stop rendering by pressing the escape key. But this can be tedious process, especially if you are constantly making changes and rendering to preview. So instead you can take the marquee tool and make a selection on on Lee the area that you want a preview and click render Now Photoshopped will only render the selected area and it will be much faster. And you will get a better idea on the finished results. That looks good for me. I don't leave it like that. Next, I want to decrease the letter spacing off the text. So I selected text layer and I'm not click on the edit source bottom from the properties panel. This will take me to the Tech Stores file and from here I can make my changes by decreasing the fracking to 20 except the changes and then save the file. And now, as you can see, the text has been updated on the three D layer in the three d panel. I'm going to click on the lightbulb icon and then click on new infinite Lights. This will add the new light source to the scene. And then I was tilted to the bottom right ever so slightly and increased the softness all the way to 100 make sure the intensity is very low. And I want the second shadow to be very subtle. Great. The next thing I would like the ad is the text reflection on the ground plane. So to do that, select the environment tap, go to the properties panel to the ground plane section and right here, where it says reflection increased the opacity off the reflection. And if I moved the camera, you can see now the three D text has the reflection on the ground plane. I will click on control Zero and do that and increase the opacity off the reflection a little bit. I wanted to be subtle. And also I'm going to increase the roughness quite a bit. And that will make the reflection softer. Kind of like the ground plane is less glossy. Now, I would like to see the changes we made so far, So I will make selection right here and render the fire okay, that looks good. Okay, so now the last change I want to make is changing the text view to perspective because right now I don't like the viewing angle off the text. So to change the view, I will click on the current view. And as you can see, it is on Ortho graphic view. I'm going to change it to perspective and Now the view is much wider. So now I'm going to receptive you and align the text in the middle again. And by the way, if you are having a hard time trying to align the text to the middle, you can use the guides to help. You do that by pressing control are to bring the roller and druggie vertical and horizontal line to the center of the document, and the guidelines should snap into place when you reach the center. If you have snapped, enabled. If not, you can go to view and make your snap is enabled. Now I can use the lines as he guy to drug and rotate the text to align into the center. It doesn't have to be perfect, but I'll try to center it as best as I can. Okay, now that I'm happy with the text, I can remove the guides by dragging them to the sites. And now all the text modification is done, and I'm happy with it. I can click on this bottom to render the fire. Now this process can take a while. Depending on your system, it can take from 15 to 20 minutes or more to render this file. I will leave it, do its thing, and I will see you in the next lesson where we will take the three D text a step further by adding reflections and layer style. 4. Lesson 3 Adding Text Shine: in this video, we're gonna start enhancing the three D text by adding sunshine to the edges and some shadows to the back room. So here we are in for a shop and I have my three D text rendered and ready. As you can see here, this is how it will look like when Photoshopped finishes rendering the fire. And I'm going to start by adding a Grady into the background. And to do that, double click on the background feel layer and then choose greedy in overlay, and you want to choose a black, white or black to transparent, radiant. Change the angle so that the shadow is on the top left corner. And that makes sense, since the light is coming from the bottom right. Adjust the scale from this later, or you can click and drag ingredient from the canvas, and we want the shadow to be subtle. So I'm gonna change the color to make great, and you can always go back and change the color or reduced capacity off the layer style. All right, so now we're going to be adding some light shine here at the edges of the text, like the ones we see on any glossy object when it faces the light. And since we have chosen glossy material, it will make sense to have some reflection and shine. So on a new layer, we're gonna be drawing the reflection with the mental. So people depend. Tal, make sure you are on a new blank path and make sure you are on a path from the mental options bar. And now you want to zoom in on the text and start adding aligned by following the edge of the text. And when you finish drawing the line, hold control or option and click away to finish the path. Now, repeat the procedure and start adding more lines to the text and make sure you don't overdo it or at too many lines or at once, that doesn't make sense. For instance, you don't want to add the light reflection that is not facing the red light. Okay, now that we finished drawing the lines, what we're gonna be doing next is take the brush tool and then choose the very small brush size. In this case, I'll go with three pixels and then we're going to click on the path to selected and then right, click on it and select stroke bath. And from the drop down menu, you need to select the brush tool and make sure to select simulate pressure and click. OK, I'm gonna click away to do Select the Path. And now, as you can see, we have created a thin line. It looks like a realistic light reflection. And because we check the simulate pressure option, it will make the line very thin at the edges and that what does the trick? Now I'm gonna undo that and redo it again because my foreground color was grey. So we'll hit extra, switched the white and do it again. And as you can see, when I turned it on and off, it adds so much to the text. Okay, Now I'm gonna call this layer reflection, and I will see when the next lesson where we will start adding layers, starting to the text and give it a lot more depth 5. Lesson 4 Adding Layer Style: in this. Listen, we are going to continue enhancing the three D text by adding layer style on top, and that's gonna add another layer off depth and complexity to the text. So, as you saw in the finished image, there is an intrusion effect on the inside with the inner shadow that follows the text. And we're gonna be doing that in this video. But first, we are going to be needing a selection to do it. But how we're going to do that since the text is already converted to three D and has some distortion and we cannot load it into a selection because if it was a normal text layer, we can just load it as a selection by healthy commander control and clicking on the thumbnail. But in this case, we have two options. The 1st 1 is that we traced the text with the pentacle and then load the path as a selection. And that's gonna be e kinda tedious process because it will take some time to match the text shape, especially the curved edges. And I'm sure not all of you are good with the Pento. And the second option is he kind of work around. It's not gonna produce through a very smooth edge like the petal does, but it will get the job done. So let's do that together now and I'll show you the steps. First, we need to duplicate the three D layer by holding Commander Control Trans J. And that's very important. We need to work with the copy off the three D text and leave the original untouched because if you render an object and then touch or make any change in the three D panel after that, the view will be reset and you will have to re render it again. So make sure to work on a copy and not the original layer. Okay, so in the three d panel, select the main three D text object and then go to the Properties panel and reset the extrusion depth to zero than in the three D panel. I want you to turn off the visibility off the to infinite lights that we have created before, and that will disable the extrusion and delight and leave us with only the front side of the text. And now, if I hold Commander Control and click on the A thumbnail you can see now it loads the front side of the text as this election. So with this selection active, great, a solid color adjustment layer. And by doing that, this election will be automatically added to the layer mask. And if you want to see the mask, hold alls corruption and click on the layer mask. Thumbnail. There is a spill outside of the boundary off the text, and we can fix that really easily with the levels adjustment layer Commander control else to load levels. And now what you want to do is make the darks darker by moving the left slider to the right a little bit, and that will fix our mask. All right, so let's load the thumbnail as the selection. And now we need to contract this election because we don't want the layer style to be covering the whole text. So I'll go to select modify contract, and in this case, we want to contract this election by 12 pixels, and now we need to remove what's left outside of this election. So what I'm going to do is invert the selection by holding Commander Control I or we can go to select in verse and fill the selection with black with control backspace. Great. Now that our selection is ready, let's at the layer style and I'm going to start with the parent overlay and you want to choose the 1st 1 from the list in the pattern picker and then increase the scales to your liking. Next stop is a stroke, and we need the color to be white, the sides 20 pixels and make sure the position is set to the inside. Now added bevel and emboss. Leave the styles to inner bevel and change the technique to chisel heart. Decrease the depths to 32% changed the direction to down the size 21 pixel and soften it by four pixels. Now uncheck used global light and change the angle toe minus five degrees. The altitude to 26. Check anti elitist and change the clothes contour to the 1st 1 in the list. Now we need to modify it a little bit, so click on it. To load the editor on All I want you to do is give it a slight curve by adding two points on the top on the bottom. Now I want you to change the highlight mode to normal, leave the colored white and increase the opacity 200%. Then change the shadow mode to linear burn and increase the opacity 200% as well. And that would increase the shadow effect right here on the edges. Great. So far, so good. We need to add the last layer style, and that is the inner shadow. Let's start by increasing the capacity to 47%. Then change the angles toe minus three degrees, increased distance to 12 pixels and the size to 29. Then change the contour to this last one in the list and check anti elitist. Okay, that's all. For the layer style, you can decrease the opacity off the pattern of relay. If it's too visible, that's up to you if you like it them or all the way to 100. And, of course, you can go back at any time and adjust the settings to your liking. And I'm going to change the angle off the bubble in the boss a little bit. You can see how is that affecting Lee Layer here on the top And be careful, not to change the angle too much. You want to keep the angle at the bottom right corner, Because remember, the light source is coming from the same direction. Okay, that would be it for the layers I we needed to add to the text. And also for this lesson in the next listen, I will be showing you a radical way to use the mixer brush tools to create amazing three d I apostrophe. 6. Lesson 5 using the mixer brush to create amazing 3D art: before we continue creating our three D typography in our composition. Let's talk about how I created it and I'll show you the technique to create really amazing three dimensional shapes with the Grady Intell on the mixer brush. And it's actually very easy to do once you understand how it works. So here we are in for a shop, and I already created some three D shapes to demonstrate you how it's gonna look like and also this three D typography, which I will go through on how to create later in this video so that you're gonna be using is the mixer brush tool, and you can find it here under the brush in the tools panel, you can use the shortcut B and shift bees the cycle between them. No, we need something to sample from in order to paint with the mixer brush. So I'm gonna take the elliptical marquee. It'll create a new layer and then draw a circle right here. Used shift to maintain proportion for a perfect circle. Then I'll switch to the Grady Intell. Click on here to load the Grady Int editor and then choose the greedy into like and what you want to do is click and drag inside the selection like so they fill it with ingredient , and then click control the to de select. This is going to be our simply point and I was switched back to the mixer brush tool. And before we start sampling, I want you to pay attention to the options were and make sure what it said. 0% load 200% and flow 200% Now increase the brush size to match the sampling point and click holding old eruption example and you can see what I sampled here in the options bar. I'm gonna hide this group and then start painting. And just like that, it creates this really cool treaty looking to and because we used the ingredient, it makes it look like there is a light source and the right that is guest in shadow in the tube. I'm gonna create a new layer because I want to show you something very important. I want you to pay attention to this icon in the options bar. If you hover over it, it will show you a little tool tip off information. Right now it is unchecked And if I check it and then re sample, check this out. The mixer brush tool will start picking up from all visible layers, as you can see right here. And this can get you confused when you are working with the mixer brush tool for the first time. And also you might say, I can disable the background a re sample again during on the background again and continue working well. Here's the problem. If I turn off the background, you can see there's a weird kind of stroke around the painted area, and that is because the mixer brush will continuously be sampling when we have sample from all layers turned on, so you need to turn it off and do it again. But you will have to select the layer your sampling from to take a sample if you want to work on a new layer. All right, so now let me turn these layers on, and I'll show you what else you can do with the mixer brush. I have here some shapes that I created before. Not only you can use the circles a sample from, but also you can use custom shapes or anything you want like this one. For example, If I grab the mixer brush and sample from it, then start painting with it. You can see how I created this amazing and unique shape. Here's another one kind of likely star, and when I sample from it and paint, it produces a totally different shape. And not only that, you can use radio greedy int textures and patterns on top of your shape, like these ones. For example, this one has ingredient any parent over late, and this is how it will look like a different shade with the texture. This one has a diagonal line patterned and it looks slightly different. This one has the radio grading instead of linear, and here's how you can create it. You take the rectangle or the elliptical marquee, it'll and Draghi circle, and in the fill option here, you need to change the films to Great, didn't it? Solid color will be selected by the false changes to Grady int. Choose your radiant from here and here at the bottom, you can change the angle and ingredient type. Make sure in line with layer is checked and now you are ready to sample from it and paint. And not only you can use the rectangle toe, but also you can use custom shapes by selecting the custom shape tool. And here you have access to a whole list of shapes to choose from. I will choose this one, Julie shape from it, change the grade ian type and the angle. And there you go a new shape. The sample from that produces he totally different and unique results. So now we'll be showing you how to use baths to create custom lettering is like the one you see here, so I'll go to paths. And as you can see, I have a path that I've previously created with the mental. And we need to fill this path with the mixer brush so that it follows the lines off the mental. And if you were wondering, how am I supposed to do that? Well, here's how. Make sure you are on a new layer. Then go toe paths. Select the bath. You wanna fill right click stroke bath, then select the tool you want to stroke the pathway. In this case, the mixer brush tool leave simulates pressure, disabled for now and click OK And there you go. It's perfectly following the path. And by the way, the thickness off the end result is determined by the size off the brush. You said before we struck the bath and of course, you can choose any other shape to sample from change your brush size and again goto baths, right. Click stroke math and click OK, and each shape your sample from will give you a slightly different results. Okay. Now, before I show you another technique, I want you to pay attention toe another very important thing in order for this to work and that is the brush settings. If you go to the brush panel, click on the brush tip shape. You need to make sure that it's basing right here is set zero. If not, the rush will look like this when you paint with it, so make sure to reduce it all the way back and you'll be fine. And the last thing I want to show you in this video is taken Advantage off the pen pressure feature in photo shop. I'm gonna switch to the pencil and create the path so I can show you what I'm talking about . first. If you have a graphics tablet, you can enable shape dynamics in the brush panel and then switch the control method. Depend pressure. And now the thickness off the breast stroke you paint with will be determined by depend pressure. That is an option for you if you're good with painting and if you don't have a graphic stuff. But you can use the stroke math technique that I showed you before. But this time you need to check simulate pressure and check this out. It was tried to mimic a real paintbrush by creating a thin line at the beginning, and it gets thicker at the end. And this actually work come in handy in many cases. Okay, that's all I wanted to show you in this video. But obviously, I'm only scratching the surface off what you can do with this technique. But that's all you need to know for now, to create a constant really typography, and that is what you're gonna be creating next. So I'll see you in the next video 7. Lesson 6 Creating the typography path: in this video, you're gonna be creating the path off the lettering with the pencil, which we're gonna be using to create the three D typography. So because a lot of you cannot do custom lettering, I have already created one for you to help you follow alone. And all you have to do is follow the lines with the pentacle and recreate this text. And for those of you who are not familiar with a pen tal, I will show you how it's done. First of all, we need to work on a new path, and I'm going to create one by clicking on this new path icon. Then I'm gonna take the mental. And then what you want to do is click and drag to create the first point at the start of the light and then at the curve of the text at another point and drug to curve the path and at one must want at the end. Now, to finish this bath, hold command or control and click away. Now you can always hold commander control to temporarily switch to the direct selection tool and adjust the path any time you want. Then release controls to go back to the pencil and continue creating the path. Now, when you reach a tight curve like this one, what you need to do is hold Altero option and click and drag on the point to bend it to make a sharp curve than continue working. We have another one over here. So once again, hold Altero option. Bend the point and then continue working. You wanna always click and drag when you start your bath so we can have more control when you go back and edit the path? No wonder quickly follow the rest of the world with the mental and finished the path. Okay, When you're done drawing the path, it is not necessary. That's gonna be perfect Bath. That is why you need to switch to the X election toe selected text so we can see the points . And now we need to go back and refined your path by editing the points and making sure the Kerchers are small and perfectly following the text. Okay, that's it for this video. Take your time creating the path. And in the next video, we're going to be using it to create three d typography 8. Lesson 7 Creating the 3D typography: in this video, we are going to be creating our costume three d lettering and you will be using the path that you have created what they provided help file. So on the bath stab, I have a path off one of the world's ready to go. And I took my time to create it and perfected with the pento. And if we did you and your paths are in another document, what you can do is select the path with the direct selection tool hit Control C. To copy it, go back to the document, then create a new path and place it inside that path. Make sure to save it by double clicking on the text and rename it. Okay, now ominous. Select the path with the direct selection tool and move it right here on the top. You can also transform the path with control T and recited to your liking. Now, before we start, I want to do some organization and group some layers. I'm going to start by this one and call it background. Next, these two layers and call it three d tex on the last ones are these and it will be the layer style. All right, so now I have a sampling point that we're gonna be using t created typography, and I'll show you really quick again how I made it. First, draw a selection with the marquis toe, then switch to the Grady in tool and make sure to choose the radio grading and from the Grady and Editor Choosy. Dark to light. Grady. I'll show you the color picker if you want to copy the hex code. The 1st 1 is three a three a three a. And the 2nd 1 is BB BB BB, And then you want a drug from the left and you want the light area to be at the bottom. Right? Okay, So I'm gonna delete this layer since I already have one example from and create a new layer , group it and call it Ghent for our first word. Now you need to select the path to make it visible. Go back to the sampling layer and make a sample with the mixer brush store. Now we need the breast size to be a relatively small and in my case, I found 62 pixels suitable for me. Yours may very depending on the size of the your document and the text path. Okay, Now I'm not going to be feeling the whole path like we did before. Instead, I will take the direct selection tool and select the first letter. And when you do that, you will have the option to strokes a bath. And as you can see, we stroked on Lee this portion off the text and we're gonna be doing that in different layers and I'll show you why in a minute. The second part is the letter eight, and this time we select these do again strokes her bath and click OK on. The last ones will be these. And as you can see, there is no overlapping or weird looking letters with this method because if we did it in one layer, it will look weird and overlapping. Here, let me show you. I'm gonna create a new layer and stroke the whole path. And as you can see here, the first letter is on top of the 2nd 1 and that's not what we want. We want it in several layers so we can play with the order and move it to the bottom and also this will come in really handy for making selections and masks when you start painting reflections and shadows later in this course, now we will create another group for the second word, and I will do the same thing we just did for the first word. So I'm gonna fast forward this step since you already know how to do it. All right, so now we finished stroke in the path we need to reorder the layers on the first layer is going to be on top of the 2nd 1 The letter D is going to be underneath the S and this one is going to be on the top and that concludes this lesson. Next time you are going to be adding shadows and highlights to the typography and enhancing it. 9. Lesson 8 Adding shading to the typography: So now that we have created the typography, we are gonna be enhancing the text by adding channels and highlights in this video. So we're gonna be doing that by accentuating the lights and the shadows off the text, and that can be done with the levels adjustment layer and clipping it into the group and then move the left slider toe the right to increase the shadows and the rights lighter to the left. Increase highlights. Now, I chose to make the adjustment subtle, but you have the freedom to make it even darker, depending on your taste. Now I'm gonna do the same thing for the second group, Okay? Now we're gonna be adding some highlights and light reflection to the text. And for that, I will use the mental and start adding curved lines that follows the shape of the text and particularly the highlight areas. And we're gonna be using the stroke bath technique to achieve that. So you want to follow the highlights areas when creating the shapes and try to avoid the shadow areas. And when you want to get the bath and start in a new area, you can hold control to temporarily switch the direct selection tool, then click way to cut the path and start a new one. And don't worry if you don't do a good job at first, because you can always go back and edit the path with the direct selection toe. And you wanna always click and drag when you start the bath. So we have a handle to control this middle bath over here needs adjustment. So when I hold control to switch to the direct selection toe and then I'm gonna do my adjustments and their release control to go back to the mental. Okay, so when you finish the bath you goto baths selected, then do the same thing we did before. But first, we need to switch to the brush tool, chose a very small brush size and make sure the foreground color is white. The opacity and flow is set the 100% than gold, a stroke bath and this time choose the brush toe and check simulate pressure. Click OK, and there we go. It created a stroke that simulates light reflection, but it is a little bit harsh right now, so we need to go to filter blur, Gaussian blur and give it a small amount of blurred to smooth the harshness right about seven and click. OK, then reduce the capacity off the layer to make it so that looks good. So now that we did that, there is some overlapping and you may be able to see it when I turned the layer on and off , the painted light should not be on top of everything. So we're gonna mask it off. And remember when he told you these layers will come in handy because I can select this layer and first create a layer mask for the highlights layer, then loaded as a selection. And now in the layer mask, I will take the brush tool with a blank foreground and start masking it on Lee from the inside of the selection. And we're gonna be doing the same thing for this one to unmask it with a brush toe. And you could hold shift and click on the layer mask to turn it on and off. Okay, so this is what we did so far. We added some contrast, and I mentioned to the text I'm gonna double click on the levels and enhance the darks a little bit. All right, so now we're going to be doing the same thing for the next word, and I'm a fast forward, some parts of it, because it's pretty much the same thing. First, you create the bath off the highlights, and again you need to follow the highlights area and also keep it subtle and don't overdo it or at too much baths. Next we stroke the bath. Choose a small breast size and then right click stroke bath. Choose the brush tool and simulate pressure. Then click. OK, now we add Gaussian Blur introduced the capacity that will be it for this lesson. In the next lesson, we will be adding some shadows to the typography, so I'll see you in the next one. 10. Lesson 9 Adding shadows: now, the next thing we need to do to the text is separated from the background and make it look like it is floating is adding some shadows underneath it. And to do that, we will be needing a selection off the whole text. So in the text group, I'm gonna hold control and click on the first layer thumbnail to load it as this election than to add to this selection, you need to hold control and shift simultaneously until you see the plus icon and click on the rest of the layers to add them to the selection. Then we want to create a new layer underneath the text group and fill this election with black. And you can do that by holding control, backspace or option delete on a Mac to fill it with background color. And now we have our shadow in a new layer, but it's not looking exactly as a shadow for the moment. So what we're gonna be doing, first of all, is convert delay of a smart object so I can use smart filters on it. Then we want to reduce the capacity to about 30%. No one at Gulf simpler I'm using a keyboard shortcut. By the way, you can find a house in blur filter under filter menu blur than Gaussian Blur. I found 15 to 20 pixels is enough. In my case, click OK, And now, because we convert the layer to smart object, we have this smart filter mask and if I click on it, I can turn the filter on and off and like in double click on it and change the value at any time. So now I want to transform to text by clicking on controls. The and four shop will give you this warning that says that smart filters will be temporarily turned off. That is fine. Click OK, And now you want to right click and choose distort and you want to distort the text to the top left to make a long shadow Because remember, our light source is coming from the bottom, right? That is still not looking like a long shadow yet. So I will duplicate the layer turn off the 1st 1 than at another filter by going to filter blur and this time motion blur. First of all, we need the angle to be to the left about minus 30 degrees and increased distance to about 280 pixels. That looks good. I'm gonna increase the distance just a little bit more and click OK, now that we added girl simpler and motion birth. It is not necessary that we want is visible everywhere. We want the motion blurred shadows to be visible at the edges. So I'm gonna turn on the visibility off the first layer and create a layer mask to the motion blurred layer and start masking it from this area. You want to paint with the low flow any big, soft brush so it can build up the effect slowly. I'm gonna create another layer mask, toe the ghosting bird layer, and we want to hide it from the edges. And don't worry. If you mask too much, you can switch the white and reveal it again because we are working on a layer mask. As you can see, I am using extra trouble between the foreground and the background. Now because we are using smart filters, I see that the text needs a little bit more blur. So now I can click on Gaussian, Blur, filter and increase the value a little bit more. So basically here. I'm trying to make the shadow in little harsh at the beginning and gradually gets softer and longer at the end. That is why I'm switching back and forth between their masks. It can be a little bit tricky, so take your time with it. So now I'm gonna group these two layers and call a chair. Oh, and that is the shadow off the first word. Done. Now we need to do the same thing to the next one. But looking at the image, I see that I have forgot to remove this part of the highlights. So I'm gonna do it right now. I will go to the highlights layer, then select this particular layer and loaded as a selection. First, create a layer mask, then hide it, using the selection. Okay, let's move on. As we did before, I'm gonna create a new layer underneath the text layer, load all the selections and fill it with the black. We wanted to be to the left a little bit. Then again converted to smart object and give it a little bit off. Calcium blur reduced capacity. Duplicate the layer on this time at motion blur. This time I'm gonna reduce the distance just a little bit. Let's add the layer mask through the layers and then get the brush tool and start with this one. I don't want the ghost in blue to be visible here at the end. Same thing for motion. Blur here at the beginning. We want to shadow to be a little bit harsher because it's closer to the light. You know how shadows work. I'm trying to make the shadow as realistic as possible, and obviously, I'm not making a perfect job here because it can take a little while. And I don't want to make this very long and boring. But anyways, if you are feeling like you're not getting the best results at the first time, no problem. Just do it again and again until you get it right. That is how you learn. And that is how I learned for the shop and still learning through trial and error and experimenting with different settings and different perspectives. - Okay , I think that looks good and we made a good progress on our image so far. And in the next lesson, we are going to be adding a melting effect to the text so well for you in the next lesson. 11. Lesson 10 creating the drip effect: in this lesson, you're gonna be discovering how to create a drip effect where we're gonna make our text look like it is melting and dripping from the bottom. So how we're gonna actually do that? Well, you have many options to achieve this. Some people used to liquefy, tool and stretch the text to create the drip. But I don't recommend that technique because it will stretched pixels and the image will look pixelated. Instead, I'm going to show you we better and in nondestructive technique. So first of all, we're gonna need this election off the text. So as we did before, we're gonna load the individual layers as a selection. And then we need to convert this layer into a path. And to do that, goto baths and click on this button on the bottom right here that says, make work path from this election. Now that we have you working bath, we are not going to actually work with this bath. We're gonna use it to create a field layer so we can change its color or modify the shape at any time later if you want, without having to redraw the drips. So on the new layer we need to go to layer Newfield layer solid color. Click. OK, then choose the color that you want. It doesn't really matter. And now we have converted the text into a fill path. But we can edit its form. Now switch to the direct selection tool so you can see the path. And now, if I select a point and modify the shape, you can see that the fill color will be following the shape. And that's exactly what we want. Because we're gonna be at the layer style to make the drips look realistic. And you wanted to follow the path when we edit it, and that's what I'm going to show you in a bit. First, I'm gonna move this layer underneath the text group, then goto paths and delete the original one so it does not interfere. And now I'm gonna select the bath with direct selection toe, Then switch to the mental and you need to add the point right here between these two points . Now switch back to the direct selection toe, select that single point and rugged to the bottom. And now we need to use thes handles on each points to modify the shape and basically here, we need to modify the shape and make it look like a drip. As you can see here, I'm controlling only three points. And the less points you used, the easier it becomes. I want to push it a little bit to the middle and make it thinner because grips usually are thin in the middle and have a drip at the end. You can look at your reference image to help you with this process. If you click away and the bath disappears just recent like the next and it will show again . And now I'm gonna add another point here on do the same thing again. Now, this process can be a little bit tricky and we'll take you sometime. That is why I have already created it in another document. And this is what I came up with. You can pause the video and recreate this yourself, and you don't have to make it exactly the same as mine. And when you are done, we can move to the next step, and that is adding the layer style. So I'm going to start with this layer on double click on it to bring the layer style a lockbox and start with the color overlay on. The color is gonna be 60 60 60 next Addy bubble and in Boston, and you want to leave the style to inner bevel. The technique this move change the depth 220% and the direction up. Next, change the size to 17 pixels and soften it by 16 pixels. Now in shading, you want unchecked global light and change the angles to minus 29 degrees and the altitude to 37. Leave the gloss contour as divorced and check anti released. Then change the highlight and the shadow Moto overlay. Change the opacity off the highlight to 75 the shadow to 42 and that's it. As you can see, the drips now has a lot better dimension and looks realistic. Now what's left is to blend the droplets with the text and make it look as the one base. So first we need to copy the layer style that we created for the other layer, and to do that, you need to right, click on the layer and choose copy layer style, then go to the other layer and choose based layer style. Or you can hold Altero option and drug the ethics icon to the other layer. And now this layer has the same layer style. So we need these layers to be on top of the text layers, and we only need the droplets to be visible. So what I'm going to do is group the two layers and add a layer mask to the group. And then I'm gonna head control I to invert the mask, and that will make the group invisible. And so now we can take the brush tool and start revealing it only where we want. And by the way, you can hold Altero option and drag left and right to control the brush size and up and down to control the hardness. And you need a soft brush to blend it with the text and a low flow. Now I'm going toe load the text as a selection, and that's just to help me see where the droplets are. And now that I know where to paint, I can hold control age to hide this election and starts painting, as you can see, because I'm using a soft brush and a low flow. The droplets are blending nicely with the text. I'm gonna hold control age again to see the selection. And now I can hide it again and paint next. We have another one over here. Now, we don't need this part over here, so I'm going to make the brush harder than switch back and hide it. Now for this one over here, you need to make the brush smaller so you don't hide the text because it's closer to this election. And then when you reach this part, you could make the brush bigger to better blend it with the text. We still have the last one over here, and I will reveal it right now. Okay, so now we need to do the same thing for the other text. So I'm gonna do that really quick, and I'll show you what to do next. - Okay . The next thing we need to do is adding some shine to the droplets because it is liquid and it's supposed to be shiny and because it's quite hard to draw it manually, especially for beginners. I prepared the reference image that we're gonna be using to achieve this effect. So What you want to do is take the last photo and select one off the drips. Copy it and then pasted inside the document on because we only need the light reflection. We need to remove the background, and that's by changing the blending mode either too soft, light or lighten, then align it to the text. And also we need to de saturated by hitting control shift. You now hit control I to bring levels, and you need to bring the mid tones and the shadow slider to the right until you only see the reflection, and you can also transform the text than right click, choose work and then try to align it with the trip. I'm going to hide the top part off the highlight with a layer mask, and I'm not going to add it to the layer directly. Instead, I'm going to group the layer and then add a layer mask to the group because I'm going to add more layers. Great. Now I will take this one and paste it into the document, and I'll be adding it to the drip, and I'm going to do the exact same thing for this one first we need to change the brand moto lighting. But this time I will change the blend mode off the group that contains the highlight layers . And this way I won't have to do it for every single layer. Then again, control shift duty the saturated layer. When controlled the free transform align the highlight with the drip to your liking. Then hit control l to bring levels and more the shadow slider to the right to hide them atones. You can use the arrows on your keyboard to nudge it and align it. And also you can right click, choose work and align it with the work toe. I'm going to reduce the opacity for this one. And now that I showed you how to apply this highlight technique, I'm gonna go through the rest of the drips and Adam the highlights and I'll see you in the next video. 12. Lesson 11 creating the 3D ribbon: so I'm gonna had an added the highlights to the drips using the same techniques that I showed you before. And here's how they look like now. And so the last thing for us to add now is the three d ribbon that goes between the worlds and contains the world. The to finish the sentence I'm gonna call this group drip highlights. It's always a good idea to name your layers to stay organized. This one contains the drips. Now I'm gonna go to the very top and created a rectangle So selectively tingle tool I'll choose a white color and make sure it has no stroke on our click and drag right here to greet the rectangle. So first of all, we want the rectangle to look like a ribbon. So we need to add two points at the sides with the mental. But first I'm gonna click on control are to bring the ruler Then I'll druggie guide to the middle of the rectangle. Another can add the points exactly in the middle. Now remove the guide by dragging it away with the move toe and hit control are again to hide the ruler and now you want to select that point you just created and drag it inside and whole chief to keep it in the middle. Then switch to the mental, hold off corruption and click on the point to remove the handles and make it a sharp edge. Let's do the same thing for the other point. And now let's convert to three D layer and click on New three. The extrusion from the selected layer. The the first extrusion size look fine to me. Now we need to add the text and I'll switch to the text tool and type in the world. The I'm gonna make it a little bit bigger, and by the way, I'm using the phone century. You can use any sailor front you want. Then we need to convert it to a three d layer as well. So now we have 23 D objects. And as you can see, the problem is that each three D object is on its own environment, and we're gonna fix that by merging the two objects together by selecting them both and clicking on control. Eat now. When I go back, we can see that they are now in the same scene, but we can still select them both individually in this three d panel. So what we need to do now is aligned the text with the ribbon. So are selected text object and in the properties panel, click on reset coordinates, then do the same thing as well for the rectangle. Good. Now we need to rotate them both to line, agrees, and we need them both above the playground. So I'm going to first select the rectangle and drug it to the top along the Z axis. Then I'm gonna do the same thing for the other objects and notice. When I drag it to the top, they are overlapping. And that's exactly what we want. You want to drag it to the top until you see it coming out of the ribbon. So now I want to switch back to the top. Few select both objects, all the control and then with the pen, the three D camera tool, you can see that they are moving together, and I'm going to position it right here between the two worlds. If you want to scale the object, you can only use the scale uniformly handle from here and make sure you have both objects selected before you scale. I'm gonna leave it like that, and then I'm going toe till the view a little bit to the bottom so that the ribbon extrusion is visible. Then I'll make sure to select both objects and rotate them along the Why axis Just a little bit good. Now that I'm happy with the positioning, I will click on Infinite Light and fix the shadow angle to the bottom right corner. And then I'll make the shadow softer. And with this part done now, what's left is the ad materials on top off a three d object. So what I'm going to do now is to let the first material and that is the front inflation material. I'm gonna change the materials to a glass material, specifically the first glass one. The next one will be the extrusion material and the back bevel material. I'll select them both and then change the materials to marble. It's this one at the very bottom, and with that done, I'm going to select the ribbon and it see how it looks like so far that looks good, but let's enhance it a little bit more so in the properties panel. I want you to increase the shine and also the reflection. And if you want to make the glass more frosty, unless transparent, you can do that by increasing the refraction from here. And if I do a quick rendering, you can see now, the glasses less transparent. I'm gonna bring back the reflection to a low value because I like the transparency. The next thing I would like to do is select the extrusion material, click on the diffuse scholar and decreased the intensity off the color just a little bit. And let's see how that looks. Great. That looks good for the ribbon. So now I'm going to move to the type object and select all materials. I'm gonna leave the material to the default, but I'm going to change the fuel scholar toe white and see how it looks. And it looks like I need to increase the color intensity off the front material, and that is the last change. I'm gonna make the text object now. I'm gonna render the whole campus without making a selection this time, and that's pretty much it for the whole composition. We still have to add some final touches and lighting effects, so we'll leave it render to the end, and I'll see you in the next video. 13. Lesson 12 Finishing touches: So now that the three D ribbon has completely rendering, this is the finished result. And with that out of the way now, I would like to add some finishing touches in this video. I'm going to start by making the letter t look like it is above the three D ribbon by hiding the overlapping part. So what I'm going to do is group the layer off the ribbon because I want to leave the three D ribbon intact and then add the layer mask to the group. First. I need this election off the top bar off the letter T, so I'm going to locate the layer and loaded at this election. Then simply, we need to select the layer mask, take the brush tool and paint with black inside this election, and there you go. I think that looks better and makes more sense because the ribbon is slightly angle. So now I'm going to rename this group to ribbon, and the next thing I would like to add is some noise to the background. So let's go to the background group. Great a new layer and press shift, backspace or option delete on a Mac to bring the field dialog box. Choose 50% gray from the drop down and click. OK, now I'm going to change the blending motor soft light. The soft light blending mode will hide the 50% great and then go to filter noise. Add noise. And the reason I did that is because the noise filter cannot be applied on a blank layer. I know you want to add about 6 to 7%. That looks good. Maybe we can reduce the opacity just a little bit. Okay, Now, I would like to work on the typography here on the top. I feel like I can enhance the shadow a little bit. So what I'm going to do is first load that particular layer as a selection. So let's do that right now and above the shadow group off that word. I'm gonna create a new layer and fill that selection with black. And now I'm going to convert that layer to a three d layer, and you will know why I'm doing this in a moment. Basically, I needed three deal a year just to cast a long shadow, and then we're gonna delete it. So as we did before we're gonna change the view to top We want the extrusion to be small and we're gonna rotate it 90 degrees. And now what I want you to do is try to align the shadow with the previous one And on the infinite light we're gonna make a long shadow on. Of course, we want the shadow to be a very soft Let's see how that looks. Yeah, I think I need to make the shadow a little bit longer. And now we need to hide the three d object because we only need the shadow. And to do that, select the object and right click on it. And in this menu, check invisible. Now let's render the shadow area okay. The shadow has finished rendering, and the first thing you're gonna notice here is that the shape of the decks is defined by the shadow and we need to mask that. So first I'm going to right. Click on the three D layer and select rust arised, Really, And then add the layer. Master that layer, take the brush tool and mask that area where the text waas because we only need the top portion off the shadow Okay, Now the shadow is a little bit strong, and we need to reduce the opacity. I'm gonna also move it back just a little bit. I'll move this layer inside the shadow group, and that's pretty much it for the change that I wanted to make the text. Now I would like to add one last thing to the image, which is some lighting with the lighting effects filter. And we need a stent visible for that so created stem visible layer by selecting the layer at the very top, then holding control, all shifty to create emerged layer off all visible layers, and we're gonna be needing that to apply the filter. So with that layer selected, the next thing is to go to filter render, then lighting effects. Now, in here, you can control the lighting by clicking and dragging on the canvas. Or you can click and drag the control points to rotate and scale at the same time. Over here in the properties ban, you can change the type off the light. I will leave it at spot. I'm going to place the light direction at the bottom right corner. As always, I'm gonna make it a lot bigger to reduce that harsh vignette at the edges. And from here, you can change the color or control the intensity using this slider or from the control. Well, do you want to keep the value of very subtle right around 11 or 12. Now, this lighter will let you control the hot spot sides. I'm gonna set it to about 45 that's it. You want to keep it relatively big with a very subtle value. I'm gonna click OK, and the filter now is applied to the layer. You can reduce capacity off the layer if it's a bit strong. Now, if you decide to make any changes to the document in the future, let's say you want to do some changes to the text. Well, then you will need to delete this layer, create another stamp visible layer and redo the filter again. All right, now, with that done, our image is complete. And if you've been following along since the beginning and applying when I showed you congratulations, you should have in results similar or close to this one. Now, in the next video, we will talk about what else you can achieve with the techniques that I've showed you 14. Your Class Project: now that I showed you all the techniques behind creating this image and walked you through step by step. Your course assignment now is the re created on your own. You should have a solid foundation off scales by now to recreate this image. And as I said before, you can do a lot of creative things with the techniques that I showed you. So feel free to add to the image and enhance it. If you feel like you can do so, or you can come up with something unique, I would love to see that. So don't forget to submit your image in JPG or PNG format and uploaded this assignment. That way. Me and other students can provide feedback on your work so your Simon starts now and good luck on creating your own artwork.