Simply click and drag the epicenter of the gradient to the upper-left of the shape layer. While leaving the Layer Style menu open, move the mouse over the image itself (the Move Tool icon should appear). Let’s also move the direction of the light to the upper-left. Reducing the Opacity for a subtler effect. By decreasing the opacity of the gradient, we can flatten the shape to a more concave button. We now have a dramatically shaded sphere with a head-on light source. Adding Gradient Overlay set to Linear Burn. Be sure the white area of the gradient is at the origin. A white-to-black Radial-styled gradient set to Linear Burn works best for our implementation. Creating the shape layer for the icon’s base.Īs is often the case when modeling a 3-D shape, let’s begin by adding a Gradient Overlay to our Layer Style. We’ll now model the base of the round icon in the example image using a single layer.īegin by creating a circular shape layer with a rich red fill. 3-D Modelingīy combining some interior effects, we can use the Layer Styles menu to create simulated 3-D objects: great for icons, buttons and other interface objects. ![]() Consolidating complex imagery into one dynamic layer like this can reduce layer clutter dramatically and allows you (and whoever else may be using the file) to easily find and modify things. We now have a textured, bump-mapped background that is completely dynamic everything about it can be modified easily from within the Layer Styles menu. Painting a mask to increase the appearance of light in the background. To darken the highlights that lie outside our main light source, simply paint a Layer Mask using the Brush tool. This is because the Bevel and Emboss effects are very high on the Layer Style’s stacking order. You may notice that the highlights from the Bevel and Emboss filter all seem to have the same value. Using the Gradient Overlay to darken some regions. The example has a Gradient Overlay to simulate reflected light by darkening certain regions of the image. With a few extra effects, you can shape the background layer even more. By tweaking the Bevel Type and Size, Gloss Contour, Highlights, Shadows and Light settings you can achieve some dramatic results. Applying the Bevel and Emboss texture effect.Īs with most Layer Style effects, the default values are rarely ideal. We now have a grungy diamond plate background. This time, change the Texture effect’s Pattern to the “diamond plate bump map” pattern created in step 2. Next, add a Bevel and Emboss, along with the Texture effect. This will add the texture to our background layer. Adding a Pattern Overlay effect.Ĭhoose the “patchy gray” pattern from the pattern picker, and change the Blend Mode to Soft Light. Then, begin the new Layer Style by adding a Pattern Overlay. Creating the shape layer for our background.īe sure that the shape layer doesn’t have any Layer Styles already applied to it (Photoshop will often apply the most recent Layer Style automatically). ![]() Change the color of this layer to a dark, brownish, chromatic gray. Use the Rectangular Shape tool to create a shape layer about 20 pixels wider and 20 pixels higher than the canvas. Defining the texture pattern.Īfter creating the pattern, delete the “patchy gray” layer. This will be used later to add texture to our background. Repeat step 2 to create a pattern from the “patchy gray” layer. Create a pattern from this document: Select All (Cmd/Ctrl + A), then “Edit” → “Define Pattern.” Name it “diamond plate bump map” and click okay. Inside you’ll find a number of white shapes on a black background. We’ll start by creating our bump map pattern. In some cases, you may be able to use the same image for both, but in our example we’ll use completely different ones. The depth map needn’t have any hue because it determines depth based on a composite value, black being the lowest, white the highest. ![]() This technique requires two images: one for texture and color, and the other to serve as a depth map. “Wait, what?” you exclaim, “There’s no bump map effect in the Layer Styles menu!” That’s true, but by combining Pattern Overlay and Bevel and Emboss, we can achieve a textured, bump-mapped surface with a controllable light source. ![]() Download the source files (.zip, 1.6 Mb).
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