July '20

Issue link:

Contents of this Issue


Page 69 of 102

G R A P H I C S - P R O. C O M 2 0 2 0 J U L Y G R A P H I C S P R O 6 5 sire is to experiment with the controls by moving sliders and checking the various boxes, and then review the results in the image window. SHADOWS AND GLOWS There are generally six categories of layer styles: Bevels, Shadows, Glows, Overlays, Stroke, and Satin. Each has its specific qualities and controls. Drop Shadow, for example, controls the position, opacity, distance, spread, and size of a silhouette of the layer content (Figure 4). Inner Shadow and Inner and Outer Glow have similar controls to the Drop Shadow. Each layer style is unique, however, with controls that are slightly different to control various aspects of their individual characteristics. Experimentation is the best way to understand their individual and combined effects. BEVELS The Bevel and Emboss style applies a highlight and a shadow to the layer con- tent to create the illusion of three-dimen- sional relief (Figure 5). There are several types of bevels to choose from including Inner Bevel, Outer Bevel, Emboss, Pil- low Emboss, and Stroke Emboss. The Technique menu provides three op- tions—Smooth, Chisel Hard, and Chisel Soft—that configure the surface of the bevel. The Structure and Shading options then let you precisely control the appearance of the effect by manipulating the depth, direction, size, softness, and shading. The contour of the bevel can also be selected from a list, and custom bevel contours can be created with the contour editor. You can even apply textures to the layer con- tent by clicking the Texture checkbox. The Bevel and Emboss layer style dia- log box is a primary example of how extensive and precise layer styles can be. The results can be quite extraordinary in transforming a flat two-dimensional surface into an object with character and depth. OVERLAYS The three Overlay controls simply fill the layer's content with either a solid color, gradient, or pattern that you select by clicking the swatch. The overlay's opac- ity can then be controlled, and a blend mode can be selected to enhance the sur- face of the layer content (Figure 6). STROKE A stroke outlines the edge of the layer content. You can specify the color and size of the stroke and whether it's placed on the inside, middle, or outside of the edge. The best feature of this style, in my opinion, is the Fill Type that applies a gradient or pattern to the stroke. This is excellent incentive to use the Stroke layer style instead of applying a stroke with the Stroke dialog box (Edit>Stroke), which is more limited. SATIN To produce the effect of light and shad- ow bouncing off a satiny surface, Photo- Figure 3: When a layer has been affected, the styles are listed below the layer's thumbnail. Figure 4: Drop Shadow controls the position, opacity, distance, spread, and size of a sil- houette of the content.

Articles in this issue

view archives of GRAPHICS PRO - July '20