Coloured and Patterned Shadows

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When I saw this technique on another site, I was intriqued. The scrapper was using Photoshop, but I knew I could make it work just as well in Elements so I had to prove it to myself. This is the result!

This tutorial will be a review of how I create custom shadows, but with a twist. It will work best with a white/light coloured alpha or meaty font against a white or light-coloured solid background. The alpha I used is from the GingerBread Ladies‘ Dream Big collab and will be part of a layout created with JB Studio’s Farmhouse Winter. My layout was also created with this month’s Challenge template from Scrabookcrazy Creations by Robyn.

When I create a title with alphas, I usually put it together on its own canvas so I can easily tweak whatever needs tweaking without the distraction of all the rest of the layout. I usually go with a straight line +/- some individual height or angle changes for interest. But because this technique is a shadow trick, this time my working title is on an angle. The shadows on the title must lie in the same direction as the rest of the layout and the title will be on an angle on the finished layout. So…

Typically, once I’ve got the title the way I want it I shadow any overlapping areas and Merge the characters. But you’ll see that I’ve kept each character on its own layer and will keep them separate. This is important for later.* (If you’re using a font, you may want to put each letter on its own layer. Skip ahead to the * to see if that’s what you need to do.) The first step to a custom shadow is to Select the outline of the object. CTRL/CMD>click on the Layer Thumbnail – that little image of what you’ve put on a layer that shows at the left side of the layer in the Layers Panel.

Next, I add a new blank layer UNDER the working layer. The quickest way to do that is to hold down the CTRL/CMD key and click on the Create New Layer icon – the one that looks like a sheet of paper with one corner turned up.

Next, I set the foreground colour in the Color Picker to the colour I want for my shadows. If I’m using a template, I’ll match that to whatever the template designer has used. In this case, it’s just black. Using the Paint Bucket tool, I fill the outline of the letter on the blank layer. This is the Shadow layer.

Don’t be concerned that you can see a thin rim of black around your letter. It’s not going to make any difference to the final product.

Here is where this technique departs a bit from my usual custom shadow routine. I made a Copy layer of the SHADOW: right-click on the layer and choose Duplicate Layer… then click OK on the pop-up menu. The keyboard shortcut is CTRL/CMD>J.

I renamed the two shadow layers; the first, bottom one is Shadow, the top one just below the actual letter is Narrow Shadow. If you want to rename your layers, go to the Layers Panel and double-click on the name of the layer that you can see. Type in what you want it to be called and Enter. Then I turned the visibility of the NARROW SHADOW layer off.

I did this process for each of the letters in my title, creating two shadow layers and turning visibility for the one just underneath the letter itself off.

Now to give the Shadows an offset, which is a regular step in my custom shadow process: Activate each of the visible, bottom SHADOW layers by holding down the CTRL/CMD key and clicking on each layer all the way up the pile. This lets me move all the Shadows in one movement so they match.

For the most realistic look all the shadows on a layout lie in the same direction and give dimension to the objects above them. The shadow Styles on the template I used are at 60° (I flipped the template horizontally, and the shadows flipped too.) To know the exact angle of light on a template double-click on the fx symbol on one of the template’s layers and it’ll show up in the pop-up.

Now to soften the Shadows. So far I haven’t found a way to do this step in a batch, so I processed each layer individually. First step is to add a Filter>Blur>Gaussian Blur…

Elements provides a Preview of the Filter effect. If you don’t see anything in the Preview pane, click your cursor on the edge of your Shadow. It’ll appear in the pane. Or you can just watch what’s happening on the canvas. Using the slider, adjust the amount of Blur the Filter adds. I want them to be quite soft, so I used a Radius of 6.5 pixels. Elements also “saves” the settings of the most recent Filter used, which makes it easy to add that Filter to multiple layers. Simply click Filter>Last Filter. The keyboard shortcut for that is CTRL/CMD>F. One step!

Next, I changed the Blend Mode to Linear Burn. This mode makes the shadow transparent so the layers below are visible – just like a real shadow!

Then to tone the harshness down a bit more, I decreased the Opacity of the Shadow layer to 70%. This step is also subject to personal preference. If you try this and 70% doesn’t look good to you, find what does! It can also be further adjusted later.

This is what the title looks like with each of the Shadow layers Blurred and lightened. I could stop here and be quite happy. But this tutorial is about coloured and patterned shadows, so onward ho!

Yes. You’re not seeing things. I’m going to Clip a patterned paper to the Shadow layer under my “O”.

Doesn’t that look neat?

I Clipped a different* patterned paper to each letter, using the same paper for the two “E”s and went with the green houndstooth for the ellipsis at the end. If you want to use the same patterned paper for all your letters, you could Merge all the alpha layers/not separate the characters if using a font then do all of the preceding steps on your title as a unit.

Okay, so once I had all the Shadows coloured, I decided they looked a little anemic. So I increased the Opacity of each Shadow layer to 80%. That looks better to me.

Now to add just a tiny bit more definition to that alpha. I’ve made all the Narrow Shadow layers visible again and activated them by CTRL/CMD>clicking on each layer. A little nudging in the same 60° direction as the coloured shadows – just a little! – gives each letter an actual shadow.

Again, they’re pretty sharp and harsh so Filter>Blur>Gaussian Blur first.

But because these ones are a lot closer to the objects they’re shadowing, the Blur should be less pronounced. I went with a Radius of 3.0 pixels.

I didn’t need to decrease the Opacity of these shadows. They look just right to me!

Here’s my finished layout. The technique isn’t really obvious, so you might want to work on a larger scale, with a bit more space around your title if you choose to try this. I’m really pleased with my layout as is.

Five days until the first night of Hanukkah, twelve days until Christmas, thirteen until Kwanzaa and nineteen until next year… is everybody as behind on EVERYTHING as I am? Thinking about it exhausts me. But I have an amusing little anecdote I want to share. On Saturday one of my former coworkers (the very last one I saw before I moved away, to be exact) posted to Facebook that her maternal grandmother had passed away. She linked to her Baba’s obituary. Where’s the fun part, you ask? Well, it turns out we’re RELATED! Distantly and by marriage, but still!! Her maternal great-grandfather’s first wife was my great-grand-aunt’s sister-in-law. There are a couple of other spots where our roots intertwine too, that I’ll be untangling over the next while. We ended up talking on the phone for an hour and a half; she said finding out we’re “cousins” was the best thing to happen to her all month.

Before I forget… There was a comment on the cardmaking tut from a few weeks back from Lisa. She said she uses Royal Brites Matte Photo paper to print hers. I couldn’t find any locally, but was able to buy some Staples premium matte photo paper and printed my cards with it. OMG!!!! The difference00 is HUGE!! Thanks and a shout-out to Lisa!!

Next week we’ll be checking out the Challenge Spotlight and the final tutorial of the year is a Quick Trick you’re going to LOVE! See you soon!!

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Don’t Let Your Text “FLOAT”!

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Have you ever wanted to run some text across an element, like a piece of washi tape, a paper ribbon, or even just over a crease in your digital paper, but then look at it and think, “Well that looks like garbage…”? Odds are you feel that way because the text isn’t grounded to the element and looks like it’s floating. Kathi (granny5pics) was in that situation and asked if I could help. This is it!

My example uses a piece of crumpled washi from Cheré Kaye‘s portion of the Beautiful Struggle collab she created with Aimee Harrison and Cindy Ritter, and a very creased label from Cindy Ritter‘s Autumn Treasures. Killing two birds with one stone, as it were.

After I typed out my text and positioned it where I wanted it, I Simplified the layer so that Elements will allow my changes. My method for Simplifying is to right-click on the layer then choose Simplify Layer. It can also be achieved by clicking Layer>Simplify Layer.

Next, I chose the Dodge Tool – the one that looks like the paddle the optometrist uses to close one of your eyes. This tool lightens the area it’s used upon; I like to start with less, then work my way up to more. My settings were Range: Highlights, Exposure: 30% (I adjusted that after I took the screenshot) and 45 pixels for my brush size. Note that I’m working on the text layer, not the tape layer, so the changes I make will only affect the text. I ran the Dodge brush over the parts of the text that are over top of areas where the light creates highlights, the creases on both the tape and the label. For straight lines like the creases in the label, click your Tool at one end of the area you’re working on, hold down the SHIFT key and click just past the other end. Don’t worry about going past the edges of the text; the Tool will only affect the layer you’re on. If you have text that crosses the same crease on multiple lines, you can do all of them in one pass.

Next I switched to the Burn Tool, the “OK” sign, and used similar settings. This tool darkens areas where it’s used. Again, I like to build the effect, because it’s easier to see when to stop. This time, I ran the brush over areas where the text crosses shadowed areas of the tape and the label. I adjusted the Size of the brush to suit the width of the shadowed areas by using the [ key to make it smaller, the ] key to make it larger. Zooming in and out let me see if I needed to go over any areas again.

Here’s a close-up. The arrows point out the areas where I’ve made my adjustments. I can see some dimension beginning to be visible.

I kept Dodging and Burning until I was satisfied. Then I planned how I was going to show the edge of the tape where the ink from my pen wouldn’t have reached the paper below.

The tear at the left edge of the tape is jagged so to help me out, I CTRL/CMD>clicked on the tape layer’s thumbnail to Select the edge, but kept the text layer as my active layer. Then I used a very small Eraser brush to erase a narrow bit of my text. I also shaved a thin strip along the bottom edge of the tape.

If I’d decided it still needed something, I could have used the Smudge Tool – the flying fickle finger of Fate – to gently push the top edge of the text toward the high crease on the tape, knowing that the Smudge Tool blurs the image a bit. But it looked right to me so this is what I’m happy with.

Here’s a Zoomed out look. Can you see the way the text seems to follow the contours of the tape and the creases in the label?

Here they are, side-by-side. I think you’ll all see it now!

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Quick Trick: Auto Colour Correction

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With Thanksgiving looming over all our American members, it’s pretty convenient that today’s regularly-scheduled tutorial is a Quick Trick.

Today’s Quick Trick is another CS/CC-to-PSE workaround. Colour correction can be a bit of a time suck in Elements. But this little trick is brilliant! It uses an Adjustment Layer to accomplish in a couple of steps what can take MANY steps in any other method. The colours in this photo were so much more vivid in real life and just didn’t make it into the camera. So let’s give it a whirl.

Click Layer>New Adjustment Layer>Levels. All changes to the photo will happen on the new layer, so if you don’t like the change you can save the original as is.

I like to Clip the mask to the previous layer. It isn’t essential, but it does ensure that the two layers move as one. Click OK. The dialog box in the upper corner will come into play in the next step.

To access this hidden menu, hold down the ALT/OPT key then click the Auto button. As the screenshot says, the default setting is Enhance Per Channel Contrast. For this tutorial we’ll select Find Dark & Light Colors and Snap Neutral Midtones. You’ll see what’s happening to the image in real time behind the dialog box. If you think you might use this trick again, it can be set as a default so that when you click Auto in the Adjustment Layer menu, Elements will automatically do all these steps.

Here’s the result. It’s subtle, but definitely better. The artemesia in the background is whiter, the pink coneflower is pinker, the centaurea montana is bluer, there’s more definition in the leaves and the green cast is gone! No tinkering, just boom!

Since I’ve gotten some feedback about a side-by-side look, here it is!

That’s it. That’s all! Happy Thanksgiving to those celebrating this week. And remember, football is just a game…

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Redirecting Text on your Embellishments

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I’m never sure how complex I should go with tutorials that land on the first of a new month. There’s already so much going on and it’s easy to become overwhelmed with it all. So this month I went simple, but still very useful. Have you ever had an embellishment – think pocket card or fancy word strip – that you really wanted to use but it faces the wrong way to really work with the rest of the layout? You know flipping it won’t help because then the text would be backwards. And others notice that kind of thing… Well, here’s a fix!

My example will use a pocket card from CathyK Designs‘ Back to Nature kit. I want to put the card on the left of my photo and I want the deer looking AT the photo.

First, I’ll make a Copy Layer of the card. There are several ways to do this. You can click on the Layer tab at the top of the work space and select Duplicate Layer>OK. You can right-click on the layer in the Layers Panel and choose Duplicate Layer>OK. Or you can use a keyboard shortcut: CTRL/CMD>J. [Editor’s note: Keyboard shortcuts work with both Windows and Mac; Windows uses CTRL and Mac CMD.]

Now to flip the card so the deer is facing to the right. When using Photoshop CC you can flip single layers. In Photoshop Elements you can’t. So the easiest way to do it is to use the Move Tool, grab one of the “handles” on the side of the Bounding Box and drag it either vertically or horizontally. I get the flip process started this way, then I go to the dimensions box in the Tool Options toolkit and type in -100. For this one, the -100 went in the W(idth) box as shown. I do the same when I want to change the direction a spray of leaves or a ribbon is curving too.

The cards need to be stacked precisely with the backwards one on top of the original. Let your software do the work! Select both card layers (Click>Shift>Click).

Then go to the Align section of the Move Tool Options toolkit. Click on Left (side) and bingo, the top and bottom layers will be perfectly stacked.

Just like this!

Now, with only the top, backwards text layer active, I’ll add a Layer Mask to it by clicking on the icon at the top of the Layers Panel that looks like a blue sheet of paper with a white circle in the middle, as shown.

The Layer Mask sits to the right of the thumbnail on the Layers Panel. It’s simply a white box at this stage. You’ll know you’re working on the Mask and not the actual object when there’s a blue box outlining the Mask. Now I’ll activate my Eraser Tool.

Layer Masks are really useful when you’re removing parts of an object because it only makes the parts you’re removing invisible – they’re still there, just hidden. If you make a mistake – or the touchpad on your laptop is possessed and does its own thing – you can easily “paint” the part removed in error back in by switching foreground colours. Keep this mnemonic in mind: Black conceals, white reveals. What it’s referring to though is the layer UNDERNEATH! Black will hide the layer underneath, white will let it show. You’ll notice that your Color Picker is now set to black and white. While you’re removing parts of your object, you can toggle between removing and replacing by clicking the X key. Okay, on to removing the top line of text. My foreground colour is white and the layer underneath is temporarily turned off. I’ll turn it on and off to check my work a couple of times while I’m removing.

Here you can see that the lower layer is on, and the backwards text on the top line is gone. In its place is a line of text going the right way.

Now I’ve removed both lines of backwards text.

With both card layers you can see I’ve successfully turned the deer and birds around. To incorporate the Layer Mask with the top layer, right-click on the layer and choose Simplify Layer. This step isn’t completely necessary in this instance because when I Merge the two cards in the next step, the Layer Mask will automatically be Simplified. But if I wasn’t Merging layers, I would definitely want to Simplify that object layer.

To make it easy to use the modified card, I’ll select the two card layers (Click>Shift>Click) then right-click and choose Merge Layers. The keyboard shortcut is CTRL/CMD>E. And that’s it! You can’t even see where I’ve made the changes. (If you look closely though, you can see there’s a little nibble taken out of the bottom line of text at the lower swirly part of the N in Nature.)

I think this will give us some more options with our kits. I have some great ideas for upcoming tutorials that will be more complex than this one. Stay tuned!

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Quick Trick: Brighter Photos the Easy Way

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I know this is true. We ALL have photos that we like but would like better if… they were more vivid. But making adjustments to lighting and colour can be time-consuming and takes some practice. I’m going to show you how to take a nice photo to a NICE photo with just a couple of clicks. I’ve tried this trick on a lot of photos and am really impressed, as well as disappointed I didn’t know about it sooner! The photo I’m going to use as my demo is one taken by my friend Sandy and I’m using it with her permission.

Fall is all about colour. These leaves are pretty, but they’re just a little insipid.

I haven’t really shown you too much under the Quick Edit tab, and that’s my bad. There are some pretty useful options in here and I strongly recommend playing with them when you have a few minutes. Today we’ll focus on the Color tab.

Click on that Vibrance option. This menu will open up. Notice the blue box around the “Free” space in the tic-tac-toe array. That’s the unaltered image. You can use the slider to adjust the colour vibrance or just click on one of the boxes. You can see the adjustments without actually committing to one by rolling the cursor over the array. Going up decreases the vibrance, going down increases it.

Each of the presets represents a 25% change in Vibrance. I’ll show you each of them.

With this laptop, I often struggle with getting the screenshots I want with the pop-up boxes open. Sometimes I luck out, sometimes I fail. Most times I fail – screenshots are captured by clicking CTRL>prt sc and as soon as I hit the CTRL key the pop-up disappears. SO frustrating!! Anyway, that’s what captions and text are for. This image is a 50% increase adjustment.

And on to 75%. Are you able to see the changes?

100% looks like this. Not only are the leaves brighter and more vivid, the fallen log under them has greater dimension and the whole image is just better. If you’ve gone to 100% and still think your image needs a boost, Save it with a new name then run the process again on the new version. When you’re happy with the way it looks, click on the Expert tab and you’re done, ready to use your bright, vivid photo on a layout! You can run through this process in the middle of a layout if you decide the photo needs some oomph. Moving between Expert and Quick won’t wreck anything, so give it a whirl!

Here are the original and the new-and-improved version. Impressive, right? And so easy…

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