Exploring the Layer Style menu

In addition to the pop-up menu at the bottom of the Layers panel (refer to Figure 12-2), you can apply layer effects through the Layer ⇒ Layer Style menu. As you can see in Figure 12-5, the Layer Style menu has a few more commands than the menu at the bottom of the Layers panel.

The ten items on the Layer Style menu below Blending Options are the actual layer effects. A check mark to the left of the effect indicates that it’s currently applied to the active layer. The Copy Layer Style and Paste Layer Style commands come in handy, but if you’re more mouse- or stylus-oriented than menu-oriented, you’ll find it easier to add the style to the Styles panel and click the style to apply it to other layers. You can also Option/Alt+drag a layer style from layer to layer in the Layers panel to duplicate it. Clear Layer Style is the equivalent of using the leftmost button at the bottom of the Styles panel — it removes all layer effects from the target layer. The four commands at the bottom of the menu are worthy of a little special attention:

• Global Light: A number of layer effects are applied at an angle. Drop shadows, for example, simulate light coming from a specific angle (which, of course, determines where in your artwork that shadow falls). You use the Global Light command to set the default angle at which your effects are applied. Generally speaking, you want the angle to be consistent from effect to effect and from layer to layer in your artwork. There are exceptions, however, such as the situation shown in Figure 12-6. In that artwork, the two type layers have shadows receding at different angles to simulate a light source positioned immediately in front of and close to the image. (As you can read in the next section of this chapter, when you use layer effects that are applied at an angle, you have the option of using or not using the angle in Global Light.)
• Create Layers: Sometimes you need to edit a layer effect — say, to control where a drop shadow falls on the lower layers in the image. The Create Layers command rasterizes each layer effect (adds it to the image as a separate layer or layers containing pixels). You can then erase portions of the new layers, apply artistic filters, or otherwise customize each effect layer. Remember that after a layer style is rasterized with this command, you can no longer edit it through the Layer Style dialog box, but the original style (if you added it to the Styles panel) is still available.
• Hide All Effects: You can temporarily hide a layer style with the Hide All Effects command. Alternatively (and more conveniently), you can click the eyeball icon next to the layer style in the Layers panel to hide the effects.
• Scale Effects: Use the Scale Effects command to uniformly make the layer style larger or smaller.

Exploring the Layer Style dialog box

The first step in creating custom layer styles is to become familiar with the individual layer effects. Each of the ten effects available in the Layer Style dialog box (see Figure 12-7) has its own set of options. Most of the basic default values are very good starting points. You might need to change only a color or perhaps adjust a Size, Distance, or Opacity slider. You can, of course, do lots and lots of customizing for some of the effects.

In the column to the left in the Layer Style dialog box, you can select a check box to apply the effect, but you need to click the name of the effect to open that effect’s options pane. In Figure 12-7, the check marks show that this particular layer style includes a bevel, a stroke, color and pattern overlays, and a drop shadow. The options pane for Bevel and Emboss is visible, as you can tell by the highlighting in the left column (not to mention the subtle Bevel & Emboss at the top-center of the dialog box). And in the far right of the Layer Style dialog box, note the Preview check box (upper right, which shows what the layer style will look like) and the small sample just below. That sample shows how your style will look when applied to a square about 140x140 pixels. (The new larger size is great — the preview in earlier versions was a tiny 55x55 pixels and hardly useable.)

Take a look at the bottom of the Layer Style dialog box in Figure 12-7 to see the buttons Make Default and Reset to Default. In addition to saving a new layer style every time you hit upon a winning combination of settings, you can make those favorite settings the default. Change your mind later? One click is all it takes to reset to Photoshop’s defaults.

As you read the descriptions of the various sets of options, keep in mind some generalities about a few key options that you’ll see a number of times:

• Color Selection: When you see a color swatch — a small rectangle or square, usually near the Blending Mode option — you can click it to open the Color Picker and select a different color.
• Noise: When you see the Noise slider, you can add a speckling effect to help diffuse a glow or shadow.
• Contour: Glows, shadows, and the like can be applied linearly, with a steady fade from visible to not visible. Or you can elect to have that transition vary with a nonlinear contour. Generally speaking, nonlinear contours can be great for bevels, but linear is usually best for shadows and glows unless you intend to create concentric halos.
• Angle/Use Global Light: You can change the angle for several layer effects by entering a specific angle in the numeric field or by dragging in the circular Angle controller. If the Use Global Light check box is selected, you change all the angles for that layer style.

Layer effects basics

In this section, I explain the basics of each of the ten layer effects, showing the options available in the Layer Style dialog box for that effect in an insert, as well as one or more examples. And don’t forget to take a look at the nearby sidebar, “The four key blending modes.” Later in this chapter, you can read about the Opacity and the Fill sliders as well as some other advanced blending options.

Bevel and Emboss

Perhaps the most fun of all the Photoshop layer effects, Bevel and Emboss is a quick and easy way to add a 3D look to your artwork. You can apply a Bevel and Emboss layer effect to text or to buttons for your website. You can also use this effect to create more complex elements in your artwork, examples of which appear in Figure 12-8.

When you feel the need and have the time to let your imagination frolic through the fertile fields of Photoshop fun, filters are first, but the Bevel and Emboss layer effect follows fruitfully. Take the time to play with the various settings in the Bevel and Emboss pane of the Layer Style dialog box to see what they do. Add a new layer, create a simple shape (perhaps with one of the shape tools), select Bevel and Emboss from the pop-up menu at the bottom of the Layers panel, and experiment — that’s a far more efficient way to get to know this effect than reading technical explanations of each of the options. (One caveat: You won’t see any change in your layer with the Stroke Emboss style unless you’re also using the Stroke layer effect.) Don’t forget to play with the various Gloss Contour presets! Remember, too, that you can add a second contour effect and/or a texture using the two check boxes below Bevel and Emboss in the left column of the Layer Styles dialog box. (As with other effects, click directly on the name Contour or Texture to access the effect’s options.)

As you read this book, keep an eye out for the Bevel and Emboss layer effect. When you come across a bevel or emboss effect, such as those shown in Figure 12-9, you might want to take a moment to remember your experimentation and then try to puzzle out what settings I might have used.

Stroke

As you read this chapter, you’ll see the Stroke layer effect often. Many of the insets from the Layer Style dialog box in this section’s figures have a one-pixel black Stroke layer effect applied. Adding that tiny stroke helps set off the dialog box from the background.

Not only is Stroke a handy and practical production tool, but it’s also a wonderful creative effect, too, especially when you use it in conjunction with other layer effects. For example, a stroke of a contrasting color is a great way to redefine the edge of your object when working with an outer glow and an inner shadow. (In the Stroke effect’s options, remember that you click the color swatch to open the Color Picker.) A simple stroke can convert even the plainest text into an eye-catching statement. And don’t forget that without the Stroke effect, the Bevel and Emboss effect’s Stroke Emboss option does nothing for your artwork. Figure 12-10 has a few examples of layer styles that include a Stroke effect.

Inner Shadow

You can do a couple of things with the Inner Shadow layer effect, as you can see in Figure 12-11. Compare the two sets of options. On the left, a soft, light-colored inner shadow using the Screen blending mode softens edges. On the right, a hard inner shadow, using a dark color and the Multiply blending mode, produces a totally different look. Despite what your eyes might be telling you, the layer effect is applied to the red shape on the upper layer.

Inner Glow

The Inner Glow effect is much like a non-directional Inner Shadow effect. As you can see in Figure 12-12, an Inner Glow can be the base for a neon glow style. (Add an Outer Glow effect, perhaps a Stroke effect, and there you go!)

You can also develop some rather amazing styles by using the Inner Glow and the Inner Shadow in combination. Using similar Size settings and varying the colors and blending modes lets you overlay a pair of effects in combination. And when you play with Inner Glow and Inner Shadow in combination, don’t overlook the Contour variations.

Satin

The Satin layer effect uses the shape of the object to produce a wave-like overlay. As you can see in Figure 12-13, it’s more effective with type and complex shapes than it is with large plain shapes.

Color Overlay

The key to using the Color Overlay layer effect is the blending mode. (See the sidebar, “The four key blending modes” earlier in this chapter.) When you use Normal, in effect, you paint all the pixels on the layer with the selected color. To blend the color with the original artwork or other effects (such as pattern overlays), choose an appropriate blending mode — Multiply with dark colors, Screen with light colors — or simply experiment with blending modes. However, using the Color Overlay layer effect with the Normal blending mode in a custom layer style is a good way to ensure consistency in artwork, such as buttons and banners for a website. Keep in mind, however, that Cover Overlay at 100% opacity used with the Normal blending mode completely hides any Gradient Overlay or Pattern Overlay effect.

Although you’ll generally find Color Overlay most useful for simple shapes in artwork and on web pages, you can certainly use it for more exciting effects, such as the ones shown in Figure 12-14. The original is in the upper left, and each example shows the color, blending mode, and opacity selected. Remember that when you use a layer effect, you can later return and alter or remove that change from your image.

Gradient Overlay

Unlike the Gradient Map adjustment (see Chapter 6), which applies a gradient to your image according to the tonality of the original, the Gradient Overlay effect simply slaps a gradient over the top of the layer content, using the blending mode and opacity that you select. You also control the shape of the gradient, the angle at which it’s applied, and the gradient’s scale. (See Figure 12-15.) And don’t forget that a Gradient Overlay using the Normal blending mode and 100% opacity will hide any Pattern Overlay effect.

When working with gradients, you click the triangle to the right of the gradient sample to open the Gradient panel. You directly click the gradient sample itself to open the Gradient Editor. (See Chapter 14 for more information on editing and creating gradients.)

Pattern Overlay

Like the Color Overlay layer effect, Pattern Overlay relies on the blending mode and opacity settings to determine how the artwork (pattern) that it overlays interacts with your original artwork. As you see in Figure 12-16, you can scale the pattern, align it to the upper-left corner of your image (with the Snap to Origin button), and link the pattern to your layer so that the appearance of your artwork doesn’t change as you drag the layer into position. Click the triangle to the right of the sample pattern to open the Pattern panel and then select a pattern.

Outer Glow

The Outer Glow layer effect is much like a non-directional shadow when applied using a dark color. However, it also has a variety of uses with a light color and the Screen blending mode. As you can see in Figure 12-17, it has practical and whimsical uses. (Please remember that in real life, stars do not appear between the horns of a crescent moon!)

In the Structure area at the top of the Outer Glow options, you can select the blending mode and opacity, add noise if desired, and select between a color (click the swatch to open the Color Picker) or a gradient (click the sample to open the Gradient Editor). You define the size and fade of the glow in the Elements area. The Technique pop-up menu offers both Softer and Precise — try them both. And don’t overlook the options at the bottom, in the Quality area. Although you use Jitter only with gradients to add some randomness, the Range slider is an excellent way to control the distance at which your glow is offset. When you get a chance, play with different contours for an Outer Glow effect.

Drop Shadow

A drop shadow is a great way to separate the content of one layer from the rest of the image, as you can see by comparing the two versions of the artwork in Figure 12-18. In effect, the content of the target layer is copied, converted to black, and placed behind your layer. The blending mode and opacity determine how the shadow interacts with the layers below. You decide how much to offset and blur the duplicate with the sliders. (Remember that this is a layer style, so no extra layer is actually added to your image.) You’ll generally want to leave the Contour option of your drop shadows set to the linear default. As you saw in Figure 12-6, drop shadows are great with type layers!

Opacity, fill, and advanced blending

In the Blending Options area of the Layer Style dialog box and the upper-right corner of the Layers panel, you see a pair of adjustments named Opacity and Fill Opacity, as shown in Figure 12-19. Both have an impact on the visibility of the content of your layer.

When you reduce the Opacity setting for the layer, you make the layer content and any layer style partially or completely transparent. Reducing the Fill slider changes the opacity of the pixels on the layer but leaves any layer effects fully visible. When might you want to use the Fill slider? The first thing that comes to mind is when creating the ever-popular Glass Type technique, which produces see-through text that’s perfect for your copyright notice on any image:

1. Add some text to an image with the Type tool.

   This is a wonderful trick for adding your copyright information to sample images because everyone can see the image, but no one can use it without your permission. Start by adding your copyright information or perhaps the word Sample.

2. Apply a layer style to the type layer.

   A bevel, a thin black stroke, and perhaps an inner shadow or white outer glow make an excellent combination. (Select the individual effects as described earlier in this chapter.)

3. Reduce the Fill slider to 0%.

   Adjust Fill at the top of the Layers panel or in the Layer Style dialog box’s Blending Options pane. You can click and type in the Fill field, click the arrow to the right of the field and drag the slider, or simply click the word Fill and drag to the left. The type layer disappears, but the layer effect remains.

   You can see all three steps in Figure 12-20.

The Blending Options pane of the Layer Style dialog box offers you a number of other choices in the Advanced Blending area, as shown in Figure 12-19.

Other than the Fill Opacity slider, you’ll probably never change the Advanced Blending options from their default settings, but you might be curious about what they do. Here’s a short explanation of each:

• Channels: Clear one or more of the color check boxes in the Advanced Blending area to hide the layer’s content in that color channel. Clear the R check box, for example, and you hide the target layer in the Red channel.
• Knockout: You can use the content on the target layer to create transparency on lower layers. The top layer becomes transparent, as do the layers below every place that the upper layer had visible pixels. (I think of it as a “cookie cutter” effect.) If you want to restrict the effect, use the Shallow option, and the knockout extends only to the lowest layer in your layer group. The Deep option knocks out to the Background layer (or to transparency if your image doesn’t have a background layer).
• Blend Interior Effects as Group: You can blend the Inner Glow, Satin, and your overlay effects before the layer as a whole is blended with lower layers. Use this option if it seems your layer effect’s blending mode is being canceled out by the layer’s own blending mode.
• Blend Clipped Layers as Group: If you have layers clipped together (see Chapter 10), you can elect to use the base layer’s blending mode for all the layers or let each layer interact independently. You generally want to leave this check box selected.
• Transparency Shapes Layer: This is another option that you’ll almost always want active. Transparency Shapes Layer restricts the layer style to the visible pixels on the target layer. If, for example, you’re working with a small rounded rectangle and a Color Overlay layer effect, deselecting the check box fills the entire layer — not just the rounded rectangle — with color.
• Layer Mask Hides Effects: If the target layer’s visibility is controlled with a layer mask (see Chapter 8), you can opt to have the layer style hidden by the mask, too. You can also use a layer mask to hide just the layer style with this option — say, when you need to make sure that your drop shadow doesn’t fall where it shouldn’t. Simply create a layer mask that hides those areas where you don’t want the style visible and select the Layer Mask Hides Effects check box.
• Vector Mask Hides Effects: This option uses a layer’s vector mask in exactly the same way that the Layer Mask Hides Effects option uses a layer mask. (Remember that a vector mask is a path that determines which areas of a layer are visible — see Chapter 11 for information on creating vector masks with paths.)

If you have an image with a plain white (or plain black) background, you can make that background disappear with the Blend If sliders. (See Figure 12-21.) In the Layers panel, unlock the Background layer by clicking the Lock icon to the right of the layer name. At the bottom of the Layers panel, click the second button from the right to add a new layer. Move the new layer below the original layer. With the original layer active, open the Blending Options pane of the Layer Style dialog box and drag the upper-right Blend If slider control to the left until the background disappears. As the white background disappears, the checkerboard transparency grid becomes visible. Press ⌘  +E (Mac)/Ctrl+E (Windows) to merge the layers and retain the now-transparent background.

Adding styles to the Styles panel

After you have your layer style looking just right, you can add it to the Styles panel. From the Styles panel, you can apply your custom style to any layer (except, of course, layers named Background) in any image with a single click. You simply make the target layer active in the Layers panel by clicking it; click your custom style in the Styles panel.

To add your style to the Styles panel, you must first create it. Select a layer in the Layers panel, open the Layer Style dialog box, and select the layer effects and options. Click the New Style button to save the style or, after clicking OK in the Layer Style dialog box, click the middle button at the bottom of the Styles panel. Then, in the New Style dialog box that appears, assign your custom style a name and click OK. If desired, you can also elect to save the target layer’s blending mode as part of the layer style.

Preserving your layer styles

Adding your custom styles to the Styles panel makes them available day in and day out as you work with Photoshop. However, should you ever need to replace the Preferences file (see Chapter 3) or reinstall the program, all your custom styles are wiped from the Styles panel. To make sure that you don’t accidentally lose your custom styles, create and save a set of styles, which you can then reload into the panel whenever necessary.

The Styles panel menu offers the Save Styles command (refer to Figure 12-4), which lets you save all the styles currently in the panel as a set. However, for more control — to actually select which styles you want in your set — use Photoshop’s Preset Manager. (See Figure 12-22.) You can open the Preset Manager from either the Styles panel menu or through the Edit ⇒ Presets menu. (Make sure that you retain the .asl extension in the filename so that Photoshop recognizes the file as a set of styles!)

As shown in Figure 12-22, you use Preset Manager to save many kinds of custom bits and pieces. And use it you should! Shift+click to select a series of items or ⌘  +click/Ctrl+click to select individual items; then click the Save Set button. Give the set a name (again, with the .asl file extension), pick a location, and click OK.

Saving sets of styles, brushes, custom shapes, and the like in the Photoshop Presets folder adds those sets to the various panels’ menus. That makes it quite easy to load the set into the panel: Just choose the set from the panel menu. However, you should also save a copy of the set someplace safe, outside the Photoshop folder, so it doesn’t accidentally get deleted when you upgrade or (horror!) reinstall.