Pillow emboss

Hi everyone. I would like to start out by saying i know there are a few solutions already posted about this on the Forum. I have tried them and they are not quite what I want. What I am looking to do is remake a logo for a customer. Up until now they have just had a low res pdf. I want to make a scalable vector version. This is an example of the logo:the problem I am running into is that in order to make a scalable vector version I need to be able to make a pillow emboss effect on the letters and graphics. I can do it in photoshop but then we are back to the problem of set resolution. Does any one know of a good work around? I have tried the Mordy license plate emboss effect( four offset paths with different blending modes) but the colors got muddy and I never was able to create the bright highlights

Take a look at this http://www.shinycore.com/products/pathstyler/
This is a raster based effect. It is scaleable, but only inside Illustrator.

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How does one create text/w pillow & emboss

I mean does anyone know of a tutorial anywhere online that explains it in step by step detail. I have never tried this before even tho I am an old hand at general photoshop use, ever since Version 3. Looking for an effect something like Google has. Not all the colors, just the neat pillowed emboss effect.
Oh and I have googled this topic and always found somethi9ng lacking in the steps, at least for my brain it seems that way.
Thanks in advance,
gunnerholmes

http://psd.tutsplus.com/articles/tools/comprehensive-guide-bevel-emboss/
Pillow Emboss: This applies the bevel to both the outside and inside of the shape you are applying it to, but in opposite directions

Looking for a reference manual that actually describes in detail all attributes for a command

I am using CS5. I am teaching myself Photoshop using their book, "Classroom in a book".
Thought the lessons, they will suggest specific setting for command attributes without describing exacting what these values mean.. For example, on page 88 they give the student specific settings for the Refine Edge dialog bog under the Quick Selection tool. They say, "To prepare the edge for a drop shadow, set Smooth to 24, Feather to 0.5, Contrast to 12, and Shift Edge to -21". Note: I am calling things like Smooth, Feather, Contrast, etc command attributes.
My question is not about this specific example, but all these attribute values for all the commands. For example, what does Shift Edge really do when negative or positive. My question is: does a reference, either a book, pdf, or a non-Adobe product (probably a book) exist that actually explains when each attribute actually does for every command? Basically looking for a boring detailed reference guide so when I am using a specific command, I can read about the attributes for the specific command and understand what the values really mean and not guess my trial and error.
Thanks in Advance,
LouF

Lou Fuchs wrote:
For example, I just happen to have my book open to page 113 and it is showing me (at the bottom of the page) the dialog box for Layer Style. I was hoping for a reference manual that explains every option in the that dialog box in detail and tells you what each option means and how it effects the image.
I hope this clarifies what I am looking for.
Here's a little snippet from the info about Layer Styles in the Adobe manual.
Layer style options
To the top
Altitude For the Bevel and Emboss effect, sets the height of the light source. A setting of 0 is equivalent to ground level, 90 is directly above the layer. Angle Determines the lighting angle at which the effect is applied to the layer. You can drag in the document window to adjust the angle of a Drop Shadow, Inner Shadow, or Satin effect.
Anti-alias Blends the edge pixels of a contour or gloss contour. This option is most useful on small shadows with complicated contours. Blend Mode Determines how the layer style blends with the underlying layers, which may or may not include the active layer. For example, an inner shadow blends with the active layer because the effect is drawn on top of that layer, but a drop shadow blends only with the layers beneath the active layer. In most cases, the default mode for each effect produces the best results. See Blending modes. Choke Shrinks the boundaries of the matte of an Inner Shadow or Inner Glow prior to blurring. Color Specifies the color of a shadow, glow, or highlight. You can click the color box and choose a color. Contour With solid-color glows, Contour allows you to create rings of transparency. With gradient-filled glows, Contour allows you to create variations in the repetition of the gradient color and opacity. In beveling and embossing, Contour allows you to sculpt the ridges, valleys, and bumps that are shaded in the embossing process. With shadows, Contour allows you to specify the fade. For more information, see Modify layer effects with contours. Distance Specifies the offset distance for a shadow or satin effect. You can drag in the document window to adjust the offset distance. Depth Specifies the depth of a bevel. It also specifies the depth of a pattern. Use Global Light This setting allows you to set one “master” lighting angle that is then available in all the layer effects that use shading: Drop Shadow, Inner Shadow, and Bevel and Emboss. In any of these effects, if Use Global Light is selected and you set a lighting angle, that angle becomes the global lighting angle. Any other effect that has Use Global Light selected automatically inherits the same angle setting. If Use Global Light is deselected, the lighting angle you set is “local” and applies only to that effect. You can also set the global lighting angle by choosing Layer Style > Global Light. Gloss Contour Creates a glossy, metallic appearance. Gloss Contour is applied after shading a bevel or emboss. Gradient Specifies the gradient of a layer effect. Click the gradient to display the Gradient Editor, or click the inverted arrow and choose a gradient from the pop-up panel. You can edit a gradient or create a new gradient using the Gradient Editor. You can edit the color or opacity in the Gradient Overlay panel the same way you edit them in the Gradient Editor. For some effects, you can specify additional gradient options. Reverse flips the orientation of the gradient, Align With Layer uses the bounding box of the layer to calculate the gradient fill, and Scale scales the application of the gradient. You can also move the center of the gradient by clicking and dragging in the image window. Style specifies the shape of the gradient. Highlight or Shadow Mode Specifies the blending mode of a bevel or emboss highlight or shadow. Jitter Varies the application of a gradient’s color and opacity. Layer Knocks Out Drop Shadow Controls the drop shadow’s visibility in a semitransparent layer. Noise Specifies the number of random elements in the opacity of a glow or shadow. Enter a value or drag the slider. Opacity Sets the opacity of the layer effect. Enter a value or drag the slider. Pattern Specifies the pattern of a layer effect. Click the pop-up panel and choose a pattern. Click the New Preset button to create a new preset pattern based on the current settings. Click Snap To Origin to make the origin of the pattern the same as the origin of the document (when Link With Layer is selected), or to place the origin at the upper-left corner of the layer (if Link With Layer is deselected). Select Link With Layer if you want the pattern to move along with the layer as the layer moves. Drag the Scale slider or enter a value to specify the size of the pattern. Drag a pattern to position it in the layer; reset the position by using the Snap To Origin button. The Pattern option is not available if no patterns are loaded. Position Specifies the position of a stroke effect as Outside, Inside, or Center. Range Controls which portion or range of the glow is targeted for the contour. Size Specifies the radius and size of blur or the size of the shadow. Soften Blurs the results of shading to reduce unwanted artifacts. Source Specifies the source for an inner glow. Choose Center to apply a glow that emanates from the center of the layer’s content, or Edge toapply a glow that emanates from the inside edges of the layer’s content. Spread Expands the boundaries of the matte prior to blurring.
Style Specifies the style of a bevel: Inner Bevel creates a bevel on the inside edges of the layer contents; Outer Bevel creates a bevel on the outside edges of the layer contents; Emboss simulates the effect of embossing the layer contents against the underlying layers; Pillow Emboss simulates the effect of stamping the edges of the layer contents into the underlying layers; and Stroke Emboss confines embossing to the boundaries of a stroke effect applied to the layer. (The Stroke Emboss effect is not visible if no stroke is applied to the layer.)
Technique Smooth, Chisel Hard, and Chisel Soft are available for bevel and emboss effects; Softer and Precise apply to Inner Glow and Outer Glow effects.
Smooth Blurs the edges of a matte slightly and is useful for all types of mattes, whether their edges are soft or hard. It does not preserve detailed features at larger sizes. Chisel Hard Uses a distance measurement technique and is primarily useful on hard-edged mattes from anti-aliased shapes such as type. It preserves detailed features better than the Smooth technique.
Chisel Soft Uses a modified distance measurement technique and, although not as accurate as Chisel Hard, is more useful on a larger range of mattes. It preserves features better than the Smooth technique. Softer Applies a blur and is useful on all types of mattes, whether their edges are soft or hard. At larger sizes, Softer does not preserve detailed features.
Precise Uses a distance measurement technique to create a glow and is primarily useful on hard-edged mattes from anti-aliased shapes
such as type. It preserves features better than the Softer technique. Texture Applies a texture. Use Scale to scale the size of the texture. Select Link With Layer if you want the texture to move along with the layer as the layer moves. Invert inverts the texture. Depth varies the degree and direction (up/down) to which the texturing is applied. Snap To Origin makes the origin of the pattern the same as the origin of the document (if Link With Layer is deselected) or places the origin in the upper-left corner of the layer (if Link With Layer is selected). Drag the texture to position it in the layer.

Placeing PSDs in AIs or EPSs

Hi guys. I have been contracted by a customer to remake a logo of theirs. Like always it should be a vector file so they can scale it and print it resolution independent. The problem is their logo includes some effects (pillow embossed text and graphics) that are much easier done in Photoshop. So I'm left with the option of manually creating highlights and shadows (drawing a line then using gaussien blur)in illustrator to imitate the photoshop pillow emboss. I was wondering if I placed a photoshop image in illustrator and saved it as an eps or ai if screen printers and other printers that require a vector file be able to use it or if that wouldn't help at all. I also know that there is a way to save photoshop eps. However when I try to do that with this logo that option is not available. Any advice? I am using Photoshop and Illustrator cs5 on mac OS 10.6.8

Like always it should be a vector file
Yes, and placing a PSD in Illustrator and saving as EPS or AI doesn't magically turn it into vectors. Neither does saving it as a Photoshop EPS.
If their logo can't be reproduced in one color, it isn't a logo.
I know you didn't design it, but whoever did design it should have delivered a complete package of vector graphics that includes a single color version, along with whatever multi-color versions they wanted, and then perhaps, (but not as a rule), one or more stylized versions with raster-only effects like blurs, shadows, shading, etc. If all they got was an effect-laden raster image, they got taken. And now they'll have to pay again to have someone, (you?), recreate a flat version in vectors as should have been done in the first place.
If you're preparing the graphic for output by a provider who requires vectors, forget the pillow emboss.

Blurring the edges of a "filled" shape

I am not sure how to accomplish this.... I have to add shapes with lower opacity on occasio to help text jump out; but would really like to treat the edges maybe blurring them, or something rather than the straight line. Any advise?
Thanks!

To blur the edges on a shape:
1) Select the Rectangular Marquee tool. Create a square in the shape letting enough space free for the blur
2) Go to Select > Feather and use a setting of 10 pixels or so then click on OK.
3) Select inverse.
4) Cut selection.
If you want the text to pop out here are some other things to try.
1) Use Inner and Outer Shadows
2) Use a Pillow Emboss
3) Use a Blurred Stroke (I did this by creating a layer for the Stroke and Blurring it with blurring the text)
Edited: Sorry I misread this at first.

How do I create an emboss in a particular pattern I want?

I want to emboss this image so that it looks like the small circles (coloured) are embossed on the big circle (red) and the 'G' is embossed over that to a bigger level....

Is this a fully layered document? If yes, it a simple matter of double clicking the relevant layer, and on Bevel & Emboss.
If not layered, well, it would be MUCH easier and quicker to create it again as a layered document.

Bevel & Emboss effect not visible in flattened image

I created a file in .psd, with several text layers to which I applied effects (fx) such as stroke, bevel & emboss, outer glow. When I flatten the image, the outer glow and stroke remain, but the bevel & emboss effect is gone. Type is a single color without the 3 dimensional effect.
I am also not able to preserve the bevel & emboss look when saving as a jpeg or a flattened .tif or .pdf. A saved .tif or .pdf with layers shows the effect just fine, but if the pdf is opened with Acrobat instead of Photoshop, the effect is not visible.
This must be a new problem, because I found a file that I created several years ago that is a flattened .tif with the bevel & emboss effect preserved.
I tried rasterizing the layer, and the type. Tried converting to 16 bit changing mode to CMYK, and multi-channel. Everything that involved merging layers lost the bevel & emboss effect.
Any ideas on what I can do?
Thank you for the help!
Cindy

Hi Trevor,
Thank you for the help. That didn't do it, either.
I did figure it out, though. My problem was that I was making a very large image (36" x 28"), and was viewing it fit to the computer screen size. What I needed to do was view actual pixels and tune up the layer style at that size.
All is well, and I sure learned a lot!
CD

Hard cover embossed title

I am making a hardback book with an image that covers the whole cover area on the fron of dustjacket. my question is this: is there a way to set the embossed title on the hard cover, if there is no text used on the dustjacket?

Not that I am aware of - but I'd try using a layout that has text and adding the title you want on the hardcover then changing to the full photo layout and see if the hardcover text sticks around
to preview what your book is going to look like see this apple article - http://support.apple.com/kb/HT1040
LN

Convert Bevel and Emboss Effect into Separate Layers

I was following a tutorial for making paint drips at http://www.planetphotoshop.com/dripping-color.html.
I am not sure which version of Photoshop was being used in the video. Maybe CS3 or 4? It looks like the video was created in 2008? Towards the end of tutorial (about the last 1/4), he converts the Bevel and Emboss effect into separate layers in order to delete the effect from the top and sides of the image. I can't seem to locate the "Create Layers" option when I control+mouse click on the layer. Is the "Create Layers" listed some place else or is there another way to remove the Bevel and Emboss effects from the top and sides only?

Layer > Layer Style > Create Layers
Which version do you work with?

Bevel and Embossed text

Hey guys...just wondering if anyone has a nice way of re-creating a Photoshop Bevel and Emboss effect for the text in Motion 3. I get a similar effect using the INDENT filter, but it's just not the same. Any thoughts?

Hi,
welcome to the posts. NIce alias name, classy!
I had to look over the project again and it took me some time to sort it out. I made it in M2 and i think M3 does something funky.
The layer with the little t is the text layer. Should have called it something else like "indented text" to make it clearer I guess. In answer to your question the text layers blend mode is set to stencil luma which make it act like a stencil, and therefore shows the paper layer below. Then there is another paper layer below that to give the background. If you didnt do the stenciled paper layer it would look like some coloured text indented into the paper, which wasnt the original brief.
The spotlight is an M2 construct. Now of course we have lights in M3 so it becomes a bit easier.
Just a point to clarify. 'parenting' is really an AfterEffects idea, something that Motion doesnt do. instead you have to put things in groups, a bit like comping in AE, but more flexible.
hth
adam

Resizing effects: Bevel & Emboss

Hi All,
I've created a logo in IDCS3 using Bevel and Emboss. It's a monogram with a diamond background, two elements one each on separate layers.
When I reduce this combo, the effect is remaining the same size. In other words when I reduce it to 60%, my 1/8" bevel is still 1/8". Obviously this will not work, I need the effect to reduce proportionally.
How can I resize the image AND the effect?
(Perhaps it was stupid to design a logo in IDCS3? I thought I'd give it a try since I know InDesign better than AI or PS. I can always export it as an EPS file, right?)

> I don't see any advantage in pre-flattening a logo.
Steve, I don't see any advantage either. BB is expressing concern over the bevel effect being rasterized. The PDF route will certainly work, my post #8 was intended as a warning that a flattened PDF will rasterize effect.
The advice should have been written as such... If you choose the PDF route for this particular quandary, use an unflattened PDF to avoid pre-rasterization of the effect.

Illustrator Bevel & emboss

Has anyone come up with a better solution that using 3D Extrude & Bevel to simulate Photoshop's Bevel & Emboss. I cannot get the smoothness or dark edge colors as in the Photoshop example underneath(the green to dark green gradient filled bevel)
My doc raster effect setting is at 300 dpi.
I was hoping on rebuilding this in Illustrator to get a harder edge on the white outline, and just better quicker control for spot colors. I am not to worried about the bottom of that lowercase a going strange as a handle pull may fix that. .

I've been attempting to do this too but with poor results.
Reckon it's better to do it in Photoshop until they improve Illie's abominable 3D thingummy.
You can still do your white contours and drop shadow in Illie though. Make paths from the lettering selection, copy to Illie and give stroke and fill.

3d bevel and emboss, the other side Deboss

I am trying to make an edging on a coin/icon. I want it to look like the photo. How do I create a debossed look in Illustrator. Thanks for the help.

Unfortunately, in AI's 3D Extrude & Bevel tool, negative numbers aren't allowed, so it can't produce a deboss. You could possibly emboss <around> your desired deboss areas, to "fake" a deboss. However ...
In general, Effect > 3D > Extrude & Bevel generates so many errors that I only use it in very limited situations, certainly not where there are many shapes around a full circle, like the edge texture of a coin. (I've sent a bug report to Adobe about this.)
Because of these limitations, I wouldn't use AI to do what you need, unless you're willing to illustrate everything manually. There are other tools that might be worth trying, such as Photoshop - its lighting effects can use a "texture map" from an alpha channel for depth, which might work better for you. Here's a quick'n'dirty example of that idea in Photoshop using lighting effects on a slightly blurred object from AI, on a channel:
This method also allows both emboss and deboss.
Good luck. :+)

__How do I create a 3D, rotatable 'pillow' style bag in PS6 extended - need a tutorial reference please!

__How do I create a 3D, rotatable 'pillow' style bag in PS6 extended - need a tutorial reference please! I'm trying to make a frozen vegetable style bag (actually about 20 of them), grouped/positioned as if shot in a photoshoot...

You may be better off searching for a 3D model then trying to create one with Photoshop. IMO Photoshop 3D is a nice add-on but Photoshop is more an image processor with some 3D capabilities not a full blown 3D application.
https://www.google.com/search?num=100&lr=&newwindow=1&safe=images&as_qdr=all&site=webhp&so urce=hp&q=3d+paper+bage+model&…

Low-contrast embossing & translucent menu bar

Folder icons are now rendered with low-contrast embossing, making them much harder to identify at small sizes. The same problem is amplified by the new Menu Bar, which is translucent and can be difficult to read if used in combination with the wrong wallpaper.
I see this as one of the biggest grips so far of MacOS 10.5.0. It can be fixed really easily. Maybe in some small update, i.e.: 10.5.1, Apple could give us the option to darken or lighten the embossing by use of a slider in the preference panel. Also, maybe Apple could give us the choice to make the Menu bar solid or translucent by means of an "on/off" button also in the performance pane. Just an idea. Either way, these "problems" are so small as to make me wonder if people just have to gripe, just to hear their own voice.
-Apple //GS

"Folder icons are now rendered with low-contrast embossing, making them much harder to identify at small sizes."
This might help...
http://discussions.apple.com/thread.jspa?threadID=1206777&tstart=15

Pillow emboss

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