... continued from the previous page.
Clean Up & Finish Up
Now that our shadow and highlight shading are complete, we'll use the original dough-nut circle as a selection guide to trim out and clean up both fills in the background that are no longer needed.
20) Selecting both backgrounds (open diagram)
cmd/cntrl - CLICK on the layer icon of the layer: "First Circle" to select your orange circle
Choose: Select > Invert Selection to switch the selection to the background only
Select the 'Highlight' layer and DELETE
Select the 'Shadow' layer and DELETE
You now have your first RING shaded and highlighted
To me the "Shadow" was not dark enough. I decided to add yet another layer of BLACK for deeper slight layer. I repeated the "Shadow" process above, but this time I did NOT "Select / modify / expand" the selection but merely filled the background selection with black, and then ran the Gaussian blur again.
21) SAVE THE FILE, and then Choose "SAVE AS..." and rename the file "Circle 2" ... and move forward to finish the piece.
Now you know how to create a ring. The next step would be to create your second ring, inside the first, and follow the same basic steps, modifying them only to support your analysis or design of the finished look. In the original Looney Tunes backdrop, notice how the circles get generally 'lighter' as they recede to the center. Also note they always fill that center with a 'cool' color so it visually recedes into the distance -- suggesting a "hole."
Also note that in the beginning I set up a white mask layer at the very top of the layers stack. I didn't talk about that, but it's useful to toggle that layer on from time to time to view the progress of the finished look. I made the work space larger so I could work on full circles for ease of viewing -- but at the end, I'll crop and finish the piece to that white mask -- the final target size.
As you go through this process, your color selection, modification of selection sizes (expand / contract) and the blur counts all become areas of interpretation and exploration to achieve the final result. You can go back and modify or re-do any of the layers, and even add more layers to develop the exact look you need. Remember you can also use the Opacity slider in the layers palette to soften any of the effects. This could also have easily been generated in any version of Illustrator since #2, utilizing the gradation modification tools. Actually it would be easier than Photoshop.
If you wish, you can also introduce some noise, or texture to fully replicate the grainy feeling of the original art which was produced using tempra or dye media in an airbrush on slightly textured board -- then mangled through the primitive photography stages of bringing that famous mark to the silver screen!
Now you know, have some fun.
thanks for reading
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