Leaderboard

One layer was completely hidden under the other rectangle shapes so I moved it lower on the canvas so it could be seen. I also replaced all layers with layers from a kit I have. I used 10-10-70-20 on all elements. The reverse shadow was 0-0-80-10 on all but 2 layers. Those layers had the top edge hidden.

Lesson 2 All papers: 10 10 75 10 reverse Shadow 0 0 80 0 I had wanted to have some light papers on both the darker and lighter background to see the difference the reverse shadow makes. I see the dark background is good with the 80 opacity at 100%, but the yellow ribbon it was really noticeable so i reduced the opacity and turned it on and off to just have enough to see the difference. but now the ribbon on the darker background could actually benefit from a the whole 80%. Do we get picky enough about reverse shadows to select what's on the darker background and bring the opacity back to full? sorry if I have any bad grammar, I should be in my car driving to work right now. but hey, I needed to get this done...a girl has to have priorities, right? totally wild color (put your sunglasses on. I used PSP different textures and two marble overlays from Elif Sahin at Digital scrapbook.com.

I used Carole's shadows settings which I have saved in my shadows presets. The first picture is from my daughter. I didn't change much because I really liked the colors. The background is a PSP pattern lightened. The second background is one of my own.

My granddaughter in San Jose, CA, had a birthday early in August and I played with one of the AI programs that was offered for free to create a birthday card for her. She is a fan of the ballet so that was the theme I went with. Now I used the card as part of the Lesson 2 layout for shadows. I filled the background with red and added a white layer above that and used my eraser with the bokeh bubbles brush set to 3000. I just pulled this back and changed the colors of the exercise to match the ballerina's tutus. I also found the "hidden layer."

Lesson 3 I used the image given as I've been doing errands and now I'm off to work very soon, but really wanted to try this technique. More practice needed, but really happy that I didnt squish the shadow down to nothing like I do on staples.

Lesson 2 For all the papers and photo I used the same shadows as in the first lesson. I assumed that the green and pink are thin ribbons so they got a shadow with an offset of 15, opacity 66 and blur 15. Like Rene I noticed that one layer was hidden and I moved it a bit (the plaid one). For my own pleasure I replaced all the papers with different ones from a kit I have and the photo of the Nigella is by me.

I used the shadows from the tutorials

Template 6 by Lady 22. She has started sharing some of her templates at Digital Scrapbooking. She also shares on her own web site. Word art, paw prints and paw print heart from Creative Fabrica. This is Poppy as a kitten. She is now 12.

I have only sporadically worked with PSP over the last couple of weeks. And I was not satisfied with anything I attempted to do. Watching yesterday's Master Class made me feel more connected again. Then, in one of those moments that sometimes happens, I came across some info and pix of the "Galapagos Island" of the Indian Ocean with its rare botanical specimens found no where else. Of course, as is the case everywhere, this unique place is under threat due to many factors, including its location in a geopolitical hotspot. I had never heard of this island before. There must be some fortunate and intrepid travellers in the world who have gone there. I won't be going, but it's dazzling to see the many images available. The trees alone are worth looking at. Dragon's Blood and Desert Rose to name just two unusual ones (pictured in layout). And I know my shadow on the tag is a bit wonky. But I did what I could to make it appear a little lifted.

Here's my monthly Wild Cat Calendar for September featuring the Iberian Lynx. The text is small so I'm posting it here, also: "The Iberian lynx, a wild cat that used to be common across the whole of the Iberian Peninsula which includes Portugal and Spain, but from the 1960s its numbers plummeted. Habitat loss, poaching and road accidents all helped to push the species to the brink of extinction. "Now, the cat is coming back according to a report by the International Union for Conservation of Nature (IUCN). The increase is largely thanks to conservation efforts that have focused on increasing the abundance of its main food source - the also endangered wild rabbit, known as European rabbit. Programs to free hundreds of captive lynxes and restoring scrublands and forests have also played an important role in ensuring the lynx is no longer endangered. "Francisco Javier Salcedo Ortiz, a coordinator responsible for leading the conservation action, described it as the "greatest recovery of a cat species ever achieved through conservation." Arial font used throughout. Photo of lynx modified by Art Media Pencil behind calendar grid. Information from BBC News. I posted this full size (8.5x11) on Scrapbooking with PaintShop Pro on Facebook if you want to print it.

Day Three I could use some practice. 🤣

Day Two As usual, I'm a little behind. I had a birthday card to make yesterday.

Lesson2: Colour palette from the colours in the photo. Rikrak drop shadow as card stock 20;20;70 20 and a reverse shadow 0:0:30:10. The yellow strip reverse shadow 0:0:50:10. The pale vertical strips are reduced opacity, like a transparent tape, so wasn't sure how to make a shadow for them. Putting a shadow on only shows through the strip, making it darker so I left off completely.

Day 2. The picture is of one of my great nephews, Felix, who was a Ninja Turtle last year for Halloween. Carole: When you reminded me that chalk doesn't need a shadow, I thought, "Yep. Overthinking again."

And Lesson 2. T.he arrangement of papers and ribbons made me think of a celebration, so I used an image to fill in that white space. I changed the background to a darker colour to see how the 0-0 offset (negative shadow) would look. It did make a tiny bit of difference I think.

Just getting around to Lesson 1. I purposely did not look at any others before I did the shadowing on the practice layout. I more or less just followed the guidelines in the video, but did not add to the doodles since they looked like chalk or thick pencil.

Hello everyone! Hello everyone! Here is my first lesson

Lesson 6. I have really found this hard. This has taken me quite a few hours to get to this. I have really learnt a lot.

Lesson 6 Whew! Call the fire department, cause my grey cells are sizzling! I'm going to try a number 2 version, but I need to put my head in the freezer for a bit. I too, kept going to the wrong shadow layer and I'm looking at the shadows thinking I don't see a difference. I knew right away I wasn't doing it right. I started again and paused the video for each step, kept track of the settings and named the layers as well. I'm glad to know how to do this, despite not using clusters very often. If I could make nice ones, I'd like to be able to shadow them myself in this way. I think this is one of those techniques that if you do it a lot, then it makes perfect sense. You really have know where you are at all times and don't get distracted by cute furballs wanting a cuddle.

Lesson 3 I am behind since the ctrl z was used so often on this one I decided to let it go and send in what I have done, to get feedback, at least. I think scripts might save me some time with lifted shadows, I don't feel too confident at this stage. I think the second photo looks better. Jeni

Day 3 I have always been fascinated by lifted shadows. More practice is needed. When I first tried to pull one, it went everywhere. After several more attempts, I realized the brush was set to NOISE. Oops!

My 1st attempt of lifted corners. I think I still have some learning to do.

I await with anxiety on this one LOL. I'm not nearly as good with finesse like most of you Diamond members. At any rate, here is my attempt at this concept. I'm hoping I got the "other" corners that weren't in the "assignment" correct at least in how they would present. PS, someone who would thumbtack important pictures to a corkboard and let them curl should probably be prosecuted LOL. I suspect the offsets for my thumbtack shadows could have been higher numbers.

Another scorching hot day here. I decided to crack on and do day 3. To my mind, I don't think that there is anyone that can do a lifted corner which on a parr with the the lifted photo script. Although, I must say everyone is doing superbly in this shadows workshop. I decided to showcase The Brown Thrashers going through a moult. I first noticed it on the 18th July. Every day I would go and photograph them, if they were about. I had them come to the call, like the Robins, their reward was a treat in the form of either nuts or blueberries. I now have a sequence of pics of the transition from juveniles to immature. Even their eyes are an earthy pale blue when young, and gradually during the moult changes to a yellow, eventually their eyes will be bright yellow. Here I used the first photo, and the last photo taken. I haven't seen them since, I suspect they have finally left the nursery. I did all three corners, and the sticker. I also used the fading background gradient for the background paper. Using the buish and yellowie colours from their eyes.

Here is my lesson 2. Shadow setting 8 8 60 8. Reverse shadow 0 0 35 8. Perhaps it's personal choice, but I don't like to make my shadows to heavy and to dark, especailly on papers. As there is next to nothing in thickness in plain paper. On card stock and elements that is a different thing all together. My preference is to lower the depth and darkness. The colours of the papers also determine the settings I use. Is my thinking right or wrong? I almost always use the reverse shadow, to define papers.

Driving home today through the bush with all the wattle out reminded me of some 'tiles' I had experimented with many years ago (2006). Using a wattle photo I had taken I played around with different effects making small tiles (300x300px) - plaid, antique, enamel, fur, illumination, brush strokes, tiles, soft plastic straw, weave, wave, polished stone etc. These tiles are what I have used here. The shadow settings are those suggested in the tutorial. I have these all saved as presets from the Basic Scrap course and are pretty much my go to shadow settings.

day 2

My result for lesson 2. I gave the elements some texture.

Very interesting. I read the everyone's replies and played with the various settings. A few points either way really doesn't make much, if any difference. I do enjoy the reverse shadow. I have been using an opacity of 10...30 is much better.

This one wasn't too tough. And makes sense. I hadn't been doing much with "reverse" shadow up to now, but can see where it makes a subtle difference to lift the element or paper off the background.

OK..this one was fun.... Note: the background is a combination of two papers from Merisa Lerin and the crayon border was from Janet Kemp. Got all three at digital scrapbook.com.

For me this is logical and therefore not very complicated. No problems with unsteady hands here! I only had to keep my focus on the layers and found the trick in the video to hide the shadowed layers temporarily useful. I have no layered clusters in my stash so I made one just a simple one from elements I have. I find it easier to make a cluster when I'm working on a project and I'll will pay more attention to the shadowing on them if needed.

Day 6. I found interesting layered clusters at Digital Scrapbook. I deleted the shadow layers and started from scratch.

I did this one and it seemed to go more easily than I was expecting. Of course, I started out and in the 3rd iteration of the first element, I chose the wrong shadow...wasn't paying attention that Shadow 2 was on top of Shadow 1. But I Zeee'd out and started over and kept it straight.

I first did it the way I used to shadow (but am not posting it) because I wanted to see if there was any difference in how the shadows worked. To my eye, I saw no difference on the elements so all the extra deleting above elements was just extra work. On the practice I used pretty much the same shadows as Carole for this posted version. The only difference between her version and my other was the shadow on the flower and the frame was a different opacity than Carole's settings. The second image is a cluster I made using elements from a Christmas kit. The shadows used on it were the shadow settings given to me by Jill with some tweaking as I felt needed. As you can see I had a base of a journal card then started layering above it and even included a curly ribbon. This is how I use curly ribbons on my layouts... hide most of it in a cluster. One piece of advice I got about clusters was to always have an odd number of elements in the cluster. Carole's has 5, mine has 11. My cluster will be used on a cover page layout for a series of layouts I do every December called "Document Your December". A layout for each day of the month. I've done this every year since 2017. I also spent some time looking at layouts with clustering in a gallery and I could not see that any of them went the extra steps of deleting parts of shadows. And, they all look realistic to me! However, I can see that it could be useful in some clusters so won't rule out never using it in the future.

Shadow Workshop Lesson 3 I need more practice on how to do lifted corners from the artistic point of view. The method of doing the lift is straight forward and easy to follow, it need practice to make the lifted corner look more realistic. It was a fun lesson to do.

Day 4. I'm improving at visualizing what I want but slightly less at making it happen. Carole: regarding the feathering in yesterday's exercise, I may or may not have done that. I redid it many times and got turned around on several of them. At least, if I didn't, I felt better that I was in such good company.

Lessons 3 & 4 The Warp Brush is not my favourite tool for this effect (lifted), but I just kept undoing and redoing. Thank goodness for a Script and the other method using the Perspective Tool. Since I won't be entering any contests for Best Use of Shadows on a Layout, I will have to accept my limitations. (See photo 2)

Day 3. I, too, need practice. I did as instructed for the 2 photos, but added on the top photo an adjustment of brightness because as the corner is lifted, the light is shining and brightening that corner - just a little bit. On the bottom photo, I adjusted the brightness downward as the only corner that will reflect some of the light as it is lifted is the bottom right.

I used settings very close to the video for the 6 flowers in the tutorial. For the extra 4 flowers, I used the settings shared with me by a creative team member of a popular store that uses PSP. She does a lot of flower/foliage clusters and I asked her how she shadowed them. She also does not use any warp on the shadows but you wouldn't know it because of her settings. She has a basic setting that she tweaks as she scraps each element. Her cluster (flower/foliage/etc) is 25-42-61-66. I started with this setting then tweaked if needed. I then positioned the 4 flowers into a cluster and used the warp brush on each of them. I used to use settings much like Carole's but was never satisfied with my clusters (and I like to cluster although not as elaborate as many creative team scrappers). Once I started using Jill's settings, I loved how my clusters looked. Clustering is not for everyone though. I'm just sharing what works for me and the way I scrap.

here is mine,

A few that I tried on my own compared to the scripts.

Lesson 2 had been another time to learn for me. I have added an extra couple of items and hope I have done them ok.

Got a late start today. A week ago I had surgery, so today was the post-op appointment. I don't think I have used a reverse shadow before. Photo is mine that I took at a local garden. I had an extra layer in the file? You can see bit of the edge to the left of my photo, in the corner of the 2 papers. I should have nudged the layer so you couldn't see it, but I forgot about it.

Shadow Workshop Lesson 2 Jeni

Shadows were all mostly as the tutorial.

Here's my effort, I really liked the way the shadow made some parts of the string look as though they were curling further from the page than others

I have my own shadows as a preset and they come from tutorials for different elements. My shadows for papers and photos are the same as in this lesson. I have no shadow on the chalk scribbles because even the tiniest of shadows makes that chalk a bit less opaque and it looses its texture. I noticed that when I shadowed the sequin scatter the shadow only appears on the outside of that scatter and not on the parts that are on top of each other. On the top right blue parts of the scatter there is a shadow on the left side which looks funny because all the other elements have the shadow on the right side. The settings for the string are offset 14,14, opacity 68 and blur 14 because the string is thicker than paper and thinner than the button.

Lesson 1 - Shadows often frustrate me....but I do recognize they are often needed. Not sure exactly what I used on the string, I tweeked it until I felt it looked right. Do you want to know the numbers? I would have to go back and check. And maybe I need to keep better notes as I work...

Since I've been using PSP for digital scrapping since 2008, I have set up presets for my drop shadows. I currently have 28 presets. Over the years I have learned and changed the way I do shadows. Which is to say that my shadowing on my actual layouts is quite different than what we are learning here. That being said, I did try to do the lesson as Carol presented with a few tweaks of my own. I used a basic shadow of 10-10-70-20 on the 2 papers. This was my basic paper shadowing for years. For the string I used a shadow setting of 15-15-60-15. For the button, I went off script and used a setting I got from a scrapper that is on the creative team at a store that uses PSP. It is 20-32-67-59. For the sequin scatter, I used a setting of 3-3-70-20. This gives a little definition but it still appears to be flat on the paper. For the ribbon, I used a setting of 15-15-50-25. With it being a thicker ribbon, I felt it needed a larger shadow setting to show depth. With the photos being on top of the ribbon, some depth needed to be added. On one of my normal layouts, there would be additional elements nearby in a cluster so I have no problem with the ribbon being under the photos. My setting for both photos is 20-20-50-20. Lastly is the chalk. I did nothing to the top chalk. But I did add a small shadow to the bottom chalk just to show the difference. That setting is 2-2-35-1. That setting happens to be the setting I use when using washi tape.