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This course is a collection of short Photoshop and Illustrator projects and creative effects that can be completed in ten minutes or less. The series is taught by computer graphics guru Deke McClelland, and presented in his signature step-by-step style. The intent is to reveal how various Photoshop and Illustrator features can be combined and leveraged in real-world examples so that they can be applied to creative projects right away.
All right, you may recall in the previous movie I showed you how to create an ink drawing effect. In this movie, I'll show you how to convert an image into a pencil sketch. Now you'll see here in the Layers panel that this involves quite a few Smart Filters working together, which is why we are going to use the ink drawing effect, that ink drawing technique that I showed you in a previous movie, as a jumping off point, just to save a little bit of time and effort. And in fact, I am going to start from this file here. So it's the exact same ink drawing technique that we saw in the previous movie, with two exceptions: I have switched out the background and I've also created a third copy of that smart object, and I have gone ahead and masked the eyes and the teeth.
If I Alt+Click or Option+Click on that layer mask thumbnail, you can see what the mask looks like. So I just went ahead and grabbed the eyes, grabbed the teeth. That's it. I'll go ahead and return to the image here. And I set this layer to the Screen Blend mode and I reduce the Opacity value to 50%. So those are the only differences; otherwise, this is the exact same technique we saw before. Now I am going to go ahead and click on that top portrait layer, the one that contains all of the Smart Filters, and I am going to start things off by turning off the Smart Blur filter. We don't need it for this effect. And by turning off that filter, I create a lot more reticulation, a lot more edges, inside of this image, and that's what I want for this sort of graphite effect.
All right, next what I am going to do is I am going to grab my background right there, my background layer, and I am going to create a duplicate of it, because I need to use it as both a Displacement map and a Bump map as well, a texture map. So I'm going to go ahead and grab that guy and I am going to Alt+Drag or Option+Drag it onto the page icon, that little page icon down there at the bottom of Layers panel. I am going to set the Document option to New, so that I'm putting this background inside of a new image, and I'll click OK. There it is. Now I'll go up to the Image menu, choose Mode, and then choose Grayscale, and that will go ahead and get rid of the colors. I'll click on the Discard button, if you end up seeing it there. And that's basically it.
Now at this point we have a flat image, which is what we need, so that's good. If you don't have a flat image, if you are working along with a different file, then what you need to do is go up to the Layer menu and choose the Flatten Image command. But as I say, mine is already flat. And then you go up to the File menu, choose Save As, and go ahead and name this guy. I am going to call mine Gray Paper, because that's what it is, and you want to save it in the Photoshop format, the native PSD format. Click the Save button and you're done with that step. All right, I am going to return to the drawing at hand here, and I am going to click on that portrait layer once again, and I'll go to the Filter menu, choose Artistic and then choose Underpainting.
What this command allows us to do is basically add some darkness to the image. So we are going to get a little bit of a wash effect, too, as if we wet the pencil or the charcoal, something along those lines. Now the values I want to apply are these that you see right here. So Brush Size of 2, Texture Coverage 10, Scaling 100%--this refers to the texture by the way--and a Relief value of 5 will probably work out just fine for us. But we don't want to use the Sandstone texture--or I believe the default is Canvas--because after all, that bears no resemblance to the texture of the paper that we're working with.
So instead, what you do is you click this little down-pointing arrowhead right there and you choose Low Texture, and then you go ahead and find that image you just saved out--in my case Gray paper.psd-- and you open it up, and you will get a very different texture effect there that will match the texture at hand, that will match the background. Then go ahead and click OK in order to accept that effect, and it's going to mess things up. Don't worry about that too much right now. I'm going to drag Underpainting below Gaussian Blur, like so, so that it appears right after Note Paper and then right before Gaussian Blur. And then I am going to double-click on its little slider icon right there, and that's going to bring up the Blending Options dialog box.
And I am going to change the mode from Normal to Multiply, so that we're burning in that effect that we've just got done applying. All right! Click OK. So that brings back all that reticulation, which of course we want. All right! Now we want a little bit of a crosshatch effect, and there is nothing for creating crosshatch like the crosshatch filter. It's one of the few old gallery effect filters that I actually like. You go up to the Filter menu and you choose Brushstrokes and then you choose this guy right there, Crosshatch. These are the settings I want to apply right there, so a Stroke Length of 20, I am going to take the Sharpness up a little bit, I am going to take that to two, and then the Strength of 1.
Now, I don't believe any of these are the defaults settings, but these are the numbers that I'm applying, and you can get a sense of what that's going to look like. We are going to be burning in the effect in just a moment. So I'll click OK, because otherwise it kind of lightens up everything, gets rid of that reticulation. Don't want that, so we'll double-click on the little slider icon once again, and then inside the Blending Options dialog box, once it comes up on screen, go ahead and change the mode from Normal to Multiply. And we end up getting this effect added to all the other ones, which is perfect of course.
Click OK in order to accept that. I am going to zoom in just a little bit, so that we can see things a little more up close and personal here. This is getting to be too dark, and I think we'll be able to see things better if I go ahead and take care of this levels adjustment layer right here. So I am going to double-click on the thumbnail for this adjustment layer to bring up the Adjustments panel, and I am going to reduce its value right here to about 20 is what I am looking for, this black point value. And notice that once again we're setting the black point at the beginning of the histogram, where the lump start. And that's great! The other values are fine as is.
I'll go ahead and hide that panel, and now I'll return to the portrait layer right there, and I am going to apply one last filter--and this time this is a Displacement map--so that we're basically matching the texture. We're taking this pencil sketch and mapping it to the background texture itself, in other words. So I'll go up to the Filter menu, choose Distort and choose Displace, and I have reduced the Horizontal and Vertical Scale values to 3 and 3. So 3 apiece. The other options don't matter. Click OK and then find that Gray paper file that you saved, or whatever you called the grayscale version of your background, and then click Open in order to apply it, and you'll see that you get a little bit of extra texture in your image. So I'll go and zoom in a little bit here on this guy's eye.
This is before, and then this is after. So you can see that it's doing a better job. It's a pretty subtle effect, but it's doing a better job of merging those pencil lines into the background. All right! I am going to go ahead and zoom out a little bit here. Now, that takes care of that layer. Now I want to take a couple of these filters and duplicate them onto this portrait layer right here, the one that's multiplied into the background. And so I am going to do that by, for example, pressing the Alt or Option key. That's very important so that you can duplicate a filter. And then I'm going--with that key down--I am going to go ahead and drag Crosshatch down and drop it onto this portrait layer like so.
Now we'll go ahead and apply that Crosshatch effect. It's going to darken things up considerably, as you're seeing here, and that's because it also brought over its Multiply Blend mode. This time we don't want it, so double- click on the new little slider icon there, and once the dialog box comes up on screen, go ahead and change the mode to Normal and then click OK. Now, I also want to bring over Displace, so I'll press the Alt or Option key again and drag Displace and drop it onto that portrait layer. And it's possible that you might get a dialog box asking you to relocate that Gray paper file, but in my case, I didn't, so that's good.
And then just to reduce clutter inside the panel, I am going to right-click on this Filter Mask and choose Delete Filter Mask, just to get rid of it there. And then finally, I don't think the color works this time around, so I'm going to convert this guy to grayscale. And I am going to do that by pressing the Alt or Option key yet again, dropping down here to this little Black/White icon, click on it and then go ahead and choose Hue/Saturation. So make sure you have Alt or Option down, choose that command. Let's go ahead and name this nosat, because I'm going to remove the saturation.
Turn on Use Previously Layer to Create Clipping Mask. Very important, so that we only affect this layer and none of the others. Click OK and then take that Saturation value down, here inside the Adjustments panel, go ahead and reduce that Saturation value to -100 and close the panel, and we are done. This is the final version of the effect. Go ahead and fill the screen with the image, so that we can go ahead and check it out. And some of the details I love. Check out his clothing here. The fabric is rendering just beautifully, and we've got some nice crosshatching going on inside of his face.
We have a little bit of wetness, as you can see around the shadow details. I think it looks really great. The multifilter way to convert an image into a pencil sketch, here inside Photoshop.
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