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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.
In this movie I'm going to show you how to take that stained-glass ornament that we created in the previous movie and we're going to convert it into an entire stained-glass window, complete with this little cracked pane. Now we're to start things off by creating these light panes here with the lead lines between them, and we're going to do so inside of an alpha channel. So I'll switch back to my glass ornament file, click on Channels in order to switch to the Channels panel, and then I'll Alt+Click or Option+Click on that little page icon to create a new alpha channel, and I'm going to call it panes and then click OK.
Now then, assuming that you're looking at the default foreground and background colors, I to want you to change the foreground color to 50% black, and the reason is that we're going to be applying a layer of clouds, and these clouds need to be dim. The Clouds filter always works, by the way, between the foreground and background colors. So go up to the Filter menu, choose Render, and then choose Clouds, and you'll get the dim class that you see here. Now then, press the D key in order to reinstate white as the foreground color and black as the background color. Then go up to the Filter menu, choose Texture, and choose Stained Glass.
The interesting thing about the Stained Glass filter is that it always creates its the borders in the foreground color. So in our case, that means the borders will be white. Change the Cell Size value to 44, the Border Thickness to 10, and the Light Intensity to 0. That last part is extremely important. Then go ahead and click OK in order to create the effect. All right, right now we need to separate out those lead lines from the panes, and we're going to do that by duplicating this channel, by dragging it and dropping it onto the little page icon. Let's go ahead and call this channel big lead, and then press Ctrl+L, or Command+L on a Mac, to bring up the Levels command.
And we need to move this black slider triangle to the right side of this big bunch of histogram right there. And somewhere around let's say 110 in this case should work for you. And then I'll go ahead and click OK in order to accept that effect. All right, now we need to convert both of these channels into layers, so Ctrl+Click or Command+Click on the panes channel in order to load it up as a selection outline. Switch over to RGB, switch over to the Layers panel, scroll up the list, click on that hue saturation adjustment layer directly below the lead layer in order to make it active, and then I'll want you to press Control+Shift+N or Command+Shift+N on the Mac to create a new layer. Call it panes.
Click OK. And assuming that your background color is white, then press Ctrl+Backspace or Command+Delete on a Mac in order to fill that layer with white like so. Go ahead and press Ctrl+D or Command+D on a Mac to deselect the image. Now then, let's switch back to the Channels panel--a little bit laborious, but it's worth it here--Ctrl+Click or Command+Click on the big lead channel in order to load it up. Switch back to the Layers panel. And I'm going to click on the lead later this time, press Ctrl+Shift+N or Command+Shift+N on the Mac. Let's call this guy big lead and then click OK.
Now I want you to make sure that your foreground color is set to that dark gray. So if you're looking at the HSB values, Hue and Saturation should both be zero and then brightness should be 25%. Press Alt+Backspace or Option+Delete on the Mac in a word to fill the layer with gray. All right, now press Ctrl+D, Command+D on a Mac to deselect the image. Zoom out, because we've got to ensure that the outer area of glass panes and lead lines matches up with this inner bird so that we don't have any, you know, itsy-bitsy little fragments of glass.
And also we need to give ourselves a little more room, because we've got some gray lines at the perimeter of the image and we're going to end up seeing the edges of the layer effects, so it's all a long-winded way of saying we've got to scale and reposition these layers. So with big lead selected, I want you to Ctrl+Click on an empty portion of the panes layer--that would be a Command+Click on the Mac. Don't click on the thumbnail, because that will convert the layer to a selection. Rather, click off someplace over here, Control+Click or Command+Click to select two non-adjacent layers. Then go up to the Edit menu and choose Free Transform, or press Ctrl+T or Command+T on a Mac. And I just went ahead and expanded both my Width and Height values 120%.
So I clicked on the chain icon, changed the Width value to 120. That changes the Height value as well. And now we need to nudge this glass into a better place here, so I'm going to press the left arrow key a few times to nudge it over there to left. Actually, I think that I went a little bit too far. That's good. Then I'm going to press the down arrow key to nudge those layers down. Now bear in mind this whole time that your effect is going to look completely different, because both Clouds and Stained Glass generate random effects. So you may have to work at it to come up with the relationship that you like, but once you do, press the Enter key or the Return key in a Mac in order to accept your change.
Then I'm going to go ahead and zoom on in. We don't need that string anymore, so let's turn that string layer off. And we need to mask both of these layers, so we need to mask the bird away. And I'm going to do that by Alt+Dragging or Option+Dragging that layer mask that's associated with the hummingbird layer onto the panes layer. That gives me exactly the opposite of the effect I am looking for, so I'll click on that new layer mask there and I'll press Ctrl+I or Command+I on a Mac to invert it, and then Alt+Drag or Option+Drag that layer mask onto the big lead layer so that you end up with this effect here.
All right, now we need to merge these two lead layers together, but before you do that, I recommend that you select both of them and duplicate them by right-clicking on an empty portion of that layer and choosing Duplicate Layers and then just click OK in order to create copies of the layers. Then grab both of the originals there, go up to Layers panel flyout menu, choose New Group from Layers, call it originals, and then click OK, and now turn that group off. And that will just keep them safe in case you have to come back to them, because merging, as you well know, is a destructive modification.
So go ahead and click on the big lead layer, the one at the top, the one that does not have a layer effect applied to it, and then go up to Layer menu and choose Merge Down, or press Ctrl+E or Command+E on the Mac, and that will go ahead and merge the two layers together, and it'll also adopt the layer effect that's associated with the lower layer. We now need to add a couple of additional layer effects. For example, I want these lead borders to look like their casting slight shadows onto the windows, so drop down to the FX icon and choose Drop Shadow. And assuming the default settings, which you see here, then the only change we need to make is to reduce the Opacity value to 25%.
Then click on Outer Glow, because I want to be able to fill in these windows a little bit, click on what is by default a yellow color swatch here, and let's go ahead and change the color to white and click OK. Take the Size value up to 65 pixels, and then I also want you to tak the Range value of up to 100%. And then finally, we will reduce the Opacity value to 50% to achieve this effect here. Then click OK. All right, now at this point I'm going to turn the lead layer off for a moment so that we can see that we've got these white lines here that are both encroaching into the bird, as you can see, just ever so slightly, but they also stand a chance of showing up right around the perimeter of the lead lines.
So what we're going to do is click on that panes layer to select it, turn that link icon off between the two thumbnails, and then go up to the Filter menu, choose Other, and choose Maximum. And I want you to set that maximum value to four pixels. And notice that goes ahead and squeezes those white lines, because we're expanding the size of the translucent area of the layer. I know that sounds weird, but that's what we're doing with Maximum. Then go and click OK. Now notice we end up with these kind of weird little borders around the windows.
That actually works out beautifully for us, but they're a little bit too rough at this point, so I want to go up to the Filter menu again, choose Blur, and then choose Gaussian Blur. And let's change that value to twice what we applied for Maximum, which is a radius of eight pixels in this case. Click OK. That's not going to look like we have much in the way of windows left, but if you start zooming out, you'll see that the panes are there; they are just nice and soft. Now go ahead and turn on the lead layer in order to reinstate it like so. All right, finally, what we want to do--I'll go ahead and zoom out here--is drop down to the tree layer and give it a little bit of a blur.
So I want to be able to apply Gaussian Blur as a Smart Filter incidentally, so I'll go up to the Layers Panel flyout menu and choose Convert to Smart Object. Next, I'll go up to the Filter menu and choose Gaussian Blur right from the top, since it was last command I applied. And I'll expand the Radius value to 10 pixels, click OK, and then I'm going to scroll down the list, double-click on that little slider icon to the right of the words Gaussian Blur, and let's reduce the Opacity to 85%, just to restore a little bit of the original detail. Click OK.
And then the final step--I know I said finally for this; this is the final one--we need to instate the crack. And you can put that inside any pane you like. I'm going to go ahead and zoom in on my image a little bit, select the crack layer. Let's say I decide to put it right about here inside of this pane. Then go ahead and grab your Lasso tool and press the Alt key, or the Option key on a Mac, and keep that key down as you click around the corners of this pane, like so.
And then once you finish your selection, go ahead and release the Alt key or the Option key in order to create the selection outline. And now, with that crack layer active once again, drop down and click on the add layer mask icon in order to convert the selection to a layer mask. Then I want you to change the blend mode for this layer from Normal to Multiply in order to achieve this effect here. And that is it, folks. I'm going to go ahead and zoom out so that we can take in the entire image. Notice each and every single time you're going to get a different effect.
This is the effect we achieved this time around, this is the effect that I showed you at the outset of things, and of course your effect will vary as well. And by the way, if you want this crack to show up a little better, which I think I might, then you can move it on top of that panes layer like so and that will give you more pronounced effect. So, totally up to you how you decide to work it. I might actually at this point now take the opacity down to, let's try 85. That looks pretty good. Go ahead and press the F key a couple times in order to fill the screen with the image and zoom in. And that is our final stained-glass window effect, created using, of all things, the Stained Glass filter here inside Photoshop.
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