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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 we're going to take this highly graphic line art and we're going to add a couple of crosshatching patterns in order to transform the image into this final effect. And here's how it works. For starters, we need to go ahead and define a couple of tile patterns. Now, if you're a Premium member and you have access to the downloadable files, go ahead and grab these two files: one is called Thin lines and the other is called Thick lines-- both TIFF files, by the way. Now, notice that I'm zoomed in like crazy. I'm zoomed in to 1200% on both of these images. And the reason that I've done that is I want you to be able to see exactly where the pixels are located.
And just for the sake of reference, this image measures 48 pixels wide by 48 pixels tall, so if you need to build these patterns, here's what they look like. Then, once you get done to putting these files together, notice every pixel is either black or white. Go up to the Edit menu and choose Define Pattern, and then I'll go ahead and delete the .tif extension and call this pattern Thin lines. And now I'll switch over to the other one. Note how this pattern is put together. And it's very important that you put all the pixels in these places because they need to repeat seamlessly. All right! Then once you have that file in front of you, choose Define Pattern once again and delete the .tif extension so the new pattern just reads Thick lines.
Now let's go ahead and switch over to the Graphic line art file that we created in the previous movie. And I'm going to turn off this B&W layer so that we can see through to that very light version of the original background image. And then I'm going to click on the shadows layer to make it active, and I'll press the Alt key or the Option key on the Mac, click the Black/White icon at the bottom of the panel, and choose the Pattern command. And I'll call this first one thin lines and then click OK. That will take me into the Pattern Fill dialog box.
I'm going to change the pattern to the second-to-last one, which is Thin lines. And at this point you want to scale the pattern to whatever size you see fit. Now, my lines are pretty thick and far apart right now. But if you decide to do so, you probably want to take that Scale value down in even increments, by which I mean 50% is going to work out all right. If that's still too big, then 25% is going to work out well, and so forth. I'm going to go with 25% where this specific image is concerned.
And then I'm going to set this layer to the Multiply mode, so that we're burning through to the background. We're keeping the black lines, but we're dropping out the white ones. And I'm going to double-click in an empty portion of this layer, and we're going to use this Underlying layers slider in order to drop out the lines so that they fade away, ultimately resulting in a crosshatch effect, as you'll see. And where this layer is concerned, I'm going to press the Alt key or the Option key on the Mac and drag the left half of this White slider down to 225.
So notice the first value is 0, the second value--the one before the slash--is 225, and the value after the slash is 255. So we're fading those lines just at the brightest locations in the composite version of the underlying layers. Then I'm going to click OK. And now let's add another crosshatch pattern. I'm going to click in the shadows layer again, press the Alt key or the Option key in the Mac, click the Black/White icon, choose the Pattern command, call this layer thick lines, of course, click OK, and this time I will load up the Thick lines pattern, which goes in the opposite direction, from bottom left to upper right.
And I'm going to reduce the Scale value again to 25%. I will again change the Blend mode from Normal to Multiply, and then we need to adjust the underlying layers settings for this layer as well. Double-click on an empty portion of the layer to bring up the Layer Style dialog box. And for this image, I'm going to go ahead and drag this white slider triangle to a value of 190, and then I'll press the Alt key or the Option key on the Mac and drag the right half of this triangle to 220 in order to achieve this effect here.
Click OK again. If you're working with your own image, you can go your own way, make your own modifications--totally up to you. Now, at this point you might notice that the eyes are looking a little bit too dark, and they shouldn't have lines running through them--not the whites of the eyes anyway. So let's go ahead and scroll to the bottom of the list, click on the Background layer to make it active, and now you would select the eyes. I've already created a selection in advance here in the Channels panel, so I'm going to go ahead and Ctrl+Click or Command+Click on this alpha channel called eyes at the bottom of the list, and then switch back to the Layers panel.
Press the Alt key or the Option key on the Mac, click the Black/White icon at the bottom of the panel, and again choose the Levels command. And I'm going to call this layer "eyes" and then click OK. I'm going to change my settings, like so. I'm going to take the White Point value down to 235, and then I'm going to take the Black Output Levels value all the way up to 150 in order to brighten those eyes significantly. And you can see that's making those crosshatch lines all but disappear.
Now let's go ahead and hide the Adjustments panel, scroll up the list to the top of the stack, and turn on that B&W layer in order to once again convert the image to black and white. The reason we're going back and forth between converting the image to color and then converting it back to black and white--in other words--I'll turn this layer off for a moment-- the reason we're leaving part of her exposed in the background, and we have set this white layer to mere a 50% is because if we had set that layer to an Opacity of 100%, that would ruin the entire effect.
We'll lose all that work we had done with those crosshatch patterns. We need the original image to help us out, so that's why I took that white layer down to 50% and then reconverted the image to black and white using this B&W Threshold adjustment layer. If I zoom out by pressing Ctrl+0 or Command+0 on the Mac and turn on this border layer, you can see that I've gone ahead and created a black border around the entire image. I just felt like that helped create a boundary. And then I'll go ahead and twirl open the type & graphics folder.
I've got some text that I created in advance here. And I'll also--I'll go ahead and expand the panel a little bit so that you can see I've got this vector mask that's shaped like a kind of bullet hole. And as soon as I turn that layer on, you can see the bullet hole right there inside the final image. All right! I'm going to press the F key a couple of times in order to switch to the full-screen mode. Go ahead and zoom in here as well so that we can see the final version of this line art, complete with crosshatching, thanks to our ability to create tapering line patterns here inside Photoshop.
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