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Adding a photographic texture

From: Illustrator CS5 One-on-One: Mastery

Video: Adding a photographic texture

In this exercise I am going to show you how to map a photographic texture onto a piece of synthetic artwork, specifically we are going to map the skin from a photographic Apple on to our 3D Apple. I have saved my progress as Toned-down apple.psd. And I have the file open in Photoshop, so were working in Photoshop over the next couple of exercises here. Notice here inside the layers panel, I have a layer called skin, go ahead and turn it on and it's a photograph of an apple from the Fotolia Image Library, and it's got some good skin details as you can see.

Adding a photographic texture

In this exercise I am going to show you how to map a photographic texture onto a piece of synthetic artwork, specifically we are going to map the skin from a photographic Apple on to our 3D Apple. I have saved my progress as Toned-down apple.psd. And I have the file open in Photoshop, so were working in Photoshop over the next couple of exercises here. Notice here inside the layers panel, I have a layer called skin, go ahead and turn it on and it's a photograph of an apple from the Fotolia Image Library, and it's got some good skin details as you can see.

We have this sort of variable red and orange skin going on, a little bit of highlight that's not actually going to translate, and then we have this additional Apple coming in from the right- hand side, we'll have to mask that's away. We also have this leaf and stem coming in from the top, we'll need to mask those away as well. And just so you have a clear ides of what's going on, I'll click of the skin layer and then assuming that one of my selection tools is active, which it is. Right now I've got my Rectangle Marquee tool selected, then you can just press the 5 key in order to reduce the opacity of this layer to 50% and you'll see that the photographic Apple, more than covers the 3D Apple, which is very important, that gives us room to work.

All right, I am going to press the 0 key to reestablish an opacity value of 100%. Turn off the skin layer, click on the apple layer, and now what I want to do is just select the red portions of the Apple, so that I'm not mapping the texture onto the interior in the background and so forth. So the best automated selection tool in Photoshop is located under the select menu and it's called Color Range. So if you are working along with me, go ahead and choose that command. And for you if this is the first time you've brought this dialog box, the fuzziness value will be set to 40, and I'll explain what that means in just a moment.

And you'll see this black region down here in the central portion of the dialog box, that black region is there to illustrate the selection. That's actually a selection preview and Photoshop is previewing the selection as a mask. And again, I'll show you what that means in just a moment, but you use this tool more or less like the magic wand tool, that is Photoshop's magic wand, not that Adobe magic wand, nobody ever uses inside Illustrator. And if you click inside of the red portion of the Apple, then you'll lift that as a base color, and notice then you'll see some white inside of the selection preview, that White indicates the area that will be selected.

So white indicates the selection, black indicates the area that's not going to be selected. Now what I want you to do is, more or less avoid these highlight areas, because these whites will pick up whites elsewhere inside of the Apple. I want you to press the Shift key and then drag across this top region of the Apple like so, and that will expand the selection. So as you Shift+Drag inside of an image, you're continuously picking up more key colors to add to the selected area. All right, I'm also going to Shift+Click down here near the base of the Apple, just to make sure I have got that area selected.

I'll shift drag over the top as well. Notice that I still have a few highlights that are not selected, that's not really a problem, that's actually just fine. And now I am going to increase the fuzziness value, and what I am doing is I'm increasing the range of luminance levels that are selected based on the key colors. So we can drift now 120 luminance levels from those key colors, from the ones that I clicked and Shift+Clicked on, and they will become partially selected. So the selection naturally drops off, which is a great thing. Anyway, once you get an effect that looks like this, and if you want to confirm that your selection looks like mine then you can change your selection preview here from None to Grayscale, and then you'll get a decent view of your selection out here in the image window, and this one looks pretty good to me so I'll go ahead and click OK in order to generate that selection outline.

So it goes ahead and converts the selection back to standard marching ants, which indicate the selected area inside a Photoshop. Now I'll go to my skin layer, click on it to make it active, and I am going to drop down here to the bottom of the layers panel and notice this little icon, it reads Add layer Mask, when you hover over it. If you click on it, then it's going to go ahead and convert that selection outline you've just created to a layer mask, anything that's white inside of this will layer mask thumbnail that's going to be visible. Anything that's black is going to turn invisible where this layer is concerned.

And by the way, I can see these big previews, because I've gone up to the flyout menu, here in the layers panel. I've chosen panel options, and I've gone ahead and selected this largest flower right here, which is the largest thumbnail view. And if you want large previews; that's what you would do as well. I'll cancel out of there. All right, a few other things that we have to do here, I'm going to change to blend mode from normal to multiply, in order to sync that Apple skin into our 3D Apple and notice how great that looks I'll go ahead and zoom in a little bit here, so that you can see the difference.

This is without the Apple skin, this is with that Apple skin, and see how that mitigates the highlight, it gets rid of a lot of the banding, it adds some organic feel to our Apple, which I think is extraordinarily useful. Now we're seeing the edge of that Half an Apple that was sitting next to the red Apple, right there is that edge, we need to paint it away. So make sure your layer mask thumbnail is selected, make sure it's active here inside the layers panel, then go over and grab the Brush tool, which you can get by pressing the B key, and has the same keyboard shortcut as it does in Illustrator.

If you right-click inside the illustration window, then you'll see that I've got a really big brush going. Let's tone it down a little bit, I'll take it down to 1000 pixels and the hardness is 0%, very important. Go ahead and hide that panel by pressing the Enter key or the Return key on a Mac. Make sure that your foreground color down here at the bottom of the toolbox is set to black, and if it isn't, you can just press the D key followed by the X key, so it's D for default colors and then X to switch them, because when we're working in a mask the default foreground color is white.

Anyway, now I am going to paint with black inside of the layer mask. The layer mass must be selected, then go ahead and paint with black, and I'm not getting anything, that's because I've got my blend mode set to overlay. I'll go ahead and undo that and change my blend mode to normal, that's the way it will be for you I'm presuming. Then just go ahead and paint in that area and you should paint that little bit of edge away. Another thing I am going to have you do, if you want to clean up this mask, which is probably a good idea. It's not essential, again, just a good idea. Alt+Click or Option+Click on that layer mask thumbnail inside the layers panel, so that you can see the mask by itself.

And notice that we have these banding areas down here at the bottom of the mask that we need to get rid of, and let me show you how. Now we go ahead and switch the mode from normal to overlay, and when you're overlay painting, you are just going to emphasize the darkness or you are going to emphasize the lightness of the mask. So if you're painting with black, check this out. I will just paint the darkest of black; I can drag right over that white stuff and not hurt it. And this is a sensational masking technique by the way, if you've never tried out masking inside of Photoshop before.

I'm just going to paint away that garbage down below and that takes care of the problem, do not paint inside of his highlight region, because you'll make a mess of it. All right, so done. Alt+Click or Option+Click on that layer mask thumbnail, again, just one more issue outstanding. Notice at this point that we still have a little bit of a problem, we've got this red flesh from the apple creeping into the stem, and the best way to take care of that is to go ahead and grab that stem, as opposed to trying to select the stem here inside of Photoshop, we've already created the stem inside of Illustrator.

So we can just grab it and bring it in independently and I'll show you exactly how that works in the next exercise.

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This video is part of

Image for Illustrator CS5 One-on-One: Mastery
Illustrator CS5 One-on-One: Mastery

134 video lessons · 28316 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 37m 22s
    1. Welcome
      45s
    2. Linking AI and EPS files to Illustrator
      6m 34s
    3. Installing the dekeKeys keyboard shortcuts
      7m 43s
    4. Remapping Mac OS shortcuts
      6m 56s
    5. Installing the Best Workflow color settings
      4m 56s
    6. The color settings explained
      7m 4s
    7. Preserve Numbers vs. embedded profiles
      3m 24s
  2. 1h 35m
    1. My favorite features in all of Illustrator
      1m 21s
    2. Introducing the Transform effect
      5m 30s
    3. Repeating the last effect you applied
      4m 52s
    4. Applying multiple passes of a single effect
      5m 21s
    5. The wonders of editing dynamic artwork
      7m 13s
    6. Applying effects inside effects
      5m 11s
    7. Assigning an effect to an entire layer
      5m 42s
    8. Building a complex bevel effect
      5m 44s
    9. Placing artwork as a Photoshop Smart Object
      4m 55s
    10. Editing that Smart Object in Illustrator
      4m 21s
    11. Rotating continuously overlapping objects
      5m 34s
    12. Adjusting a dynamic transformation origin
      6m 22s
    13. Vector vs. raster effects
      5m 46s
    14. Introducing the Scribble effect
      5m 23s
    15. Copying effects between layers
      4m 20s
    16. Introducing Graphic Styles
      6m 50s
    17. Controlling the Filter Gallery preview
      2m 28s
    18. Document Raster Effects Settings
      4m 31s
    19. Combining and saving styles
      4m 32s
  3. 1h 25m
    1. Airbrushing with points and handles
      1m 45s
    2. Introducing the gradient mesh
      6m 10s
    3. Working with the Mesh tool
      6m 12s
    4. Lifting colors from a tracing template
      5m 47s
    5. Finessing the colors of mesh points
      4m 17s
    6. Creating a mesh with the Mesh tool
      7m 19s
    7. Adding a gradient mesh to a circle
      4m 37s
    8. Adding a gradient mesh to a slender shape
      8m 7s
    9. Creating soft and sharp transitions
      6m 56s
    10. Converting a linear gradient to a mesh
      7m 29s
    11. Editing a linear gradient mesh
      5m 6s
    12. Converting a radial gradient to a mesh
      8m 19s
    13. Editing a radial gradient mesh
      8m 15s
    14. Creating credible cast shadows
      5m 32s
  4. 1h 15m
    1. The best of static and dynamic adjustments
      58s
    2. Adding wings to a horse in Photoshop
      6m 52s
    3. Introducing the Warp tool
      6m 29s
    4. Brush size, Detail, and Simplify
      8m 24s
    5. The Twirl, Pucker, and Bloat tools
      6m 13s
    6. The Scallop, Crystallize, and Wrinkle tools
      5m 55s
    7. Creating a mind-blowing custom starburst
      4m 29s
    8. Introducing Envelope Distort
      5m 21s
    9. Editing the contents of an envelope
      5m 20s
    10. Warping an envelope mesh
      5m 20s
    11. Liquifying the contents of an envelope
      7m 7s
    12. Creating and editing an envelope mesh
      7m 59s
    13. Blending an envelope into a background
      4m 35s
  5. 2h 1m
    1. Outlines along a path
      1m 13s
    2. Weaving a pattern throughout an illustration
      6m 24s
    3. Introducing the Brushes panel
      4m 21s
    4. Applying and editing a calligraphic brush
      8m 28s
    5. Applying and scaling art brushes
      6m 6s
    6. Applying and editing a scatter brush
      5m 29s
    7. Formatting and scaling brushed text
      5m 40s
    8. Editing the path outlines of an art brush
      6m 2s
    9. Replacing an existing art brush
      6m 46s
    10. Creating and refining an art brush
      8m 3s
    11. Tiling pattern vs. pattern brushes
      5m 12s
    12. Creating a pattern brush
      8m 20s
    13. Designing the perfect side pattern
      7m 1s
    14. Start, end, and corner tiles
      8m 58s
    15. Expanding and filling brush outlines
      6m 49s
    16. Text brushes vs. type on a path
      6m 55s
    17. Combining a text brush with the Width tool
      8m 43s
    18. Introducing the bristle brushes
      5m 43s
    19. Adjusting the hairs in a bristle brush
      5m 24s
  6. 1h 32m
    1. Charts can be beautiful
      1m 17s
    2. Adding a gradient mesh to a complex path
      8m 9s
    3. Importing and graphing data
      5m 22s
    4. Switching between the kinds of graphs
      6m 8s
    5. Changing the Graph Type settings
      8m 7s
    6. Correcting and editing data
      6m 51s
    7. Selecting and coloring graph elements
      6m 29s
    8. Making nuanced changes to a graph
      8m 6s
    9. The pitfalls of manual adjustments
      8m 45s
    10. Creating and applying graph designs
      6m 28s
    11. Making a basic pictograph
      6m 47s
    12. Assembling sliding graph designs
      8m 33s
    13. Making last-minute tweaks and edits
      5m 37s
    14. Composing and customizing a graph
      5m 44s
  7. 2h 6m
    1. Perspective is all about real life
      1m 44s
    2. Assembling an isometric projection
      8m 5s
    3. Introducing Illustrator's Perspective Grid
      6m 8s
    4. Drawing a basic perspective cube
      8m 1s
    5. One-point, two-point, and three-point perspective
      8m 25s
    6. Creating automatically scaling box labels
      4m 41s
    7. Setting up a Perspective Grid
      6m 45s
    8. Perspective Grid tips and tricks
      6m 39s
    9. Drawing and editing a perspective shape
      5m 20s
    10. Shifting between planes on the fly
      5m 24s
    11. Creating a freeform shape in perspective
      7m 8s
    12. Working with perspective symbols
      8m 57s
    13. Matching perspective with the Shear tool
      2m 50s
    14. Rendering an off-plane path in perspective
      5m 7s
    15. Replicating symbols in perspective
      8m 12s
    16. Mass-modifying perspective instances
      2m 56s
    17. Adding and editing perspective text
      5m 37s
    18. Duplicating perpendicular shapes
      7m 17s
    19. Adjusting multiple shapes on a single plane
      4m 48s
    20. Creating a perspective column
      9m 23s
    21. Duplicating a series of perspective paths
      3m 20s
  8. 1h 25m
    1. Just another dynamic effect
      1m 10s
    2. Introducing the 3D Revolve effect
      5m 1s
    3. The 3D Revolve settings
      7m 24s
    4. Fixing 3D rendering problems
      6m 32s
    5. Establishing symbols for 3D art
      6m 50s
    6. Mapping symbols onto 3D surfaces
      6m 14s
    7. Adjusting shading and light
      6m 25s
    8. Toning down 3D art in Photoshop
      5m 43s
    9. Adding a photographic texture
      7m 36s
    10. Converting from Illustrator paths to Photoshop masks
      4m 50s
    11. Making 3D droplets in Photoshop
      5m 58s
    12. Unifying textures with Smart Filters
      5m 48s
    13. Creating 3D type with Extrude & Bevel
      6m 44s
    14. Coloring and correcting extruded edges
      9m 15s
  9. 1h 3m
    1. Take action today, save effort tomorrow
      33s
    2. Introducing the Actions panel
      4m 16s
    3. Initiating a new action
      5m 33s
    4. Recording a practical action
      4m 56s
    5. Four ways to play an action
      4m 27s
    6. Streamlining by disabling dialog boxes
      5m 48s
    7. Editing an action set in a text editor
      7m 20s
    8. Inserting an unresponsive menu item
      6m 16s
    9. Match-processing a folder of files
      5m 42s
    10. Recording a transformation sequence
      6m 11s
    11. Editing and troubleshooting an action
      5m 6s
    12. Recording actions within actions
      7m 21s
  10. 1m 36s
    1. See Ya
      1m 36s

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