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Take a virtual journey to the bustling streets of New York in Bert Monroy: The Making of Times Square. Digital painter Bert Monroy reveals how he created the minute details that build the impressive 108,000 x 21,600 pixels, 25-feet wide photorealistic portrait of this iconic intersection.
In this installment, The Tools, Bert demonstrates how he uses the brushes, filters, and textures in Photoshop to create everything from the trees in Central Park to the billboards on Broadway, and shares his techniques for keeping his project organized with layers and groups. He also touches on the importance of channels and channel calculations, and how the evolution of the tools in Photoshop from CS3 to CS5 shaped his work.
There are many materials in Times Square and one material in particular which is pretty predominant in our society. That's blue jeans. And we're coming in close to see that quite a few people are wearing blue jeans, and there these two people are wearing blue jeans. Here is more blue jeans, blue jeans here. I'm going to zoom in on this one here. This is John Knoll, one of the co- authors of Photoshop with his brother Tom, and right here we have the original file that was created before the painting. I'm going to zoom in down here on his jeans and we could see the denim material right there.
So what I'm going to do is I'm going to show you how this denim material was created. Create a new file here and I'm going to fill this file with a color for our denim, so I'll pick a blue like that and I'm just going to go ahead and fill that with that color. Fill, Foreground Color there. So in the layer on top of this I'm going to fill that layer with a 50% gray, a neutral density. Now I'm going to return my colors to black and white and I'm going to use a filter on this layer.
And then go in there and choose a particular filter that's going to give me what I need which is Halftone Pattern under Sketch. Now I have quite a few things that I can choose from. I'm going to go in here and choose Line. I'm going to bring the Contrast down to zero and I've got the Size to the default of one. I'm going to click OK and that's going to give me a bunch of nice little lines based on my two colors of black and white. I'm going to give this another filter. Let me go in there and give this a filter.
Under the Pixelate we'll find Mezzotint. I'll give it a Mezzotint, which is set to Fine Dots as a default. That's what I am going to use. You can see that it's going to create a texture to my little lines. Click OK, and I now have a texture to those lines. I'm going to duplicate that layer, so now I have a duplicate of it. I'm going to pull back a little bit, and I take that layer, and I'm going to rotate it 45 degrees. So I'm go in there and say Rotate and holding down my Shift key to constraint.
I'm going to give it to give it to 45 degree angle, just like that. I'm now going to enlarge and this trend is also where we can see the blank area. I'm going to enlarge it so that it covers up the entire space. I'm holding down my Option key and my Shift. That's Alt+Shift on a Windows machine. I'm going to pull out until I just cover the entire area of the canvas, as you see there, to make that happen. Come in real close and look at the texture I've created so far. And now I'm going to turn on the one behind it, which we don't see it because it affected these layers all covering each other.
I'm going to change the mode for these layers. I'm going to change this one here to a Soft Light and I'm going to change this one here to a Multiply, and there we see that the resulting effect is that we have a denim type of material that we can then use for our images. I'm going to select the top layer here and holding down my Option key, I'm going to say Merge Visible. That's going to give me a layer that's a composite of the three layers beneath it, which has the entire fabric which I can now call it denim and I can use this file and drag this layer over to every other file where I need this denim material and then use it from there on.
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