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Creating a fabric texture

From: Bert Monroy: The Making of Times Square, The Tools

Video: Creating a fabric texture

In places where you're getting very close to the subject, like in this particular case here we are looking really close at the blouse, so we see that there is in fact a fine weave in the blouse right here. So we are getting real close, so we can see that, and we see that there is a very fine weave that's visible, the fabric itself right through there. So we can start to see it in these different places. We can see how it's taking on the contours of the fabric as it folds. So we need to create that kind of an effect.

Creating a fabric texture

In places where you're getting very close to the subject, like in this particular case here we are looking really close at the blouse, so we see that there is in fact a fine weave in the blouse right here. So we are getting real close, so we can see that, and we see that there is a very fine weave that's visible, the fabric itself right through there. So we can start to see it in these different places. We can see how it's taking on the contours of the fabric as it folds. So we need to create that kind of an effect.

Now, in another movie I talk about creating that pattern. Here we're going to actually apply it to a fabric. So I have another file here where I've just created some simulations of some folds. Now we are not going to see the fabric in the dark areas, but we are going to see it going around the light areas, because in the light areas we'll see through it and see that darkness underneath and so on. So we need to go in there and apply it. First, we have to decide exactly how these fabrics are folding. Now, the dark areas are going in, which means these areas here are coming out in a curved fashion, as is this area here.

It's curved like this and curved here and curved there and then curved like that, which means the fabric has to follow all these individual folds. That also means that we need various sections of it so that we can manipulate each one separately. So I am going to go in here and in a new layer I am going to go ahead and fill it with the fabric that we created, and I'll click OK. And right off the bat, we see that the existing pattern is a little too big for the fabric that we want here.

We want it to be a little bit finer. So let me undo that. I look at the size of this file and I see that this file is 900 x 700. So what I am going to do is I am going to go in there and create a new file that's larger than that, much larger. So I am going to go in there and say 1500 x 1200 and click OK. So here is this much larger file, and here I'm going to go ahead and--in a new layer, because I want it to be transparent--I am going to go in and just fill this with the pattern.

I'll just say fill with the pattern. Click OK. Now I have a much larger swath that I can now do a Select All and copy it, or I can drag and drop if I was working with the Standard View mode, but I'm in Full Screen mode here, so it makes a little difficult to do that. I am going to deselect this, or I could even close it at this point. I have it in memory. So I'm going to go in there and just close this. Back here again I am going to say paste.

There is my fabric. Looks the same as it was before because of the fact that we filled it the same size. But when we pull back, we'll see that there's a lot more to this particular layer. So I am going to go in and say scale, and there we see that we have all this additional space for it. So I am going to go in there and shrink it down. I am holding down my Shift key to keep it constrained, and I'm shrinking it down to the size of this file that I have here. Click OK and now we see that we have the size that I want, a nice size right there.

Now, I need one, two, three, and four-- I need four different pieces of it. So I am going to go ahead and create three more copies to give me a total of four. There we are! So now I am going to go in there and turn these guys off for now, and I am just going to work with this one. Well, I am going to go in there and start to manipulate parts of it. I am going to come in here and this is going to be this corner up here. So I am going to go in here and just drag this up a little bit, so I have some room to work with, and I really don't need all this extra stuff. So I am just going to kind of dump this.

I don't need that part; it just gets in my way right now. So I don't need to see it. So now, this is what I want to manipulate. So I am going to go into my Warp tool, and in Warp, I am going to go in there and stretch this out so that it follows that contour that I have there. I'll just drag these over, drag them down, and I can get rid of the excess later. There is no problem with that. I am going to bring this guy way up here, way over, and bring this right in there. I am going to start dragging these points and start pulling this around.

Now, it really needs to curve around, so what I am going to do is I am going to start to have these areas just curve just like that. There you can see I am starting to get this nice curve happening in there. Now, you can exaggerate it if you want. That's what I'm going to do. I want to exaggerate this, so I get this really fine curve happening in there just like this. There we go! We have it the way I want it. Click OK and there is this nice little curve in there. Now again, I can get rid of the excess--I need to see this stuff--and then I'm going to go in and I am going to give it a mask, so that I only see the parts that I want.

So I give that layer a mask, and I can go in here and very lightly--and I say lightly because I am going to bring down the Opacity to about 27 or whatever-- I am just going to go in there and paint in the mask the parts I want to hide, and you can see I am not doing it in one complete stroke. I am doing it in multiple strokes. I can slowly start to erase it, so I don't get this hard edge. I just kind of very slowly start to soften it up. There you can see I start to have that nice little curve in there. I am just having the fabric exposed just where I want it. So now, the side would be the same thing.

So we'll go in there and let's pull back and look at the next bunch. Here it is! So right off the bat, I am going to just dump this whole area right here, don't want that, throw it away, and I want to make sure I am in the right layer. There you go! Take care of that. All right! So now I've got this piece. I am going to bend that in the opposite direction. I am going to go in there and say warp. I am going to drag it and do the same thing I did before. I am going to go in there and just pull these guys all the way around so I start to really exaggerate my distortion here and I get this nice curve, and I start to play with it. And here I've just got this little bend going down this way, so it's just going to go this way.

I get this little light area happening. Or actually it should be the opposite. It should be going up this way. So we'll just start to bend these guys up, start getting that curvature, bring this down, bring these handles over. That's giving us the ability to go in there and start bending this just the way we want. I start curving this around that way, bring this over some more so we get more of a twist and bring this guy out and curve that and bring this up, and there we're starting to get this distortion on this side.

Once I have it the way I want it, make it happen, get rid of this little excess in here, don't need that, and give that a mask as well. We'll do the same thing on this side. Just go in there and start to just paint this off just like that, just so we start to expose just the parts of that texture the way we want them right in there like that. Now, we have this. We can handle this with probably just one. I am going to bring down the opacity a little bit so I can kind of really see the thing underneath there. All right! And I am going to take away this piece here, and take away this piece here, just so that that isn't invisible, so we can see what we want.

So now that we have this, this piece here will now be warped to follow that contour. Here, we've got to really start to manipulate this. I am going to pull this guy up, bring this down, bring this in. So I am going to start to tighten it up on top here. I want to tighten this area up. So I am going to pull this in, and then pull these guys down, and then I am going to follow this curve. So I am going to start to bring this guy around just like that. You can see where I am getting this nice little angle here.

I am going to bring this in right to that edge and then have these guys kind of follow. These are the sides of the fabric. I am just going to follow that whole movement right there and tighten this up even more. So there we can see where it's just starting to wrap around the light area. I am just going to thicken this a little just so that it starts to fill up right in there, move this over just a little right into that area, and there you can see we're getting this nice curvature. Now I am going to curve this down here even more.

There, we can see where we're getting that nice curve, and I click OK. Let's bring the Opacity back up. I think we can get away with just the three pieces at this point, so I am going to go in there, and give that a mask and just hide all the parts I don't want. I can erase or just hide, which is what I am going to do here. I am going to just hide this whole piece here, get rid of that, and then start to soften up this edge, just going in there and erasing, and just going to go soften that edge so it just blends right in with that fold right through there like that.

Soften this edge, right through there, make it all disappear, exposing only the parts that I want. Then I start to soften this edge, and then I could just go in here back into layer and just eliminate this piece. I don't need to spend time covering that. Just dump that. There we can see that now we have this fabric that's just following the movements of the fabric, and we're getting the textures just where we want it in the areas that we need, and you start to get this realistic-looking texture.

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This video is part of

Image for Bert Monroy: The Making of Times Square, The Tools
Bert Monroy: The Making of Times Square, The Tools

61 video lessons · 9103 viewers

Bert Monroy
Author

 
Expand all | Collapse all
  1. 6m 34s
    1. Welcome to the tools used to create "Times Square"
      57s
    2. What is "Times Square?"
      5m 37s
  2. 1h 32m
    1. Using a Cintiq to control the brushes in Photoshop
      3m 33s
    2. Making the chain brush
      8m 49s
    3. Making the single loop chain
      6m 55s
    4. Creating a brush to make furry text
      8m 13s
    5. Creating the look of stitching on cloth
      5m 46s
    6. Creating a rough brushstroke look for the Tarzan sign
      3m 3s
    7. Creating a crochet look brush
      5m 32s
    8. Creating dirt and grime
      6m 16s
    9. Using brushes to create trees in Central Park
      6m 41s
    10. Using a brush to create the look of embroidery
      3m 3s
    11. Creating the stars on the wall of the Toys"R"Us image
      6m 24s
    12. Creating a fabric design
      3m 43s
    13. Creating the look of brick
      4m 27s
    14. Weathering bricks
      8m 23s
    15. Creating light bulbs
      6m 14s
    16. Creating the effect of a fading brushstroke
      5m 36s
  3. 15m 42s
    1. Creating a paper towel
      8m 5s
    2. Creating denim
      3m 25s
    3. Creating asphalt
      4m 12s
  4. 21m 3s
    1. Layer groups
      7m 59s
    2. Making the lights in the Toys"R"Us image
      3m 12s
    3. Understanding the layers in lights
      5m 20s
    4. Creating blinds with a 3D postcard applied to layers
      4m 32s
  5. 32m 55s
    1. Creating a bottle
      8m 50s
    2. Creating an iPhone case
      3m 35s
    3. Creating the iPhone icons
      3m 34s
    4. Creating a ladder
      6m 8s
    5. Creating the effect used on the Bubba Gump sign
      5m 7s
    6. Creating realistic glasses
      5m 41s
  6. 1h 56m
    1. Creating a fabric texture
      9m 46s
    2. Creating Julianne's pants
      9m 28s
    3. Creating a checkerboard pattern on a bottle cap
      6m 16s
    4. Creating a wood texture
      8m 26s
    5. Creating concrete and marble
      3m 14s
    6. Creating a brick pattern
      7m 12s
    7. Creating ribbed metal
      5m 40s
    8. Creating ribbing on T-shirts
      11m 18s
    9. Creating a lime
      8m 29s
    10. Creating leather
      2m 33s
    11. Creating rough animal skin
      4m 0s
    12. Creating a grill on a car
      6m 4s
    13. Creating a car light
      6m 2s
    14. Creating the windshield
      10m 39s
    15. Creating a metal screen
      4m 14s
    16. Creating a quilted metal effect
      3m 18s
    17. Creating wafer quilting
      4m 41s
    18. Creating a pattern on the wall
      5m 16s
  7. 6m 57s
    1. Making the clipping group used on the manga billboard
      6m 57s
  8. 10m 36s
    1. Applying a layer mask to create a reflection
      3m 53s
    2. Linking masks
      1m 35s
    3. Applying layer masks and layer styles to create a chain link in a necklace
      5m 8s
  9. 52m 35s
    1. Explaining channels
      4m 0s
    2. Creating a license plate with channels
      6m 47s
    3. Creating shadows on the cables
      5m 50s
    4. Explaining channel calculations
      3m 46s
    5. Understanding calculations in channels
      4m 32s
    6. Creating a manhole cover with channels
      15m 31s
    7. Creating wiring on lights with channels and calculations
      12m 9s
  10. 29s
    1. Parting words
      29s

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