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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.
Textures, textures, textures! They make something look like what it really is, and how you create that texture is just a matter of understanding what's in Photoshop. I'm going to come in real close on one of these mini textures right here--this leather bag, right there. On getting closer, you'll see that it's got some pretty nice grain going through it, right there. We're going to create this leather texture. Now it's the texture I'm going to concentrate on in this movie. All the little tones of the folds and stuff like you see in these cool leather boots back here, that's all handled in the movie that deals with folds of fabrics and stuff.
So right now we're just going to create this texture. If you're going to go in here, and I have a file, and I am going to fill this file with this light gray, in a layer, right there. Just a light gray. That's going to be our basic tone for our leather, and keep in mind that once we have this texture and it's in the layer, we can apply it over any surface and depending on the mode of that layer, it will have different effects on the colors underneath it. So right now we're going to apply a series of filters. So what I am going to do is I am going to go into Filter Gallery, which right now there is my file, nothing has been applied, and I am going to start to apply a series of Filters.
So I am going to go in here and go to my Textures and give it a little Craquelure. Now, I am going to apply another Filter. I want it to be another Filter, not replace this filter, so I am going to say Add another Filter. And then the one that I just opened up, I am going to start looking through here and find one that I know is going to give me good effect like Bas Relief. That's going to give me another. So let me add one more. And on this I'm going to go to my Distorts and I have Glass. And there you can see that I have done something. It's created some pretty bizarre effects, each one on top of each other.
Now the positions of these is going to make the difference, so if I take the Craquelure and put it up here, well it kind of overrides the others. But if I put it in the middle here, you see that it's starting to have different effect. So each one, their position is going to have a different effect on what happens below. So by putting the Glass right there, there is a texture. Bas Relief, Glass and Craquelure-- in that order I have this really cool texture which I can now turn into leather, click OK and we have this nice leather texture that I can use just about anywhere.
Call it 'leather texture' and it's ready to go in to any other file and put on top of some tones and whatever it is, and it'll take on that nice texture.
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