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Filtering an image in Photoshop

From: Illustrator CS4 One-on-One: Advanced

Video: Filtering an image in Photoshop

All right gang, welcome to Photoshop! Now the technique that we're about to apply, that semi-line drawing technique that is actually a highly posterized graphical effect combined with a sepia tone treatment, it's fairly elaborate actually. It involves masking. It involves path outlines. It involves Adjustment layers. It involves a Smart Object with Smart Filters. So basically, Photoshop's most demanding features that I'm going to be demonstrating over the course of this and the next couple of exercises here.

Filtering an image in Photoshop

All right gang, welcome to Photoshop! Now the technique that we're about to apply, that semi-line drawing technique that is actually a highly posterized graphical effect combined with a sepia tone treatment, it's fairly elaborate actually. It involves masking. It involves path outlines. It involves Adjustment layers. It involves a Smart Object with Smart Filters. So basically, Photoshop's most demanding features that I'm going to be demonstrating over the course of this and the next couple of exercises here.

Now, no matter what, if you've got access to the sample file, you'll be able to follow along with me. It's just that you're understanding of what in the world you're doing, will depend on your understanding in Photoshop, in general. If you know Photoshop, great! If you don't really know what all that is, well, just let it wash over you is what I would recommend. That will give you a sense of whether you want to know Photoshop, because it's insanely powerful, just like Illustrator. Wouldn't you know? I have a three- part intensive One-on-One series, just waiting for you, called Photoshop CS4 One-on-One Fundamentals, Advanced and later Mastery. So anyway, here's the deal. As I say, Woman with masks.tif. What we're going to do is the following: we're going to start things off by converting her to a Smart Object. That way we can apply nondestructive dynamic filtering effects, because otherwise, we'll just get static filters and we don't want that.

So, the way that you convert an image to a Smart Object and it's a badly named feature, by the way, Smart Objects, they're really just super layers, basically, layers that cannot be harmed. So go to the Layers palette, and you should see it down in the lower right region of your screen. It's taking up an enormous amount of room on my screen just because I don't have a very big screen to work with. So I'm going to go up to the palettes flyout menu, and a lot of what we're seeing here interface-wise inside of Photoshop, should be very familiar to you after all of this Illustrator work, because after all, Photoshop supports the same AOL 2.0 interface.

All right, so I'm going to click on the flyout menu icon and I'm going to choose this command right there, Convert to Smart Object. Now if you see a keyboard shortcut that isn't available on your system, it's just because I have dekeKeys loaded, which are my dekeKeys shortcuts for Photoshop, in this case. You can get to them, by the way, for free even if you're not a premium member, you can download those, if you just go over to one of the Photoshop CS4 One-on-One series, here at the Lynda.com Online Training Library. Anyway, I'll go ahead and choose Convert to Smart Object, and that doesn't appear to do anything, but it does change the image into a floating independent layer that's got a little Page icon in the bottom right corner that's telling you it is a Smart Object, meaning that it's a protected image. It's that super layer. You can do whatever you want to it now and you're not going to hurt anything. You just can't gain access to the pixels. You can't brush inside of it, for example.

All right, so I'm going to go ahead and call this Smart Object or something along those lines, so I know what it is. Then lot said about applying some nondestructive filters. Now the first filtering effect in order to get that super sharp tactile effect that we're looking for is to up to the Filter menu, choose Other and choose High Pass, the command that is not available to us inside of Illustrator. Once again, there is a dekeKey shortcut, Shift+F10. I'll go ahead and choose the command. It doesn't look like anything you'd ever want to apply in a million years, but it's a great filter for achieving sharpening effects.

I review it in all kinds of detail inside my Photoshop Sharpening Images series, so much that I have to tell you another series, don't you know? All right, now I'm going to click OK in order to accept that modification. Now it does look terrible, but of course, so here is how you go ahead and deal with that. You double-click on this little Blending slider icon right there. So notice that we've got High Pass. It is now a dynamic effect, very similar to that appearance that we saw associated with Unsharp Mask inside of Illustrator, except inside Photoshop we can't just click on a link in order to review the Filter settings, you have to double-click on the word High Pass in order to bring it up.

Anyway, cancel out. You do have this little guy there, the slider icon, double-click on it, and you can assign a Blend mode to the effect as opposed to the entire layer as we saw in the previous exercise, you just apply it to the effect. I'm going to go ahead and click to center the preview of the eye there, note we can preview our effects right there in the illustration window, we can center our previews here inside the dialog box. The dialog box previews are much bigger than they are inside of Illustrator. I'm going to change the Blend mode to a Blend mode that doesn't even exist in Illustrator. In Illustrator, you've got Overlay, Soft Light and Hard Light, but you don't have these guys here. I'm going to change it to Linear Light and we'll get this effect here. So it's a very tactile effect.

All right, click OK in order to accept that modification. Now, you can see a before and after by turning off High Pass like so, so that's what it looks like before, and then press Ctrl+Z or Command +Z on the Mac to see the after effect. All right, that's not enough. I want it even sharper than that. So I'm going to go up to the Filter menu and heap on another filter, Sharpen. Notice there is more than just Unsharp Mask. We've got Smart Sharpen, for example. There is a dekeKey shortcut of Shift+F6. Again, you've got to load them to have them. All right, I'll go ahead and choose that command there and these are the settings I want to apply: so an Amount of 200%, a Radius of 2.0 and a Remove setting of Gaussian Blur, More Accurate turned off. Basic is also on. That gives us even more sharpening, which isn't necessarily flattering at this point.

We are bringing out some amazing bloodshot eyes. This woman has beautiful eyes, but she's got some major redness going on. I'll go ahead and click OK in order to accept that modification. Then I want to change its Blend settings as well. So I'll double-click on the little slider associated with Smart Sharpen. Then I'm going to reduce after centering the eye, because whenever you're sharpening a portrait, you want to keep an eye on the eyes, because they are the window into the souls and so on. They are also that part of the image that needs to be in the sharpest focus, traditionally speaking.

I'm going to change the Opacity value to 65% and press Tab just to settle things down ever so slightly and click OK. I'm not changing the blend mode, by the way. Just click OK. No need to. Change the Blend mode. Normally I change that Blend mode to Luminosity, but because we're going to because throwing on the Sepia Tone effect on top of everything, the colors don't really matter. That's enough for now. I give you a sense of how just more vastly powerful filters are inside of Photoshop, when you're applying them to images than they are when applying to images inside of Illustrator.

In the next exercise, we're going to be experimenting with little bit of masking. And believe me, it's not hard, because I've already created the masks for you, in advance.

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This video is part of

Image for Illustrator CS4 One-on-One: Advanced
Illustrator CS4 One-on-One: Advanced

149 video lessons · 21512 viewers

Deke McClelland

Expand all | Collapse all
  1. 28m 41s
    1. Welcome
      1m 7s
    2. Installing the dekeKeys keyboard shortcuts
      8m 59s
    3. Resetting the Function keys on a Mac
      4m 47s
    4. Installing the CS4 color settings
      4m 20s
    5. Loading the CS4 color settings in Illustrator
      6m 3s
    6. Loading the CS4 color settings in Bridge CS4
      3m 25s
  2. 1h 53m
    1. From the simple emerges the complex
    2. Introducing Pathfinder operations
      4m 17s
    3. Editing a compound shape
      4m 39s
    4. Adding to a compound shape
      3m 11s
    5. Inserting a subpath into a compound shape
      3m 56s
    6. Expanding a compound shape
      4m 53s
    7. Assembling primitives
      4m 42s
    8. Preparing a template in Photoshop
      7m 0s
    9. Uniting paths permanently
      5m 40s
    10. Minus Front vs. Minus Back
      1m 55s
    11. Working with compound paths
      6m 49s
    12. When in doubt, divide
      3m 54s
    13. Divide and Unite
      3m 2s
    14. Open path pitfalls
      5m 35s
    15. Strokes bad, fills good
      4m 38s
    16. Advanced Divide and Unite
      8m 59s
    17. Using the Crop operation
      8m 30s
    18. Expert Divide and Unite
      8m 45s
    19. "Ghosting" shapes with Fill Opacity
      6m 45s
    20. Anticipating and troubleshooting
      8m 16s
    21. Exclude and Intersect
      7m 24s
  3. 44m 59s
    1. Familiar one moment, different the next
      1m 3s
    2. Snapping to anchor points
      5m 41s
    3. Aligning a group to the artboard
      3m 34s
    4. Distributing objects on the artboard
      4m 16s
    5. Setting the key object
      4m 54s
    6. Distributing objects by space
      3m 6s
    7. Distributing objects by selections
      3m 19s
    8. Aligning point text
      6m 7s
    9. Aligning live text vs. using outlines
      4m 58s
    10. Aligning key letters
      3m 35s
    11. Aligning to key objects
      4m 26s
  4. 1h 4m
    1. CS4’s gradient renaissance
      1m 7s
    2. Applying a gradient
      6m 0s
    3. Dragging and dropping color swatches
      2m 55s
    4. Using the Gradient palette
      6m 27s
    5. Designing a shaded gradient
      5m 9s
    6. Saving a gradient swatch and adding a texture
      4m 2s
    7. Introducing the new Gradient tool
      4m 39s
    8. Editing color stops inside a shape
      3m 26s
    9. Setting multiple gradients to the same angle
      5m 0s
    10. Adding and adjusting radial gradients
      7m 20s
    11. Making a transparent gradient
      7m 6s
    12. Adding drop shadows (a kind of gradient)
      6m 28s
    13. Blends vs. blend modes
      4m 38s
  5. 1h 17m
    1. Creating freeform color flows
      1m 0s
    2. The power of CS4's transparent gradients
      10m 25s
    3. Creating a gradient mesh
      4m 30s
    4. Expanding a gradient to a gradient mesh
      7m 40s
    5. Adding and deleting rows and columns
      6m 13s
    6. Selecting and coloring points
      6m 5s
    7. Assigning colors with the Eyedropper tool
      7m 42s
    8. Cool mesh editing techniques
      3m 56s
    9. Warping and puckering a mesh
      7m 24s
    10. Applying precise finishing touches
      5m 48s
    11. Gradient strokes
      9m 45s
    12. Gradient text
      6m 50s
  6. 55m 35s
    1. The first of the dynamic functions
      1m 4s
    2. Making a blend automatically
      5m 48s
    3. Fixing problem blends
      3m 56s
    4. Making a blend with the Blend tool
      3m 6s
    5. Cloning and coloring a blended path
      4m 37s
    6. Creating a mask
      3m 53s
    7. Blending between translucent shapes
      5m 30s
    8. Blending along a curve
      4m 34s
    9. Adjusting the speed of a blend
      2m 58s
    10. Filling and stroking a mask
      4m 36s
    11. Creating a compound clipping mask
      6m 3s
    12. Nesting one clipping mask inside another
      6m 7s
    13. Ghosting nested masks and blends
      3m 23s
  7. 1h 13m
    1. Patterns that repeat forever and ever
    2. Introducing tile patterns
      6m 36s
    3. Beginning a core design
      5m 6s
    4. Building an interlocking element
      6m 25s
    5. Achieving precise radial symmetry
      4m 46s
    6. Rotating duplicates around a common center
      3m 10s
    7. Determining how a pattern repeats
      9m 54s
    8. Coloring the core objects
      5m 0s
    9. Identifying the rectangular tile
      7m 14s
    10. Saving tile patterns
      7m 19s
    11. Applying tile patterns to a shape
      3m 25s
    12. Protecting patterns from transformations
      7m 36s
    13. Moving patterns without paths
      5m 51s
  8. 1h 19m
    1. Illustrator gets natural
      1m 15s
    2. Introducing the vector painting tools
      3m 16s
    3. Calligraphic brush options
      4m 3s
    4. Pressure sensitivity
      5m 17s
    5. Editing a calligraphic brush
      5m 53s
    6. Repainting and smoothing paths
      5m 30s
    7. Making the paintbrush behave
      6m 16s
    8. Erasing stroked paths
      3m 17s
    9. Painting with the new Blob brush
      6m 24s
    10. Refining filled paths with the Eraser
      4m 14s
    11. Painting independent paths
      3m 53s
    12. The Selection Limits Merge options
      3m 20s
    13. Applying and scaling an art brush
      6m 23s
    14. Snipping a brushed path
      4m 55s
    15. Colorizing an art brush
      4m 9s
    16. Heaping a stroke on an art brush effect
      4m 32s
    17. Creating a custom art brush
      6m 51s
  9. 1h 44m
    1. The computer art world’s dynamic duo
      1m 7s
    2. Copying and pasting pixels from Photoshop
      7m 21s
    3. Linking is efficient, embedding is not
      2m 47s
    4. Editing an image in Illustrator
      7m 30s
    5. Filtering an image in Photoshop
      6m 34s
    6. Adding a filter mask in Photoshop
      6m 25s
    7. Masking a woman from the background
      3m 49s
    8. Creating a sepia effect
      6m 37s
    9. Adding a second gradient map layer
      2m 13s
    10. Achieving a graphic effect with Levels
      8m 10s
    11. Preparing an image for use in Illustrator
      5m 46s
    12. The importance of image resolution
      9m 40s
    13. Placing and linking images
      4m 43s
    14. Managing linked images
      6m 18s
    15. Integrating an image into a design
      5m 12s
    16. A better way to wrap text
      7m 28s
    17. Previewing the trim size
      4m 25s
    18. Layer comps and editable text
      8m 42s
  10. 2h 11m
    1. Transparency is safe and fun
      1m 27s
    2. Introducing the translucent composition
      4m 39s
    3. Assigning opacity to an Appearance attribute
      3m 41s
    4. Creating a knockout group
      5m 7s
    5. Defining an opacity mask
      7m 15s
    6. Using the Clip checkbox
      2m 41s
    7. Opacity mask tips and tricks
      3m 20s
    8. The Multiply blend mode
      6m 8s
    9. Adding to an existing opacity mask
      7m 53s
    10. Blending between parallel groups
      7m 27s
    11. Creating a gradient opacity mask
      4m 54s
    12. Employing an opposing gradient mask
      7m 57s
    13. Combining Multiply and Screen
      3m 49s
    14. Blend mode roundup
      5m 24s
    15. Mixing blend modes inside a single path
      3m 48s
    16. Blend mode and transparent gradient
      3m 49s
    17. Masking an entire layer
      7m 0s
    18. Combining Screen with 100K Black
      7m 43s
    19. Knocking out a drop shadow
      5m 18s
    20. But will it print?
      3m 8s
    21. Working with the Flattener preview
      8m 44s
    22. Rasterizing an illustration in Photoshop
      9m 16s
    23. Super-rich blacks and raster effects
      3m 35s
    24. Exporting TIFF artwork from Illustrator
      7m 48s
  11. 58s
    1. Until next time

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