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In this final movie where we cover the red truck, I want to talk about some of the stains of the wear and tear on the metal portions. Like right here, along this part of the fender here and way up here. All these little textures that happening up in here. So right here, I've got a new file in which I've, kind of, created that top portion the hood of the, of the truck. And, I want to create that texture that's on top of it. So, it's in it's own layer. I have it in it's own layer. So, what we could do is go in here just call this the uh, the hood.
There it is, it's the hood. And I might want to give it a little bit of a, just some noise, a little add noise. Just give it a tiny bit of noise. Just give it a little bit of a texture. Let's go with a four. That gives us just enough noise just to add a little texture. So now we're going to create that wear. So on a layer on top of it, I'm going to go ahead and fill it with that same red that we have there foreground color. And what I'm going to do is, I'm going to give it some noise. And in fact this, we can even go with a black and white, here we'll just fill it with white.
Doesn't matter cause we're going to be dealing with light tones. So what I'm going to do is, I'm going to go and give it some noise again. And this time we'll give it a lot of noise. And in monochromatics stays in basic tones there it is. What I'm going to do with this is I'm going to give it a motion blur. Nice motion blur straight up and down. Maybe not as much, just go a little less like that, about like that. Click OK. And in my levels I want to go in and just go in and just go in here and kind of lighten up some of those tones, just like that. Click OK.
And now comes one more filter. Under filters in the filter gallery we have, under the brush strokes, we have spatter. And you see what spatter's doing. It's creating this nice kind of an effect. We can make it larger, bring down that smoothness. In fact, that's what we'll do, we'll bring up the smoothness, to make it a little more coarse right there, like that. And we'll click OK. And that created this effect here. So now we might want to go in there and just give this just a little bit more of a motion blur.
So we'll go in there and just say, motion blur, but not as much as before, just a little less, just to create that little bit of a movement there like that click OK. That's the beginnings of our, our shape. So what I'm going to do now is I'm going to go in there and put this layer in screen mode. Screen mode see, so its just giving me that effect just on top of where I want it, and what I'm going to do now is I'm going to select, I'm going to select this thing and I'm going to start to give it a another little distortion.
Here I want to go into Warp. And in Warp, I'm going to go in there and start to establish this curvature that we have on this material. So, I'm going to go in here and start dragging these guys way over, so that they start to really curve out, and start giving me that nice curve that we see in the the hood. So we start bringing this guy up and we start getting this curvature. Now we don't matter, it doesn't matter if we lose a little bit on the sides here, because we're going to lose a lot of that in a minute. We'll just getting this thing to get nice and curved, following that curve.
There we go. So we're getting this nice kind of a angle like so. There we go. And give it a little more over here, and that's starting to get really good right there like that. Click Okay. So now, now that we have this, I'm going to go ahead and clip it, and just to see where we have to clip it I'm going to take my background, I'm just going to go in there and invert it. So let's just say Invert, right there, and there we can see it, so when I clip this, it's using the live pixels, the one below, as a mask for the ones above.
So now, we're going to go in here and reduce the opacity for this guy a bit. But it's just this little hint, of a texture there like that. And then I'm going to give it a mask. And here's a mask. Now in the mask is where I'm going to start getting, the full effect. I'll get my paintbrush, which I can go in here and just, get in close and, make the brush a little bigger. And we can just kind of right in here go, take off this bottom part. But that's a little hard. So what I'm going to do is I'm going to take one of these Splatter Brushes, like this one right here, Splatter Brush.
And I'm going to go in there and modify it a bit. Give us some spacing. Go into my Shape Dynamics, turn this off, but I do want to have a size Jitter. And set up a minimum Jitter so I don't get too small. Turn that angle all the way around so each tip as you can see is spinning around at a different angle. Now that I see that, I'm going to give it a little less spacing. But I like that, and you can see what kind of a stroke I'm going to get here. So now, I'm going to make my brush much bigger. And I'm going to start to erase, or hide, in the mask, some of these tones right in there like that.
See? Then go in there and it starts to make it really rough. Makes that edge really rough. And I can go in and start, just going all through there and I can make the brush bigger and bring down the opacity. Bring down the opacity considerably. So I can just kind of soften up other areas of this, these stains. All through here like so. There you can see how the basic aging or wear on the paint happen on the truck, so you go all through here like that. Now using that same paint brush, we can go in here and create another layer on top of this, another layer, and clip it as well.
And what I'm going to do is I have black, I got black here, so what I'm going to do is start throw a couple of little. Little tones in here and bring this brush size down and just add a couple little, little, little shakes in here and bring down your opacity for that layer. See and that starts to become little stains that are in the edges of the metal. And there you can see how we've aged and dirtied and made this stain look more like what we see on the top of the truck right up in here. So, it all has been aged and weathered.
So it's just a question of playing around with a couple of filters and getting the textures you want. And you can go in there and just start erasing more of this and get it just the way you want it. And, there you go. We've aged our hood there and discolored it and did all kinds of stuff to it. If it's still too bright we could still lower that opacity just a little more. And there you could see now we start to get a more realistic kind of an effect.
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