IntroductionWelcome| 00:04 | Hi! My name is Nigel French and welcome
to Photoshop for Designers, Textures.
| | 00:09 | Textures are a great way to create
visual interest, heighten realism and add
| | 00:14 | dimension to your Photoshop artwork.
| | 00:16 | To start with we will use Photoshop
Filters, but we will be doing much more than
| | 00:20 | just choosing a filter for a generic result.
| | 00:22 | We will be applying them thoughtfully
in combination and we will be painting in
| | 00:27 | their effects with layer masks.
| | 00:28 | I will show you how to combine
textures with images using Photoshop's
| | 00:32 | layer Blending modes.
| | 00:34 | We will be working with brushes to
paint in and accentuate texture and creating
| | 00:39 | brush presets by sampling photographic textures.
| | 00:43 | We will explore Photoshop's texture-related
features, layer styles, pattern,
| | 00:49 | and texture presets.
| | 00:50 | Lastly we will see how to automate the
application of textures through the use
| | 00:55 | of Photoshop actions.
| | 00:57 | So let's get started with
Photoshop for Designers, Textures.
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| Using the exercise files| 00:00 | If you are a premium member of the
lynda.com Online Training Library or if
| | 00:04 | you're watching this tutorial on a DVD
ROM you have access to the exercise files
| | 00:09 | used throughout this title.
| | 00:10 | The exercise files are arranged
in folders organized by chapter.
| | 00:17 | If you're a monthly member or annual
member of lynda.com and you don't have
| | 00:21 | access to the exercise files you can still
follow along from scratch using your own assets.
| | 00:26 | So let's get started.
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| 1. Patterns Versus Textures |
2. Using the Render FiltersCreating a rocklike texture with Clouds| 00:00 | When working with textures in
Photoshop most of the time we are going to be
| | 00:04 | starting with some sort of textural
image or will be printing some sort of
| | 00:07 | texture and blending in some sort of
texture, but there are times when you don't
| | 00:12 | have a texture and you want to start
with nothing and the Render group of
| | 00:16 | Filters allow us to do that.
| | 00:20 | We can use these filters to
generate texture synthetically.
| | 00:27 | Now in this particular example I have
some sort of synthetic rock texture, maybe
| | 00:33 | it's tinfoil, maybe it's the surface of
mars, that is generated from clouds and
| | 00:40 | then on top of clouds we have another
filter applied to that, and then we also
| | 00:44 | have this shaft of light here and just
for some graphic interest I've added a
| | 00:50 | shape layer in the form of this
target and that is filled with red which is
| | 00:55 | multiplying onto the clouds texture.
| | 00:58 | So let's re-create this.
| | 01:00 | I am going to start with a New document
1200 pixels x 800 pixels, and the first
| | 01:06 | thing I am going to do is run the clouds filter.
| | 01:09 | Clouds will randomly generate noise based
upon your foreground and background color.
| | 01:15 | So I have my foreground-background
color at that default black and white and
| | 01:19 | that's just fine for my purposes here.
| | 01:22 | Render>Clouds, that's what I get.
| | 01:25 | If you want a less contrasty result
then choose a black and a gray or a light
| | 01:30 | gray with a dark gray or two colors
that are relatively close to each other.
| | 01:36 | If you don't like what you are
randomly given because it is random.
| | 01:40 | You can press Command or Ctrl+F to
run that filter again until you get
| | 01:45 | something that you do like.
| | 01:47 | What I am going to do next and I'll
be doing this throughout this series is
| | 01:52 | converting my layout for Smart Filters.
| | 01:55 | That's going to allow me to apply other
filters to it and to keep track of what
| | 02:01 | filters have been applied and
exactly how much of those filters have been
| | 02:05 | applied and also allow me to
go back and edit the filtering.
| | 02:09 | So Smart Filters are tremendously useful.
| | 02:13 | So back to the Filter menu and I am
going to come down to Sketch and Bas Relief.
| | 02:19 | I could also go to Filter
Gallery and find it there as well.
| | 02:23 | It's going to be exactly the same thing.
| | 02:25 | I will press Command or Ctrl+Minus
to make my Preview window smaller.
| | 02:30 | And because I want my detail to be nice
and crunchy and crisp I am going to up
| | 02:35 | the detail and move the Smoothness
slider all the way to the left and I am going
| | 02:42 | to have the light coming in from the
top-left but here are my other choices.
| | 02:48 | So having done that, I am now going
to create a shape layer on top of this.
| | 02:53 | I am going to choose my Custom Shape
tool and I am going to use the Target
| | 02:58 | Shape, which is right there and I want
to change the foreground color that the
| | 03:06 | shape layer would be rendered in.
| | 03:07 | I am going to use a nice terra-
cotta red that has these values 200 Red,
| | 03:13 | 67 Green, and 47 Blue.
| | 03:19 | To keep the shape proportion I am going
to hold down the Shift key while I drag,
| | 03:22 | and then I can position
that wherever I want it to go.
| | 03:27 | Now I've actually ended out with the
opposite of what I wanted here because I
| | 03:30 | wanted the background in red and
the shape reversing out of that.
| | 03:35 | To fix that I am going to choose my
Path Selection tool, I am going to click on
| | 03:39 | the edge of that shape and then use
this option right here Subtract from shape
| | 03:45 | area, which is going to give me that
result, and then I am going to change the
| | 03:49 | Blend mode of that layer to Multiply
so that we see the texture through it.
| | 03:53 | I might just want to switch to my Move
tool, I am going to press the V key to do
| | 03:58 | that and then just drag that around.
| | 04:00 | If I want to scale it Command or Ctrl+T
and holding down Option+Shift or
| | 04:07 | Alt+Shift to scale it from the
center point and keep it proportional.
| | 04:11 | Press Enter or Return to accept that.
| | 04:16 | So I am now going to create my shaft of
light, and to do this I am just going to
| | 04:21 | draw the shaft of light.
| | 04:22 | I could also do it using a layer
effect, Gradient Overlay, or I could do it
| | 04:28 | using a Filter, Lighting Effects, and
I am sure there are other ways as well.
| | 04:33 | I am going to do it like this.
| | 04:36 | I am going to add a new layer.
| | 04:37 | I am going to fill that layer with white.
| | 04:39 | White is currently my background color
so I am going to press Command or Ctrl
| | 04:44 | and the Backspace, Delete key
to fill my layer with white.
| | 04:47 | I am going to change the Blend mode to Overlay.
| | 04:50 | So we can see that if I turn that off
it's just having an overall lightning
| | 04:54 | effect on the whole composition.
| | 04:56 | Now I am going to use my Polygonal Lasso
tool to draw my shaft of light, like so.
| | 05:07 | I am going to inverse that selection,
Command+Shift+I, and then I am going to
| | 05:12 | fill that with black.
| | 05:14 | So I am going to make black my
foreground by pressing D and then Option or Alt
| | 05:18 | and my Backspace, Delete key to fill
and then Ctrl or Command+D to deselect.
| | 05:25 | Now, I am going to soften that and I
could convert this for smart filters but
| | 05:31 | I'm going to leave dangerously here and
just go directly to my Gaussian Blur and
| | 05:37 | apply a lot of blurring, about 90
pixels of blurring, and then to soften that
| | 05:44 | overall effect I can reduce the
Opacity of that layer down to around 35-36%.
| | 05:49 | That's my end result.
| | 05:53 |
| | 05:54 | What I want you to take-away from
this movie is not that we use the Clouds
| | 05:57 | filter to make red tinfoil with target
shapes on it but rather that we use the
| | 06:02 | Clouds filter as a starting point and
having applied the Clouds filter we can
| | 06:08 | then apply other filters on top of that
and then build up our texture, which we
| | 06:13 | can then combine with other
layers using blending modes.
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| Improving a flat sky with Difference Clouds| 00:00 | In the previous movie about clouds
I said don't be fooled by the name,
| | 00:04 | the Clouds filter and the Difference
Clouds filter are about so much more
| | 00:09 | than creating clouds.
| | 00:10 | But every once in a while may be that
is exactly what we want to do with them
| | 00:14 | and indeed that is what we can do with them.
| | 00:18 | So here I have a picture with hardly
any sky, very flat sky, virtually no color
| | 00:26 | in it whatsoever, I mean really the
best place for this picture is in the bin.
| | 00:31 | But let's say that we have to
resurrect this picture and we want to give it a
| | 00:34 | bit of life, so wouldn't it be nice if
we had a blue sky and that's what we can
| | 00:40 | do with Difference
Clouds and a color fill layer.
| | 00:46 | So I'm going to close this, the finished
version, and here is the starting point.
| | 00:51 | Now there are a numerous ways we can do
this and this is the way I'm going to do it.
| | 00:57 | I'm going add a Solid Color layer, and
that Solid Color layer I'm going to fill
| | 01:03 | with blue that has this spec 78, 148, 218.
| | 01:10 | Now I got that color blue just by going
and finding a sky that I liked using my
| | 01:14 | Eyedropper tool and Sampling those values.
| | 01:17 | So that's the color blue that I want,
and now what I'm going to blend that
| | 01:22 | in, first of all I'll choose Multiply as my
Blend mode and it's going to look like that.
| | 01:28 | And of course, that is looking kind of
weird, making my whole image now look
| | 01:32 | very blue, so to rectify that
I'm going to come to my layer Mask.
| | 01:38 | My layer mask, currently there is nothing on it.
| | 01:40 | So on my layer Mask, I'm going to set
my foreground and background colors to
| | 01:46 | Black and White, and then come to
the Filter menu and choose Render.
| | 01:50 | I could use Clouds but to get more
contrast I'm going to use Difference Clouds,
| | 01:54 | and it's going to look like that.
| | 01:55 | So let's go and see what's happened here.
| | 01:57 | The layer Mask now looks like that
and let's say I want a bit more contrast
| | 02:03 | still, then we just need to run the
filter again and since that we've already
| | 02:07 | run the Filter once we can just choose
it from the top of the Filter menu or use
| | 02:10 | the keyboard shortcut Command+F or Ctrl+F,
and every time I do it, it's going to
| | 02:15 | get a little bit more contrasty, and
then when we see in the context of the
| | 02:19 | whole composition it looks like this.
| | 02:22 | The lighter areas are revealing the blue
and the darker areas are concealing the
| | 02:27 | blue, effectively giving us a cloudy sky.
| | 02:31 | No, I'm not a Meteorologist and I don't
know the name of this type of cloud but,
| | 02:36 | I've seen clouds like this.
| | 02:38 | It's not the most convincing cloud in
the world and there maybe better ways to
| | 02:41 | do this, but it's a very quick and
effective way of generating some clouds.
| | 02:47 | Now just to improve things a bit
though I am going to make sure that we don't
| | 02:53 | have any of the clouds applying to the
foreground, so I'm going to choose my
| | 02:58 | Gradient tool by pressing G, and I
want to make sure that I'm working with a
| | 03:03 | gradient that is Foreground to
Transparent with black as my Foreground color,
| | 03:07 | and I'm going to drag up from the
bottom to about there and that's going to put
| | 03:12 | an area of solid black down at the
bottom where there is actually detail other
| | 03:16 | than the sky and the London Eye.
| | 03:20 | So we're not getting blue on top of
the trees or anything else, and then I'm
| | 03:24 | just going to turn down the Opacity
on this because it's just looking a
| | 03:28 | little bit too fake.
| | 03:29 | So if I bring the Opacity down to
about 50% then it looks quite plausible I
| | 03:34 | think and if we turn it off, there is
our starting point and then when we turn
| | 03:38 | it on, there is a now blue and cloudy sky.
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| Creating a grunge effect with Fibers| 00:00 | A close cousin to the Clouds and
Difference Clouds filters that we saw in the
| | 00:04 | previous two movies is the Fibers Filter.
| | 00:08 | Unlike Clouds, we actually need some
content to generate the fibers from, so we
| | 00:14 | do need to actually have color on
the lab before we run the filter.
| | 00:19 | In this example, I have used two
layers of fibers to help make this sort of
| | 00:25 | very grungy, antique, pinhole camera type
effect, and I am going to break it down for you.
| | 00:33 | It's all been done non-destructively,
so we can get back to the point where our
| | 00:38 | image was when we started.
| | 00:40 | So if I turn off everything but the
Image layer by holding down the Alt key and
| | 00:44 | clicking on the eyeball, and then I
will also turn off any effects and filters,
| | 00:51 | so this is how our image starts, and
it's nice and bright and crisp, and we are
| | 00:55 | going to make it all blurry and
dark and distressed. Let's start out.
| | 01:03 | We see that I added a Gradient Overlay
which is just giving a small amount of
| | 01:07 | vignetting to the edges, and
then I've also blurred everything.
| | 01:13 | Now on top of that, I have a group and in
this group there are two layers of fibers;
| | 01:21 | one with the fibers going horizontally,
and the other with the fibers going
| | 01:25 | vertically, and the Blend mode of
this group is set to Pass Through.
| | 01:30 | So whatever Blend mode has been
applied here to the individual layers gets
| | 01:36 | passed on to any layers below.
| | 01:40 | These are both set to a Blend mode of Darken.
| | 01:43 | In addition to this I have a layer
Mask which applies to this group, and that
| | 01:49 | layer Mask is limiting the amount of fibers
that actually reach the image layer below.
| | 01:55 | If I turn that layer Mask off by
holding down the Shift key, we see it looks
| | 02:00 | like that, and then I will hold down
the Shift key, and click on it again to
| | 02:03 | bring it back into effect.
| | 02:04 | On top of this I have added a layer of
grain to give it some more grain, and
| | 02:11 | this has been done through the Film
Grain filter, apply it as a Smart Filter and
| | 02:16 | then on top of the whole thing, I've
added the Black & White adjustment layer
| | 02:20 | with some Sepia toning to it.
| | 02:22 | So let's create this from scratch.
| | 02:25 | So here is the beginning image, and to start
out with, I am going to convert the Smart Filters.
| | 02:32 | I have made a keyboard shortcut
Command+Option+Shift+F, Ctrl+Alt+Shift+F. We'll
| | 02:38 | do that, and then I am going to come to
the Filter menu and we'll start out by
| | 02:43 | going to Blur>Gaussian Blur.
| | 02:47 | I am going to give it a small amount of blur.
| | 02:50 | Let's say 5.5 pixels.
| | 02:57 | Next, I would like to add a layer
effect in the form of Gradient Overlay.
| | 03:02 | There are several different ways we can
add vignetting, Gradient Overlay is one
| | 03:07 | and it's probably the easiest and
certainly non-destructive, but we could also
| | 03:12 | use the Lens Correction Filter.
| | 03:14 | We could also just put a separate
layer of black above that image.
| | 03:19 | But I prefer to do it this way.
| | 03:21 | So Gradient Overlay, and I want this to
be Radial, I want it to Reverse, so that
| | 03:27 | the edges are dark, and then I am
going to change the Blend mode to, numerous
| | 03:32 | ones will work here, but I think probably Soft
Light is the one that I am after; Soft Light.
| | 03:41 | I also want to drag around the gradient
which is a nice thing about applying it this way.
| | 03:46 | When I move my cursor on to the image,
I can drag that over the subject, but I
| | 03:51 | wanted to actually sort of give visual
emphasis to, and then I will reduce the
| | 03:56 | Opacity of that to around 70.
| | 04:00 | So now we are going to get to the main
event of this movie which is applying the
| | 04:05 | Fibers Filter and I want to
apply this on a separate layer.
| | 04:08 | So I am going to create a new layer, and
then I am going to fill that layer with white;
| | 04:13 | currently my background color, so I am
going to press Command or Ctrl and the
| | 04:18 | Backspace, Delete key.
| | 04:20 | Then come to the Filter menu, Render>Fibers.
| | 04:26 | It doesn't matter what my color is,
because it's going to be obliterated by
| | 04:29 | the fibers but there has to be some color
there in order for the Fibers Filter to work.
| | 04:34 | I can mess around with the Variance,
and the Strength to get the kind of
| | 04:39 | texture that I am after.
| | 04:40 | Obviously, I am going to go with
something like this, that's fine.
| | 04:47 | When we run Fibers, Fibers always are vertical.
| | 04:51 | So if we want them horizontal, then we
need to do something else and that is
| | 04:55 | we need to duplicate this layer, spin it around
and then stretch it so that it fills the canvas.
| | 05:01 | But before I do that, I'm going to
experiment with the Blend mode of this filter.
| | 05:06 | Now, to experiment with Blend modes and
when we are working with textures we do
| | 05:10 | a lot of experimenting with Blend modes.
| | 05:12 | So here is a really useful keyboard
shortcut and it is Shift+Plus or Shift+Minus
| | 05:18 | and that's going to just run you
through your different Blend modes.
| | 05:21 | There is no right or wrong Blend mode;
| | 05:24 | it's the one that you like.
| | 05:25 | But the ones that are likely to work
will be Multiply, Screen, Overlay, Soft
| | 05:31 |
| | 05:32 | Light, Hard Light, but whatever,
there is the one that you like.
| | 05:38 | I am going to go with Darken,
a Blend mode that I rarely use.
| | 05:49 | But I think it looks good in this instance.
| | 05:52 | I need to see more of the canvas around
my image for what I am about to do next.
| | 05:57 | So I am going to press Command or
Ctrl+Minus to go to a reduced view.
| | 06:02 | I also want to reduce the Opacity on
the Blend mode, so I am going to knock
| | 06:07 | it down to about 50%.
| | 06:07 | I am just going to press 5
on my keyboard to do that.
| | 06:12 | Then I am going to duplicate this layer;
| | 06:13 | Command+J or Ctrl+J and then Command+T
or Ctrl+T which will take me to my Free
| | 06:20 | Transform and I can now
spin that around, like so.
| | 06:25 | I might want to hold down my Shift key
as I do so, so that I move in increments
| | 06:29 | of 45? and I also will need to scale it.
| | 06:34 | The fact that I am distorting it
doesn't really matter here, it's just a
| | 06:37 | texture, so we can take some liberties with it.
| | 06:39 | I am going to hold down my Alt key or my
Option key, and then just pull that out
| | 06:43 | like so, so it fills the whole
canvas and then press Return.
| | 06:50 | Now, to work on these two layers of
texture together, I could merge one into
| | 06:56 | the other by coming to the layers menu and
choosing Merge Down, but I like to play it safe.
| | 07:02 | So I am going to select both of those,
holding down the Shift key and then press
| | 07:07 | Command+G or Ctrl+G which
will put them into a group.
| | 07:10 | Now that we are in a group, and it's
always a good idea to name your groups, and
| | 07:16 | your layers, now that we are in a group,
I can add a layer Mask to that group
| | 07:21 | which I am going to do.
| | 07:22 | So effectively, I can have
one mask serving both layers.
| | 07:28 | Now, on this layer Mask and this is a
technique that's used a lot when working
| | 07:32 | with textures, I want to paint away
any sort of pattern that there is, there.
| | 07:38 | We want to make this more random and
we want it a bit less of it as well.
| | 07:43 | So I will press B to go to my Brush tool.
| | 07:45 | I am going to come up here
and make my brush a lot bigger.
| | 07:50 | I want to make sure I am
working with a Hardness value of 0.
| | 07:55 | Just to increase my brush size more, I
press my Right-bracket, and then just
| | 08:01 | start rubbing away bits of that texture.
| | 08:04 | Now, that's too much.
| | 08:06 | Before I do that, I'm going to
reduce the Opacity of my brush.
| | 08:11 | Set my Brush Opacity at 50% and then
just sort of dab away areas of the texture
| | 08:18 | so that we are not seeing quite
as much of it as we were before.
| | 08:23 | Now if I've overdone that or if I want
to further adjust that mask, I can come
| | 08:29 | to my Masks panel where I can
just reduce the Density of that.
| | 08:34 | I think I want to do that a bit, so I am
going to bring the Density of that down.
| | 08:37 | I can continue to work on that,
it's all completely non-destructive,
| | 08:40 | continuously editable.
| | 08:42 | I can turn it off by holding down
the Shift key and clicking on it.
| | 08:45 | I can view it by itself, Alt
or Option and clicking on it.
| | 08:50 | So we see just these gray blobs on there
which are masking the full extent of that texture.
| | 08:56 | Okay.
| | 08:57 | The next thing I want to do is add some
grain and I am going to add the grain on
| | 09:00 | its own separate layer.
| | 09:02 | So I am going to come down here, hold
down the Alt or Option key and click
| | 09:05 | on Create New layer.
| | 09:07 | I will name this layer and I am going
to change the Blend mode to Overlay and
| | 09:12 | fill it with Overlay-neutral gray
and that's what the layer looks like.
| | 09:17 | If I were to change the Blend mode
to Normal, it would look like that,
| | 09:20 | but because the Blend mode is Overlay, we
are not currently seeing any of that layer.
| | 09:25 | I am now going to convert that layer
for Smart Filters and then return to the
| | 09:30 | Filter menu and come down
to Noise, and add some noise.
| | 09:35 | I want the noise I add to be monochromatic.
| | 09:38 | So I am going to slightly overdo to
it here, just so that the grain is
| | 09:42 | discernible when viewing this on the
video, or on some sort of iPad or however
| | 09:48 | it is you are viewing this where
nuances might be lost otherwise.
| | 09:51 | But if you are doing this for real,
you may not need quite as much as I am
| | 09:55 | currently applying here.
| | 09:56 | But you can season this one to your taste.
| | 09:58 | Now having applied it like so, I can
always go back and just double-click on the
| | 10:05 | name of the filter right
there, and add more or less.
| | 10:09 | That's the nice thing about
applying this as a Smart Filter.
| | 10:13 | Now, just to finish this off to make it
more antiquey-looking, I am going to add
| | 10:19 | a Black & White adjustment layer, like so.
| | 10:23 | I am going to choose to tint it.
| | 10:24 | So I am going to click on the Tint
Swatch and it automatically gives me a sort
| | 10:28 | of sepia color which is exactly what I'm after.
| | 10:31 | So I don't need to change anything else there.
| | 10:33 | But now let's go and look at what we
have here, and how we've created this.
| | 10:40 | So we have our Image layer, Gradient
Overlay, and Gaussian Blur applied to it,
| | 10:47 | on top of this we have some Fibers, on
top of that, we have some Grain and on
| | 10:53 | top of that, we have a Black & White
adjustment layer with sepia toning applied.
| | 10:57 | I can come and refine this as much
as I want using my Opacity sliders and
| | 11:05 | editing if necessary my Smart Filters.
| | 11:08 | As with so many of Photoshop's filters,
with Fibers, you really need to look
| | 11:13 | beyond the obvious application of that filter.
| | 11:18 | Fibers like Clouds and like some of the
other ones that we'll be looking at is a
| | 11:22 | really useful starting point to
creating some interesting texture which you can
| | 11:27 | work into your images.
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| Applying a texture channel with Lighting Effects| 00:00 | Here we're going to look at using a
Lighting Effects to get some sort of
| | 00:03 | texture into our image.
| | 00:04 | I have to confess I'm a fig fan of the
Lighting Effects filter, it's a rather
| | 00:07 | old filter, and much of what it does can
now be done more easily elsewhere maybe
| | 00:13 | using the Gradient Overlay layer effect.
| | 00:16 | That said, there is one particularly
interesting thing about Lighting Effects
| | 00:21 | and that is the ability to apply
a texture channel to your image.
| | 00:26 | Before we get going with this though I
should also mention this and that is that
| | 00:30 | if you're working on a Mac and you go to
the Filter menu and come down to Render
| | 00:36 | right there and you don't see Lighting
Effects, that's because Lighting Effects
| | 00:40 | does not work if you've been installed
Photoshop in 64-bit mode, which means
| | 00:46 | that you need to do this.
| | 00:46 | This is only relevant if
you're working on a Mac.
| | 00:48 | You need to come to the Finder and you
need to find the Photoshop application
| | 00:53 | and then go to the File menu and choose
Get Info and then check this check box
| | 00:59 | and then relaunch Photoshop and
you'll get your Lighting Effects back.
| | 01:04 | So what I've done with Lighting
Effects is to use it on this rather dreary
| | 01:09 | looking image just to make it a
bit more austere and creepy looking.
| | 01:14 | And if I turn off Lighting Effects it
looks like that and it's doesn't look
| | 01:19 | really that dreary or creepy looking
without Lighting Effects, but when we apply
| | 01:22 | them it certainly does.
| | 01:24 | And just to accentuate that I've
also reduced the Saturation to make it a
| | 01:29 | little bit more aged.
| | 01:30 | So I'm going to switch now to the
starting point which is this image and the
| | 01:36 | first thing I want to do is convert
the background layer for Smart filters.
| | 01:41 | I've made myself a keyboard shortcut,
Command+Option+Shift+F, Ctrl+Alt+Shift+F,
| | 01:47 | we'll do that and then come to the
Filter menu, Render>Lighting Effects.
| | 01:53 | Now you can mess around with the Type of Light;
| | 01:56 | Directional, Omni, Spotlight, various
other options which I've never really had
| | 02:02 | that much success with.
| | 02:03 | I also find this little thing right
here to not be as easy as I'd like it to be
| | 02:10 | to mess with, though we can change
the size of the light right there.
| | 02:15 | So I'm going to put that on the
center point and then what I'm after is the
| | 02:20 | ability to use a texture channel.
| | 02:23 | I'm just going to use one of the
channels that are already there but if I had
| | 02:27 | another channel I could use that as an
alternative, but I'm going to use one of these.
| | 02:31 | Now red and blue are going to give
me a more contrasty result than green,
| | 02:35 | which is why I'm going to use Green,
because I don't want to amp it up too
| | 02:38 | much, and then I can just determine
how much of an embossed look I get with
| | 02:47 | this slider right here.
| | 02:48 | So I'm going to go for about that amount
of 70, and then that's what it looks like.
| | 02:54 | Now if that's just a little bit too
cracked for you then we can tone it down
| | 03:01 | by using this option.
| | 03:03 | We could just go back to the Lighting
Effects filter by double-clicking on its
| | 03:07 | name in the list of Smart filters, but
I could also double-click on this Levels
| | 03:14 | icon right here to fade the amount of
the lighting effect and also to change the
| | 03:19 | Blend mode that it's applied with.
| | 03:20 | I'm going to change the Blend mode to
Overlay, and or may be to Soft Light, no
| | 03:27 | Overlay, and then just reduce
the Opacity on that a little bit.
| | 03:33 | So now our effect looks like that, so
it's really is bringing out the texture
| | 03:38 | on the wall and we're also getting this
Vignetting effect that is a result of the light itself.
| | 03:44 | Now on top of all of that I'm going
to also add a Hue/Saturation adjustment
| | 03:50 | layer and bring that down, so that
we're making that Ice Cream sign here a bit
| | 03:56 | less vivid, and the whole thing
is now a bit more monochromatic.
| | 04:04 | So while Lighting Effects are
interesting much of what we can do in Lighting
| | 04:08 | Effects, we can do elsewhere, as I
mentioned with gradient overlay, but also
| | 04:13 | with the Texturizer Filter which is
another place where you can apply a texture
| | 04:18 | channel to your image and we'll be
seeing that coming up very shortly.
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| Adding an effect and blending with Lens Flare| 00:00 | I'm choosing to interpret Lens Flare as
a texture, because it's bundled in there
| | 00:03 | with the Render Filters.
| | 00:05 | And because, while it adds texture
of sorts to your images, and it's very
| | 00:11 | easy to apply, but there is one
very useful trick that we can use when
| | 00:16 | applying it that is going to give us more
flexibility for exactly how we cast the Lens Flare.
| | 00:21 | Here is the finished version.
| | 00:23 | We see the lensflare exists on a layer
above the image layer, it has a Blend
| | 00:28 | mode of Screen applied to it.
| | 00:30 | The trick that I've
applied enables me to do this.
| | 00:34 | I can now move this around, and we
see that there is a complete circle or
| | 00:40 | almost a complete circle at the top, and a
complete circle of Lens Flares down at the bottom.
| | 00:45 | So we've got much more flexibility
for how we actually position this.
| | 00:49 | Here is how that happens.
| | 00:52 | I am going to switch now to the starting point.
| | 00:56 | If I were to apply the Lens Flare to
this, I could apply it as a Smart Filter
| | 01:01 | and that would be good.
| | 01:01 | But it will be confined to
within the bounds of the image.
| | 01:06 | So what I want to do first is, I want
to add some extra canvas to this image.
| | 01:11 | I'm going to press Command or Ctrl+Minus
to make my image a bit smaller, and
| | 01:16 | then come to the Image menu and to
Canvas Size, where I'm going to express the
| | 01:22 | Canvas Size as a Percent.
| | 01:24 | So I'm going to change the Width and
the Height to 120% of that current size.
| | 01:29 | That's going to give me that amount of
extra space around my image and we see
| | 01:33 | the checkerboard of the transparency.
| | 01:36 | So now when I create a new layer and
I'm going to fill that new layer with
| | 01:40 | black, currently my foreground color.
| | 01:42 | So I'll press Option or Alt, and my
Backspace, Delete key, and then I choose
| | 01:48 | Filter>Render>Lens Flare.
| | 01:51 | Now, the disadvantage of this is that I
can't really see at the time of applying
| | 01:57 | it how it's going to line up
with my image, but that's okay.
| | 02:02 | The advantages outweigh the disadvantages.
| | 02:05 | So I can just size this, sort of
position it, angle it how I want it, choose the
| | 02:11 | Lens Type that I want, and I wish we
had more lens types than this, but we've
| | 02:16 | done, so we have to work with what we've given.
| | 02:19 | I want to make sure that I'm getting
the whole of that Lens Flare in, and the
| | 02:22 | whole of that Lens Flare in there. Okay.
| | 02:30 | That's how it's going to look.
| | 02:32 | Now, when I change the Blend mode
to Screen, it would look like that.
| | 02:37 | I can now use my Move tool to position
the Lens Flare, and because Screen is one
| | 02:44 | of the Blending modes that neutralizes
black, we're not seeing any of the black
| | 02:48 | except where it falls
outside of the bounds of the image.
| | 02:53 | But then, I am going to use my Crop
tool, press C to go to my Crop tool, draw
| | 03:00 | myself a cropping rectangle around
the bounds of the original image.
| | 03:05 | When I perform the crop, I'm going
to make sure that I hide rather than
| | 03:09 | delete the cropped area.
| | 03:11 | So now if I need to, I can press my V
key to go to my Move tool and making sure
| | 03:17 | that I'm on the Lens Flare
layer, I can move that around.
| | 03:20 | I'm still seeing the whole of the
Lens Flare, even that portion that falls
| | 03:24 | outside of the image.
| | 03:29 | If I wanted to, I'm not sure I did, I think
this might be a bit over the top, but I could.
| | 03:33 | I have an Alpha Channel saved in here.
| | 03:37 | I could load that Alpha Channel by
Command or Ctrl+Clicking on its thumbnail,
| | 03:42 | come to my layers panel and then add
that Alpha Channel as a layer Mask and
| | 03:47 | since I want the mask filled with black,
I'm going to hold down my Option or Alt
| | 03:51 | key as I do so, and then that will mask
out the Lens Flare in the foreground of
| | 03:57 | the subject The Washington Monument.
| | 03:58 | But I am not sure I like that
too much, but that's an option.
| | 04:04 | Shift and Click on that to
enable it and disable it.
| | 04:10 | So there, a fairly standard Lens
Flare, but with a couple of important
| | 04:14 | differences, increasing the canvas
size first of all to give you more
| | 04:18 | flexibility, and then key to making it
work is setting the Blending mode of the
| | 04:24 | layer that the Lens Flare is on to Screen.
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|
|
3. Using the Texture FiltersApplying textures with Texturizer| 00:00 | The Texturizer Filter is an easy way to
apply textures like Sandstone, Burlap,
| | 00:04 | or Canvas to your layer.
| | 00:07 | There is also a fourth option, and
that's Brick, but this one is best avoided
| | 00:10 | because it looks really amateurish.
| | 00:12 | So here's how we do it. It's very simple.
| | 00:14 | First of all let's Convert for Smart
Filters, so that we can retrace our steps
| | 00:18 | and so that we can build
a filtering key notably.
| | 00:21 | I am going to come to the Filter
Gallery, and then go to the Texturizer, and
| | 00:27 | start out with a Sandstone texture.
| | 00:30 | Now, because I have my Relief set
really high, it looks like this, which is
| | 00:33 | not very attractive.
| | 00:34 | So I am going to bring the Relief way
down and that maybe a good starting point,
| | 00:39 | maybe where we want to put some image
on top of this and blend it into this to
| | 00:43 | give the impression of the
image being set on sandstone.
| | 00:46 | We also have Burlap, and Canvas, and I
will be working with Canvas in a later movie.
| | 00:53 | But we also have this option Load
Texture and we can use this to use a Photoshop
| | 00:59 | native file, a PSD file as a texture.
| | 01:02 | I am going to use this one repeating_pattern,
it's in the Chapter 3 folder, and
| | 01:10 | it's just a simple
repeating pattern of light bulbs.
| | 01:13 | So when I load that, we are hardly
seeing anything and that's because the
| | 01:17 | Relief is way down low.
| | 01:18 | But if I bring the Relief up, we
don't have any other color of the original
| | 01:22 | image, but we have just its texture, and
this is how you might want to use this.
| | 01:26 | You can use it to create some
sort of wallpaper like effect.
| | 01:30 | We can also change the angle of
the light; all well and good.
| | 01:34 | So I am going to accept that, and we
see there is quite a lot of grain here.
| | 01:39 | Now I just want to point out that the
grain that we see is actually part of
| | 01:45 | the repeating pattern.
| | 01:46 | That's where that's coming from.
| | 01:48 | Now, if we're working with a pattern
that doesn't have texture like the one I am
| | 01:53 | about to work with now, after Converting
for Smart Filters and then coming to my
| | 02:00 | Filter Gallery, Texurizer, it's
remembering the last one that I used, but I am
| | 02:05 | now going to change it to load this one.
| | 02:11 | I need to bring the Relief up, so that
we can really make those leaves pop out a
| | 02:16 | little bit more from the background.
| | 02:17 | We are not seeing any grain or texture on
the surface, and maybe that's what we want.
| | 02:22 | But if we wanted to add some, then
the best way to do this is by creating
| | 02:26 | a layer above this layer, and using a
layer Blending mode to blend the two together.
| | 02:31 | So I am going to work with
two Texturizer layers here.
| | 02:34 | I am going to click OK to accept this after
just bringing the Relief up a little bit more.
| | 02:39 | I am going to duplicate this layer,
Command or Ctrl+J. Because I have
| | 02:44 | Converted for Smart Filters, I
can go back to the Filter Gallery by
| | 02:47 | double-clicking on this one here.
| | 02:50 | I will now change that to Burlap.
| | 02:54 | Since we're not going to be using Burlap
elsewhere let's give Burlap a chance to shine here.
| | 02:59 | I want to take the Relief
way, way down, click OK.
| | 03:06 | Now, to blend the two together, I need
to change the Blending mode of this layer.
| | 03:10 | So I am going to cycle through my Blend
modes, but I am going to find that none
| | 03:14 | of them really work particularly well.
| | 03:17 | The one that's closest to working is
Soft Light where we see some of the leaves
| | 03:22 | coming through but not nearly enough.
| | 03:24 | So I kind of reduce the Opacity of this
and that might help a bit but what I am
| | 03:29 | also going to do as well as changing
the Blending mode of the layer, I am going
| | 03:34 | to change the Blending mode
that is used to apply the filter.
| | 03:38 | Then I get to that by double-clicking
on that icon right there, and change that
| | 03:43 | to Soft Light as well.
| | 03:45 | So now we see much less of that Burlap
and far more of the leaves themselves.
| | 03:50 | Let's have a look at some other
things that we can do with the Texturizer.
| | 03:54 | I am going to switch now to this image.
| | 03:58 | I am using this as an example just to
point out that there have been some things
| | 04:03 | that are no longer in the current
version of Photoshop that were in previous
| | 04:08 | versions and one of those
things is the Textures presets.
| | 04:13 | But we can load those textures
presets, and here's how we do that.
| | 04:18 | If you go to the Adobe web site, and
then in their Search Field, type-in
| | 04:26 | Photoshop CS5 optional plugins, you
will come to this link where you will be
| | 04:39 | able to download the optional plugins,
among which are the Texture Presets
| | 04:46 | for the Texturizer.
| | 04:48 | So I have done that, and I have put
the Textures folder in the Photoshop
| | 04:52 | Application folder in the Presets folder.
| | 04:55 | They can really be anywhere but
that's probably the best place for them.
| | 05:00 | So now I am going to come back to Photoshop.
| | 05:02 | Let's convert this image for Smart Filters.
| | 05:06 | Then we will go back to the Filter
Gallery where we don't actually want the
| | 05:10 | leaves this time, but what we
want is one of those textures.
| | 05:16 | So I am going to come to my
Applications folder, to my Photoshop CS5>Presets,
| | 05:24 | and these are the textures that definitely
worth looking at, some of them look very cheesy.
| | 05:29 | There is no other way to put it really.
| | 05:31 | There will come a time if it hasn't
already happened when someone will ask you
| | 05:34 | to put a jigsaw pattern texture onto an
image and if you need to do that, here
| | 05:41 | is how you can do it very easily, just
by loading the Puzzle Texture that is
| | 05:47 | part of those Textures Presets. There we are;
| | 05:51 | instant jigsaw, not something you'll
want to do often, but when you do need to
| | 05:56 | do it, very handy to know those extra
textures are there if you need them.
| | 06:00 | To really get the most of this, it's
worth spending a few moments just working
| | 06:04 | with these extra presets that you
can download from the Adobe web site.
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| Applying realistic cracks with Craquelure| 00:00 | The Craquelure Filter simulates the
cracking of paint that we see on old
| | 00:04 | paintings like this detail of the Mona
Lisa here and we are going to apply it to
| | 00:11 | this image which is an image
from the Thinkstock Photo Library.
| | 00:15 | Here I've applied the Craquelure Filter
in differing amounts to the highlights,
| | 00:21 | the mid tones and to the shadows and
this, I think, is how to get the most from
| | 00:26 | this filter, because if we just apply
the same amount of the filter to the whole
| | 00:31 | image, the cracking that it simulates
is just going to look far too uniform.
| | 00:36 | Here is our starting point and our
first task is to separate out the image into
| | 00:45 | its Shadows, its Highlights and its Midtones.
| | 00:49 | To do this, I am going to
use the Color Range tool.
| | 00:53 | From the Select dropdown, I am going
to choose first of all Highlights, click
| | 00:58 | OK, that's going to give me
a selection of my highlights.
| | 01:01 | Command+J or Ctrl+J will copy
the highlights to a separate layer.
| | 01:06 | Come back to my Background
layer, back to Color Range.
| | 01:10 | This time, I'll choose Midtones,
Command+J or Ctrl+J, back to the Background
| | 01:19 | layer, Color Range and
this time, Shadows. Okay!
| | 01:27 | So now we've got those three different
tonal regions and it's not got absolutely
| | 01:34 | everything, but that's okay, because
we would leave the Background layer on
| | 01:38 | behind these three layers.
| | 01:41 | So now one by one, I am going to
convert these layers for smart filters and you
| | 01:48 | can see that I've added a keyboard
shortcut for that and that's what I am going
| | 01:51 | to use for the other two.
| | 01:54 | Now I'm going to go to the Filter
menu and down to Texture and choose
| | 02:00 | the Craquelure filter.
| | 02:03 | Now in the shadow areas, I want the
Crack Spacing to be relatively low so that
| | 02:11 | we actually see more cracks and I want
the cracks to be deep in the shadows.
| | 02:18 | So those are the values I am going
to use for the Shadows; 15, 7 and 5.
| | 02:24 | Now I'll come to the Midtones where I am
going to hold down my Option or Alt key
| | 02:30 | as I choose Craquelure from the Filter menu.
| | 02:34 | And here I want the Spacing to be a lot
bigger, so that we see fewer cracks and
| | 02:41 | the Crack Depth to be not quite so deep.
| | 02:47 | For the Highlights, hold
down the Option or Alt key;
| | 02:51 | choose it from the Filter menu and
Crack Spacing, a bit bigger still, not as
| | 02:58 | deep as in the Midtones nor as in the Shadows.
| | 03:03 | Now to refine this and the fact that we
have applied these different amounts as
| | 03:07 | Smart Filters to different layers,
means that we can go back and adjust the
| | 03:14 | amount and I think on reflection,
that's a little bit too much in the Shadows.
| | 03:19 | Now what we can do is working on
each of the Filter Masks that come with
| | 03:30 | the Smart Filters, we can paint away some
of the uniformity that we are going to get.
| | 03:36 | So I'll start with the Shadows,
choose a nice big paintbrush and I've got a
| | 03:43 | Brush Opacity of 50 and I am just going
to tab over some of those regions just
| | 03:54 | to remove or reduce the amount
of cracking that we are seeing.
| | 03:58 | I am going to repeat that in the Midtone region.
| | 04:03 | Varying my brush size a bit, possibly
varying my Opacity, press 3 to go down to
| | 04:13 | 30% and then repeat the same
thing again in the Highlight region.
| | 04:25 | So what we should now have is a far
less uniform result than we would have got
| | 04:31 | from just running the
Craquelure filter on one image layer.
| | 04:36 | So the point I'd like you to take away
from this movie is not just about the
| | 04:40 | specifics of applying the Craquelure
Filter in a convincing way, but more than
| | 04:45 | that this approach of applying varying
amounts of a filter to different tonal
| | 04:52 | regions of your image, so that you get
a much more customized, more effective
| | 04:58 | result and we see here that's exactly
what I've done, I've broken the image out
| | 05:02 | into Shadows, Highlights and Midtones
and applied differing amounts of a filter
| | 05:08 | to those different tonal regions.
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| Preparing an image for a stained glass effect| 00:00 | The Stained Glass filter which is part
of the Texture filter group is going to
| | 00:05 | need some help from you if you're
going to get a good result from it.
| | 00:09 | Part of the problem is that it's just
going to create an image that is too complex.
| | 00:15 | So we need to start with a simple image
and then chances are we're going to need
| | 00:18 | to simplify that image further.
| | 00:21 | Here I have a picture of a water lily.
| | 00:23 | The original image looks like this.
| | 00:28 | Fairly simple, but there is lot of
stuff going on in the background.
| | 00:31 | Now when I run the Stained Glass
filter on this image, it looks like this and
| | 00:36 | this is I think the best result I
can get from it using these settings.
| | 00:42 | The Cell Size determines exactly that,
the size of each of these individual
| | 00:47 | cells that it makes up.
| | 00:48 | The Border Thickness is the amount
of lead between the panes of glass and
| | 00:54 | the Light Intensity is going to cost
a highlight on the image, but you have
| | 00:59 | very little control.
| | 01:00 | We have no control over where exactly that goes.
| | 01:04 | So I tend to prefer to put that down to 0.
| | 01:08 | Something to bear in mind is that the
color that is used for the borders for the
| | 01:14 | lead is determined by
your chosen foreground color.
| | 01:17 | So you need to make sure you have the
right foreground color chosen before
| | 01:20 | you run the filter.
| | 01:21 | Well, that was the result I got from
applying the filter to the whole image.
| | 01:28 | Let's now see how it works
out when I simplified things.
| | 01:32 | And I have a result that looks
like that which I think is preferable.
| | 01:38 | I'm not crazy about it, I'm not going
to put it on my wall, and I don't think
| | 01:42 | I'm going to win any design awards
for it, but let's see how this is done.
| | 01:48 | So I'm going to come to the beginning
version of the file and in this I have
| | 01:53 | created and saved a path and I'm going
to turn that path on and we're going to
| | 01:57 | make that path into a vector mask.
| | 01:59 | Now in order to do that I need to
unlock the background which I'll do by
| | 02:04 | double-clicking on it, and then I'll
come down to the add vector mask icon, or
| | 02:10 | it becomes the add vector mask icon if
I hold down my Command key or Ctrl key,
| | 02:17 | I want to add beneath that a layer of solid
color and I want that solid color to be black.
| | 02:24 | I'll drag it down underneath
and my image now looks like this.
| | 02:30 | I would like to convert my image layout
for Smart Filters so that I can revisit
| | 02:37 | that filter if the filter
is not applied, if I need to.
| | 02:40 | Then I'll come to the Filter menu and down
to the Texture group and to Stained Glass.
| | 02:46 | I mentioned that it uses my foreground
color as the border color, so I have this
| | 02:53 | gray color which I done actually once.
| | 02:55 | That's because that blue
gray is my foreground color.
| | 02:58 | So I'm going to set my foreground color
to black and then go back to the filter.
| | 03:06 | So we now have black as my border color.
| | 03:10 | I want to introduce a little bit
more detail than I currently have.
| | 03:13 | So I'm going to reduce the Cell Size.
| | 03:16 | I'm going to reduce the border
thickness and I'm going to take Light Intensity
| | 03:21 | all the way down to 0.
| | 03:23 | If I want to add any extra light to
it I can do that myself with a gradient
| | 03:29 | overlay or some sort of lighting layer,
but I don't want any light intensity on that.
| | 03:37 | There is my result.
| | 03:39 | So here we seen another example of a
filter that is really going to need to
| | 03:42 | think about how you're using it and
maybe apply it in differing degrees to
| | 03:48 | different paths of the image, and here
I have chosen to not apply the filter at
| | 03:52 | all to the background, but rather
simplify things by making the background of
| | 03:57 | solid color and I think that
give a much more pleasing result.
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4. Adding Noise and GrainAdding noise to an overlay layer| 00:00 | A very simple and effective way of
giving your images a bit more of an analog
| | 00:04 | feel is to apply some noise or grain
to them and this is going to give them
| | 00:09 | something of a quality of
a slide or an old print.
| | 00:13 | This is very easy to do and it's
very easy to do in a way that it's
| | 00:17 | nondestructive as well.
| | 00:18 | I'm going to apply it here just to the
simple gradient and this also has the
| | 00:23 | practical benefit of breaking up any
potential banding that might occur when you
| | 00:28 | output a gradient like this.
| | 00:30 | So I'm going to create a new layer above
my Gradient Fill layer and since I want
| | 00:36 | to change the options of the layer I'm
going to hold down my Option or Alt key
| | 00:39 | when I click on the Create New
layer button and I'll name it.
| | 00:43 | I'll change its Blend mode to
Overlay and I'll fill it with
| | 00:47 | Overlay-neutral color.
| | 00:49 | Now the next step is not strictly necessary.
| | 00:52 | I am perhaps been over conscious, but
doing this allows me to always go back
| | 00:57 | and see how much of the grain I applied,
and if I need to, revisit this layer
| | 01:02 | and apply more or less.
| | 01:03 | So I'm going to convert small filters,
and then I'll come to Add Noise where I
| | 01:10 | actually get to add the noise.
| | 01:12 | I probably want a little bit less than
that and I want it to be Monochromatic so
| | 01:16 | that we not introducing
any color into the grain.
| | 01:20 | It's as simple as that.
| | 01:22 | If I need to change the amount of
that grain maybe I'm outputting to a
| | 01:25 | different device or maybe I've just
changed my mind I can double-click on that
| | 01:30 | and vary it as I need to.
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| Adding film grain| 00:00 | Back in the day, I used to shoot
slide film and slide film was very
| | 00:05 | expensive, it was very unforgiving
of mistakes, and it was obviously very
| | 00:10 | difficult to share your images.
| | 00:13 | But the slides, they did have a certain quality
to them that digital images in some ways lack.
| | 00:18 | There is a certain presence about a
transparency, and part of that is due to
| | 00:24 | the grain of the image.
| | 00:25 | Of course, it's very easy for us to now
add our own grain into our digital images.
| | 00:31 | I think the grain has, as well
as giving a more analogue feel;
| | 00:34 | it also gives and has some more humanizing feel.
| | 00:37 | It's just a little less perfect than
our digital images would be otherwise.
| | 00:43 | Now, in this image, I've done some
other stuff as well is adding film grain.
| | 00:47 | So I just want to break this down.
| | 00:48 | Film Grain is just part of the story here.
| | 00:50 | I am going to Alt+Click on the eyeball
of the bottom layer, and I am going to
| | 00:55 | turn off the Effects and the Filters.
| | 00:57 | So this is the original
image which is a digital image.
| | 01:01 | This is taken at Chichen Itza in
Mexico, and I want to turn on my Film
| | 01:07 | Grain Smart Filter.
| | 01:09 | We see I am getting a lot of grain up
in the sky and some in the foreground.
| | 01:12 | Also, I have a Gradient Overlay on that,
which is adding a vignetting effect to the edges.
| | 01:19 | Then to take it a little bit further,
I have duplicated this layer, and in
| | 01:24 | addition, I have added a Motion Blur
blurring the foreground and the sky, but
| | 01:30 | mainly the foreground, so that we
give it almost like this tilt shift like
| | 01:34 | effect, making it a little bit
nostalgic looking as if it were taken with a
| | 01:39 | very slow shutter speed and the people in the
foreground are blurring because of their movement.
| | 01:44 | Lastly, I've added a Hue/Saturation
adjustment layer just to desaturate things.
| | 01:51 | So let's start out with the image like
this, and first thing I am going to do is
| | 01:58 | convert my background layer for Smart
Filters, and then I am going to add a
| | 02:03 | Gradient Overlay and you've
probably seen me do this before;
| | 02:08 | very simple straightforward way
of adding a vignette to an image.
| | 02:12 | I'm going to choose Multiply Blend
mode, the style is going to be Radial.
| | 02:16 | I want to reverse it and then
reduce the Opacity way down.
| | 02:21 | Other Blend modes will work
but Multiply works just fine;
| | 02:25 | possibly I could choose Soft Light
or Overlay as well, but I am going to
| | 02:28 | stick with Multiply.
| | 02:32 | Next, I am going to go to add the film grain.
| | 02:36 | I can do this in two different places
and the end result is the same but there's
| | 02:41 | one slight difference.
| | 02:42 | If I go to the Filter Gallery and
choose Film Grain from there, and it's in the
| | 02:48 | Artistic group, then listed under my
Smart Filters, it will say Filter Gallery.
| | 02:55 | If on the other hand, I go to
Artistic and choose Film Grain, it will be
| | 03:00 | listed as Film Grain.
| | 03:01 | So I prefer the latter just because I
can instantly look at my layers panel, and
| | 03:07 | know what filter has been applied.
| | 03:09 | So it's just leaving a clear trace of
everything that's been done to the image.
| | 03:15 | So that's the reason I'm traveling a
little bit further down the menu and
| | 03:19 | choosing Film Grain from here.
| | 03:21 | I am going to make my Preview smaller
by pressing Command or Ctrl+Minus and I
| | 03:26 | got the Intensity cranked all the
way up, which is giving me this kind of
| | 03:31 | mottling effect, which actually I like,
but if you don't like it, it's the
| | 03:35 | Intensity that is really causing that to happen.
| | 03:39 | So I am going to crank that all the way up.
| | 03:41 | I have got the Grain set pretty high
as well and I am going to maybe set it
| | 03:45 | a little bit higher.
| | 03:47 | Now, having done that, I
want to duplicate this layer;
| | 03:49 | Command or Ctrl+J and that duplicate
carries with it, the same Gradient Overlay,
| | 03:56 | the same Film Grain.
| | 03:58 | Now in addition, I'm going to come to
the Blurring group, and choose Motion
| | 04:04 | Blur, and I am going to give it a Blur
with an Angle of 0 and maybe 15 pixels.
| | 04:12 | Now, obviously I don't want
the pyramid itself to be blurred.
| | 04:16 | So what I am now going to do is add
a layer Mask to this duplicate layer.
| | 04:23 | Then choose my Brush tool, increase my
brush size by pressing my Right-bracket
| | 04:29 | and make black my foreground color.
| | 04:32 | Then I can paint-in the areas that I
don't want affected by the Motion Blur i.e.
| | 04:38 | the pyramid, so that we restore that
to the way it was, vary the size of my
| | 04:45 | brush as necessary, and as necessary,
switch to white as my foreground color and
| | 04:55 | paint-in more of the effect.
| | 04:57 | Lastly, all I want to do is come and
add a Hue/Saturation adjustment layer and
| | 05:04 | then just to make it look a little
bit more aged, I am going to take the
| | 05:08 | Saturation down further
and there is the end result.
| | 05:15 | So here was our starting point.
| | 05:17 | We have added a vignette, we have
added grain, we then duplicated that whole
| | 05:22 | layer, and in addition, we've
added a blurring to the foreground.
| | 05:28 | Lastly, we desaturated to
get it a more nostalgic feel.
| | 05:33 | So this is just one of the things you
can do with Film Grain, and Film Grain is
| | 05:38 | by itself a relatively subtle effect.
| | 05:41 | I perhaps over-egged the pudding here
to make the point of how to use it and
| | 05:46 | just so that the grain
actually shows up on the video.
| | 05:49 | But when applying it yourself, you can
tone that down and make it far more subtle.
| | 05:54 | But with Film Grain, we can go in all
sorts of creative directions, and we
| | 05:59 | are now going to look at some other
ways in which we can use grain and
| | 06:03 | different types of grain.
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| Painting with grain| 00:00 | Here is a specific application of
painting with Film Grain or indeed any kind of
| | 00:05 | filter and that's really the message
that I'd like you to get from this movie,
| | 00:10 | we can paint in the textures
that we apply with our filters.
| | 00:14 | So what I have here is this
picture of a bookstore window.
| | 00:19 | I've just made the windows look dirty
by applying a layer of digital soot in
| | 00:25 | effect and this is done through the
application of a Film Grain Filter and also
| | 00:34 | some blurring of that filter so it
looks a little bit less granular and then to
| | 00:42 | define exactly where that soot goes in
the corner of the windows, I've created a
| | 00:49 | layer Mask and painted on that layer Mask.
| | 00:52 | So let's create this from scratch.
| | 00:56 | So here is my starting point and the
first thing I'm going to do is add a layer
| | 01:00 | to accommodate my grain.
| | 01:02 | Now I forgot when I created that layer
to hold down my Alt or Option key when I
| | 01:07 | clicked on this button here, so if you
do forget that, then all you need to do
| | 01:11 | is this, we're now going to
fill that layer with neutral gray.
| | 01:16 | I'm going to press Shift+Backspace,
Shift+Delete key to go to my Fill Command
| | 01:22 | where I'm going to use 50% Gray, and
then I'm going to set the Blending mode of
| | 01:26 | the layer to Overlay.
| | 01:29 | I'm going to convert this layer for
Smart Filters, just so I can leave a trace
| | 01:35 | and then come back and I'm going to go
Artistic and Film Grain where I'm going
| | 01:41 | to add a lot of grain, not quite the maximum.
| | 01:47 | The intensity in this case because
it's being applied to a layer of flat gray
| | 01:51 | has no effect whatsoever and
neither does the highlight area.
| | 01:55 | So all we're worried about
here is the amount of grain.
| | 01:59 | Let's go up to about 16.
| | 02:01 | So now I'm going to paint out where I
don't want this digital soot to appear.
| | 02:07 | If I go to my Channels panel, I
have an Alpha channel already prepared.
| | 02:11 | That Alpha channel is just
the woodwork on the windows.
| | 02:14 | So I'm going to load that by Command+
clicking on the Alpha channel and that
| | 02:21 | would load it as a selection.
| | 02:23 | Then coming to the Filter Mask, I'm
going to fill that selection with black, so
| | 02:28 | I make black my foreground color
and press Option+Delete or Alt+Delete.
| | 02:34 | So that's now removed the grain from the
woodwork on the windows and what I need
| | 02:39 | to do now is just paint out where
else I don't want the grain to occur.
| | 02:43 | So I'm going to choose my Brush tool
and I want to make sure that I have a soft
| | 02:49 | edge brush, and then I can just go
in and sort of paint out, like so.
| | 02:57 | So, now that I have painted out where
I don't want the grain to occur and I
| | 03:02 | might want to just refine this a little
bit on the mask itself, one more thing I
| | 03:06 | can do is we can come and just
add a bit of blurring to that.
| | 03:12 | I'm going to use the Gaussian Blur
Filter and making sure that I'm not on the
| | 03:17 | mask itself, but actually on the layer,
Blur>Gaussian Blur and I don't want to
| | 03:24 | add to much, that's going
to obliterate it completely.
| | 03:27 | Something between about 0.5 and 1, I
think, would be about the right amount
| | 03:34 | and we go up to 0.8.
| | 03:36 | That effect is probably a bit too subtle
to be captured on the video, but that's
| | 03:40 | just made it a little bit
less artificial looking.
| | 03:44 | So there is the grain before the filter,
the blurring and there is after and
| | 03:50 | there is the finished effect and while
you may not need to make windows look
| | 03:55 | dirty, I'm sure that you can type the
principles of what we have here, the
| | 04:00 | ability to be out of paint on a filter
mask so that we can paint in or out the
| | 04:07 | particular texture that
we're applying to our image.
| | Collapse this transcript |
| Adding grain to a Camera Raw image| 00:00 | If you're a professional or a semi-professional
photographer you're probably
| | 00:03 | shooting your images in the Camera RAW
format, because you have an image that is
| | 00:08 | not much more data rich, you can do so
much more with it in terms of adjusting
| | 00:12 | the exposure without degrading it, and
you'll always have your original digital
| | 00:17 | negative to return to
because you cannot overwrite that.
| | 00:20 | So there are great benefits to
working within the Camera Raw format.
| | 00:24 | Now the reason I'm bringing this up
now is because in the latest version of
| | 00:28 | Camera RAW you can add film
grain within the Camera RAW plug-in.
| | 00:33 | Here I am in Bridge and this is a
Camera RAW image, I'm in the Filmstrip
| | 00:38 | Workspace of Bridge, and we have this
thumbnail here which has a badge attached to it.
| | 00:44 | And that badge signifies that some
exposure adjustment has been made to this image.
| | 00:49 | So the grain is already there, I'm just
going to point out where it was added.
| | 00:53 | I'm going to double-click on that in
my Content window and that's going to
| | 00:56 | launch this image in the Camera RAW plug-in.
| | 01:00 | Now amongst other things what I've done
is added some film grain and I have done
| | 01:05 | that in the Effects area over here and
I've added rather a lot, may be too much.
| | 01:13 | If I look at this at 100% view size and
it's at that view size that you really
| | 01:18 | need to evaluate these kind of changes.
| | 01:21 | I'm going to double-click on my
Zoom tool top-left to get to 100%.
| | 01:24 | I'm just repositioning my image,
holding down the spacebar and dragging.
| | 01:30 | Now this isn't a particularly crisp
image, it was taken in low light in the
| | 01:34 | early morning, but without the grain
it's going to look like that and, well I do
| | 01:39 | want some, I don't want quite as
much as I had originally added.
| | 01:42 | And I'm also going to take down the Roughness.
| | 01:47 | So we're just giving the image a bit
more presence than it would have without
| | 01:52 | the grain, and in fact, what I'm
doing is since this was taken with a
| | 01:58 | relatively high ISO of 320, in low light,
it's already quite a grainy image and
| | 02:05 | I'm sort of going with that.
| | 02:06 | I'm accentuating the grain
rather than trying to hide it.
| | 02:10 | Once I've made my changes I can just
click on Open Image and that's going to
| | 02:13 | take me into Photoshop itself where I
can continue and do whatever else is I
| | 02:19 | need to do to the image.
| | Collapse this transcript |
| Matching grain when cloning| 00:00 | Textures in Photoshop are often
very subtle and play a supporting role.
| | 00:05 | A practical application of the Film
Grain filter is to apply it to a cloned
| | 00:10 | section of an image to better
combine that area with the original.
| | 00:14 | So in this example I have a
transparency that has been scanned and this is
| | 00:20 | the finished version.
| | 00:21 | But let's take a look at what
the beginning version look like.
| | 00:24 | And if I come to the top layer and hold
down my Shift key and click on the layer
| | 00:28 | mask there, we can see
that this is the original.
| | 00:31 | There is obviously the problem we
have this blown out sun, which is very
| | 00:37 | visually distracting in this image.
| | 00:40 | It could be cloned out;
| | 00:41 | I tried cloning it out with the Rubber
Stamp tool when I didn't have much success.
| | 00:46 | So I adopted a different approach and
that different approach is to mask out the
| | 00:51 | whole of the top of that sky
which is very monochromatic really.
| | 00:56 | And if we see the image by
itself it looks like this.
| | 01:00 | Now what I have done is created a
gradient underneath that which looks like
| | 01:06 | that, when we have the two layers
together we get this overall effect with the
| | 01:11 | gradient now replacing the blown out sun.
| | 01:15 | But the problem with the gradient is
that it's just a bit too smooth and this is
| | 01:19 | another example of when things are
going to be a bit too subtle really to
| | 01:23 | appreciate on the video.
| | 01:25 | But the gradient is too smooth;
| | 01:27 | it lacks the textural quality off the original.
| | 01:30 | So to fix that, I've added this layer
right here, it's another of those overlay
| | 01:36 | layers its set to neutral grey
and with some noise applied to that.
| | 01:40 | Because this has been converted for
Smart filters I can come by and vary the
| | 01:45 | amount of noise that has been applied
just so I get it exactly right and match
| | 01:50 | it up with the original.
| | 01:53 | Let's switch to the starting point which
is this and to start out with what I am
| | 01:58 | going to do is I am going to sample
this color over here on the left-hand side
| | 02:06 | and then move over to the right-hand side,
I will hold down my Option key or Alt
| | 02:11 | key and sample that as the background color.
| | 02:14 | And with that now set as my foreground
and background color I am going to come
| | 02:19 | and add a gradient layer and my
gradient will use foreground to background.
| | 02:27 | But actually I want an intermediate
color in there, because things get a little
| | 02:32 | bit lighter right around here.
| | 02:34 | So I'm now going to make that my
foreground color, turn the gradient back on,
| | 02:39 | double-click on that, click on the
gradient itself and then come down to the
| | 02:44 | bottom of the gradient bar and click
that right there and it will now add in a
| | 02:52 | third color, and I can move this over
just so that I can match this position of
| | 02:56 | this color to where it
occurs in the image itself.
| | 03:02 | So there's my gradient ready to be
code on and I am now going to put that
| | 03:05 | underneath my background layer, but of
course I can't do that until I unlock
| | 03:09 | my background layer.
| | 03:13 | Now I will come to my image layer on
which I will add a layer mask and now I'll
| | 03:19 | switch to my Gradient tool, I have it
here in the tool panel and I now want to
| | 03:26 | use a Foreground to Transparent
gradients and because I want to mask in my
| | 03:32 | foreground color it automatically
becomes black or black or white, in this black
| | 03:36 | and that's what I want.
| | 03:38 | I can just drag down and keep dragging down
as far as I need to until about sun obscured.
| | 03:48 | So that is the main part of it and
this is what I mean by the texture playing
| | 03:53 | a supporting role here because the
main event here is replacing that sun with
| | 03:59 | the gradient, but now I need to
match the texture of the gradient to the
| | 04:03 | texture of the image itself.
| | 04:06 | So I'm going to add a new layer, hold
down the Option or Alt key, click on
| | 04:11 | Create new layer, set the Blend mode to
Overlay, Fill with Overly-neutral color.
| | 04:16 | I am then going to convert
this layer for Smart Filters.
| | 04:21 | And come to the Artistic group and to
Film Grain, I could do this with Film
| | 04:27 | Grain and I could do it with Noise
either or, and then I am going to turn
| | 04:33 | that way down now it's, actually I
am not going to do it with Film Grain
| | 04:38 | because I can't see where I'm going with that
because the Filter Gallery menu is just so big.
| | 04:44 | Instead I am going to do it with Add
Noise and there I can see the amount of
| | 04:51 | noise in the context of the image.
| | 04:53 | Now I am going to turn the noise down to 3.
| | 04:58 | And there is my finished result.
| | 05:00 | So my original layer the sky masked on
top of a gradient layer that uses the
| | 05:10 | color of the original sky and then some
texture on top of that to blend in the
| | 05:16 | gradient with the original image.
| | 05:19 | When using Film Grain in this way or
Noise in this way, it's best to use a light
| | 05:24 | touch and always make sure you do so
nondestructively so that you can go back
| | 05:28 | and change the amount of grain that
you have added should you need to.
| | Collapse this transcript |
| Accentuating texture with Speckle grain| 00:00 | For a more interpretive approach to
working with grain we can use the grain
| | 00:04 | filter that's part of the texture filter group.
| | 00:07 | In this example, I'm using speckle grain
to give a grungy almost comic book feel
| | 00:12 | to this picture of vintage
sign and this is the end result.
| | 00:17 | If I were to turn off the effect
of that Smart Filter that's what the
| | 00:24 | original image looks like.
| | 00:28 | So there we see the grain and the original.
| | 00:31 | So I'm now going to switch to this
image the starting point and the first thing
| | 00:36 | I'm going to do is convert my image for
Smart Filters, and then I'm going to
| | 00:42 | go to the Texture group and to Grain
Command+Minus or in this case Command+0
| | 00:52 | will make my image fit in window in
the preview window of my filter gallery.
| | 00:58 | And the grain type that I am after
is Speckle and that's going to give me
| | 01:03 | that type of effect.
| | 01:05 | Now I like the way it's really adding
a lot of texture to the sign itself.
| | 01:09 | What I don't like, however,
is what it's doing to the sky.
| | 01:12 | So I'm going to actually up the
intensity of this and even up the contrast a bit.
| | 01:19 | Let's really go for it and then click
OK and now I'm going to apply a layer
| | 01:25 | mask or rather a filter mask to that Smart
Filter so that we protect the original sky.
| | 01:32 | The good news is that I already
have an alpha channel pre-prepared.
| | 01:36 | So I'm going to come to Channels panel
and hold down my Command key or Ctrl key
| | 01:41 | and click on that, and then
I'll come to the filter mask area.
| | 01:47 | I need to inverse this.
| | 01:49 | I currently have to sign itself
selected so I'm going to press Command+Shift+I
| | 01:54 | to inverse it and then with black as
my foreground color I'm going to press
| | 02:00 | Alt or Option and my Backspace/Delete key
and that's going to restore the original sky.
| | 02:06 | So I like the way this is looking,
but I would like to really work in this
| | 02:10 | texture into the image a bit more.
| | 02:13 | I'd like it to feel a bit more integrated.
| | 02:15 | So I need to experiment with Blend modes.
| | 02:17 | Now I have only one image layer here
and I have the filter applied to that as a
| | 02:23 | Smart Filter, but I can change the
blending mode of that filter by coming here
| | 02:28 | to my filter blending options.
| | 02:31 | So when I double-click on that rather
then apply the speckle grain in the Normal
| | 02:35 | Blend mode, I'm going to change the
Blend mode to Multiply, and then we can see
| | 02:40 | that really works in the grain,
I think, in a more pleasing way.
| | 02:44 | There is my end result.
| | 02:46 | Now we see here as we've seen before
with other examples in this title that it's
| | 02:52 | not just a case of applying
the filter and you're done.
| | 02:56 | What we need to do here is apply the
filter, add a mask, and also in this
| | 03:01 | particular case vary the blending mode.
| | Collapse this transcript |
| Creating a split-toning effect with Stippled grain| 00:00 | Working with the Grain filter which
is part of the Texture filter group
| | 00:05 | there are several different types of grain
we can apply, one of which is called Stipple.
| | 00:08 | Now this is interesting, because
it works with your foreground and
| | 00:12 | your background color.
| | 00:14 | In the case of this image it's a
monochrome image but with tint to it and I've
| | 00:20 | sampled that tint and I'm using that
tint and it's complementary color to
| | 00:25 | apply some stipple grain and that's going
to give me this kind of split toning effects.
| | 00:30 | Let's switch over to the starting point
and the first thing I'm going to do is
| | 00:36 | choose my Eyedropper tool and then
come and sample some color from the image
| | 00:42 | make that my foreground color.
| | 00:45 | I now want to complement that with its
complementary color and to do that I'm
| | 00:50 | going to use the Kuler extension and
with Kuler open I'm going to click on
| | 00:57 | this icon right here to add the
current foreground color as base color, and
| | 01:03 | then I will choose Complementary as my color
harmony rule and that gives me this color group.
| | 01:12 | I'm going to add these to my Swatches
panel, all this color theme rather in
| | 01:17 | Photoshop terminology.
| | 01:19 | So let's go and park Kuler right there.
| | 01:22 | So I now have these colors on my
Swatches panel and I want to load this blue as
| | 01:27 | my background colors.
| | 01:28 | So I'm going to press
Command or Ctrl and click on that.
| | 01:31 | So I now have foreground and background
color and it's these that I want to use
| | 01:36 | when I apply the stipple grain.
| | 01:39 | Now this is already a Smart Object
and if it's not if you're working on
| | 01:44 | image where you haven't already made into a
Smart Object, choose Convert for Smart Filters.
| | 01:49 | But I'm going to come to the Filter
menu and down to Texture and to Grain and
| | 01:55 | these are the different
types of grain that we can add.
| | 01:58 | I am just going to make my preview
here smaller by pressing Ctrl+0 or
| | 02:01 | Command+0.With Stipple grain it's using
my foreground and my background color,
| | 02:07 | and if I move the filter gallery
preview window over a bit, we can see my
| | 02:12 | foreground and background color right there.
| | 02:16 | I have the Intensity slider and Contrast slider.
| | 02:19 | Now the Intensity slider essentially
works on the foreground color and the
| | 02:24 | Contrast slider works on the background color.
| | 02:26 | So if I want more of the blue if I
bring the intensity down and bring the
| | 02:31 | contrast up, and that's making the more solid.
| | 02:35 | Now finding a sweet spot here is
rather difficult and if the quality of the
| | 02:40 | grain that we get is unfortunately not
as fine as we might like, it is going to
| | 02:45 | look rather clumpy, I am afraid.
| | 02:48 | But I'm going to put these sliders
somewhere towards the middle so that we get
| | 02:53 | both the foreground color
and the background color.
| | 02:56 | Incidentally, if we were working with
sprinkles that's just going to work with
| | 03:01 | the background color and if I put the
intensity up there we are just seeing the
| | 03:11 | blue of the background color.
| | 03:13 | We don't want to work with Sprinkles;
| | 03:14 | we want to work with Stippled.
| | 03:17 | Let's put that up again.
| | 03:18 | So I'm going to now click OK to that
and maybe this is what we're after.
| | 03:24 | It's not, but this is an
interesting effect right there.
| | 03:28 | But now to blend the effect of the
filter with the image I need to change the
| | 03:34 | blending mode of the filter.
| | 03:36 | So I'm going to double-click on that
to change my Blending mode and the one
| | 03:41 | I'm going to go to is Color, which
seems to be the one that if we are still
| | 03:47 | trying to retain the photographic quality of
the image it's going to give us the best result.
| | 03:52 | There are other worth trying and
it's going to vary from image to image.
| | 03:55 | You can see at the 100% view that the
grain is a bit clumpy and this is very
| | 04:01 | near miss I feel in terms of the
effectiveness of this texture, but it's
| | 04:06 | interesting nonetheless.
| | 04:08 | So there we have it.
| | 04:09 | We applied a Stipple grain using the
foreground and background color to get some
| | 04:16 | sort of split toning effect on our image.
| | Collapse this transcript |
| Beyond the Mezzotint filter| 00:00 | Mezzotint is an old printing
technique and if you've seen the Wall Street
| | 00:05 | Journal the way they used to
reproduce their halftones is, I don't know it
| | 00:08 | that's a mezzotint, but it's kind of
reminiscent of the mezzotint like effect.
| | 00:13 | That's where we're going for here.
| | 00:14 | Now this may not be an authentic
mezzotint, but it's going to be an
| | 00:18 | interesting effect.
| | 00:19 | That's what we're after.
| | 00:21 | One way we are certainly not going
to create the mezzotint is by using
| | 00:25 | Photoshop's Mezzotint filter,
because it really isn't very good.
| | 00:28 | Let's just see what this would do to it though.
| | 00:31 | If I run this filter it's in the Pixelate group.
| | 00:34 | I'd make it grayscale first.
| | 00:36 | So let's say we do that, and then we do that.
| | 00:42 | I'm not crazy about that.
| | 00:45 | It's not very effective.
| | 00:46 | It's always just a mush.
| | 00:47 | So we need to control how
we're making this mezzotint.
| | 00:51 | So I'm going to set the image back to
the way it was when we came in and to
| | 00:56 | start out we're going to
make the image black and white.
| | 01:00 | Since I think most mezzotints would be
monochromatic, and then we're going to
| | 01:06 | limit the number of gray
values by posterizing it.
| | 01:09 | Now how many gray values you choose is
really going to depend upon the kind of
| | 01:12 | image that you have.
| | 01:13 | I think I'm going to with 10.
| | 01:15 | It looked about right.
| | 01:18 | When we posterize we get this nasty sort
of choppy stuff that goes on around the
| | 01:23 | different brakes and tone.
| | 01:25 | And I'm going to try and alleviate
that somewhat by applying a Gaussian Blur
| | 01:29 | filter to the image.
| | 01:32 | Just to be on the safe side I'm
going to unlock that Background layer and
| | 01:35 | Convert It for Smart Filters and then
come and add a Gaussian Blur which would
| | 01:41 | just smooth those edges.
| | 01:43 | I'm going to leave that at what it is 1.1.
| | 01:47 | So now what I want to do
is make a duplicate of this.
| | 01:52 | So I'm going to come to the top of my
layer stack and I'm going to hold down
| | 01:57 | Command+Option+Shift+E or hold down my
Alt key and choose Merge Visible, and
| | 02:04 | that's going to merge
everything on to that separate layer.
| | 02:08 | Now at this point we really do
need to flatten this or copy.
| | 02:13 | In fact, that's probably a good idea.
| | 02:15 | So just to be on the safe side I want
to come to duplicate this and I'm going
| | 02:20 | to Duplicate Merged layers Only so that
we get just that version, and then I'll
| | 02:27 | make this into a grayscale and then from
a grayscale we're going to go to a Bitmap.
| | 02:36 | When we make it into a bitmap we'll
use this method Diffusion Dither and
| | 02:41 | it'd look like that.
| | 02:42 | It looks weird when we make it into a
bitmap, but now having made it into a
| | 02:46 | bitmap when we turn it back into
grayscale using our size ratio 1:1, that's
| | 02:53 | the effect that we get.
| | 02:54 | So there is our end result achieved
through a combination of making it
| | 03:00 | monochrome, using the black and white
adjustment layer, posterizing it to limit
| | 03:05 | the number of gray values, blurring it
to soften the edges around where those
| | 03:12 | gray values transition from one to
the other, stamping everything on to one
| | 03:17 | layer, and then
duplicating that as a separate image.
| | 03:22 | Then when we'll got here what we did
was we went to the Image menu and we chose
| | 03:28 | Bitmap>Diffusion Dither and then from
making into a bitmap we turned it back
| | 03:33 | into grayscale and this
is the effect that we get.
| | 03:37 | It may not be an authentic
mezzotint, but I think it's a nice
| | 03:40 | effect nonetheless.
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|
5. Aging PhotosCreating deckled edges and sepia tone| 00:00 | When I first started using Photoshop
about 20 years ago now the emphasis seemed
| | 00:05 | to be that we would take a damaged
image some sort of historic photo and then
| | 00:10 | using the retouching tools
would make it look shiny new.
| | 00:13 | Well, things have come full circle,
because now we would have lots of shiny new
| | 00:17 | images that we can take with our
digital cameras that don't have any grain that
| | 00:22 | don't have any imperfections and apply
various techniques to them to make them
| | 00:28 | look aged and imperfect.
| | 00:31 | And that's what we are going to do here.
| | 00:32 | Here is our starting point and the
first thing that we want to do is increase
| | 00:37 | our canvas size so that we can add
the background field of color and the
| | 00:41 | border for the photograph so that the
canvas will be added as transparency
| | 00:46 | rather than colored pixels.
| | 00:47 | I am going to unlock the background
layer just by double-clicking on it and
| | 00:51 | while I am here I might as well name it as well.
| | 00:54 | So now I am going to come to the Image
menu and choose Canvas Size and I have my
| | 00:59 | unit of measurement in pixels.
| | 01:01 | If yours is not, then you can change
it right here and I am going to make the
| | 01:06 | Width 1300 pixels and the Height 900.
| | 01:10 | So I am increasing by 100
pixels on both dimensions.
| | 01:14 | I am going to create a new layer.
| | 01:18 | I want to name this layer and have
the layer go behind the existing layer.
| | 01:23 | So I am going to hold down Command and Option
or Ctrl+Alt when I click on Create new layer.
| | 01:28 | I will call it background.
| | 01:31 | I will press Shift and my Backspace delete
key and for the Contents I will use 50% Gray.
| | 01:41 | Now I am going to create another layer.
| | 01:43 | I might as well duplicate the one that I
have there, Command+J and I am going to
| | 01:47 | come and make the foreground color a
light gray with a bit of a yellow tint to
| | 01:53 | it and then double-click on to name
and this is going to be my border.
| | 02:00 | Now I need to shrink my border so that
we reveal the background and to do that I
| | 02:07 | am going to press Command+A to select all.
| | 02:10 | I am going to come to my Select menu
and Transform Selection and I am going to
| | 02:15 | shrink it from the center point so I am
holding down the Option or Alt key and
| | 02:25 | press then Return to accept that
transformation and now make that selection into
| | 02:32 | a layer mask, like so.
| | 02:35 | Now that we have the layer mask we can
work on that layer mask, we can work on
| | 02:38 | the black and the white pixels to
create the illusion of a deckled edge.
| | 02:45 | So I need to actually be on the layer
mask itself, and then I am going to the
| | 02:50 | Filter menu and to the Filter Gallery.
| | 02:53 | I am going to apply three filters and
since I was practicing before I did this,
| | 02:59 | here they all are lined up.
| | 03:01 | I am going to just delete those
so that we start out with Spatter.
| | 03:07 | You can see it's working on the
transition between the black and the white and
| | 03:10 | it's giving us this
spattered stroke kind of effect.
| | 03:12 | I am going to dial both of those down
to their starting point and then bring up
| | 03:19 | the Spray Radius to like it some sort
of transition like that between the black
| | 03:24 | and the white and then to smooth
out bring up the Smoothness slider.
| | 03:30 | Now the smoothness is not going
to get as smooth as I would like.
| | 03:34 | So in addition to Spatter I am
going to use this filter Sumi-e.
| | 03:38 | Sumi-e is a Japanese brushstroke technique.
| | 03:42 | So I am going to come and click on New
Effect layer, place Sumi-e right there.
| | 03:47 | I will turn everything down and the
minimum setting there is a Stroke Width of 3.
| | 03:55 | So even with the controls dialed all
the way down we can see that it's having
| | 04:01 | an effect nonetheless.
| | 04:03 | And I am just going to increase the
Contrast a little bit and experiment with
| | 04:08 | these other sliders, which are not
really going to make a whole lot of
| | 04:12 | difference but it is having the effect
that we want, because it's smoothing out
| | 04:18 | some of the roughness that
we got from this pattern.
| | 04:20 | Now to give it a bit more definition
still I am going to add another filter
| | 04:26 | and this time I am going to use
Accented Edges just to give a bit more
| | 04:30 | sharpness to those edges.
| | 04:33 | You might want to start with
these dialed all the way down.
| | 04:36 | Edge Width doesn't go any lower
than 1, neither does Smoothness.
| | 04:40 | So even with the controls all the way
to the left I am still having an effect.
| | 04:45 | It's worth mentioning here that when
you apply filters in this way they are
| | 04:49 | applied cumulatively.
| | 04:50 | So this first filter is Spatter, then
the Sumi-e, then the Accented Edges and if
| | 04:55 | you apply them in a different order
you are going to get a different result.
| | 04:58 | I am not sure we will see anything here,
but yes, if I move the Accented Edges
| | 05:03 | down to the bottom we see different result.
| | 05:06 | Now when I click OK there are my Accented Edges.
| | 05:10 | I would like to apply some layer effects
to them just so that we can concentrate
| | 05:15 | on these layer effects.
| | 05:17 | I am going to turn off the photo
layer and then click on the border layer.
| | 05:22 | Now I already have a collection of layer
effects saved as a layer style and I am
| | 05:27 | just going to apply that.
| | 05:28 | So in my Styles it's the
imaginatively titled Style 1.
| | 05:34 | So when I click on that it applies the
Inner Glow, Bevel and Emboss, and the
| | 05:38 | Gradient Overlay, but let's just take
a quick took at what those styles are.
| | 05:42 | So we have an Inner Glow, which I
have set to Multiply, the default
| | 05:47 | Blending mode is Screen.
| | 05:48 | So we wanted Multiply to make it darker
and I have chosen this warm brown color.
| | 05:53 | Then we have a Bevel and Emboss.
| | 05:56 | Really, the only changes I have made
here are to reduce the percentage on the
| | 06:01 | Screen and to increase the
Size of this a little bit.
| | 06:05 | Then finally the Gradient Overlay if I
turn that off we can see what that's doing.
| | 06:10 | That's just applying a very modest amount
of vignetting to the edges of the paper.
| | 06:16 | We also need some layer effects on the
photo around its edges to make it look
| | 06:21 | like it belongs on this photo paper and
I have another very imaginatively titled
| | 06:28 | Style 2 ready to go for that.
| | 06:30 | So I am going to click on that to
apply that and we will just take a look at
| | 06:34 | what we have going on here.
| | 06:35 | We have some Inner Shadow if I turn
that off we can see what that's doing and
| | 06:41 | let's have a look at the values there.
| | 06:43 | So I have increased the size on that a bit.
| | 06:45 | I have changed the color to a warm
brown color and the Inner Glow, same color.
| | 06:51 | I have changed the Blend mode to
Overlay and if I turn that off we can see
| | 06:56 | what that was also doing.
| | 06:59 | For this step we need to add the sepia
toning and that I am going to do with
| | 07:04 | an adjustment layer and I want the Black &
White adjustment layer and this is really easy.
| | 07:10 | All we need to do is click Tint and
it's going to give us that sepia tone tint.
| | 07:17 | One slight modification we need to make,
and we see that this sepia toning is
| | 07:22 | applied now to everything, including
the border and, including the background,
| | 07:27 | which we don't wanted to do.
| | 07:29 | So I am going to just go to my layers
and I am going to make sure that I make
| | 07:35 | this Black & White
adjustment layer into a clipping mask.
| | 07:39 | Hold down the Option or the Alt key
and click on the line between these
| | 07:43 | two layers to do that.
| | 07:44 | So now it's only applying to the photo itself.
| | 07:48 | If I unclip that you can see before it
was changing the color of the background.
| | 07:53 | Now it's just changing the color of the photo.
| | 07:56 | So there is the completion of
the first part of this exercise.
| | 08:02 | Next, we are going to add
some water stain damage to it.
| | Collapse this transcript |
| Adding water stains| 00:01 | So now that we've added the deckled edges,
let's add some stain damage to the photo.
| | 00:05 | And I'm going to do this
using the Sponge filter.
| | 00:08 | But before I do so, I'm just going to
do a bit of housekeeping with this file.
| | 00:12 | Our background is made up of two layers,
one of which has several layer effects.
| | 00:18 | Things would just get a bit tidier.
| | 00:19 | If I select both of those layers and
Command+G or Ctrl+G to make them into a
| | 00:24 | group, and I'll then name the group
background, and then the layers on top of
| | 00:31 | that, the photo and its adjustment layer,
I'm going to make those in to a group as well.
| | 00:38 | So we now have got two main groups.
| | 00:40 | Now the water damage that we want to add
is going to need be added above top layer.
| | 00:45 | So I'm going to create a new layer above
that and I'm going to hold down the Alt
| | 00:53 | key while I click on Create New
layer so that I can name it as well.
| | 01:00 | And I'm going to call this stains.
| | 01:01 | I'm going to fill it with white, white
is currently my background color, so I'm
| | 01:04 | going to Command+Delete or Ctrl+Delete.
| | 01:08 | And then I'm going to
convert it for Smart Filters.
| | 01:11 | And then I'm going to go to
my Artistic Filters>Sponge.
| | 01:17 | And I'm going to apply the Sponge twice
which is why I've made it into a Smart
| | 01:21 | Filter layer so that I can do so.
| | 01:23 | I'm not going to apply them
cumulatively here, but I'm going to apply it once
| | 01:27 | and then come back and apply again.
| | 01:29 | And the first time I apply it, I want
some discernible size blobs from my Sponge.
| | 01:38 | So I'm going to use values of Brush
Size of 10, Definition of 20, and then a
| | 01:44 | Smoothness of 15, so pretty much the
slider is all the way over to the right.
| | 01:51 | And that's going to give me
blobs that look like that.
| | 01:53 | Then I'll click OK to that.
| | 01:57 | And now I'm going to come back
and run the Sponge once again.
| | 02:00 | I'm going to hold down the Alt key
while I choose it from the first item
| | 02:05 | under the Filter menu.
| | 02:06 | And this time, I want a
more granular type of look.
| | 02:10 | So I'm going to bring the Brush Size
down to 2, the Definition all the way down
| | 02:17 | to 0, and the Smoothness down to 2.
| | 02:22 | And it's going to give me this kind of look.
| | 02:25 | And now to blend this into the photo itself,
I'm going to need to change my Blend mode.
| | 02:32 | I might want to experiment with what
Blend mode is going to work best, so I'm
| | 02:36 | going to hold down the Shift key and
press plus to cycle through my Blend modes.
| | 02:45 | Soft Light is probably going to be the best.
| | 02:48 | Let's just see what these two
different levels of Sponge are doing.
| | 02:51 | But before I do that, I need to clip
this to the photo so that it's not going
| | 02:56 | onto the background.
| | 02:57 | So I'm going to hold down the Alt key
and then click on the line between those.
| | 03:02 | And if I don't see it for whatever
reason, I'm going to right-click on that
| | 03:05 | layer and choose Create Clipping Mask.
| | 03:08 | So now I'm limiting the
extent of that to just the photo.
| | 03:15 | And if we zoom in, we can see
we've got these blobs right here.
| | 03:19 | And if I come up to the top right-hand
corner, we can also see we've got this
| | 03:23 | kind of texture going on here.
| | 03:25 | This is the result of the second Sponge
which is listed on top of the first Sponge.
| | 03:31 | Unfortunately, when you apply them
like this, you can't name them, so you
| | 03:34 | just have to know them.
| | 03:34 | The first one that you
applied is beneath the other.
| | 03:39 | So if I turn that off, then we can return
that portion of the image to how it was.
| | 03:45 | And if turn that one off, turn that one
back on, so again two different types of
| | 03:52 | water stain damage in there.
| | 03:57 | Just one other thing that I might want
to consider doing and that is extending
| | 04:01 | this water damage out to the border
which currently is not doing because it is
| | 04:06 | clipped to the photo.
| | 04:08 | Click on that little triangle there so
we don't see the filters that go with it
| | 04:11 | just to tidy things up a bit.
| | 04:13 | I'm going to duplicate this layer,
Command+J or Ctrl+J, and I'm going to drag
| | 04:18 | the duplicate down into the background
group, where probably I'm going to need
| | 04:24 | to adjust its Blending mode.
| | 04:28 | Well, I'm going to need to
adjust its Position first of all.
| | 04:31 | When I drag it into group, it's
going to the bottom of the group.
| | 04:33 | I need it to come to the top of the group.
| | 04:36 | And then I need to clip it to the border layer.
| | 04:41 | And I might also need to now
change its Blend mode to Multiply.
| | 04:46 | That's extending the damage out to the
border, probably a little bit too strong.
| | 04:51 | So I'm going to just bring
down the Opacity on that.
| | 04:58 | Just one other thing you might want to
consider, if you want to limit the extent
| | 05:02 | of this water staining further, click
on the Filter Mask right here and I'm
| | 05:06 | going to choose black as my Foreground Color.
| | 05:09 | Press B to go my Brush, Opacity at less
than 100%, and I can just sort of stamp
| | 05:16 | out some of those stains
where I don't want to see them.
| | 05:20 | So you can really control exactly
where this water straining is going to go.
| | 05:25 | And if you change your mind as I have
been known to do, you can switch to white
| | 05:30 | and then stamp them back in.
| | 05:33 | So that's all going on with
this layer mask right here.
| | 05:36 | Next, what we want to do is
also add some cracks to the photo.
| | Collapse this transcript |
| Adding cracks| 00:00 | Here we are going to add some spidery
cracks to the emulsion of that image just
| | 00:05 | in the corners and this is
the finished version right here.
| | 00:09 | This is going to be achieved by
applying a combination of filters starting off
| | 00:14 | with the Render Clouds filter and then
following that up with Crystallize and
| | 00:19 | the thirdly Accented Edges.
| | 00:21 | We can see the result over here and
then it also involves changing the Blend
| | 00:25 | mode to Soft Light and limiting the
extent of the effect by painting on the
| | 00:30 | Filter Mask that comes
with the Smart Filter layer.
| | 00:33 | So I am now going to switch over to our
work in progress and create a new layer
| | 00:40 | above what's currently the
top layer, the stains layer.
| | 00:43 | I am going to hold down my Alt key
or Option key as I do that, so that I
| | 00:48 | can name this layer.
| | 00:51 | And before I do anything to it, I am
going to convert it for Smart Filters.
| | 00:55 | Then I am going to make sure that
black is my foreground color, white is my
| | 01:00 | background color because the Render
Clouds uses your foreground, background
| | 01:06 | colors to randomly generate some noise.
| | 01:09 | With this noise, we are then going to
return to the Filter menu and come down to
| | 01:15 | the Pixelate group and choose Crystallize.
| | 01:20 | It's an old filter, it doesn't give
you much feedback, we can't see what's
| | 01:23 | going on, on the image itself, what
we have is this single slider and I am
| | 01:28 | going to go for a value of 26.
| | 01:32 | So that's the result of
crystallizing the clouds.
| | 01:35 | Now we are going to come back
and hit this with Accented Edges.
| | 01:39 | So back to Filters>Brush Strokes>
Accented Edges and here is the result that
| | 01:46 | we are going to get.
| | 01:46 | I want this to be dialed all the way down.
| | 01:49 | If we turn this up and the borders are
going to be far too thick or much too
| | 01:54 | bright, so slide this all the way over to
the left, just to give some definition
| | 02:00 | to what will become our cracks.
| | 02:04 | Then we are going to change the Blend mode.
| | 02:06 | Now I know, because I've done it before
that Soft Light works well, but if you
| | 02:10 | don't know you can cycle through
your Blend modes by pressing Shift+Plus or
| | 02:15 | Shift+Minus, but I am going to
go directly to Soft Light.
| | 02:19 | I also want to limit the extent of this,
so that we are only seeing the cracks
| | 02:24 | appearing on the photo itself.
| | 02:27 | So I am going to right-click on that
layer and choose Create Clipping Mask.
| | 02:32 | I want to turn down the Opacity,
it's far too strong at the moment.
| | 02:36 | So, I have my Move tool selected, I can
just press 5 on my keyboard and that's
| | 02:42 | going to change the Opacity to 50%.
| | 02:44 | Now I am going to come and click in the
Filter Mask right here and if I paint in
| | 02:50 | the Filter Mask, painting in black,
I'll be painting out the cracks.
| | 02:55 | So I am going to use a nice big brush
with an Opacity set to 50% and I'll just
| | 03:03 | tab over the cracks to remove them,
especially here in the foreground where they
| | 03:09 | are not a bit too strong, vary the
Opacity as necessary, vary the brush size as
| | 03:14 | necessary, left bracket,
right bracket to do that.
| | 03:18 | If you've gone a little bit too far
and you want to restore some of the
| | 03:20 | cracks, press your X key, so that you switch
to white and you can paint them in that way.
| | 03:27 | So I am switching back and forth between
foreground, background colors, black and white.
| | 03:33 | I'm changing my Opacity just by
pressing the numbers on my keyboard and that's
| | 03:38 | changing my Brush Opacity and I'm
also varying my brush size, left bracket
| | 03:43 | smaller, right bracket bigger,
until we get the an effect that we like,
| | 03:49 | something like that.
| | 03:51 | So there is our finished photo.
| | 03:55 | So we've added sepia toning, we've
added the deckled edges, we've added satin
| | 04:00 | damage and we've also added some cracks.
| | 04:03 | We will be looking at in later movies
how we can achieve effects like this with
| | 04:08 | a single click of a button
by using a texture action.
| | 04:12 | But it's always good to know how
to actually get in there and do the
| | 04:16 | stuff yourself.
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6. Combining Textures with Blending Modes and Layer MasksBlending textures with Soft Light| 00:00 | In this chapter we are going to see how
we can integrate photographic textures
| | 00:04 | like the one I have here this rust
texture into our images using blending modes
| | 00:10 | and while we can't really predict with
absolute certainty which blending mode is
| | 00:15 | going to work, we know that certain
blending modes are more likely to work than
| | 00:20 | others and the likely candidates are
Soft Light, Overlay, Multiply, Screen.
| | 00:26 | We are going to see some examples
of working with these blending modes.
| | 00:29 | So to start with, I thought we could
re-create this image and let me just
| | 00:34 | break this down for you.
| | 00:36 | We have this as our starting image to
which I've added on a Gradient Overlay to
| | 00:40 | give it a vignetting effect.
| | 00:42 | I have reduced the Saturation just to
give it a more nostalgic look, adjusted
| | 00:47 | the Color Balance to shift the colors
more to a yellow sort of faded look, and
| | 00:53 | then I'm working in this rust texture,
the one that we saw before and I'm
| | 00:58 | blending it in using a combination of
the Blend mode Soft Light and the layer
| | 01:01 | mask that's applied to it.
| | 01:03 | And then to remove the color from that
texture just so that we get the texture
| | 01:09 | alone, I have a Black & White adjustment layer.
| | 01:12 | That's our finished effect.
| | 01:14 | Let's recreate it from scratch.
| | 01:17 | So to start out with I want to add a
Gradient Overlay to my background layer.
| | 01:22 | My layer effects are not currently
available or not available until I unlock the
| | 01:27 | layer and we can come to Gradient
Overlay and I am going to make this, start out
| | 01:34 | with Multiply, Radial, reverse it, take
opacity way down so that I can position
| | 01:42 | this exactly where I want it.
| | 01:45 | Maybe I will put the Opacity up, and
then you can see what this is doing as I
| | 01:51 | drag that around and maybe I also want
to scale it so I can see a bit more of
| | 01:56 | the image unaffected by the shadow.
| | 01:59 | Now I've got it positioned and sized
just right I will bring my Opacity way down.
| | 02:05 | Now this is all part, all of this
other stuff, these layer effects, these
| | 02:10 | blending modes, and adjustment layers,
and what have you, they're all part
| | 02:15 | and parcel of working the texture into your
image, the texture doesn't work in isolation.
| | 02:21 | It's a team effort, shall we say.
| | 02:23 | So next I am going to add a
Hue/Saturation adjustment layer.
| | 02:28 | We will move the Saturation slide down
to the left, and then I am going to add
| | 02:33 | a Color Balance and I am going to get
the yellow blue slide up and swing that
| | 02:38 | in favor on yellow.
| | 02:41 | So now I am going to turn on my rust
layer and to work this in I am going to
| | 02:47 | change the Blend mode Soft Light, but we
can experiment with our blending modes.
| | 02:51 | If we choose our Move tool, press
Shift+Plus, Shift+Minus to cycle through them,
| | 02:57 | and there maybe one that you like
better than Soft Light, but that's the one
| | 03:00 | I am going to go with.
| | 03:01 | That looks good except that of course we
don't want the background image to take
| | 03:06 | on the color of the texture we
just wanted to take on the texture.
| | 03:10 | So the final finishing touch is to
apply a Black & White adjustment layer,
| | 03:15 | but of course that brings up the issue that
it's now making everything black and white;
| | 03:19 | we only wanted to make
black and white the rust layer.
| | 03:22 | So I need to hold down my Option key or
Alt key, click on the line between those
| | 03:26 | two so that we could use the previous
layer to make a clipping mask so that
| | 03:31 | Black & White adjustment layer is
only affecting the rust texture.
| | 03:35 | There is our finished result.
| | 03:37 | We can just refine that by coming and
adding a layer mask to the texture and
| | 03:44 | painting on that layer mask with a
black brush set to less than 100% Opacity,
| | 03:52 | just to brush out some of that texture
where we might have a bit more than we
| | 03:56 | want, and if we go too much one way,
press the X key, and you can paint it back in.
| | 04:01 | So when working this way using
photographic textures the appropriate blending
| | 04:06 | mode is just part of the equation,
and then we need to combine that with
| | 04:10 | Opacity, layer masks, and
other adjustment layers.
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| Blending textures with Hard Light| 00:00 | We've seeing working with Soft Light;
| | 00:02 | I'm using that to
integrate our texture into images.
| | 00:04 | How about working with Hard Light which
is going to give you a more contrasting
| | 00:08 | result as it names suggests?
| | 00:10 | Here we have a candle and a
wineglass photographed on a wooden table.
| | 00:17 | Now I didn't know that because my friend Todd
who has supplied this image to me told me that.
| | 00:21 | But it's a very interesting image.
| | 00:22 | Images like this I really good to work
with, because they're great to use as
| | 00:27 | textures and they're
really easy and fun to take.
| | 00:29 | You just get your camera and you shake it
vigorously while to pointing a light source.
| | 00:34 | Of course, results are unpredictable,
but they can work out really well and
| | 00:39 | they can add an instance dynamism to
images like this which otherwise might
| | 00:43 | look little bit static.
| | 00:46 | When we put this on separate layer and
we change the Blend mode to Hard Light,
| | 00:49 | we get something like that and
what could be easier than that?
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| Blending groups| 00:00 | Here I have a grungy effects
achieved by blending a text image on to a
| | 00:04 | photograph of Battersea Power Station.
| | 00:06 | Now I'm using the Multiply Blend mode
here for this group that contains the
| | 00:12 | texture along with a couple of
adjustment layers, but the point I really want
| | 00:16 | to emphasize with this is that we can
get a different result when we apply
| | 00:19 | blending modes to groups than we can
necessarily get when we apply blending
| | 00:23 | modes to individual layers.
| | 00:26 | Also you'll notice that there is a
layer mask applied to the group rather then
| | 00:30 | to the individual layers and this is way of
allowing us to mask multiple layers in one go.
| | 00:37 | So I'm going to come now to the starting
stage which is two layers one on top of
| | 00:41 | the other and one is the texture and
one is the image of the Power Station.
| | 00:46 | So what I'm going to do first of all is
I'm going to select this and see what we
| | 00:50 | get when we make it multiply.
| | 00:52 | Okay, well that maybe just for you
after I think it's a bit too much, so I'm
| | 00:56 | going to need to make some adjustments to this.
| | 00:58 | Now, I only want the texture from the
texture layer, I don't want the color as well.
| | 01:04 | So I'm going to add black
and white adjustment layer.
| | 01:08 | I know that I want to limit this to
adjust the texture so I'm holding down the
| | 01:11 | Option or Alt key when I choose that
and I'm choosing that option Use Previous
| | 01:15 | layer to Create Clipping Mask.
| | 01:18 | And now the texture is in black and white
and that is being super imposed onto the image.
| | 01:23 | Well, that's okay but I
would like to go further still.
| | 01:26 | I'd like to really bring out the
black and white quality of this texture.
| | 01:32 | Right now, it's a bit too flat so I'm
going to add a Levels adjustments to it
| | 01:39 | and get my white points and I don't
bring that way over to the centre and I'll
| | 01:45 | bring the black point slider
into the centre a bit as well.
| | 01:49 | Now we know that the Multiply Blend
mode will neutralize white, so all of
| | 01:54 | this stuff that I have now made
white, when we see it against the image
| | 01:59 | that's just going to fall away.
| | 02:01 | On the other hand, if we wanted to
neutralize black which is going to be
| | 02:05 | interesting I know this one what we want,
but if we did one neutralize the black
| | 02:08 | we could go to the screen and you'll see
a little black parts of the texture now
| | 02:12 | fall away and that's you know I'm
start to reconsider this already that that
| | 02:15 | looks quite interesting I think it
looks like the remnant of the tone poster.
| | 02:19 | But let me continue with the
original intent and that is to work with the
| | 02:24 | Multiply Blend mode.
| | 02:25 | Now what I'm going to do is I'm going
to selects these layers that collectively
| | 02:29 | make up the texture and put them into a
group Command+G or Ctrl+G, and then I'm
| | 02:33 | actually going to come and change the
blend mode of the texture back to Normal,
| | 02:39 | but change the blend mode
of the group to Multiply.
| | 02:43 | Okay, we want to further integrate
the two and here is a useful trick.
| | 02:49 | I'm going to use the grayscale values of the
image itself as a layer mask for the group.
| | 02:57 | So I need to turn off all the other
layers so that all see is the image itself,
| | 03:02 | and then I can come to the Channels
panel where I'm going to hold down my
| | 03:07 | Command key or Ctrl key and click on
the RGB the composite channel to load the
| | 03:13 | selection of the image.
| | 03:15 | then I'm going to come back to layers and to
the group where I'll make that into a layer mask.
| | 03:23 | So if I look at the layer mask it's
looks that's the grayscale version of the
| | 03:27 | image and if we disable that, that's
how it looks before and the blacks it's
| | 03:32 | just a bit too strong, but when we Shift+Click
on that that's how it looks now.
| | 03:36 | And in addition to this we might also
just want to bring down the Opacity on
| | 03:40 | that, so that we can not
overwhelm the background image.
| | 03:45 | So two interesting points here, the
first is that you can change the blend mode
| | 03:50 | of the group rather then the individual
layers to get a different effect and you
| | 03:54 | can apply a layer mask to a group
rather then two individual layers.
| | Collapse this transcript |
| Blending textures with layer masks| 00:00 | When you want to take your texture and
really make it a part of the image then
| | 00:05 | you might consider this technique.
| | 00:07 | It's always difficult to tell which
technique is in going to work best, whether
| | 00:10 | it's using layer blending modes or
whether it's using this technique of actually
| | 00:15 | taking the texture and using that
texture as a layer mask for your image.
| | 00:19 | So there is certain amount
of trial and error involved.
| | 00:22 | Here we are using a layer mask;
| | 00:24 | we are not using blending modes.
| | 00:27 | We have a texture and the texture is
this and that texture has been taken and
| | 00:33 | applied as a layer mask to this image
layer and when we see the whole effect
| | 00:40 | it looks like that.
| | 00:41 | So we're really making the
texture a part of the image layer.
| | 00:45 | It is still completely nondestructive
and I can hold down my Shift key and click
| | 00:50 | on that layer mask to disable it.
| | 00:52 | Let's switch back over to our starting
point right here where we have the image
| | 00:59 | and we have the texture.
| | 01:00 | I am going to turn the texture on
first of all and here's how we make a
| | 01:05 | texture mask, you will need to
turn off all other layers that may be
| | 01:10 | interfering with things temporarily.
| | 01:12 | So all we want to see is that texture
that we want to make into the layer mask.
| | 01:18 | When you are done that go to your
Channel's panel and hold down your Command
| | 01:23 | key, or your Ctrl key and
click on the RGB channel.
| | 01:26 | That's going to load the
grayscale values for your image.
| | 01:30 | And if we now go to the layer's panel
we can turn that texture layer off and
| | 01:36 | it's to the background layer we that we
want to use the texture as a layer mask.
| | 01:40 | I will first of all need to unlock that
just by double-clicking on it, and then
| | 01:45 | I can come down here to add the layer mask.
| | 01:48 | How it looks is going to very much
depend upon what are the gray values of your
| | 01:53 | image, if it looks like this it's
because the grays are too dark and because
| | 01:58 | they are too dark dogs
they are obscuring the image.
| | 02:00 | So what we need to do is work on
the Contrast of the layer mask.
| | 02:04 | Now this is not the image itself, this
is just the copy of the image used to
| | 02:10 | mask our house picture.
| | 02:13 | So when you clicked on to the layer
mask, and you know you run it because you
| | 02:16 | have the four corners around its
thumbnail, press Command+L, Ctrl+L to go to
| | 02:21 | levels, and then we need to
massively boost the Contrast.
| | 02:25 | I am going to do that with the black
point slider and that's not going to make
| | 02:28 | much difference, it's the white
point slider that's going to make all
| | 02:31 | difference, because by introducing
more white into the mask we are allowing
| | 02:35 | ourselves to see more of the image, but
the image is coming through the texture.
| | 02:41 | So the further I go the more of the image we
will see and I am going to stop about there.
| | 02:46 | What we can also do here is put a
background color behind it and I'm going to
| | 02:53 | choose a solid color layer and may be
we will start out with black and see how
| | 02:57 | that looks, and then I am going to
drag that underneath the image layer and
| | 03:01 | that's how a black solid layer will look.
| | 03:04 | What about if we were to go with a
slightly off-white, I think I am going
| | 03:10 | to stick with that.
| | 03:11 | But it's worth mentioning that the
layer mask is knocking a hole in the image
| | 03:16 | layer itself and where the layer mask is
black we're seeing through the image to
| | 03:22 | whatever is beneath it.
| | 03:24 | Where the layer mask is
white we are revealing the image.
| | 03:27 | And because this is by its very nature,
so textural when it's applied to the
| | 03:33 | image that's how it's going to look.
| | 03:34 | The texture layer that we derive the
layer mask from is currently turned off and
| | 03:40 | we could actually delete it.
| | 03:42 | It has served its purpose and it's not
actually factoring into the appearance of
| | 03:46 | the image in its present state.
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| Creating an antique poster| 00:00 | Creating this antique poster
involves using a lot of the techniques that
| | 00:04 | we've used already but also that's
something new here and that something new
| | 00:11 | is used to really integrate the creases of the
background of the paper into the type itself.
| | 00:17 | This is the finished version and we
begin with a field of black and on top
| | 00:23 | of that we have the paper and it's got
some torn edges, we are also going to
| | 00:26 | see how we can do that.
| | 00:27 | And then I have the Type elements and
an additional layer of the copy of the
| | 00:34 | texture, which is set to the Multiply blending
mode, which is at the top of the layer stack.
| | 00:39 | But the main event here is the layer
mask that is applied to the group, the
| | 00:43 | Type group when I turn this off or
disable it by holding down the Shift key and
| | 00:47 | clicking on it you'll see that we lose those
creases and when I turn it on they come back.
| | 00:54 | So I am going to switch over now to
the starting point and I'm going to add a
| | 01:02 | new layer beneath my texture layer.
| | 01:05 | I am going to hold down the Command
key when I click on Create new layer and
| | 01:09 | it's going to give me a layer beneath that.
| | 01:12 | I am going to press Alt and the Backspace,
Delete key to fill that layer with black.
| | 01:16 | Then I am going to come to the texture
layer and rather than define the area
| | 01:23 | with a Marquee Selection tool, which is
going to be bit too regular I am going
| | 01:28 | to draw around the border using my Lasso.
| | 01:31 | And if this is a bit rough it's because I
am doing it with a mouse but that's okay.
| | 01:40 |
| | 01:40 | That maybe is a little bit too rough and I
just want to slightly amend it down here.
| | 01:46 | So I am just going to hold down my
Alt key, clip off those bits there.
| | 01:51 | Okay I am now going to use that
selection as my layer mask and then while I am
| | 01:56 | on the layer mask I am going
to come to my Torn Edges filter.
| | 02:00 | It was the last filter that I used so
it's right there under the Filter menu.
| | 02:05 | If I choose it from there it will
be applied with the last values used.
| | 02:09 | If I hold down the Alt key I can
actually open up the dialog for Torn Edges.
| | 02:14 | But it probably wasn't the last filter
you used so you will need to come down
| | 02:18 | to the Sketch group and you will find it
there and you will also find it in Filter Gallery.
| | 02:26 | Now here I am just going to make the
edges of the layer mask which will in turn
| | 02:33 | make the edges off the
image and little bit fuzzy.
| | 02:37 | And since it was the last filter that I
used these values that are in here just
| | 02:42 | happen to be the ones that I want,
but let's see what's going on here.
| | 02:48 | So if it's taken all down Image
Balance this is the balance between the black
| | 02:52 | and the white and I want that somewhere
on the middle, and then I need to smooth
| | 02:57 | it out a bit and I'm also
going to now increase the Contrast.
| | 03:04 | I got a bit too much fuzziness going on
around there so I am going to increase
| | 03:08 | the Contrast until that fuzziness goes
away and that's how it's going to look in
| | 03:14 | the context of the image.
| | 03:15 | If I come to my Type group and I make
the blending mode of that group Multiply
| | 03:22 | we do see a shift in color and I'm not
worried about that, in fact I prefer it
| | 03:27 | like this, but we now do get some of
the folds of the paper beneath being seen
| | 03:34 | through the type, but not enough.
| | 03:36 | I'm also going to do this.
| | 03:37 | I am going to select the texture and
I am going to duplicate that and I am
| | 03:40 | going to drag a copy of that above
the type layer and I am going to set its
| | 03:46 | blend mode to Multiply.
| | 03:48 | That's added some more drama to
the whole thing making it darker.
| | 03:52 | So maybe we don't want it quite as dark as that.
| | 03:55 | I am going to type down the Opacity.
| | 03:58 | And we have inherited the Gradient
Overlay from that original texture layer.
| | 04:02 | I don't think we need it again so I
am going to throw that away, but that's
| | 04:07 | adding a bit more of the
texture now seeing through the type.
| | 04:11 | But here is where is where
it's really going to work for us.
| | 04:15 | I need to disable that layer mask for
a moment and set the blend mode of this
| | 04:21 | top layer back to normal and its
Opacity to 100 so that we see the texture that
| | 04:28 | we are now going to turn into a layer mask.
| | 04:30 | So I am going to come to the Channels panel.
| | 04:33 | I am going to Command+Click on the
RGB channel and return to the layers.
| | 04:40 | We can turn this one off for a moment,
come to the Type group and I am going to
| | 04:46 | make that into a layer mask right there.
| | 04:48 | Now that's just had an overall dulling
effect not what we want at all because
| | 04:53 | the gray values are partially
obscuring the type, but what we are going to do
| | 04:58 | now is on this layer mask and I am
going to Alt+Click on it so that we can see
| | 05:02 | the mask by itself is we are
going to run the Find Edges filter.
| | 05:07 | If I come down to Stylize and then
choose Find Edges it's going to do just that,
| | 05:14 | it's going to do just that.
| | 05:14 | It's going to really boost the contrast
on those edges and now when we see that
| | 05:19 | in the context of the image we can see
we are already working the folds of the
| | 05:24 | paper into the type itself.
| | 05:26 | I am going to turn this layer back on,
re-enable its layer mask, set its Blend
| | 05:32 | mode to Multiply and reduce its
Opacity back down to what it was and there is
| | 05:39 | our finished result.
| | 05:41 | The nugget of information here that is
new and exciting about this particular
| | 05:46 | technique is using the layer mask but
then running the Find Edges filter on
| | 05:52 | the layer mask to really bringing up
the creases on the folds that are in the
| | 05:58 | texture.
| | Collapse this transcript |
| Blending mode sandwich| 00:01 | In this example, we are creating a
sandwich of blend modes and we are also using
| | 00:07 | the displace filter.
| | 00:09 | I have this ornament which has been
created from a shape layer and then saved as
| | 00:15 | a smart object and we want to blend
this onto the crumpled paper background.
| | 00:21 | And in order to do that I have a copy
of the background at the bottom of my
| | 00:25 | layer stack I have a copy of the
background at the top of my layer stack.
| | 00:30 | I am changing the blend
mode of the ornament itself.
| | 00:34 | I have a copy of the texture of the
crumpled paper texture being used as a layer
| | 00:40 | mask on that ornament.
| | 00:43 | In addition to that we have also
applied a copy of this crumpled paper texture
| | 00:49 | as a Displacement map.
| | 00:51 | So let's see how this works.
| | 00:53 | I'm going to come to the starting
point and first thing I'll do is change the
| | 00:57 | blend mode of that to Multiply and
that right there is allowing some of the
| | 01:01 | texture to come through.
| | 01:02 | Then I'm going to come to the background
layer and I'm going to just brighten it
| | 01:08 | up a bit by applying a Levels
adjustment layer and also make it a bit warmer by
| | 01:15 | using a Color Balance to
go slightly more to Yellow.
| | 01:20 | Then I am going to copy that layer and
coming to select the crumpled paper layer
| | 01:25 | command+J, or Ctrl+J to copy it drag
that copy above to the top of the layer
| | 01:31 | stack and make it's blend mode Overlay.
| | 01:34 | There is the before and there is the
after and you'll see with each of the steps
| | 01:40 | we are bringing in more of the
texture to the ornament itself.
| | 01:45 | Now I'm going to hide all
layers above the background layer.
| | 01:50 | Come to my Channels panel Command+Click,
or Ctrl+Click on the RGB channel to
| | 01:56 | load the grayscale values.
| | 01:58 | Return to my layers where I'll Alt+Click
on the Eyeball of the one visible layer
| | 02:04 | to turn them back on.
| | 02:07 | Come to my ornament layer and make that
active selection into a layer mask and
| | 02:13 | it will look like that.
| | 02:14 | Now that's going to fade the image
quite considerably, because there are too
| | 02:18 | many gray values in that layer mask.
| | 02:21 | So I'm going to now
increase the contrast on that.
| | 02:23 | Command+L, or Ctrl+L will bring up my
Levels where I'm going to get the White
| | 02:29 | point slider and drag
that over towards the center.
| | 02:36 | And now if I hold down my Shift key
and click on that there is the before
| | 02:40 | there is the after.
| | 02:42 | And it's not having a whole lot of
effect as we actually obliterated most of
| | 02:47 | it, but you can see down here and up in the
top left it is strengthening some of the folds.
| | 02:53 | So let's have that turned on.
| | 02:56 | Finally, what I'm going to do
is click onto the layer itself.
| | 03:01 | I'm now going to run a displacement map,
so I'm going to come to the Filter menu
| | 03:05 | and down to Distort and then choose Displace.
| | 03:09 | Exactly how much you choose to
displace it's going to really depend up on the
| | 03:12 | nature of the image that you're working
with, but I'm going to displace by 5%.
| | 03:17 | And then when I click OK I need to
find the image that I want to displace my
| | 03:25 | layer with and that image is a copy of the
crumpledpaper has to be saved as a PSD file.
| | 03:31 | So I am going to click Open that's what
it looks like and you can see that its
| | 03:36 | roughening up the edges and it's
helping to work in the edges of our pattern
| | 03:41 | onto the crumpled paper.
| | 03:45 | And if that is the wrong amount of
Displacement if we want more or less, because
| | 03:50 | we've applied this as a smart filter we
can just double-click on that and return
| | 03:55 | to it here and let's see what it
would look like if we had say 7.
| | 03:58 | We have to choose the image again I
think that's probably a bit too much I'm
| | 04:04 | going to go back to how it was.
| | 04:05 | I'm pressing Command+Z, or Ctrl+Z and
we'll go back to a displacement of 5.
| | 04:12 | So there is our end result we've
got an overlay blend mode at the top.
| | 04:18 | This is itself set to multiply.
| | 04:21 | We've got a layer mask applied to
that layer, and then we've also run a
| | 04:26 | displace filter on it and as a
result is really integrated nicely into a
| | 04:32 | crumpled paper background.
| | Collapse this transcript |
| Blending texture from a pattern fill| 00:00 | Here we have a fictional record cover,
remember records and this record has been
| | 00:06 | played so many times that you can see
its outline coming through the record
| | 00:10 | cover and that's what we're going to do
using some texture and we're going to do
| | 00:14 | that using a Pattern Fill layer.
| | 00:16 | So I'm going to switch over to our
starting file which looks like this.
| | 00:22 | It's just a very simple piece
constructed with several Shape layers.
| | 00:27 | First of all, I'm going to add a layer
of Noise just to give a bit of texture to
| | 00:33 | these jigsaw pieces in the foreground.
| | 00:35 | Let's call it Noise.
| | 00:38 | I'm going to make the Blend
mode of this Overlay, Fill with
| | 00:40 | Overlay-neutral color.
| | 00:41 | That's going to look like that and
it's looking like that because it's inside
| | 00:48 | the group, I need to drag it outside
the group and now it's having no visual
| | 00:52 | effect whatsoever, because it's a
Overlay neutral gray and I'm now going to come
| | 00:59 | to the Filter menu and choose Noise>
Add Noise and let's add quite a lot,
| | 01:06 | probably more and I would really about I
just want to make sure that you can see
| | 01:09 | it when you are looking on a small
screen, so if we zoom in, we can see we have
| | 01:15 | got some texture there.
| | 01:18 | Next, what I want to do and this is main
event here is I want to add a pattern layer.
| | 01:24 | Now it's very rare that I do this, but
it works just great in this particular
| | 01:29 | context and the Pattern that I'm
going to choose is one called Fibers.
| | 01:35 | Now if I don't see Fibers and I don't,
it's because it's not in one of my loaded
| | 01:41 | patterns and it is a part of
the Grayscale Paper pattern set.
| | 01:46 | So I'm going to choose that and rather
then append this, I'm going to click OK
| | 01:49 | to replace the existing patterns.
| | 01:52 | Fibers 1 is what I'm off to and I'm going
to click OK and it would look like that.
| | 02:00 | Now I'm going to fill its layer Mask with black.
| | 02:04 | Black is currently my background color,
so I'm going to press Command+Delete
| | 02:07 | or Ctrl+Backspace key.
| | 02:10 | Now what I'm going to do is call
into action a couple of pen paths I
| | 02:16 | already have in this file.
| | 02:17 | I just drew these using the Ellipse
tool and I drew them in this mode.
| | 02:23 | So they end up as paths and I've saved them.
| | 02:24 | I've got one for the circumference of
the record and then one for its inner ring.
| | 02:31 | I'll turn this one on first of all.
| | 02:32 | Now all I'm using this for is just as
a visual guide and nothing more, so I'm
| | 02:38 | going to make sure that white is my
foreground color, choose a brush, nice big
| | 02:44 | brush and I want it to be soft as
well and then within an Opacity down
| | 02:53 | somewhere, let's down off around just 27
% say, and then I'm just going to tab in
| | 03:00 | around and that's way too much.
| | 03:01 | So I've got a brush size that is too big
and I'm going to turn that down and I'm
| | 03:08 | going to turn my Brush
Opacity down a bit as well.
| | 03:11 | So now I'm just going to sweep around in
the corners a bit, something like that,
| | 03:19 | so we're bringing in some of that texture.
| | 03:21 | I'll come to my Path panel, I'll turn on
the smaller circle and I'll do much the
| | 03:29 | same thing and I just do suggest that
this album by the sadly undiscovered band,
| | 03:35 | the missing pieces is at least for
person so popular that it gets played so
| | 03:41 | often and we can just see the
impression of the record coming through on the
| | 03:46 | jacket and that's the effect that we get.
| | 03:49 | Now if that's a little bit too strong,
we can come and adjust the Opacity on the
| | 03:55 | Layout just to turn it down a bit.
| | 03:57 | So there's just one example of
something that we can do with a Pattern Fill
| | 04:01 | layer combined with a layer Mask and in
this case using these two pen paths just
| | 04:07 | for visual guidance.
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| Applying texture to an uneven surface| 00:00 | So here we're going to apply
texture to an uneven surface.
| | 00:03 | So I am going to try and make it
look like she really is a cheetah woman
| | 00:06 | rather than she has just had a cheetah
texture laid on top of her and then a
| | 00:12 | Blending mode applied.
| | 00:13 | Let's take a look at the layers panel
with the finished version and there is
| | 00:16 | quite a lot going on here.
| | 00:19 | So I am just going to switch over to
the starting version and then tell you
| | 00:24 | about all these things as and when we go along.
| | 00:26 | I pulled off my layers panel so that we
can have a bit of growing room with this.
| | 00:31 | Here is our starting point.
| | 00:33 | We've got the background layer.
| | 00:34 | On the background layer
we have a Gradient Overlay.
| | 00:36 | The Gradient Overlay is applying a
vignette, darkening of the edges.
| | 00:41 | On top of that we have the face and
the face has a layer Mask applied to it,
| | 00:46 | masking out the background.
| | 00:47 | First thing we want to do is apply a
Bevel and Emboss effect to this layer.
| | 00:52 | So I am going to come down to my layer
Effects>Bevel and Emboss and the type of
| | 00:57 | Bevel Emboss I am after is a Texture Bevel.
| | 01:00 | Now there are a number of settings
involved here, and just so that you don't
| | 01:04 | have to watch me move around one of my
sliders and trying to replicate them, I
| | 01:08 | am just going to apply a style
that I've already pre-prepared.
| | 01:11 | So I am going to come out to my Graphic
Styles panel right there and slide down
| | 01:17 | and it is this last one in the
list, and it looks like that.
| | 01:20 | So let's go and have a look
exactly what's going on here.
| | 01:24 | It's a Bevel and Emboss texture
and it's using the Cheetah Texture.
| | 01:28 | So I have pre-saved this as a pattern
and to do that, you would need to turn
| | 01:35 | everything else off, so all you
have is the cheetah and then choose
| | 01:37 | Edit>Define Pattern.
| | 01:39 | So with that in place, I am using that
as the texture, scale at 100%, and these
| | 01:48 | options chosen, I've changed the color
of the Highlight mode to sample the brown
| | 01:52 | from the cheetah spot.
| | 01:54 | The key here is that it's an Outer Bevel.
| | 01:57 | If I make this an Inner Bevel, it
just looks well kind of interesting, but
| | 02:01 | not what we are after.
| | 02:02 | So the Outer Bevel is beveling the
area around her face, and giving the
| | 02:08 | impression that she is sort of
pushing up out of the texture.
| | 02:13 | Now, on top of this, we have a Black &
White adjustment layer, and this Black &
| | 02:18 | White adjustment layer is set to Tint,
and it is clipped to the face layer.
| | 02:24 | I am going to hold down Option
or Alt and click right there.
| | 02:28 | Now what we don't want to happen is for the
eyes and the mouth to be affected by this.
| | 02:32 | So I am going to come to my Paths
panel where I have a work path, or rather
| | 02:36 | Path 1 already prepared.
| | 02:38 | I am going to Command+Click on that
to make that path into a selection.
| | 02:43 | On that layer Mask I am going to
fill that selection with black.
| | 02:47 | So that restores the
eyes and the mouth to color.
| | 02:51 | Next thing I want to do is make a
duplicate of the background layer.
| | 02:54 | Let's turn the Gradient Overlay back on;
| | 02:57 | Command+J will duplicate it.
| | 03:00 | I am going to drag it up to the top.
| | 03:02 | I am going to clip it, holding
down the Alt key, clicking on the line
| | 03:05 | between the layers.
| | 03:07 | I am going to throw away the Gradient
Overlay from this particular one and
| | 03:11 | that's not going to look like this.
| | 03:13 | But what we want to do here is change
its Blending mode to Multiply and that's
| | 03:18 | going to allow the texture to come through.
| | 03:21 | We don't want the eyes and the
mouth to be affected by this.
| | 03:24 | So I am going to apply the layer Mask
to this, but before I do that, and it's
| | 03:28 | important that I do it in this order,
I want to scale this layer, so that we
| | 03:34 | give the impression that it's closer to us.
| | 03:36 | I am going to reduce the size of my
image, and I am going to press Command+T or
| | 03:42 | Ctrl+T to put a transformation
rectangle around that, and then holding down
| | 03:47 | Option and Shift, I am going to scale
it up to about 106% and press Return.
| | 03:56 | Now, I'm going to apply a Pinch Filter to this.
| | 03:58 | Before I do that, I am going to
Convert for Small Filters, then come to the
| | 04:02 | Filter menu and choose Distort>Pinch.
| | 04:07 | I am going to pinch it by this amount
-30, that's going to give it a convex
| | 04:11 | effect and we can see what that's doing.
| | 04:14 | It's pushing the texture out towards us.
| | 04:16 | Let's increase my view size.
| | 04:19 | I now need to restore the eyes and the
mouth and I am going to do that by just
| | 04:24 | burring the layer Mask that we have
already made here, holding down the Option
| | 04:28 | or Alt key, and dragging that
on to the background copy layer.
| | 04:33 | Next, I would like to bring out some of
the detail in the face, and I am going
| | 04:38 | to do this with a couple of adjustment layers.
| | 04:41 | So I need to turn off these layers for
the time being and the background layer
| | 04:46 | as well and the Bevel and Emboss effect
and the reason I'm doing this is because
| | 04:51 | I want to select the mid-tones and the
highlights, using the Color Range tool.
| | 04:59 | But I don't want anything else
factored into that selection.
| | 05:02 | So I am going to come to select the face
layer, select Color Range, and from the
| | 05:09 | Sampled Colors dropdown, I am going to
choose Highlights, click OK, and then I
| | 05:14 | am going to make that into
a Levels Adjustment layer.
| | 05:17 | I am going to drag that up to the top
and we will come back to that in a moment.
| | 05:24 | I am going to return to the face,
back to Color Range and now I am going to
| | 05:29 | choose the Midtones.
| | 05:30 | I am going to do the same thing;
| | 05:34 | Levels, drag that up to the top, better
name these just so that we know what's what.
| | 05:41 | Lastly, we want the shadows; there aren't many.
| | 05:51 | So what I am going to do with the
shadows once we've got the selection of the
| | 05:54 | shadows, I am just going to add
those to the layer Mask of the Midtones.
| | 05:59 | So, on that layer Mask, I am going to
fill that with white which in my case
| | 06:04 | since white is my background color;
| | 06:06 | Command+Delete or Ctrl+Delete.
| | 06:09 | Now, we can turn everything back on, and we
can kind of make these do something for us.
| | 06:18 | So we want to increase the contrast.
| | 06:20 | I'm on the Midtones layer.
| | 06:22 | See as I drag these sliders around,
bringing the White Point slider towards the
| | 06:26 | center, the Gray Point slider to the right.
| | 06:28 | I am going to go to the Highlights
and essentially do the same thing.
| | 06:32 | I am liking the effect with the
Midtones, I am not liking the effect so
| | 06:37 | much with the Highlights and the
problem with both is that both are
| | 06:42 | shifting the color.
| | 06:43 | So I am going to change the Blend mode of
these layers to Luminosity; that's better!
| | 06:51 | Let's just take a look at what they are doing.
| | 06:52 | So Midtones, it's really bringing out
the shadows and in fact I think we need to
| | 06:57 | bring them out some more.
| | 06:58 | So I am going to really up the shadow
detail and you can really see it coming
| | 07:02 | out underneath her chin.
| | 07:07 | And Highlights, I am just brightening
everything overall, but it's mainly the
| | 07:12 | Midtones that are adding-in
some tonal value back to the face.
| | 07:18 | Continuing on this theme, I am going to
add an additional layer at the top, and
| | 07:23 | this is going to be a Dodge Burn layer.
| | 07:24 | I am going to hold down my Option or
Alt key, click on Create new layer, and
| | 07:32 | I will call it dodge and burn,
although it's going to be mainly burning,
| | 07:35 | making things darker.
| | 07:37 | mode will be Overlay and I am going to
fill it with Overlay neutral color, and I
| | 07:44 | am going to clip it to everything, hold
down the Alt key, and click on the line
| | 07:47 | between that and the layer that is beneath it.
| | 07:49 | Now, I choose my Brush
tool and painting in black.
| | 07:54 | I have my Opacity down, low about 15%,
and wherever I see an area of shadow, and
| | 08:01 | I am working with a large soft brush,
I am going to paint over that to
| | 08:06 | accentuate that shadow a little bit more;
| | 08:10 | especially on the cheekbones, the
eye sockets around the nose, little bit
| | 08:20 | around the lips, but with a much smaller
brush, on the shoulder, and on the collar bone.
| | 08:28 | Now, if I do this too much, you can
see that it's starting to shift the color
| | 08:36 | slightly, so I might just want to tone that
down a bit by going to Soft Light as my Blend mode.
| | 08:41 | Now, there is something that's
bothering me, and that is the lips and the eyes,
| | 08:46 | the lips especially make
her look like she is Mrs.
| | 08:50 | Potato Head with the lips just stuck on.
| | 08:53 | So we need to rectify that and this
error comes from me having used a path
| | 08:58 | without feathering or any sort of softening
of the edges, using that as the layer Mask.
| | 09:03 | So let's address that.
| | 09:06 | There it is right there and I think what I
am going to do is get myself a nice big brush.
| | 09:14 | I am going to get rid of that completely.
| | 09:17 | I just want to paint the lips back in.
| | 09:19 | So now, I am going to switch back to black.
| | 09:22 | I have got my fancy Wacom Tablet here
which is going to make this so much easier.
| | 09:31 | Now, painting in black, I'll just go
over the lips, and we can bring them in
| | 09:35 | much more softly, and much more
realistically than they were before.
| | 09:41 | Then the eyes, they've shifted a bit with
the adjustment layers that we have applied.
| | 09:46 | So I am going to come in first to the
Highlights and again painting in black,
| | 09:50 | just go over them to make sure that
we're not losing any of the eye color.
| | 09:55 | I think these are on the
Midtones that we are, okay, all right!
| | 09:57 | Now, we can restore the eyes to their
original color, and now let me zoom out.
| | 10:10 | That looks a whole lot better.
| | 10:12 | So feel free to edit yours, and
tweak yours just to your own liking.
| | 10:17 | But you can see that there are
number of steps involved but it's really
| | 10:19 | worthwhile taking these different
steps to make it look like this woman is
| | 10:25 | really inhabiting this cheetah skin
rather than it's just a piece of cheetah
| | 10:30 | fabric that's been slapped on top
of her and then a Blend mode applied.
| | 10:34 | So I hope you'll agree it's worth the extra effort.
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|
|
7. Creating Textures with Artistic and Sketch FiltersCreating a watercolor effect| 00:00 | Here is one way we can create a
watercolor effect and really work the texture of
| | 00:05 | the watercolor in to the
texture of the paper layer below.
| | 00:09 | So here is our finished version and
here I have just a layer of flat color and
| | 00:16 | to this layer I've applied the Note
Paper filter and then on top of that we have
| | 00:21 | the watercolor and without the filter it
would look like that and you see I have
| | 00:26 | also painted in the edges on the layer
mask get a nice effect to frame the image
| | 00:32 | and then just to compensate for the
darkening of the watercolor filter I've
| | 00:36 | added an Adjustment layer at the top.
| | 00:38 | Here is our starting point;
| | 00:41 | and the first thing I'm going to do is
turn off the picture layer and come to
| | 00:44 | he paper layer which is currently a small
object so I can apply Smart filters to it.
| | 00:52 | Now I am going come to the Sketch group
and to Note Paper and I think I may be
| | 00:59 | want to take the relief of that down
just little bit so its not quite as bumpy
| | 01:04 | and everything else can stay as is,
so I am going to click OK to that.
| | 01:08 | Now there's the texture of my paper, so
that now when I choose my image and make
| | 01:13 | its Blend mode multiply, you are going
to see the texture through the picture.
| | 01:19 | So next, what I want to do is on the picture
layer come to my Artistic group and to Watercolor.
| | 01:27 | Now thing about the watercolor filter
if you've used it before you're aware of
| | 01:32 | this, its going to make things darker
than you would like them to be, don't
| | 01:35 | worry about that we are going to
compensate for that in the next step.
| | 01:39 | But you'll see even with the
values turn all the way down the Shadow
| | 01:42 | Intensity all the way down, the
Texture all the way down, the result is
| | 01:48 | looking kind of dark.
| | 01:50 | I want some more detail though so I am
going to increase the Brush Detail to 4,
| | 01:54 | But I want the Shadow Intensity and
the Texture down as long as ago they go.
| | 02:05 | Now to knock that back a bit further
because its still too much I am going to
| | 02:09 | come to the Filter Blending mode its
right there, double-click on that and take
| | 02:13 | that down to about 65%.
| | 02:14 | Now we are getting much
closer to what I am after.
| | 02:19 | So now I am going to add a Curves
Adjustment layer just to brighten things up a bit.
| | 02:23 | I am going to come down to my
Adjustment layers holding down my Option or
| | 02:27 | Alt key as I do this, so that I get this
option Use Previous layer To Create Clipping Mask.
| | 02:33 | I only want this to affect the image
itself rather than the paper, we can't
| | 02:39 | see the paper yet below it, but we all are
going to be revealing some of that shortly.
| | 02:44 | So if I come to my Targeted
Adjustment icon right there.
| | 02:49 | And then move into the Dark areas,
here I want to lighten these up.
| | 02:53 | So I am want to just click drag out, I
want to make sure that I am not all the
| | 02:57 | way down at the bottom of the curve,
click and drag up just to add some light.
| | 03:02 | All right that's looking good, I am
going to come to the picture layer and on
| | 03:08 | the picture layer I am going to add a
layer mask, so the layer mask is currently
| | 03:12 | no white and what I am going to do is
with a paintbrush I am going to paint
| | 03:17 | around the edges to get
that sort of rough edged look.
| | 03:22 | And to do this I am going to get the
best effect, if I use on a watercolor brush.
| | 03:27 | So come up to your brushes, now I've
set my brushes to display a small list
| | 03:31 | because when you a lot of brushes in
there its often difficult to tell what the
| | 03:34 | watercolor brush is and that's the one
I want Watercolor Loaded Wet Flat Tip,
| | 03:41 | its shape looks like that and I'm going
to switch my foreground color to black
| | 03:47 | and then start painting around the edge.
| | 03:49 | Now as I'm doing this I will want to
vary a few things I want to vary my Opacity
| | 03:56 | and also my Brush Size.
| | 03:58 | I am going to paint around a bit and
maybe knock the Opacity to 60, I am just
| | 04:05 | pressing 6 to do that and then just
to kind of mix it up a bit, put it back
| | 04:10 | up to 70, we have got a little bit too
far there so I am going to press the X
| | 04:15 | key and paint that back in and white is all on
the mask so its all completely non-destructive.
| | 04:23 | So I am just going to edge in around
these corners so I am using a Wacom tablet
| | 04:30 | and stylus to do this.
| | 04:32 | Let's make my brush a little bit
smaller, I might want to change the angle of
| | 04:39 | the brush as well, but I am
going to live with it the way it is.
| | 04:43 | I may also want to come in and choose
the other Watercolor brush that we have
| | 04:46 | available to us, the Small Round Tip and
just a bit of finessing with that may be.
| | 04:50 | I suppose this is on going thing when
working with these filters its really just
| | 04:57 | not a case of you choose the filter,
and then your job is done, you choose the
| | 05:01 | filter, and then you tweak a little
bit here and you combine the filter with
| | 05:06 | something else and then may be you go
back and you reconsider the values that
| | 05:10 | you applied which is why it's a good
idea to be using Smart filters because you
| | 05:14 | can always go back and
change your mind at any point.
| | 05:17 | Texture again is just part of the story
here and we are combining Texture with
| | 05:22 | the use of layer Blending modes, with
the use of Adjustments layer and also with
| | 05:27 | the use of layers masks.
| | Collapse this transcript |
| Painting on canvas| 00:00 | To get this look of painting on
canvas I am building up the effect using
| | 00:05 | various different layers, using much
the same approach as you might use if you
| | 00:10 | were really painting.
| | 00:11 | And I have to confess at this point
that I am not a painter so if some of the
| | 00:14 | terminology I use referring to painting
is a little bit off then please forgive me.
| | 00:19 | But let me break down the end result
for you, I'm beginning with a canvas this
| | 00:24 | has been applied using the Texturizer filter.
| | 00:27 | On top of this I have one layer that is
the under painting and just a very sort
| | 00:34 | of sketchy like version of the image and,
by the way, the photograph without any
| | 00:40 | filters applied looks like this.
| | 00:42 | On top of that I have then applied a
filter with the diffuse glow to bring out
| | 00:47 | some of the highlights and generally
make the image a bit warmer on top of that
| | 00:52 | I am bringing back some of
the detail using a dry brush.
| | 00:56 | I've then added to a border and I am
using a mixer brush in order to do this
| | 01:01 | and then to just lighten things up a
bit I have added a tone curve and to
| | 01:06 | finish the whole thing off because
in doing this thing's got a little bit
| | 01:10 | blurry, I have sharpen the whole
thing and that also helps accentuate the
| | 01:16 | texture that's behind the image.
| | 01:18 | And one last thing I didn't mention
was that we have here a layer mask on the
| | 01:23 | group, if I turn on that
top layer we can see it.
| | 01:27 | In this layer mask which is actually
the canvas texture we are compounding the
| | 01:32 | whole textural effect.
| | 01:34 | So let's start from scratch.
| | 01:37 | Here we are with the photograph;
| | 01:39 | I am going to unlock that background layer.
| | 01:41 | Now I am going to increase the canvas
size and I am going to add 100 pixels to
| | 01:49 | both the Width and Height.
| | 01:53 | And now I am going to create a new
layer beneath that, hold down the Command
| | 01:58 | key, click on Create new layer, filled
out with white, Command and my Backspace
| | 02:03 | Delete key with white as my background color.
| | 02:06 | Then I am going to convert that for
Smart Filters and I'm doing that just so
| | 02:11 | that I can keep track of exactly how
much of the filter has been applied and
| | 02:16 | then back to the Filter menu and down
to Texture>Texturizer where I'm going to
| | 02:22 | choose Canvas as my texture, Scaling of 100
%, Relief for 4, Light coming in from the top.
| | 02:33 | Now to my image and I am going to
name my layers here, I call this one
| | 02:40 | underpainting and I am going to convert
this for Smart Filters and then return
| | 02:46 | to my Filter menu and come down to
my Artistic group and underpainting.
| | 02:54 | Now here we get the chance to also apply
the canvas, we got the usual four basic
| | 03:00 | textures that we can apply here and I
am going to use the Canvas texture again,
| | 03:04 | I am going to keep the
same Scaling, same Relief.
| | 03:07 | And I am going to make this a bit more
impressionistic by increasing the brush
| | 03:14 | size, Texture Coverage I will leave as is.
| | 03:19 | Now I'm going to duplicate that
layer Command+J and on the duplicate I am
| | 03:25 | going to throw away the underpainting
filter and let's rename that, this is
| | 03:31 | one is going to be a diffuse glow and
I am going to come down to the Distort
| | 03:39 | Group>Diffuse Glow.
| | 03:42 | Now when I do this the Diffuse Glow
filter uses the background color to
| | 03:48 | accentuate your highlights and I wasn't
paying attention but I got lucky because
| | 03:54 | my background color is white
and that's what I want it to be.
| | 04:00 | So I think I am just going to
tone that down a little bit.
| | 04:08 | Now on top of this copy this layer
again Command+J and I throw away the Diffuse
| | 04:13 | Glow filter and we will rename this one
dry brush and then that's exactly what
| | 04:22 | we will add to it, Filter>Artistic>Dry
Brush and here is where we actually bring
| | 04:27 | back the detail that we lost with the
underpainting and I am going to make my
| | 04:34 |
| | 04:35 | brush size small so that I
retain much detail as I can here.
| | 04:46 | Now in order to blend these layers
together I need to change my Blend modes,
| | 04:50 | currently they are little bit normal, 100%.
| | 04:53 | So starting with the dry brush I am
going to change that one to Soft Light.
| | 04:59 | Now if we go down to Diffuse Glow and
change this one to Color Dodge but then
| | 05:04 | drastically reduce the Opacity on that.
| | 05:07 | We have got the underpainting and we
have to glow and then on top of that
| | 05:16 | restoring some of the
detail we have the dry brush.
| | 05:19 | Now in doing all of that it's made
my shadows a little bit too dark.
| | 05:24 | So I am going to now compensate for that
by coming to my Curves adjustment layer
| | 05:31 | and use my target to the adjustment,
come and find where the deep shadows are,
| | 05:37 | but from this point here I am going
to click and drag up on the curve.
| | 05:41 | Okay I like that except that it's
making my sky too bright, so I am going to
| | 05:47 | then come and use my Gradient tool, I
have foreground to Transparent Gradient,
| | 05:53 | black is my foreground color I am
just going to drag down from the top to
| | 05:59 | restore the color to the sky, I
am going to do that a view times.
| | 06:05 | So I built up a layer mask on there,
it looks like that and overrule this
| | 06:10 | adjustment layer is having that effect, just
brightening things up a bit up at the bottom.
| | 06:16 | So I am now going to create my border
using a combination of the Mixture Brush
| | 06:22 | tool, a particular Bristle Brush, I'm
using this one Flat Blunt Short Stiff, if
| | 06:28 | you don't see them listed with their
names next of them you can come to this
| | 06:31 | flyout menu here and change
it to small list or large list.
| | 06:35 | I am also using a tablet and stylus
which is why I have my brush an angle like
| | 06:42 | this, I have this z-axis which if you
are using a mouse or track pad you will
| | 06:45 | still see this daunting bristle
brush disturbingly reminiscent off the
| | 06:50 | daunting paperclip in Microsoft Word
but this does indicate the angle of the
| | 06:54 | brush when using the tablet.
| | 06:56 | I need to make sure that my Mixture
Brush settings are correct for what I want
| | 07:00 | to do, this option here which is to load
the brush off to each stroke should not
| | 07:05 | be turned on i.e. it should not
be grey, it should be unselected.
| | 07:11 | I am using this preset very wet light
mix and that's going to set these values
| | 07:16 | to how they currently are and I
want to Sample All layers turned on.
| | 07:23 | And now what I am going to is just
paint the corner out into the canvas and
| | 07:30 | because I'm not loading the brush I'm just
using the paint that's already on the canvas.
| | 07:37 | Having made the border, I am now going
to select all of these layers with the
| | 07:42 | exception of the background and I am
going to put them in a group, Command+G or
| | 07:46 | Ctrl+G.And then I am going to turn
that group off, leaving me just with the
| | 07:54 | canvas layer, there is the background, I
am going to come to my Channel's panel,
| | 07:57 | Command+Click, or Ctrl+Click on the RGB channel.
| | 08:01 | Because it's so light its going to
look like it has made the selection of the
| | 08:04 | whole canvas but it's just
loading the gray values of that.
| | 08:07 | And then turning on the group itself I am
going to add that as a layer mask to the group.
| | 08:12 | Now that's a very subtle change I am
not sure that it's going to carryover on
| | 08:16 | the video, but if I zoom in we can
really see that the texture is worked in to
| | 08:22 | the paint and that's a
result of that layer mask.
| | 08:24 | Now if I turn this off we will
disable it by holding down the Shift key and
| | 08:28 | clicking on it and there is the
before and there is the after.
| | 08:34 | And then one final finishing touch and
that is that it's not quite as sharp as
| | 08:39 | I would like it to be, so I'm going
to stamp a layer i.e. collapse
| | 08:44 | everything into one layer at the
top of my layer stack and then apply
| | 08:48 | Sharpening filter to that.
| | 08:50 | Keyboard shortcut for this useful one
to memorize is Command+Option+Shift+E you
| | 08:56 | can also do it from the menus this way
come to layers panel menu, come down to
| | 09:01 | the Merge Visible and as you
choose hold down the Option or Alt key.
| | 09:05 | That's going to make sure that you don't
collapse all of your layers into it but
| | 09:09 | you retain your original layers underneath it.
| | 09:13 | And then I am going to come to Sharpen>
Smart Sharpen and I am going to use an
| | 09:19 | amount of 150 and a Radius of 1.If we
look at that 100% view and then Command+Z
| | 09:26 | there is the before the sharpening
and there is after the sharpening.
| | 09:35 | It was a long and winding
road but we got there in the end.
| | 09:37 | We will have underpainting diffuse
glow dry brush all blended into each other
| | 09:42 | all sitting on top of the canvas, that
canvas further blended into the overall
| | 09:47 | result by applying as a layer mask,
some tonal adjustment and custom painted
| | 09:52 | border and then the whole
result sharpened on this top layer.
| | Collapse this transcript |
| Creating a rubber stamp| 00:00 | Here is another of those effects
that at some point in your career as a
| | 00:03 | graphic artist you are going to be
asked to replicate and that is our
| | 00:07 | Rubberstamp Effect.
| | 00:09 | There are many different recipes for
creating a rubberstamp and this is mine.
| | 00:13 | So here's the finished version.
| | 00:14 | I will just quickly break it down
for you, and then we will recreate it.
| | 00:18 | Black background, manila folder which
actually started its life as a wingding
| | 00:23 | character so its a simple piece of
vector art work, has some layer effects
| | 00:28 | applied to it, has a layer mask which
is roughening the edges of it then some
| | 00:32 | dodging and burning to add more texture to it.
| | 00:36 | And then in a group above this we have the
stamp which is broken down into two pieces.
| | 00:42 | There is the letters and the border of
the stamp and then the recessed part of
| | 00:47 | the stamp where we also see
some impression of the ink.
| | 00:51 | Let's start out here in our beginning
file and the first thing I am going to do
| | 00:58 | is just come to the manila folder and I
am going to turn on the layer Effects.
| | 01:03 | Let's just have a quick look at what
those layer effects are and they are these.
| | 01:08 | We have got an Inner Glow and the Inner Glow
is set to a brown color, it's multiplying.
| | 01:15 | We have a Gradient Overlay just to make the
layer a bit less uniform over the subject.
| | 01:22 | And then the main thing here is the
Pattern Overlay and if I turn that off you
| | 01:26 | will see there is the flat
color of the manila folder.
| | 01:31 | Turn on the Pattern Overlay and
what I am using here is one of the
| | 01:35 | predefined patterns.
| | 01:36 | It's from the Grayscale Paper group and
it's this one Craft Paper and I have set
| | 01:42 | the blending mode to Overlay where it
normally would look like that but we
| | 01:47 | wanted to combine with the color of the photo.
| | 01:49 | So I have set it to Overlay.
| | 01:50 | So there is our starting point, now let's
come to actually work on the stamp itself.
| | 01:56 | We need to apply a couple of filters
here and the filters we are going to be
| | 01:59 | using are Reticulation and Motion Blur.
| | 02:03 | This is a smart object so I
can apply them as smart filters.
| | 02:08 | I am going to come down to the
Sketch group where we get Reticulation.
| | 02:11 | Now Reticulation is actually a film
processing term but what it means to us in
| | 02:17 | the context of rubberstamps is very
granular texture, which I think is a much
| | 02:22 | better approximation of rubberstamp
than the actual stamp filter itself.
| | 02:26 | I am just going to cancel out of
here for a moment and point out that.
| | 02:30 | Make sure that you choose an appropriate
foreground color, I have red, the color
| | 02:33 | of the stamp chosen as the foreground
color here because that's the color that
| | 02:37 | this filter is going to use.
| | 02:41 | So the only slider that's going to make
any difference to us here is the Density
| | 02:45 | slider and if we put it all the way up
as if we had come down and stamped it
| | 02:52 | with not so much impact and since we
are counterintuitive but if we bring down
| | 02:57 | the Density it seems like we
stamped it with more impact.
| | 03:01 | Put it about there at level of 12.
| | 03:04 | And now I want to follow that up with
a Motion Blur filter because when the
| | 03:08 | stamp hits the photo there
was some blurring involved.
| | 03:12 | So to the Blur group and to Motion
Blur and I am going to twist the Angle so
| | 03:20 | that it mimics the angle of the stamp itself.
| | 03:22 | I want to have a Distance of 3 pixels.
| | 03:25 | We have the two filters
listed there as Smart Filters.
| | 03:29 | Now what I want to do is I want to
set separate the actual letters and the
| | 03:33 | border of the stamp from the recessed
portion where we get to this lighter
| | 03:37 | version of the ink and I had Alpha
channel already prepared and I am going to go
| | 03:42 | and load that Alpha 1 and when I
Command+Click on that it loads it.
| | 03:46 | So it's just essentially the red
letters and the border and I am going to use
| | 03:51 | that Alpha channel as a layer mask.
| | 03:55 | So when I click right there we can
see that what's happening now is we are
| | 03:59 | masking out the recessed portion
and I am going to duplicate this now.
| | 04:05 | Command+J and then on the copy
I am going to invert that mask.
| | 04:08 | So I click on the mask and I press
Command+I. now things look exactly the same
| | 04:16 | as they did before but the advantage
of this is that we can work on these two
| | 04:19 | parts of the stamp independently.
| | 04:22 | I am going to take down the Opacity on
this and we can also work on their layer
| | 04:27 | masks independently should we choose to.
| | 04:31 | Next, I am going to come to the manila
folder itself and above that I am going
| | 04:35 | to add a Dodge and Burn layer.
| | 04:37 | So I am going to hold down my Alt key
or Option key and click on Create new
| | 04:42 | layer and then choose Overlay
as my blend mode and Fill with
| | 04:47 | Overlay-neutral color.
| | 04:48 | So that's going to give me a layer of
solid neutral gray and on that layer of
| | 04:53 | solid neutral gray I am going to
use my Dodge tool and my Burn tool.
| | 04:57 | Mainly my Burn tool because I
want to make things a bit darker.
| | 05:00 | So I am going to choose an appropriate
brush size, nice big brush, and then I am
| | 05:06 | just going to sort of paint in over the edges.
| | 05:09 | I am going to take the Exposure
slider down a bit to about 30.
| | 05:15 | And that's really helping to bring out
the texture of the craft paper Pattern
| | 05:20 | Overlay that we applied
down here as a layer effect.
| | 05:25 | If we did want to lighten it then we
would just switch to the Dodge tool but
| | 05:28 | mainly I am concerned with making things a
bit darker and then might be I will be doing it.
| | 05:34 | And all of that exists on its own
layer so we can turn that on and off.
| | 05:39 | That's how it's working
where it's darker than 50% gray;
| | 05:42 | it's darkening what's beneath it.
| | 05:44 | I am also now going to go
to the manila folder layer.
| | 05:47 | Command+Click on that to load its
selection and then make that into a layer
| | 05:55 | mask, and then I am going to come and
choose my Brush tool and I have got a
| | 06:00 | Watercolor brush here and I am just
going to sort of brushing around the edges
| | 06:05 | and makes the edges a little less than perfect.
| | 06:07 | So now I am going to come to the
manila folder layer Command+Click on that
| | 06:13 | to load its selection.
| | 06:16 | So with the active selection I am making
sure that I am on the manila folder layer.
| | 06:20 | I am going to add that as a layer mask.
| | 06:22 | So I have made the layer mask and now I
am going to just soften the edges of the
| | 06:27 | folder, just roughen them up a little bit.
| | 06:30 | And to do this I am going to come to
Filter and Sketch and choose Torn Edges and
| | 06:36 | we have seen this one before and I
am going to done with these settings.
| | 06:38 | I want to make sure that Contrast is up
sufficiently so that I don't introduce
| | 06:43 | any grainy stuff into the
black background. That's fine.
| | 06:47 | Now in addition to that I am going
to get my Brush tool and I am going to
| | 06:51 | work with a small brush.
| | 06:54 | I am going to small Chalk 11 pixel
brush and I just want to nibble away at the
| | 06:59 | corners, just a bit, just around
them so that they are not too perfect.
| | 07:03 | So now that we have finished working
on the edges of the folder I am just
| | 07:06 | going to refine the stamp itself and I
am going to come to the layer masks so
| | 07:12 | we have that layer mask there, which
layer and layer mask, which applies to
| | 07:17 | the inset portion and I am going to
carry on using that same Chalk brush that
| | 07:21 | I was using before.
| | 07:22 | I am going to set its Opacity to 100%
and what I want to do is I just want
| | 07:26 | to roughen the edges.
| | 07:30 | And I am on the wrong layer mask, I
should be on this one down here so I need to
| | 07:33 | click on that one and I want to just
take little bites out of the edges just to
| | 07:39 | make them a little bit less perfect.
| | 07:42 | And then I am going to come to the top
layer mask, the one that is responsible
| | 07:49 | for all of this speckly stuff in here
and increase the size of my brush and take
| | 07:58 | my brush Opacity down to 50% now and
I am just going to may be come down a
| | 08:04 | little bit more to about at 30% and
just dab in there to make it a little bit
| | 08:10 | less uniform where that speckly stuff happens.
| | 08:13 | And I think we have ourselves pretty
plausible looking rubberstamp there.
| | 08:16 | This has involved the use of the
Reticulation filter, the Motion Blur filter,
| | 08:21 | multiple layers, layer masks and then
working with brushing on those layer masks
| | 08:28 | to just make things a little bit
less perfect than they were otherwise.
| | 08:32 | And also for the manila folder we
have got various different layer effects
| | 08:36 | and brushing on a Dodge and Burn layer
to really bring out the texture that's
| | 08:41 | already there.
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| Converting a photograph to a drawing with Find Edges| 00:00 | Here's a very simple and effective
technique where essentially we are going use
| | 00:03 | the lines of the image as its texture.
| | 00:07 | We will also see some of the
original texture in the background as well.
| | 00:10 | This originally began looking like this,
nice picture of a flower, but I think
| | 00:15 | it's much more interesting like this.
| | 00:17 | I got from this to the finish state, in
this way we applied a Find Edges filter,
| | 00:25 | turned it to black and white, so we
just have the black line and then on top
| | 00:30 | that, we put a copy of the layer and
then paint it through on a layer Mask and
| | 00:38 | the overall effect is that one.
| | 00:39 | I am using I bristled brush when
painting through, but you can use any kind
| | 00:43 | of the brush you like, vary the
opacity, vary the size of your brush, vary
| | 00:48 | the length of your strokes and you can get
some really interesting and very unique results.
| | 00:52 | I am going to switch now to the
starting file which is in the Exercise folders,
| | 00:57 | if you are a premium subscriber.
| | 01:00 | This is just the image by itself.
| | 01:01 | I am going to begin by
converting this for Smart Filters.
| | 01:04 | I am then going to come down to
Stylized and choose Find Edges, no options for
| | 01:09 | that filter, it just finds the edges.
| | 01:12 | Next, I'm going to make it black and
white using a Black & White adjustment
| | 01:16 | layer and next, I'm going to copy the
original image layer, select it, press
| | 01:22 | Command+J or Ctrl+J, put that copy at
the top of a layer stack, throw away the
| | 01:28 | Smart Filter that came with it and now
add a layer Mask to it and then on that
| | 01:34 | layer Mask, choose your Brush tool.
| | 01:38 | I'm going to be painting in white.
| | 01:40 | Make sure that white is your foreground color.
| | 01:42 | So I am first of all going
to fill the mask with black.
| | 01:45 | Black is currently my background
color, which means that if I Press
| | 01:48 | Command+Delete or Ctrl+Backspace key
that will fill the layer Mask with Black.
| | 01:54 | White is my foreground color now, my
Brush tool and I am going to come and
| | 01:58 | choose a Bristled Brush and I am
using this first one here and now when I
| | 02:06 | pick up the stylus of my tablet, we can see we
get the bristled brush preview thing over here.
| | 02:12 | If you want to get rid of it, you
can just click on that X right there.
| | 02:15 | I will leave it there for the moment
and now I am just going to so paint in and
| | 02:21 | as I do this, I will be varying my
Brush Opacity, I am currently at 60%, but
| | 02:27 | let's go down to say 30.
| | 02:28 | I am also possibly going to be
varying my Brush Size, right bracket.
| | 02:36 | More important than making nice
pictures of pretty flowers is the essential
| | 02:41 | component that we see here of painting
through a layer to reveal the texture and
| | 02:47 | the color of layers beneath and you
can apply this technique to any filter
| | 02:51 | whatsoever and it's incredibly
powerful when you've got an infinite range of
| | 02:56 | options for what you can do with it.
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| Combining a black-and-white halftone with color images| 00:00 | Applying a Halftone Screen to all of
your images is a radical way of completely
| | 00:05 | changing its texture.
| | 00:07 | Here we have the Halftone pattern
applied to the right-hand side of the face.
| | 00:10 | I could switch that if I click on the
layer mask of layer 1 and press Command+I
| | 00:14 | or Ctrl+I, we now have it on the left.
| | 00:17 | These halftone dots reflect the
original texture that's in there and it's done
| | 00:23 | not using the Halftone filter that is
under the Filter menu in the Sketch group,
| | 00:29 | and it's not done that way
because well, let's have a look.
| | 00:32 | If I go and apply that to the image
and we choose Halftone Pattern, we can
| | 00:39 | change the size of the dot, we can
change the contrast, but all of the dots are
| | 00:44 | going to be the same size.
| | 00:45 | It doesn't really look like a halftone.
| | 00:47 | I mean it's interesting, but it's
not what we're after in this case.
| | 00:50 | So instead we're going to approach it
by duplicating one of our channels and
| | 00:56 | then converting that channel to the Bitmap mode.
| | 00:59 | At the time of converting it to a
Bitmap, we can choose Halftone Screen, the
| | 01:03 | Screen Frequency, we then copy the
result back into the color image and then
| | 01:09 | on a separate layer we apply a layer Mask and
work into the original image however we choose.
| | 01:15 | I'm going to switch over now to the
starting image which is just a single layer
| | 01:21 | and go to the Channels
panel, here are our channels.
| | 01:24 | Let's begin by just evaluating the channels.
| | 01:28 | Command+3 is the red, Command+4,
the green and Command+5 the blue.
| | 01:33 | I want to use the Green.
| | 01:35 | I just like the tonal
values of the Green, best of all.
| | 01:38 | The Red is too light, the blue is too contrasty.
| | 01:41 | I'm now going to right-click on the
Green channel and choose Duplicate Channel.
| | 01:46 | Now very important here, we're not
duplicating this channel within this
| | 01:50 | document, we're duplicating it
and creating a new document from it.
| | 01:54 | So I need to change this here to New.
| | 01:58 | I can give it a name.
| | 01:58 | I might as well call it
Green, and then click OK.
| | 02:02 | And that's where we end up.
| | 02:04 | We're now in that new document
that's created from the Green channel.
| | 02:08 | It's now listed as Alpha 1.
| | 02:10 | I'm going to come to the
Image menu, choose mode>Bitmap.
| | 02:14 | The Output Resolution needs to be
the same as the resolution of the
| | 02:17 | original image which is 300.
| | 02:20 | The Method we're going to use Halftone Screen.
| | 02:21 | I'm going to click OK, and then we choose the
Screen Frequency, the Angle, and the Shape.
| | 02:28 | Because I want a course Halftone
Pattern, I'm going to use a Frequency of 30.
| | 02:34 | I'm going to leave the Angle at 45
and the Shape can stay round, but I got
| | 02:37 | a quiet a few different options here that
we can experiment with the different results.
| | 02:43 | That's the result it gives me.
| | 02:45 | Now based upon the feedback that I get
from that, I realized that I need to just
| | 02:50 | adjust the tonal values in the
grayscale image because I'd rather not have any
| | 02:54 | dots over here on the right-hand side.
| | 02:57 | So I'm going to undo that, and then I'm
going to go to my Levels, Command+L or
| | 03:03 | Ctrl+L and get the Wide Coin slider
and there is this spike on the right-hand
| | 03:09 | side which I'm guessing represents
these light gray values over here.
| | 03:14 | Now if I get my white point slider
and drag that to about there and then
| | 03:20 | click OK, and now we'll go through
that process again, Bitmap>Halftone
| | 03:26 | Screen>Frequency 30, and now we've got rid
of all those dots on the right-hand side.
| | 03:31 | So I'm going to Select All, Command+A,
Command+C to copy, switch back to our
| | 03:37 | original document where we're viewing
just the Green channels, so I need to come
| | 03:42 | and click on RGB, so that we're
viewing the Composite channel.
| | 03:45 | Come back to my layers panel and I can
now choose Command+V and that's going
| | 03:51 | to create a new layer.
| | 03:53 | Now this is a very symmetrical image,
so my choice here is suggested for me I'm
| | 03:58 | just going to divide the image in half.
| | 04:00 | If I wanted to, I could turn on my
Rulers, Command+R or Ctrl+R, and come to my
| | 04:07 | Preferences, go to Guides, Grids, and Slices.
| | 04:11 | Don't go to Guides, Grids, and
Slices, go to Units & Rulers instead.
| | 04:16 | I want my Ruler Units to be in percent,
which I sometimes find very useful.
| | 04:21 | Right there I see my 50 knock, so I can
use that as my visual guide, draw myself
| | 04:28 | a marquee selection.
| | 04:29 | I'm on layer 1 and now I want to just
use that as a layer Mask so I'll click on
| | 04:35 | Add layer mask, and it's going to
retain that portion for the right-hand-side,
| | 04:40 | and fill the left with black.
| | 04:42 | If that's the inverse if what we
wanted, then all we'll need to do is press
| | 04:46 | Command+I or Ctrl+I.The way to remember
how a layer Mask works is white reveals
| | 04:53 | black conceals, and we can
see that's what's going on here.
| | 04:56 | Where it's white, it's revealing the
Halftone Pattern, where it's black,
| | 05:00 | it's concealing it, and then because
we have the original underneath, that's
| | 05:04 | the effect that we get.
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| Creating a textured duotone effect with Conté Crayon| 00:00 | To achieve this two-toned textured
image I've used the Conte Crayon Filter.
| | 00:05 | Let's switch over to the starting file,
the first thing I want to do is set my
| | 00:10 | foreground and background colors because
the Conte Crayon Filter uses these to
| | 00:15 | apply color to the image.
| | 00:16 | I'm going to sample the yellow and I'm
also going to sample some color from the
| | 00:21 | petals for background color.
| | 00:23 | So I'm holding down the
Alt or Option key to do that.
| | 00:27 | And now I'm going to convert my
Background layer for Smart Filters, so I'm going
| | 00:32 | to come to the Filter menu and
down to Sketch>Conte Crayon.
| | 00:37 | Let's just get the Background and
Foreground Levels set how we want them.
| | 00:42 | So I'm going to take these all the way
down, putting up the Foreground Level to
| | 00:49 | about there and now to reintroduce the
purple in the petal areas I'm going to
| | 00:55 | bring the Background Level up, maybe
bring the Foreground Level down a bit.
| | 01:01 | So you can mix these sliders as you
need to, to get the right combination of
| | 01:05 | your Foreground and background colors.
| | 01:07 | Next, I'm going to change the Texture
that's being applied and I want to load my
| | 01:11 | own texture, and the texture that I'm
after is called waterlilyedges, and this
| | 01:18 | is actually a copy of this file with
the Find Edges Filter run on it and then
| | 01:23 | converted to grayscale.
| | 01:26 | A couple of movies previous I did an
exercise on using Find Edges Filter, and
| | 01:30 | that's what I've applied
to this copy of the file.
| | 01:33 | I'm going to load that, and that's
going to give me this effect, and now I can
| | 01:39 | work that texture in by adjusting the Relief.
| | 01:43 | I don't want to change the Scaling,
because if I do I'm going to get a weird, a
| | 01:46 | sort of ghostlike version of the
texture on top of the image, so I want to keep
| | 01:50 | the Scale at 100% but I might
want to up the Relief somewhat.
| | 01:56 | And I can also change the direction of
the Light, I'm going to have the light
| | 02:00 | coming from the Top Left, and let's
just experiment with what Invert does.
| | 02:08 | No, I think I like it not inverted.
| | 02:12 | So there is a finished version of the file.
| | 02:15 | Conte Crayon is one of several filters
that allow us to apply texture to a image
| | 02:20 | using one of those predefined textures,
Sandstone, Canvas et cetera, or by
| | 02:25 | applying our own image.
| | 02:27 | The other filters that allow you
to do are Underpainting and the
| | 02:31 | Texturizer filter.
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| Creating an abstract image with Mosaic| 00:00 | The Mosaic filter not to be
confused with mosaic tiles is one of those
| | 00:05 | filters that I very seldom use, but
every once in a while it can create an
| | 00:10 | interesting effect.
| | 00:11 | Can you guess what this picture is?
| | 00:13 | Well, it's an abstract image of the
Golden Gate Bridge and I think there might
| | 00:19 | be some creative use of
Mosaic to create images like this.
| | 00:23 | There's also a practical
purpose to using Mosaic as well.
| | 00:28 | So let me go into the
practical purpose first of all.
| | 00:30 | I am going to switch over to the starting file.
| | 00:33 | I have converted my layer for smart filters.
| | 00:37 | I am going to come to the Filter
menu down to Pixelate and Mosaic.
| | 00:42 | Mosaic Tiles, by the way, which I
have never found useful is right here in
| | 00:46 | Texture but we are after Mosaic.
| | 00:49 | So, first and foremost it's not going to
get you anything that looks like a Mosaic.
| | 00:54 | So you want to dispel the idea
immediately that's not what we are after here.
| | 00:58 | It's just going to
dramatically pixelate your image.
| | 01:02 | One practical purpose is if you ever
need to anonymize any part of your image
| | 01:07 | you know if somebody's face or a
license plate or something like that you can
| | 01:10 | use the Mosaic filter, but the other
practical purpose is and I am going to go
| | 01:15 | with Cell Size here of 30.
| | 01:18 | We can use this as a way of
building our own custom color palettes.
| | 01:23 | Let's say that I wanted to use this
image as an integral part of my design and I
| | 01:28 | wanted to create other elements on
my page in my design that use colors
| | 01:34 | suggested by this image.
| | 01:36 | Well, we have Kuler of course and
that's under the Window menu>Extensions and
| | 01:41 | that's an absolutely fantastic tool
and great fun to play with but maybe you
| | 01:46 | don't have access to Kuler or maybe and
this is a real-world example of a place
| | 01:50 | where I was teaching very recently,
the employees weren't allowed to download
| | 01:55 | things from the web.
| | 01:56 | So that it really excluded them from
using Kuler effectively because they
| | 02:00 | couldn't download the colored
themes that they saved there.
| | 02:04 | So what we are going o do is we are
going to build our own color theme.
| | 02:08 | Having made our image into an abstract
we can better determine what the colors
| | 02:12 | that really are key to the image are.
| | 02:15 | So I am going to open my Swatches panel and
then just one by one and let's say I want 5 colors.
| | 02:20 | Sample the color, Come and click on my
Swatches and we will have that grain.
| | 02:26 | Now if I don't want have to give this
swatch a name I can hold down the Alt key
| | 02:29 | when I click and where you have a
light brown and a dark blue, one other we
| | 02:36 | will have a darker blue.
| | 02:40 | So there is my Color palette.
| | 02:42 | Now let's say that I wanted to save
this color palette of maybe I want to share
| | 02:45 | with an InDesign user or an Illustrator user.
| | 02:47 | I could then come to my Preset Manager
and then my Preset Manager go Swatches,
| | 02:57 | there are my Swatches right there.
| | 02:58 | So I am going to select
those five and choose Save.
| | 03:04 | Now I might want to go to my Presets
folder that's in my Applications folder and
| | 03:09 | my Photoshop folder, Presets and Color Swatches.
| | 03:14 | I can save them here, or I can save them
wherever it makes sense for my project.
| | 03:20 | So I am actually just going to come to
the desktop and I am going to save them
| | 03:22 | right there and I will call it ggb for
Golden Gate Bridge, and then I will click Done.
| | 03:30 | Now if were to try and load that file into
Illustrator, or InDesign it wouldn't work.
| | 03:35 | It's not yet an Adobe swatch exchange
file and to make it into an Adobe swatch
| | 03:40 | exchange file we need to
jump through another hoop.
| | 03:43 | So I am not going to come to the
Swatches panel and if I choose Load Swatches
| | 03:47 | that's going to append my
swatches to what's already there.
| | 03:49 | So I don't want to choose that, I
instead want to choose Replace Swatches.
| | 03:54 | And no I don't want to
save what's already there.
| | 03:57 | I will choose my swatches file.
| | 04:01 | There are those swatches and I can
now come and choose Save Swatches for
| | 04:07 | Exchange and it's just going to save
these five rather than all the other ones.
| | 04:11 | Save Swatches for Exchange
and I will call them ggb again.
| | 04:16 | This time they will have an ase extension.
| | 04:19 | So now I can switch to InDesign and
in InDesign go to my Swatches panel and
| | 04:24 | choose Load Swatches.
| | 04:27 | Come to my desktop.
| | 04:28 | There they are and there are my swatches.
| | 04:33 | Now they are currently called Swatch 1
through 5 and that's fine but I might
| | 04:37 | also want to just go this extra step.
| | 04:39 | Select them all their in
InDesign, come to my Swatch Options.
| | 04:44 | And since I am in InDesign I probably
want these to be CMYK colors and I am
| | 04:50 | going to choose Name with Color Value and
now I have all of my colors ready to use.
| | 04:55 | So that's one potential
use of the Mosaic filter.
| | 04:58 | The other potential use, let's say that
you really do actually quite like this
| | 05:02 | very abstracted look and I have to say
it's growing on me, then how could we
| | 05:08 | take this a little bit further?
| | 05:10 | Because when we use the Mosaic filter
on the image it's not entirely going to
| | 05:16 | give us what we want.
| | 05:17 | We don't have enough
definition on the shape of the bridge.
| | 05:19 | So we want it to be a little bit more
clear that that is the Golden Gate Bridge.
| | 05:24 | So what I am going to do is I am
just going to get my Magic Wand tool.
| | 05:27 | I am going to turn my Tolerance way down,
turn Anti-aliasing off, and then I am
| | 05:33 | just going to come and
select these individual squares.
| | 05:37 | I am holding down the Shift
key while I am using that.
| | 05:43 | So now I have that whole shape selected.
| | 05:45 | I will add a new layer above that.
| | 05:46 | I will come and sample that particular color,
and then I will fill that layer with it.
| | 05:54 | So now it's a lot clearer that this is
an image of the Golden Gate Bridge, an
| | 05:58 | unexpected perhaps use of the Mosaic filter.
| | Collapse this transcript |
| Creating a reticulation effect| 00:00 | Reticulation is the formation of a
network of wrinkles or cracks in the
| | 00:04 | photographic emulsion.
| | 00:05 | The Photoshop Reticulation filter
works with your foreground and background
| | 00:10 | colors to give this kind of grainy look
to your image and in my finished version
| | 00:16 | here I've achieved this effect by
applying the Reticulation filter which gives
| | 00:20 | us that result and then adding a second
layer on top and I've changed the Blend
| | 00:25 | mode of that second layer to Overlay,
but Soft Light will also work giving us a
| | 00:30 | slightly softer result.
| | 00:31 | So I'm going to switch over to the
original image here and it's already been
| | 00:37 | converted for Smart Filters.
| | 00:39 | I have black as my foreground color.
| | 00:42 | Now I want to just apply this graininess
that comes with reticulation with black.
| | 00:48 | But if I did want to introduce color
into the image I could sample colors from
| | 00:52 | the image perhaps for my
foreground and background colors.
| | 00:55 | But I'm going to come to the Filter menu
down to Sketch and choose Reticulation.
| | 01:00 | I'm going to make my preview window
smaller by pressing Command+Minus or
| | 01:05 | Ctrl+Minus and that's the
result that I'm going to get.
| | 01:07 | Now if I wanted to push this reticulation
and if we zoom in we can see the quality of it.
| | 01:13 | It looks like that.
| | 01:14 | If we wanted to push this out into
the shadows we would move the Density
| | 01:18 | slider to the right and if we want it more in
the highlights we can bring it over to the left.
| | 01:22 | I going to leave it pretty much in
the middle and I'm going to do the same
| | 01:27 | for the foreground level and the
background level, because I want nice even
| | 01:32 | gray tones on my image.
| | 01:35 | So that's the effect I'm
going to get with these settings.
| | 01:39 | I'm now going to duplicate that layer
Command+J. I'll delete the copy off the
| | 01:44 | Smart Filters on the top layer, and
then I'll change its Blend mode to Overlay
| | 01:49 | perhaps or if that's a
little too strong to Soft Light.
| | Collapse this transcript |
|
|
8. Creating Sampled BrushesFinding and installing brushes| 00:00 | Working with sample brushes is a great
way to build texture in your documents
| | 00:04 | and there are a great many of resources out
there if we want to work with sample brushes.
| | 00:10 | Of course, we will be creating our
own, but before we get to do that I'd
| | 00:13 | just like to point out some of the many,
many places where you can get your own brushes.
| | 00:19 | The first of these being the Adobe
Marketplace and if you just type in
| | 00:23 | Adobe Marketplace in your search
engine, you'll find it and we want to come
| | 00:27 | to the Photoshop Marketplace and
once we're here we can scroll down and
| | 00:34 | Browse by category.
| | 00:35 | We have a whole category of Brushes and many, many,
many brushes to choose from. Most of them free.
| | 00:42 | It might vary tremendously in quality,
some are great, some are not so great,
| | 00:46 | but definitely worth checking out.
| | 00:49 | Another site among the many sites
offering free Photoshop brushes,
| | 00:53 | myphotoshopbrushes.com and
they're even broken down by category.
| | 00:58 | We would be interested for our
purposes in these textures and there always
| | 01:02 | that you can work with.
| | 01:04 | So once you've downloaded these here is how
you actually get to use them in Photoshop.
| | 01:10 | I've created my own brush set and I'm
just going to run through how we actually
| | 01:15 | load that brush set.
| | 01:17 | So I'm in my Brush tool.
| | 01:19 | I come up to choose my brush and
then from the flyout menu here I can
| | 01:24 | choose Load Brushes.
| | 01:26 | I can either do it here, or I can go
to the mission control for all of our
| | 01:31 | presets and that's the
Preset Manager, either or really.
| | 01:35 | So if I got to the Preset
Manager I can choose Load.
| | 01:39 | Then I need to navigate to
where the brushes are saved.
| | 01:42 | I've saved them in the Chapter 8 folder.
| | 01:44 | Probably, you would keep them in the
Presets folder which is in the Application
| | 01:49 | folder and in the Brushes folder and
there are the different brush sets that's
| | 01:54 | come with Photoshop.
| | 01:55 | But in this case it's in the Chapter 8
folder so I want to choose Load, just
| | 02:00 | click on it right there, and there are
some brushes that I've made and we're
| | 02:04 | going to be recreating this.
| | 02:07 | So that's how you can piggyback on the
work of many, many other people who have
| | 02:12 | created some great brushes
and use them in your own work.
| | 02:15 | Now we're going to go on and see
how we can create our own brushes.
| | Collapse this transcript |
| Creating a shatter effect| 00:00 | So in this first of a series of movies
about working with sample brushes I'm
| | 00:04 | going to be creating or re-creating
this dramatic shatter image and this is
| | 00:09 | going to be derived from this
picture of a shattered window on which I've
| | 00:14 | really forces the contrast and makes
the shatter areas almost white and the
| | 00:19 | background pretty much black.
| | 00:20 | Something to bare in mind when
creating sample brushes is that there is a
| | 00:24 | maximum size of 2500 pixels square.
| | 00:28 | The images that we're going to be
working with here are about 1200 pixels at
| | 00:33 | there maximum dimension.
| | 00:35 | When you are working with a sample brush,
typically you want to work with it you
| | 00:39 | want to paint with it at the
resolution that you sampled at.
| | 00:43 | Some textures will be more for giving
and you can go smaller, few will allow you
| | 00:48 | to go to larger and get a good result.
| | 00:51 | So I am going to come to the Select
menu and to Color Range and pretty much
| | 00:55 | what it gives me is what I want, so
I'm just going to click OK to that I now
| | 01:00 | have an active selection and I am
going to come to the Edit menu and down to
| | 01:04 | Define Brush Preset.
| | 01:06 | It gives me the size in pixels of the
brush I'm about to sample and I'm going to
| | 01:11 | call this Shatter, okay.
| | 01:14 | Now I'm going to switch over to the
document that contains the type and we'll
| | 01:17 | paint with this brush.
| | 01:19 | Okay, so here we are in the starting
documents I'm not going to switch to my
| | 01:23 | Brush tool by pressing B and then come
and choose the brush that I just sampled
| | 01:27 | and it'll be all the way down at
the bottom of the list, there it is.
| | 01:32 | Now, another thing to bear in mind
about working with brushes is that they can
| | 01:37 | take over your cursor and makes
sometimes alarming way, especially when that
| | 01:42 | very large like this one.
| | 01:44 | So don't I make about this they all
sometimes difficult to work with though for
| | 01:49 | this reason, you might consider doing
this if you turn on your Caps Lock then
| | 01:55 | you get just an accurate cursor which
sometimes makes it a little bit more
| | 01:58 | manageable to select things with your
cursor then it would if you go to this
| | 02:03 | sampled brush on it.
| | 02:05 | Another thing to bear in mind and I
sometimes find this problem in my laptop is
| | 02:09 | that they seem to create problems for
the video cards so it's another reason why
| | 02:13 | it is sometimes preferable
to work with the Caps Lock on.
| | 02:16 | For now I'm going to work with the
Caps Lock off so we can actually see the
| | 02:21 | brush that I am about to paint with.
| | 02:24 | Before I start painting I'm just going
to check my brush mode, I want this to
| | 02:28 | be set to Normal and now I'm going to
come to the type layer, create a layer
| | 02:33 | mask for that layer and I'm actually
going to paint on the layer mask rather
| | 02:36 | then on the itself.
| | 02:38 | I'm painting in black and rather then
click and drag I'm just going to click a
| | 02:42 | few times and right there I've quickly
build up some densities some overlapping
| | 02:47 | shatters within the type, I'm now
going to press my Caps Lock just so that we
| | 02:51 | can see what's going on behind
the brush and that's how it looks.
| | 02:56 | Now you might experiment with
inverting the layer mask to get an entirely
| | 03:00 | different effect and that looks cool as
well I think I like the inverted version
| | 03:04 | best and I inverting the mask just by
pressing Command+I or Ctrl+I. Now once
| | 03:09 | you've apply the brush to the layer
mask you may also want to come and apply
| | 03:15 | some brush stroke to a layer beneath
the type and here I'm going to switch to
| | 03:21 | white and now I just paint a few
times right there and we got that affect.
| | 03:27 | So that was just four clicks of my
shatter brush I'm painting on a separate
| | 03:32 | layer that gives me the most control of
adjusting the Opacity of my result and
| | 03:39 | maybe I think that my type has now lost
a little bit of its brightness not like
| | 03:43 | to restore some of that, so I'm
going to select the type layer and press
| | 03:47 | Command+J or Ctrl+J just to duplicate
that and that brings back some of the
| | 03:51 | density of the type.
| | 03:53 | So just one of the many, many things
that we can do with sample brushes.
| | Collapse this transcript |
| Creating a smoke brush| 00:00 | Smoke and other translucent subjects make
excellent candidates for sample brushes.
| | 00:06 | Let's see how we can
create and apply a smoke brush.
| | 00:11 | So the first thing I am going to do is
apply a Black & White adjustment layer so
| | 00:16 | that we lose the color.
| | 00:18 | Now, why it's not absolutely necessary
to do this when you are creating a sample
| | 00:22 | brush, it's using the Grayscale values
from the image regardless of whether its
| | 00:26 | color or black and white.
| | 00:28 | So in terms of preparing it just
helps to think over it in Grayscale.
| | 00:33 | So having done that, I'm then
going to come to the Channels panel and
| | 00:37 | Command+Click on the RGB channel to
load that as a selection, and then I am
| | 00:42 | going to return to the Background layer
and press Command or Ctrl+J to copy that
| | 00:47 | selection on to a new layer.
| | 00:48 | I am now going to hide the background
layer and we can see what I have there
| | 00:52 | it's very semitransparent
and that's the whole point.
| | 00:55 | But we are also, including currently
the Opaque pixels of the white background.
| | 01:01 | So I am now going to remove those
and I am going to choose my Magic Wand
| | 01:05 | tool, take my Tolerance all the way
down to 0 and make sure I have Anit-alias
| | 01:09 | on, Contiguous off.
| | 01:13 | Click on the Y of the
background and then delete that.
| | 01:17 | So now if I deselect, what we see on
the checkerboard transparency is what will
| | 01:23 | not become as Sample brush when I
come and choose Define Brush Preset.
| | 01:27 | And I am going to call this smoke.
| | 01:30 | Now I am going to switch over to this document
where we are going to apply the Brush preset.
| | 01:36 | Last time we saw this model she was
supporting a cheetah outfit and now she's
| | 01:40 | had a makeover, she also had some
contrast adjustment and she is currently a
| | 01:44 | Grayscale image or a Black & White
image technically still an RGB image.
| | 01:49 | I am going to come and create a new
layer at the top of my layer Stack, I am
| | 01:52 | going to name that smoke, I am then
going to press B to choose my Brush tool,
| | 01:58 | come up to my Brush picker, scroll down
choose smoke, it will be the last one in
| | 02:03 | the list, click on that to dismiss it
and now I can just dab with that to apply
| | 02:10 | the smoke, I might want to change
foreground color before I do that, I am going
| | 02:14 | to undo that, make sure my
foreground color is white.
| | 02:18 | And I could dab, repeat it times if I
want to, to add multiple plumes of smoke.
| | 02:22 | If I do that I do want to avoid the
danger of running into a repeating pattern.
| | 02:27 | Anyway I think I am going to quit while
I am ahead and let me just rename this,
| | 02:33 | somehow that didn't get named right.
| | 02:35 | What I also might try is adding a
layer mask to that layer and then on that
| | 02:40 | layer mask painting with the brush
itself as a way of disrupting any possible
| | 02:47 | repeating pattern that might emerge
from multiple clicks of that brush.
| | 02:53 | If I wanted to change the color, I can
come to my Swatches panel, I am now going
| | 02:57 | to get out of my Brush tool because
that large cursor is rather irritating.
| | 03:01 | Now I am going to come to my swatches
to be on the Image layer rather than the
| | 03:07 | layer mask, let's choose a blue color
and now to fill that layer with the color
| | 03:13 | I need to lock the Transparency so I
can either click on Lock Transparent
| | 03:17 | pixels or hold down the Shift key
along with the Alt or Options key when I
| | 03:22 | press Delete and that's going to apply that
color which is actually not the color that I want.
| | 03:28 | So let's change that color again
and yeah maybe I like that one.
| | 03:32 | So there we see an example of creating
a smoke brush, first of all making it
| | 03:38 | into a Grayscale Sampling only
transparent pixels and then randomizing it
| | 03:44 | somewhat by painting on it's layer
mask and also changing its color.
| | Collapse this transcript |
| Combining Photoshop with Illustrator to create a sample brush| 00:00 | In this example we are going to create
a sample brush from this picture of a
| | 00:04 | spider web and we are going to have
Illustrator help Photoshop out in the
| | 00:08 | creation of this brush.
| | 00:10 | Then we are going to use this brush to
create an image like this one where we
| | 00:15 | put this spider web over this bowl of
fruit, the original image looks like that.
| | 00:20 | I am going to start out in Illustrator
where I'll go to the File menu and choose
| | 00:27 | Place and the file I want
is in the Chapter 8 folder.
| | 00:36 | Spiderweb_begin okay now here what we are
going to do is we are going to live trace this.
| | 00:41 | But we are not just going to live trace
it, we are going to live trace it and we
| | 00:46 | will see the result is not quite what we want.
| | 00:49 | So we are going to take advantage of
the fact that this is a linked file,
| | 00:53 | based upon the feedback that we get
from live trace will go back to Photoshop
| | 00:57 | make a few modifications, come back and see
them update in Illustrator with the live trace.
| | 01:03 | Then we are going to copy the result
back to Photoshop sample that as a brush,
| | 01:09 | and then we'll paint with the brush.
| | 01:10 | So first of all I live trace it, that's
the result we get and it's not bad but
| | 01:17 | you can see that we are
losing detail title up here.
| | 01:20 | So now what I am going to do is switch
back to Photoshop, noting where these
| | 01:24 | problem areas and in Photoshop I am
going to add Levels Adjustment layer and I
| | 01:32 | am going to make things a little
bit darker, a bit more contrast.
| | 01:35 | Now we don't need more contrast
down below that was working just fine.
| | 01:40 | So I am going to switch to my Gradient
tool and I have black as my foreground
| | 01:46 | and I am going to choose Foreground to
Transparent, and then I will do something
| | 01:54 | like that, so now I am swiping from the
bottom to the top so that the levels is
| | 02:00 | only taking effect of the top of the image.
| | 02:02 | I am now going to save this Command+S
and I will switch back to Illustrator,
| | 02:08 | I will get this message some files
are missing or modified, do I want to
| | 02:12 | update and yes I do.
| | 02:14 | And when I update them look things
have improved, still not quite right, we
| | 02:18 | still need to fix that little spot right.
| | 02:20 | So back to Photoshop again, now the
problem area is write up here it's going to
| | 02:25 | be easier for us to paint in an
exposure adjustment up there and the easiest
| | 02:30 | way or my preferred way at least is to come
and add a whole separate Dodge and Burn layer.
| | 02:37 | And I am going to do that by holding
down the Alt key or the Option key and
| | 02:41 | clicking on Create new layer and then
choose Overlay as my Blend mode, fill with
| | 02:47 | Overlay neutral color 50% grey.
| | 02:50 | Now if this is filled with 50%
grey it's going to have no effect.
| | 02:54 | The reason we are filling it with
color is that the Burn tool which I'm about
| | 02:58 | to use now need some pixels to work with and
we can see where the adjustment has taken place.
| | 03:05 | The reason I'm not just doing this
directly on the background layers if I go
| | 03:08 | wrong then I am stuck doing it
this way is completely nondestructive.
| | 03:13 | So with black as my foreground color,
with Dodge tool chosen, it's dodging the
| | 03:18 | shadows, Exposure 30% that's fine.
| | 03:21 | I am just going to come up there and
do a bit of that, just add a bit of
| | 03:24 | contrast in to that area that the
alive trace was having trouble with.
| | 03:29 | I am then going to safe that Command+S
or Ctrl+S, go back to Illustrator
| | 03:34 | again, I will get this same message warning me,
yes I do want to update them, problem solved.
| | 03:42 | Now that's just a fantastic
result that makes me very happy.
| | 03:46 | I think what we need to do now is may
be come and adjust live trace options or
| | 03:51 | at least look at the live trace options,
we do have the Threshold command and if
| | 03:56 | I move this one way or the other I
know I need to turn on my preview.
| | 04:02 | We can see that's going to
get us more or less black.
| | 04:05 | Yeah actually I think that looks pretty
good because the danger that we run into
| | 04:09 | here is the things they are going to
stop breaking up a bit, but if we just
| | 04:13 | briefly pull back to Photoshop we can
see that in the original there are parts
| | 04:17 | where web has been broken up,
anyway we are going to reconstruct it.
| | 04:21 | So I think I am going to just leave it
with the 50% threshold or the value at
| | 04:26 | 128, turn off my preview, turn it back on again.
| | 04:30 | But now on reflection I think that is
giving us strands of the web that are a
| | 04:35 | little bit too thick.
| | 04:36 | So I am going to go up a bit from there.
| | 04:38 | All right so I am now
going to perform the trace.
| | 04:44 | Then to modify this further which I need to
do I am going to click on the Expand button.
| | 04:50 | So what I now have are vectors and I
am going to use this tool the Blob
| | 04:57 | Brush tool and I am going to use this to
just reconstruct parts of the web of a broken.
| | 05:02 | So I need to get into a comfortable view
size and change the size of my brush so
| | 05:07 | that's about the size of these strands
of the spider web, and then I can just
| | 05:12 | paint those in, like so.
| | 05:17 | So when you have reconstructed
your spider web and it doesn't have to
| | 05:19 | absolutely perfect, of course it has
a few breaks in it and that's all just
| | 05:23 | added authenticity.
| | 05:25 | What I am going to do now is select
piece of black I am using my Direct
| | 05:29 | selection tool my white arrow, click
on a bit of the black and come to the
| | 05:33 | Select menu, Sign>Fill color that's
going to get me all the black areas which I
| | 05:39 | am then going to delete now if I press
Command+A I see that the web is still
| | 05:43 | there its just white, that's where we
are not seeing it, and then I am actually
| | 05:47 | going to change the color of the
web to Black so that we can see it.
| | 05:51 | Right so there is now vector web,
another advantage of this is that of course as
| | 05:57 | vectors its completely scalable, so if
we wanted to make a brush that's bigger
| | 06:01 | than the image that we put sampled it from.
| | 06:03 | This would be one way that you could do that.
| | 06:05 | So I am going to select it and I'm going
to copy it and now move back to Photoshop.
| | 06:10 | I am just going to create a new
layer in this document I will turn the
| | 06:16 | other layers off and I am going to
paste it in their and I am going to
| | 06:20 | paste it as pixels.
| | 06:26 | Okay there it is, press Return to accept that.
| | 06:31 | So now I am going to reduce the
Opacity of the web down to about 40% and the
| | 06:37 | reason I'm doing this is so that when
we paint with the brush will be at a see
| | 06:40 | through the strands of the Web.
| | 06:43 | And I will come up to the Edit menu
and choose Define Brush Preset and I am
| | 06:49 | going to call it spiderweb.
| | 06:51 | So now let's see how this
is going to work in practice.
| | 06:53 | I am going to switch to this document
and I already have the brush chosen, if
| | 07:03 | you don't have it chosen you can go and
choose it over the last one and you will
| | 07:06 | list as the most recently added brush.
| | 07:08 | I need to create a layer on which to
paint with this brush and I'm going to
| | 07:16 | switch my foreground color to white.
| | 07:18 | Now bear in mind that your brush and
your image need to be of equivalent sizes,
| | 07:23 | sort of proportional to each other.
| | 07:26 | Now I will paint with this, okay.
| | 07:28 | So this is how its going to look, I am
going to just back away from that now I
| | 07:33 | have got a sense of what's is going on.
| | 07:36 | Let's zoom out a little bit more, I
am going to press my Caps lock key so I
| | 07:40 | don't need to look at this massive
cursor and then just start painting away and
| | 07:46 | I will overlap it, something like that.
| | 07:49 | Now I can turn down the Opacity of this
layer and I can also mask the web, if I
| | 07:57 | come and make a quick selection or fruit bowl.
| | 08:00 | I can try them on the background layer.
| | 08:03 | I am just dragging over this
with my Quick Selection too.
| | 08:10 | Let's also get this shadow over here
and we'll turn the Brush on and apply that
| | 08:23 | selection as a layer mask so that we
see our spider web over a bowl of fruit.
| | 08:30 | Looks a little bit cheesy over here I
have to say so may be I need to come in
| | 08:35 | and choose my Brush tool again just
to add a little bit more over there to
| | 08:39 | make it look a bit less like a brush that was
just recently sampled as vectors in Illustrator.
| | 08:45 | And what I can also do just to refine
this is I can come to the mask I can
| | 08:52 | feather it, I can perhaps take down its density
and I'm then going to get just a normal brush.
| | 09:01 | It's a soft round brush and turn my caps look
off now so I can't see the size of my cursor.
| | 09:11 | Reduce the size of that and then just
to reintroduce some of the web into the
| | 09:15 | foreground I am going to paint with
white but at a reduced Opacity, probably
| | 09:20 | let's sort of say about 25, let's
brush that in a bit over there and I will
| | 09:28 | just brush this over, may be back and
forth, now I will switch to black maybe
| | 09:32 | slightly different Opacity just to kind
of work that in, make it look a little
| | 09:37 | bit more plausible.
| | 09:40 | Okay so, we saw the creation all of a
sample brush, derived from the spider web
| | 09:46 | and the whole process was helped out by
using Illustrator to live trace it and
| | 09:51 | then once we got the brush and
application of what we can actually do with it.
| | Collapse this transcript |
| Creating coffee rings| 00:00 | Since many of the lynda.com videos are fueled
by caffeine and it seems only appropriate
| | 00:04 | that we should create
ourselves of a coffee ring brush.
| | 00:08 | Coffee rings like
snowflakes everyone is an individual.
| | 00:12 | So I've made several coffee rings on
quite a porous piece of paper, I'm going to
| | 00:18 | select one of them, and then we
can apply this in any way we like.
| | 00:21 | Obviously it's a bit of a visual cliche,
but it's kind of fun nonetheless.
| | 00:27 | Now I have pre-prepared some of this,
let me just show you what I've done.
| | 00:31 | I have isolated the one that I want
which is that one, I've made it to grayscale
| | 00:37 | which is by applying a Black & White
Adjustment layer, boosted the contrast
| | 00:41 | with a Levels adjustment layer and move
the sliders like this, black and white
| | 00:46 | points towards the center to
dramatically increase the contrast.
| | 00:51 | So now what I'm going to do is come
back to layer 1 and then up to the Select
| | 00:57 | menu and to Color Range and I'm now
going to just move my eye dropper on to the
| | 01:03 | coffee ring stain itself and click
on that and hold on the Shift key and
| | 01:08 | click on the other bits.
| | 01:09 | Now I am getting this little area up
here which is part of a paper, I don't
| | 01:13 | want that so I am going to hold down the Alt
key and click on that to try and remove it.
| | 01:18 | and that looks fine, you know I do have
a little bit of extra stuff that I might
| | 01:23 | not want, so let me just get my Lasso
tool and holding down the Alt key, I will
| | 01:30 | just draw around that to
remove that from the selection.
| | 01:34 | So there is the Active selection but we
are going to base our Sample brush on,
| | 01:39 | come to the Edit menu, Define Brush
Preset call it coffeering, click okay.
| | 01:45 | Now let's see how we can use this.
| | 01:47 | Here is a document we will be seeing
later on when we come to use the tool dual
| | 01:51 | brush to place some texture to the text.
| | 01:53 | But I figure this could also
benefit from a coffee ring or two.
| | 01:58 | And we already have some textures in
the corners, created using a corner brush,
| | 02:03 | but I'm going to create a new layer at
the top of my layer stack and I'll call
| | 02:09 | this coffee ring, then choose my
Brush told and choose and my Sample brush.
| | 02:16 | I will make black my foreground
color and then just stamp a few of those.
| | 02:26 | Now of course if you really want these
to look plausible you need to sample more
| | 02:29 | than one because obviously they
look repetitious the way they are.
| | 02:32 | It's nice the way that
they buildup on each other.
| | 02:35 | So if you have a few of these you can
really play around and have a lot fun with them.
| | 02:39 | I am going to go one more step here
and I'm going to create a new layer above
| | 02:43 | them and on the get out the brush tool,
I am going to choose on a drag brown for
| | 02:50 | my foreground color and lighter brown
for my background color, holding down the
| | 02:56 | Command key to select the background color.
| | 02:58 | So dark brown, light brown, foreground,
background color and let's see that
| | 03:04 | layer panel again and then what I am
going to do here is come to the Filter menu
| | 03:10 | and choose Render>Clouds.
| | 03:13 | So its going to render clouds using my
foreground and background colors, if I
| | 03:18 | don't like that I can just keep
pressing Command or Ctrl+F till I get a pattern
| | 03:23 | I like let's say I like that one and
now what I am going to do is I am going to
| | 03:27 | my clip this to my coffee rings,
holding down the Option or Alt key.
| | 03:32 | So that cloudy color, the dark brown,
light brown now actually colors the coffee
| | 03:38 | rings samples that we
have got on our background.
| | 03:41 | So the whole process started out with
just literally making coffee rings on
| | 03:46 | porous paper, photographing or scanning that.
| | 03:50 | Then selecting the one that you want or
the ones that you, want boosting their
| | 03:55 | contrast, sampling just the areas
that you want to capture as the brush and
| | 04:01 | then painting with the brush and there
is a final touch we rendered some clouds
| | 04:06 | and then use these clouds to apply the
color or a hint at least of the color to
| | 04:11 | the coffee ring shape.
| | Collapse this transcript |
| Creating a Bokeh texture| 00:00 | Bokeh is the name given to these out of
focus discs of light and these tend to
| | 00:05 | occur in the background of your
image especially if you're working with a
| | 00:08 | shallow depth of field.
| | 00:10 | There are numerous ways that
you could create bokeh digitally;
| | 00:13 | I am going to share with you a
technique that I adapted from various different
| | 00:17 | others and what we are going to
achieve is something like this.
| | 00:20 | Bokeh with a crunch and I say with a
crunch because if we look at these discs
| | 00:26 | of light they actually have texture in
them and that texture is derived from
| | 00:32 | this Background here, this
background texture of ice and if I turn on the
| | 00:36 | different discs especially when you
put them against a black background, just
| | 00:42 | to see the large ones.
| | 00:44 | You can see that there is actually the
texture of that ice within those rings.
| | 00:49 | So we are going to create something
like this, I will say something like it
| | 00:52 | because we are going to get slightly
different result, I will probably use
| | 00:54 | different colors and it's going to be
slightly different but just as good.
| | 00:59 | Okay, so now we are ready to create a
bokeh brush and I'm in the documents that
| | 01:06 | I am going to be painting in and at
the top of the layer stack I am going to
| | 01:10 | create a new layer, I am going to come
to my Elliptical Marquee tool and I am
| | 01:15 | going to fix size of 400 X 400 pixels
and then click, and then I am going to
| | 01:25 | fill that with black, Option or Alt+
Delete if black is your foreground color.
| | 01:30 | Reduce the Fill Opacity to 30%.
| | 01:32 | Now the reason we are adjusting the
fill Opacity is because in the next step we
| | 01:38 | are going to add a Stroke and that
Stroke needs to be at 100% and I am going to
| | 01:44 | make the stroke weight 6 pixels and
Position it Inside so that it's going to be
| | 01:48 | captured by the active selection.
| | 01:50 | I will click OK, I need to make sure I
turn these other layers off so that they
| | 01:56 | are not captured as part of the brush
preset and then Define Brush Preset and I
| | 02:03 | am going to call it bokeh.
| | 02:07 | Right, so I am now delete that layer
and we will just take a look at what we
| | 02:13 | have going on here, so at the top we
have this field of black ultimately, out
| | 02:18 | blurry discs are going to be against
this black background but we need to turn
| | 02:23 | that off for the time being because
what we are going to be doing is we are
| | 02:26 | going to painting these using the Mixer
brush and the Mixer brush is going to be
| | 02:30 | picking up the color from the layers
beneath as well as picking up the texture,
| | 02:36 | and that's why the ice is here.
| | 02:38 | Now because it's picking up the
texture and we wanted to pick up more of
| | 02:41 | the texture, I have added Levels
adjustment layer above that just to boost
| | 02:45 | the contrast a bit.
| | 02:47 | So what I am going to do next is add a
Gradient Fill layer because we needed to
| | 02:51 | pick up some color as well.
| | 02:52 | So I am going to lay some
color down over the whole thing.
| | 02:57 | And the Gradient Fill that I am
going to use is a medium spectrum.
| | 03:00 | Now this is one of the Spectrum presets
which you may need to load, if you don't
| | 03:04 | already see it and you can choose to
append that to your current gradients.
| | 03:09 | Now you can use anyone you want.
| | 03:12 | I didn't used this in the finished
examples so I am going to get a different
| | 03:15 | result, so it really is a case of
mixing and matching with this technique.
| | 03:21 | I am going to set the angle of this
gradient to 45?, and then I am going to set
| | 03:26 | the Blend mode of the gradient to Overlay.
| | 03:30 | So now on a new layer, I am going to
start painting with my bokeh brush but
| | 03:35 | I need to come and choose the Mixer
brush first off all and set the options
| | 03:41 | for the Mixer brush.
| | 03:42 | Now I am going to use this preset,
Very Wet and most importantly though I am
| | 03:50 | going to make sure this options is turned off.
| | 03:52 | This is going to mean that we are just
working with the colors that are already
| | 03:57 | in the image, we are not actually
introducing new color, so I am not going to
| | 04:01 | be smearing new colors around we are just
picking up the colors that are already there.
| | 04:06 | So now on this layers I am about to
paint on, I need to change the Blend mode, I
| | 04:11 | need to change the Blend mode to
Color Burn I think will work well and if I
| | 04:16 | click, you can see what I am doing is,
I am laying down these discs of color,
| | 04:21 | that overlapping creating noise,
overlapping transparency effects but they are
| | 04:26 | color burning into the background,
picking up the background, not just the
| | 04:30 | background color but
also the background texture.
| | 04:33 | Now if turn off the Gradient Fill and I
turn on the Background field of black,
| | 04:40 | everything becomes black but if I turn
the Blend mode of my bokeh layer back to
| | 04:46 | normal then we see we get this
and this is what we are after.
| | 04:52 | Now that we know what's going on, I am
going to select All and delete those few
| | 04:56 | that I laid down, so I am going to turn
off the field of black, turn back on the
| | 05:01 | Gradient, change the Blend mode back to
Color Burn and I am also going to change
| | 05:07 | a few settings about the way my brush behaves.
| | 05:10 | So I am going to come over to my Brushes
panel and I want to change the Spacing settings.
| | 05:16 | I am going to change the Spacing to
150%, I am going to come to the Shape
| | 05:22 | Dynamics and I'm going to have a Size
Jitter of 100%, Minimum Diameter 50 that's
| | 05:28 | all good, and then I want some Scattering
on Both Axes and let's just see how the
| | 05:33 | preview is looking down there,
give you an idea what's going on.
| | 05:37 | I think I want a few more, let's go for
a Count of 5 and then Count Jitter
| | 05:44 | and of course nothing is happening
because I don't have my Scatter turned on, I
| | 05:48 | was wondering what was going on there.
| | 05:49 | So I need to then bring
that up somewhere about there.
| | 05:55 | So I have Scattering on Both Axes, I am
scattering at 350%, I have the Count set
| | 06:03 | of 5 and the Count Jitter set at 8%.
| | 06:07 | More importantly than that I am
looking at what's going on this preview down
| | 06:11 | here and this is the kind of effect I am after.
| | 06:13 | So I am now going to close my Brush
panel and start painting with my brush.
| | 06:18 | Now I don't want to overdo it, so just
going to lay down a few and what we are
| | 06:26 | not getting there is we are not getting
any Size Jitter, so I am going to Undo
| | 06:29 | that, come back to Brush panel, come
back to my Shape Dynamics, so there is the
| | 06:36 | problem right there, I am controlling
this with Pen Pressure but I prefer that
| | 06:40 | to be off even though I am using a Pen.
| | 06:42 | So I am going to close that now and
now start painting and yes we are getting
| | 06:46 | that Size Jitter that we weren't getting before.
| | 06:49 | Okay, those are my large discs,
let's just see how they look.
| | 06:52 | I am going turn off my Gradient Fill,
turn off my Background Pivot of color,
| | 06:56 | change my Blend mode to Normal.
| | 06:57 | Okay, so those are my big disc.
| | 06:59 | Now I am going to create a new layer
above that, so it's Blend mode to Color Burn.
| | 07:05 | I am going to reduce the Size of my brush,
let's come down 250 pixel brush, turn
| | 07:14 | back on my Gradient Fill, turn off
Background Field to black, also turn off the
| | 07:21 | large discs that I have already laid
down and just repeat the process, so that
| | 07:25 | we get some smaller disc right there.
| | 07:29 | Okay, and then I am going to do another
layer and this will be for smaller still
| | 07:35 | and I am going to reduce
the Size here down to 125.
| | 07:38 | Set this Blend mode to Color Burn and I am
going to add some of these in this as well.
| | 07:48 | Okay, turn off the Gradient Fill,
turn on the Background Field of color,
| | 07:55 | change the Blends modes to Normal and
there you can see this is the affect
| | 08:02 | that we are going to get.
| | 08:03 | So not only has it picked up the color
a bit also picked up a texture from the
| | 08:07 | ice background layer.
| | 08:09 | And our final step is we are going to
blur these discs now, so I am going to
| | 08:15 | turn off everything but the big ones,
and then I am going to Convert for
| | 08:20 | Smart Filters and come to Gaussian Blur and I
am going to blur these by I estimate 8 pixels.
| | 08:27 | Now I am working with a 1,200 pixel
wide image and the amount of that you blur
| | 08:32 | is going to vary according to the
resolution of your image, and then I am going
| | 08:37 | to come to the medium-size one's, turn
those on, I will convert these to Smart
| | 08:42 | Filters as well, Gaussian Blur and I
am going to blur these half as much, and
| | 08:48 | then I am going to turn on the small
ones and you guessed it, Converts for Smart
| | 08:52 | Filters and I am just doing this so I
can go back and change the amount of
| | 08:55 | blurring if I didn't' get it right first time.
| | 08:57 | Gaussian Blur again but this time we will go
down to just 1 pixel and there is our result.
| | 09:04 | To just refine this further, I of
course can change the Blending modes of the
| | 09:09 | different layers and I can always go in at
more of these color circles as well if I want to.
| | 09:15 | A big variant here was the
actual gradient that I used.
| | 09:19 | If we take a look at my original
finished piece, it's a much more pastel hued
| | 09:25 | results and that's because I
began with a pastel gradient.
| | 09:29 | But I think you agree that's a very
interesting technique lovely that picks up
| | 09:34 | the texture from what's below
and working with the Mixer brush.
| | 09:38 | It's really a fantastic new tool and
it's the Mixer brush that really allows
| | 09:43 | us here to paint with that color as
well as bring up the texture from whatever
| | 09:49 | is below.
| | Collapse this transcript |
| Creating corner brushes| 00:00 | Usually, when you create a sample
brush you want to make sure that you're
| | 00:04 | avoiding any blunt corners, but there
are times when you want to create brushes
| | 00:08 | specifically for painting in corners
and that's what this movie is about.
| | 00:12 | So I have here a document and I've
got four layer groups and each one has a
| | 00:18 | different corner brush in the making.
| | 00:21 | Now the brushes have already been made.
| | 00:22 | I'm just going to run you
through how they were made.
| | 00:24 | So let's turn off three of these
and we'll just look at the top right.
| | 00:28 | This begins with just a grayscale
image which I have rotated, positioned, so
| | 00:33 | that I can get some interesting
texture coming in off the corner.
| | 00:38 | And then I used my Polygonal Lasso tool
just to isolate the rough region that I
| | 00:46 | want to incorporate into the brush
like so and copy that to a new layer, turn
| | 00:56 | off the original layer.
| | 00:59 | And now I'm going to just
increase the contrast on that.
| | 01:03 | So I'm going to come to my Adjustment
layers and use Levels, pump up the Contrast.
| | 01:13 | Then returning to the image layer, I'm
going to use the Color Range feature and
| | 01:22 | I'm going to come and just click on
those bright bits of the whatever it is
| | 01:26 | right there, select that, and then I
will use that as a layer mask for that
| | 01:29 | layer and that's more or less
what my brush is going to look like.
| | 01:34 | Now if I feel that this edge is a little
bit too well-defined, I might just want
| | 01:39 | to choose a brush and I'm going to
use a Spatter brush and then painting in
| | 01:47 | black, just come and make sure
I've got my Opacity up at 100%.
| | 01:54 | Just come and remove any regularity
around the corner so it's not going to
| | 02:00 | look like we're painting with a
pattern, but we're really painting with
| | 02:03 | something that is unique.
| | 02:05 | The thing about the corner brush is
that they will work on documents of
| | 02:09 | roughly the same size.
| | 02:11 | So I'm going to now select the pixels
by Command+clicking on the layer Mask and
| | 02:17 | with the pixels selected and with the
layer thumbnail selected, I'll then come
| | 02:21 | to Edit and choose Define Brush
Preset, and then I can name it.
| | 02:26 | Now I'm not going to name it, because I
already have the brushes prepared, let's
| | 02:30 | now switch to a document
and see how we can use them.
| | 02:33 | So in this document I have an image
that has a stucco background and this is
| | 02:39 | applied using the Texturizer
filter and I have a Gradient Overlay.
| | 02:44 | Now what I'm going to do on a separate
layer is I'm going to just paint in some
| | 02:48 | corner deterioration.
| | 02:51 | So let's come and choose my
brushes and start out with the top-right.
| | 02:55 | I'm going to choose Black as my
Foreground Color and then just stamp into that
| | 03:03 | corner like so, and then I would
repeat this process for the other corners.
| | 03:11 | If you find like I'm finding that your
cursor is a bit large and unwieldy, press
| | 03:16 | your Caps Lock key and you'll get the
accurate cursor that's going to make it
| | 03:19 | easier to choose your brushes.
| | 03:23 | So then we'll have the top-left and you
can see sometimes you might just want to
| | 03:29 | click a few times like I am doing with
the top-left to build up some density
| | 03:32 | with that and then the bottom
-right and the bottom-left.
| | 03:39 | Okay, now just to blend that in a
little bit more, I'm going to do one more
| | 03:47 | thing and that is I'm going to sample
the color from the background and I'm
| | 03:51 | going to apply that color to the brushes.
| | 03:53 | I want to protect the transparency here,
so I can either lock it by clicking
| | 03:56 | on that button right there, or I can
hold down the Shift key while I'll press
| | 04:01 | the key combination Option+Delete or Alt+Delete
and that will fill it with the Foreground Color.
| | 04:07 | Practically, making it invisible, but
then when I change the Blend mode to
| | 04:11 | Multiply, you can see that it
brings it back quite nicely.
| | 04:14 | So, as we have seen there are some
sometimes when you actually do want to paint
| | 04:19 | yourself into a corner.
| | 04:20 | I'm sorry about the bad
pattern, I couldn't resist.
| | Collapse this transcript |
| Sampling a brush stroke| 00:00 | Brushstrokes like these, simple
Brushstrokes on sketchpads potentially make
| | 00:05 | great sample brushes.
| | 00:07 | What I want to demonstrate here is
a different effect that you will get
| | 00:10 | depending on the number of gray
values you capture in your sample brush.
| | 00:14 | So I have two versions of this, I have
one where I have performed a Threshold
| | 00:19 | Adjustment on the brush and it's all
black, or it's nothing, and then we have
| | 00:25 | this one where we have got various
different levels of the gray values.
| | 00:29 | So quickly, I will run
through how those happened.
| | 00:32 | First of all, the Threshold, start out
with a Levels adjustment and then follow
| | 00:41 | that out with a Threshold adjustment,
move that one way or the other, depending
| | 00:48 | on how much black or how much white you want.
| | 00:52 | I want to avoid getting the black
specks down in that bottom-left corner.
| | 00:55 | So I am going to pull it
back to about there. Okay!
| | 00:59 | Now what I am going to do is I am
going to get my Magic Wand tool because I
| | 01:02 | need the whites to become a
transparent here and I am going to turn my
| | 01:07 | Tolerance all the way down, select the
white areas and then use those to mask
| | 01:16 | what we have there. Ah!
| | 01:17 | I got it the wrong way round in which
case I am going to press Command+I or
| | 01:21 | Ctrl+I to invert it and then when I
am on there then I can sample my brush.
| | 01:27 | To capture more of the gray values,
we just use a much lighter touch with
| | 01:33 | the Levels adjustment.
| | 01:35 | So I already have those two brushes
made and now I am now going to switch over
| | 01:39 | to this document where we can see
how they are going to look in practice.
| | 01:43 | So I have a group here of
four different pieces of text.
| | 01:47 | I am going to create a layer Mask on that group.
| | 01:50 | Now I will choose my Brush tool and I
am going to choose, to begin with what we
| | 01:56 | will use the Softer Brush and then
painting in black, I can just dab on there
| | 02:01 | and I met an Opacity of 50% which is
probably not where I want to be or maybe it
| | 02:06 | is where I want to be.
| | 02:07 | Let's press the Caps Lock key, so that
we don't see that huge cursor and that's
| | 02:12 | the effect that I am going to get.
| | 02:13 | Of course if I want it stronger, I am
going to now press Command+Z or Ctrl+Z and
| | 02:18 | Command+O or Ctrl+O, just to back up a
few steps to that point, set my Opacity
| | 02:23 | back to 100% and that's what we are
going to get at 100% and of course if I can
| | 02:27 | paint that in more to hide or paint
over effectively more of the type.
| | 02:33 | So let me now restore that to how it was.
| | 02:36 | I am going to press Cmd+\.
| | 02:39 | With white as my Background
color which will fill that layer Mask.
| | 02:42 | And I'll now go and choose the harder of
my two brushes, and then I can paint on
| | 02:47 | it right there and that's going to
give it a much more dramatic effect and
| | 02:51 | depending on which you want that's
going to influence how you make your sample
| | 02:56 | brush whether you wanted to be all
black and white or whether you want to
| | 03:00 | capture various gray values in that brush.
| | Collapse this transcript |
| Creating a rust jewel brush| 00:00 | Here we are going to see how we can
take this rust texture, make it into a
| | 00:04 | brush and then use that brush to paint over
the type like this to get this degraded look.
| | 00:12 | So first of all this is what I have
done to the image to make it into a brush.
| | 00:16 | I start now by applying a
Find Edges filter to it.
| | 00:21 | Actually the first that's not true, the
first thing I do was I made it black and
| | 00:25 | white using a Black & White Adjustment layer.
| | 00:27 | Then I applied the Find Edges
filter that's under the Filter
| | 00:33 | menu>Stylize>Find Edges.
| | 00:37 | This is the picture that has a lot of edges.
| | 00:39 | So it really works well in this context.
| | 00:42 | And then to accentuate them further I
am going to run the Sharpen edges filter.
| | 00:47 | This is one of those sharpening filters.
| | 00:48 | If it doesn't have any options you
will either have it on like you done.
| | 00:52 | So just choose that from the Sharpen
group and that's going to do exactly what
| | 00:56 | it says on the tin, it's
going to sharpen the edges.
| | 00:59 | Then I am going to boost the contrast a
bit more using levels then I want to get
| | 01:04 | rid of all gray values completely
using Threshold but I am going to use
| | 01:08 | Threshold once I have controlled
how the contrast is being handled.
| | 01:13 | So I will do that and we go
to all black or all white.
| | 01:17 | Now I don't need the whole thing here.
| | 01:19 | This image is 1200 pixels wide and we just
want a section that's about 400 pixels square.
| | 01:24 | So I am going to make a selection and
in fact I can specify the size if that's
| | 01:30 | important, and then we will take
that bit and that's as good as any bit.
| | 01:36 | So now I am going to copy that from
the image layer Command or Ctrl+J.We will
| | 01:41 | come and turn the original image
layer off and what I want to do next let's
| | 01:46 | zoom-in on that is I want the
white pixels to become transparent.
| | 01:52 | So I am going to press W to select my
Magic Wand tool, turn the Tolerance all
| | 01:57 | the way down and I am going to click
on any black pixel, and then I will make
| | 02:03 | that into a layer mask.
| | 02:04 | So you can just now see we have the
checkerboard instead of the white and that's
| | 02:09 | important because we don't want to
capture the white, we don't want that
| | 02:11 | actually to become part of the brush.
| | 02:13 | I will then press Command and click on
that layer mask selection so we have the
| | 02:18 | marching ants, and then I am going to
select the image layer first then we can
| | 02:24 | come to Edit>Define Brush Preset. All right!
| | 02:26 | I am not going to do that
because I have already done it.
| | 02:29 | Now we switch over to our starting
document, which is exactly the same except it
| | 02:35 | doesn't have the rust texture in the type.
| | 02:39 | So firstly, you can guess what I am
going to do next because I have done it in
| | 02:43 | just about every movie in this title.
| | 02:45 | I am going to make a layer mask and I
am then going to choose my Brush tool and
| | 02:51 | I'm actually not going to choose my
rust brush because this is the take away
| | 02:57 | point from this movie.
| | 02:58 | Here we are using a Dual Brush.
| | 03:00 | The problem is the way I sampled it and
the problem with sampling many brushes
| | 03:03 | is they are a defined shape and we
don't want them to be a defined shape.
| | 03:08 | So what we are going to do is we
are going to use another brush.
| | 03:11 | I am going to use a Round Brush
as the host for my rust brush;
| | 03:16 | this is called a Dual Brush.
| | 03:17 | So I am going to choose Soft Round as my
brush and I'll bring the Size down to a
| | 03:23 | good size that going to cover the white
of the different parts of the letters,
| | 03:30 | and then I am going to come over to
my Brush panel and click on Dual Brush.
| | 03:36 | Now I need to find and it's very
conveniently found it for me only because I was
| | 03:42 | practicing before I got to do this but
it's not going to find it for you so you
| | 03:46 | would need to hunt and peck in this list
and unfortunately you can't change this
| | 03:51 | list to display as a text list so you
just need to find it and a good way to
| | 03:56 | look for it is by it's pixel dimensions.
| | 03:58 | Anyway that's the rust brush right
there and what I want to do with this I want
| | 04:03 | to change the Spacing to 100% so it
doesn't stop overlapping itself and that's
| | 04:08 | all I want to change but
that's important the Spacing.
| | 04:11 | So I can now dismiss that
and then painting in black.
| | 04:15 | I am just going to start nibbling away in my
type and maybe I can go bigger with the brush.
| | 04:21 | Let's make a little more of the type and I
can also change the Opacity of the brush.
| | 04:26 | Let's knock it down a bit.
| | 04:27 | It's a very satisfying way to do it.
| | 04:33 | It's not the only way to achieve this kind
of effect but it's a very fun way. All right!
| | 04:39 | Now, it gets better that that though
because what we can now do is we can apply
| | 04:46 | a Bevel and Emboss to the layer.
| | 04:48 | Now look what happens when it turn
on these layer effects right here.
| | 04:52 | Not only are we embossing the type
we are also embossing the texture that
| | 04:56 | is within the type.
| | 04:57 | I am going to turn that off
and then turn it back on again.
| | 05:02 | So let's just go and have a look at
what we get going on here, just a basic
| | 05:06 | Bevel and Emboss, nothing fancy about it.
| | 05:08 | I have changed the colors for the
Highlight mode and the Shadow mode to sample
| | 05:12 | the color that's actually in the image
itself but aside from that not much going on.
| | 05:17 | In fact, I could maybe amped up it up a
bit by increasing the Size or maybe not.
| | 05:22 | No, I think I like it where it is, maybe
increase the Depth that's what I am after.
| | 05:28 | And that rust really
becomes a part of that type.
| | 05:31 | There were two points to this movie.
| | 05:33 | We painted it as a Dual Brush, and
then we applied a layer effect to it, one
| | 05:39 | does not depend upon the other.
| | 05:40 | I have just happened to have combined them.
| | Collapse this transcript |
| Building density with brush settings| 00:00 | Okay, we are going to see how we can take an
image like this and convert it into a brush.
| | 00:04 | Now because this is something that's
going to be very translucent, we can use
| | 00:08 | this brush and paint with it, stamp
with it multiple times to really build up a
| | 00:13 | very textured and dense feeling to our artwork.
| | 00:18 | So let's say the first thing we
want to do is to make it Black & White.
| | 00:24 | Then we are going to apply
a Levels adjustment to it.
| | 00:29 | Let's really crank up that contrast and
now what I am going to do is I am going
| | 00:37 | to return to my Background layer, come
to my Select menu, Color Range, and then
| | 00:45 | I will just come and sample the bright
values, hold down Shift key and click on
| | 00:51 | a few of them, make sure we have got
good range of bright values there, that's
| | 00:58 | going to be my brush when I do that.
| | 01:01 | Now I've already done that, so I am not
going to do it, I have got one already
| | 01:03 | saved, but that was how I did it.
| | 01:05 | Now let's pop over to this document.
| | 01:09 | This is nothing more than a simple
Shape layer and it has a Bevel and Emboss
| | 01:13 | effect applied to it.
| | 01:15 | I am going to recreate it.
| | 01:16 | I am going to turn that one off, come
in and choose my Ellipse tool and draw
| | 01:20 | myself an ellipse like so, and then I
am going to add a layer mask to that.
| | 01:28 | Now just because it has a vector mask,
doesn't mean it can't have a layer mask as well.
| | 01:32 | Then press B to choose my Brush tool,
come up and pick my bubbles brush,
| | 01:38 | there it is, right there.
| | 01:42 | Make Black my Foreground Color, and
then I can just click multiple times and
| | 01:48 | just keep building up and building up
and I can vary the Opacity as I do this,
| | 02:01 | brush with it a little bit and let's
vary the Opacity some more, vary the Size
| | 02:10 | of the brush, we got a really nice effect.
| | 02:18 | Now this line around the edge there,
that's the Vector Mask, which is a little
| | 02:22 | bit annoying and a little bit distracting.
| | 02:24 | So I am going to press Command+H or Ctrl+H.
Now it's going to ask me do I want
| | 02:29 | to Hide Photoshop or Hide
Extras, I want to Hide Extras.
| | 02:32 | That gets rid of that.
| | 02:34 | Now I can apply the Bevel and Emboss.
| | 02:35 | So I am just going to borrow the one
that I already have here, I am going to
| | 02:38 | hold down the Alt key, drag that on to
that layer and let's just go and have a
| | 02:43 | look at what settings we have got applied there.
| | 02:44 | So as in Inner Bevel, it's got a Size
of 98, softened a little bit, the angle
| | 02:50 | has been adjusted and that's about
all those have been changed with it.
| | 02:53 | Let's just add that shadow
down at the bottom right there.
| | 02:58 | Okay, so that's one way of building density.
| | 03:01 | So here is another example of how we
can apply this texture, I just have this
| | 03:04 | simple collage of two words with some
blending modes applied and some layer
| | 03:08 | effects applied and they are on
these two backgrounds which together make
| | 03:15 | this very interesting texture and there is
also a Gradient Overlay applied there as well.
| | 03:20 | But what we are going to do is we are
going to create this from scratch and it's
| | 03:23 | going to introduce us to
some other Brush options.
| | 03:26 | So I am going to now switch over to
this point and I have my type on a
| | 03:30 | transparent background.
| | 03:31 | I am going to hide that for the moment
and I am going to create a new layer.
| | 03:38 | The checkerboard is distracting for me
at the moment so I am going to change my
| | 03:41 | Transparency Settings and turn my
Grid Size to None, so that I see a white
| | 03:49 | rather than a checkerboard background.
| | 03:51 | Now I have the brush selected and
there are some options that we can avail
| | 03:56 | ourselves over here.
| | 03:57 | If we come over to Brushes
and they are Color Dynamics.
| | 04:03 | If we want to introduce a particular
color into this, we can crank all of these up.
| | 04:07 | It's going to be random, but in
this case that's just what I want.
| | 04:11 | The other thing that we can
introduce is an Angle Jitter.
| | 04:15 | I am going to turn these off first of
all just so you see what they are going to
| | 04:21 | give us and why we might need them.
| | 04:23 | Now I can just paint away merrily with
my brush and that's so looking good, but
| | 04:29 | I am going to get these clearly
defined lines that reflect the border.
| | 04:34 | The brush was originally a rectangle,
so it's going to belie that fact and we
| | 04:38 | would like it not to or at
least would like less of that.
| | 04:42 | So I am going to delete that and that's
something that we can address with the
| | 04:48 | Shape Dynamics turning on the Angle
Jitter and then rather than having old
| | 04:52 | monochrome, let's have a
little color in there and I have got
| | 04:57 | Foreground/Background Jitters, so we
are just going to flip back and forth
| | 05:01 | between my Foreground/Background colors
and it's all going to be rather random.
| | 05:05 | I need to choose some Foreground and
Background colors so I am going to have a
| | 05:09 | light brown and a yellow.
| | 05:12 | Okay and now I am going to stop painting.
| | 05:19 | So you can see it's angling each brush
stroke, and then we are just building it up.
| | 05:29 | Now perhaps what I could do, what I did
in the original was changed those brush
| | 05:33 | sitting slightly and added an
additional layer and I am just going to do it
| | 05:38 | along this one layer this turn around.
| | 05:45 | You would never know they
would derive from bubbles.
| | 05:48 | Okay, when I actually did this and I went and
put the type back on top of it, I thought wow!
| | 05:55 | You know I kind of like that,
but I am not crazy about the color.
| | 05:59 | So it was an interesting road to go down,
but one that ultimately I decided to
| | 06:05 | put back to monochromatic.
| | 06:08 | But then maybe what we could have is a
Gradient Overlay on that and this time,
| | 06:18 | I'm going to go outwards from the
center and I am going to use Color Burn.
| | 06:31 | So we see how we can take a simple
concept like these bubbles, turn them into a
| | 06:36 | sample brush and then apply it in all
sorts of interesting ways using the Shape
| | 06:42 | Dynamics of the Brush panel.
| | Collapse this transcript |
| Painting with the Mixer Brush| 00:00 | A simple effective and fun way of
creating your own textured background is to
| | 00:05 | paint in yourself using the
Bristle Brushes and the Mixer Brush tool.
| | 00:10 | As our starting point, I'm employing a
grid here, so I've gone to the View menu
| | 00:15 | and turned my Grid on, that's not
strictly necessary, but if you want to do that
| | 00:19 | and if you want to set the Grid options
that's in your Preferences, I've chosen
| | 00:24 | to have a grid line every
20% and a subdivision of 1.
| | 00:28 | Very important for the effect that
I'm trying to achieve is that I have a
| | 00:31 | background of transparency, because
when we use the Mixer Brush, if that
| | 00:35 | background will white or any other color then
the brush strokes would blend into that color.
| | 00:40 | So to start with I want to just
lay down the color without a blending
| | 00:44 | into anything else.
| | 00:45 | Also, I'm going to need to turn
off my type layer to begin with.
| | 00:49 | I'm going to use this preset of Wet
which is going to lay down the paint, nice
| | 00:58 | and quickly, but I don't want to paint in black.
| | 01:00 | So I'm going to Undo those brush
strokes and I'm going to decide upon a color
| | 01:05 | theme and I'm going to have Kuler help me out.
| | 01:08 | So I'm going to come to Window>Extensions>Kuler.
| | 01:13 | Now I could create my own theme, but
just to be quick and expedient about this,
| | 01:18 | I'm going to use one of the already
created things from other Kuler users and
| | 01:24 | I'm going to use this one, skater.
| | 01:26 | To add that to my Swatches, I'll click on that
button, and then I'll come and dismiss Kuler.
| | 01:32 | So now all on my layer, my Mixer
Brush tool chosen, choose the color that I
| | 01:38 | want, Wet as my mixer brush preset.
| | 01:41 | I need to make sure that both of these
options load brush after each stroke and
| | 01:47 | clean brush both of these on.
| | 01:51 | So then I'm just going to start painting in.
| | 01:53 | There really is no right or wrong
with this and I'm just going to get a
| | 01:57 | different result and that's fine.
| | 01:59 | So I'm going to be deliberately sloppy
which for me isn't hard and you'll see
| | 02:05 | how as I stop painting with the darker
color and it interacts with the lighter
| | 02:12 | color, we get this interesting so blend of the
two, maybe I'll increase my Brush Size a bit.
| | 02:18 | Something to bear in mind about using
the Mixer Brush is that it is very taxing
| | 02:23 | on your computers processes, so if
you're working with a large file or if you
| | 02:27 | don't have as much RAM as you might
like and frankly, who does, then your brush
| | 02:33 | strokes can get behind you.
| | 02:35 | We're working with a
relatively small file size here.
| | 02:38 | Then I'll choose my third color and
again, we get a nice blend of those
| | 02:42 | colors where they interact and we're building
the texture with the strokes of the Bristle Brush.
| | 02:50 | Now I could finish there.
| | 02:51 | Maybe that's all I need, but if I
wanted to maybe get a bit more interaction of
| | 02:54 | these colors, I'm going to
just come and change my options.
| | 02:57 | I'm going to choose now to have Very
Wet as the preset that I'm using and I'm
| | 03:03 | going to turn these two options off.
| | 03:06 | So basically, what we're working with
now is the color that's already there
| | 03:10 | and it's going to stop blending these colors
into each other and let's get it nice and dirty.
| | 03:16 | So this wall that I'm painting here
was obviously painted by a very unskilled
| | 03:22 | painter, but that's good
that's the effect that we're off to.
| | 03:25 | You see as I moving to gray, swipe
over that, I can then bring some of that
| | 03:30 | color back into my lighter color up
here paint in those brush strokes.
| | 03:36 | To finish off my background, I'm going
to add a solid layer of white and I want
| | 03:40 | this to go underneath layer 1, so I'm
going to hold down my Command key while I
| | 03:43 | click on Create New layer and then
Command and my Backspace key to fill it with
| | 03:50 | white, just so we're not seeing
any transparency coming through that.
| | 03:54 | Now I'll turn my Type on, so I'm
going to change the color of my Type and
| | 03:58 | White is my Background Color so I'll press
Command and my Backspace key to make it white.
| | 04:04 | Maybe I'll reduce its Opacity and finally,
I will turn of my grid, Command+", we
| | 04:10 | will do that or View menu Show>Grid.
| | 04:16 | Now, just to work this background
texture into the type, I am going to turn off
| | 04:21 | the type layer, come to my Channels
panel, Command+click on the RGB channel,
| | 04:26 | full that background texture.
| | 04:29 | Come back to my layers, turn my Type
back on and then make that into a layer
| | 04:35 | mask, so if you were to see this
without the background and let me just make
| | 04:39 | that solid color for a moment.
| | 04:42 | It would look like that we still have
the texture of the brush strokes in the
| | 04:46 | letters and it just makes for a better
blend of the type and the background.
| | 04:54 | So there we see one of the many things
that you can do with the Mixer Brush and
| | 04:58 | the Bristle Brushes, two new and
exciting tools in Photoshop CS5.
| | 05:02 | I highly recommend you check out John
Derry's course in the lynda.com Online
| | 05:06 | Training Library on using the Mixer Brush tool.
| | Collapse this transcript |
|
|
9. Type and TextureAdding texture to type using clipping masks| 00:00 | We've seen the application of texture
to type in a number of other movies in
| | 00:04 | this title, but there are a number of
techniques that I haven't yet dealt with,
| | 00:09 | so we have this separate chapter
specifically working with Type and Texture.
| | 00:13 | I'm going to begin with this very easy,
very effective, very pleasing technique
| | 00:17 | of making a texture layer
fill the type letter forms.
| | 00:22 | It's so shockingly simple you'll love it.
| | 00:24 | It's just making it into a clipping
mask, all I need to is put that above
| | 00:31 | the Type layer, holding down the
Option or the Alt key and click, and the
| | 00:36 | texture fills the type.
| | 00:38 | Let's do this from Scratch.
| | 00:40 | Here we are in the starting state.
| | 00:43 | I have my type on top off a layer of
texture, on top of this picture of rust,
| | 00:48 | and at the bottom I just
have a layer of Solid Black.
| | 00:51 | So the first thing I'll need to do is
move the Texture layer above the Type,
| | 00:57 | then I need to clip the
Texture layer to the type.
| | 01:00 | I can either do this through the menus
right there using the keyboard shortcut
| | 01:06 | Command+Option+G or Ctrl+Alt+G or,
and this is the way I tend to do it;
| | 01:12 | holding down the Option or Alt key
and clicking on the line that separates
| | 01:16 | them, it's that easy.
| | 01:18 | Okay, for additional credit we're now
going to do something else and that is
| | 01:23 | we're going to apply a
Stroke Emboss to this type.
| | 01:27 | So in order for this to work I first
need to capture my texture as a pattern,
| | 01:33 | and in order to do that I'm
going to have to unclip it.
| | 01:37 | With it selected I'll come to the Edit menu
and choose Define Pattern and I'll call it rust.
| | 01:45 | I can now go back and clip it, and I
can now go to my Type layer, double-click
| | 01:50 | to the right of the layer name and
then come down first to my Stroke option
| | 01:56 | where I'm going to be applying a
stroke that is a Pattern, it could be any
| | 02:01 | pattern of course but I'm choosing for
it to be the texture itself, the rust
| | 02:06 | texture and I'm going to increase
the Size of that up to 10 pixels.
| | 02:12 | Having done that, I'm then going to
emboss that stroke by coming to Bevel and
| | 02:16 | Emboss and choosing for the Style,
Stroke Emboss, and we get that lovely
| | 02:22 | effect, it's that simple.
| | Collapse this transcript |
| Applying texture to type with layer effects| 00:00 | In the previous movie we saw how we
can combine our own photographic textures
| | 00:04 | with Type, in this movie we're just
going to remind ourselves that we have a
| | 00:08 | lot of preset textures already in
Photoshop and we shouldn't overlook these
| | 00:12 | because they can sometimes be very useful and
they're certainly very easy and quick to apply.
| | 00:17 | And we would apply them
through the layer Effects.
| | 00:21 | I had a whole title Photoshop for Designers:
| | 00:23 | layer Effects in the lynda.com Training Library.
| | 00:26 | I highly recommend that you check that
out, there are some very interesting tips
| | 00:30 | and techniques in there.
| | 00:31 | But for now, I just want to point
out a couple of options that relate to
| | 00:35 | applying texture to your
layer, in this case to our Type.
| | 00:40 | So I have here four letters on
separate layers, they all have the same
| | 00:45 | layer effects, there is one slight
difference, they all have a different
| | 00:49 | texture applied to them.
| | 00:51 | I'm going to go to the T and mainly
what I'm talking about here is this option
| | 00:58 | Bevel and Emboss>Texture, this is
going to allow you to take a predefined
| | 01:03 | pattern, and if I over the pattern
I'll get the tooltip telling me that this
| | 01:08 | is Light Marble, Light Marble being
one of those patterns that comes in the
| | 01:13 | Rock Patterns Presets.
| | 01:15 | Now you can load all of these pattern
preset libraries by choosing Load Patterns
| | 01:21 | and you'd either replace what's there
or if you choose to append then they will
| | 01:26 | be added to what's already there.
| | 01:28 | You can also create your own patterns.
| | 01:31 | If you wanted to do that you'd just
need to be on the layer that you want to
| | 01:35 | create the pattern from, go to the
Edit menu and then down to Define Pattern,
| | 01:39 | thereafter it's going to appear in this list.
| | 01:44 | Now when you apply these patterns,
they're all applied as grayscale values, and
| | 01:48 | what distinguishes this option Texture
from this option Pattern Overlay because
| | 01:54 | they use the same preset patterns is
that when you do it this way you will
| | 02:00 | actually applying the color of
the pattern as well as the texture.
| | 02:04 | So mainly for what we're after here,
Texture is going to be the preferable
| | 02:09 | option because it's going to combine
the grayscale values with whatever is
| | 02:14 | the color of your Type and with whatever
other layer effects you currently have turned on.
| | 02:19 | Now when you're working with these you
also have the option of giving it some
| | 02:25 | dimension by using Bevel and Emboss, so
if I increase the Size of the Bevel, and
| | 02:32 | then increase its Depth and perhaps
change its Technique to Chisel Hard then we
| | 02:37 | get this kind of effect.
| | 02:39 | So as you can see layer styles can be
very quick and easy to apply and it's
| | 02:45 | worth checking out, the different
pattern libraries that come as presets
| | 02:51 | with Photoshop.
| | Collapse this transcript |
| Applying texture to type using a layer mask| 00:00 | Let's see how we can create this
authentic looking piece of distressed Type.
| | 00:04 | So I'm just going to break
this down for you first of all.
| | 00:07 | We have a texture, on top of the
texture, we have a TYPE layer, but the TYPE
| | 00:13 | layer has got some stuff going on
with it as you can see over here.
| | 00:16 | It's a smart object and it's
had a filter applied to it.
| | 00:20 | And that is the Gaussian Blur filter.
| | 00:22 | But before we get to that, let's look at this.
| | 00:25 | We have the texture applied as a
layer Mask to the Type. That's essential.
| | 00:31 | And then if I turn off the Smart Filters,
we can see that what that's doing is
| | 00:37 | it's blurring the edges of the Type.
| | 00:39 | And I think you often see this technique
applied without this additional detail.
| | 00:44 | And that let's it down because
while this looks good, the way is at the
| | 00:48 | moment, it doesn't look particularly
plausible because the edges of the Type are too sharp.
| | 00:53 | We don't want to blur the whole Type because
we want the Type to remain live and editable.
| | 00:58 | So we convert it to a smart object, and
then we can just blur it just the edges.
| | 01:02 | So I have a filter mask on the Smart
Filter layer which is just blurring
| | 01:08 | the edges of the Type.
| | 01:09 | And in addition to that, I have a copy
of the texture itself in a group and the
| | 01:16 | blending mode that is set to Soft Light.
| | 01:20 | This top layer is an optional
extra, but I think it helps.
| | 01:23 | So let's now switch to the starting point.
| | 01:26 | And you may be tempted to say,
well, that's an awful lot of work.
| | 01:31 | Why don't we just make the Type Multiply?
| | 01:35 | Well, you could, but it's not
going to look very convincing.
| | 01:38 | So that's why we're not going to
make it Multiply because it's not really
| | 01:40 | going to work very well.
| | 01:41 | Here's what we are going to do.
| | 01:43 | Let's turn off the TYPE layer, come
to the Background, switch to CHANNELS,
| | 01:49 | Command+Click or Ctrl+Click on the RGB
channel to load the Luminosity channel
| | 01:54 | or the gray values for that layer.
| | 01:57 | So I'm now going to turn my TYPE layer
back on, and then I'm going to come and
| | 02:02 | click on Add layer Mask.
| | 02:04 | Now at the moment, that has
subdued the Type too much.
| | 02:08 | And that's because we have
too many gray values in there.
| | 02:12 | I could use my Levels to
work on this layer Mask.
| | 02:16 | I just press Command+L or
Ctrl+L to go to my Levels.
| | 02:20 | But actually I'm going to use a
heavier handed approach in this case which I
| | 02:24 | think is going to work even better.
| | 02:26 | So making sure that I'm clicked on to
the layer Mask, I'm going to come to my
| | 02:31 | Image menu, Adjustments, and to Threshold.
| | 02:34 | Now Threshold is going to make that
layer Mask all black or all white pixels.
| | 02:39 | And if I move this way,
we're going to get more black;
| | 02:43 | this way, and this is the way we want
to go, we're going to get more white.
| | 02:48 | So depending on just how distressed you
want your Type to be, you can move your
| | 02:54 | Threshold slider one way or the other.
| | 02:58 | So when I click OK, if we now go and
have a look at that layer Mask, you'll see
| | 03:04 | that all of those pixels are
either black or white. Okay.
| | 03:09 | Now let's move on to
blurring the edges of the Type.
| | 03:13 | First of all, what I need to do is I
need to load the selection of the Type.
| | 03:18 | So I'm going to Command+Click on the TYPE layer.
| | 03:22 | It's already been converted to a smart
object so that we can apply Smart Filters.
| | 03:26 | But if you're working with Type that you
haven't yet done that to, you can do it
| | 03:31 | right there under the Filter menu.
| | 03:33 | So next what I want to do is modify
this selection, so I'm going to come to the
| | 03:39 | Select menu and choose Modify,
and then I'm going to choose Border.
| | 03:45 | Now how big you want your border to be is
going to depend upon the resolution of your image.
| | 03:50 | But I'm going to use a 20-pixel border.
| | 03:54 | And that's going to give me a
selection that looks like that.
| | 03:56 | So my selection is growing by 10 pixels
inside and 10 pixels outside my letter forms.
| | 04:03 | With my selection active, I'm now going
to come to the Filter menu and down to
| | 04:07 | Blur and choose Gaussian Blur.
| | 04:09 | And I'm going to blur it by, let's
just do a little bit more than that, let's
| | 04:15 | go to 5 pixels say.
| | 04:18 | So the effect is subtle,
but I think very effective.
| | 04:21 | If I turn off my Smart Filters, there
are the sharp edges and I'm going to zoom
| | 04:26 | in so that we might be able to
see that a little bit better.
| | 04:28 | Okay, so I'm at a very large view
size now which is why it looks pixelated.
| | 04:34 | But at 100%, this looks just great.
| | 04:37 | If I turn off that Smart Filter layer, we
can see we have sharp edges to the Type.
| | 04:42 | Turn it on and that's going to blur those edges.
| | 04:47 | As a final finishing touch, I selected
the texture, I copied it Command+J or
| | 04:53 | Ctrl+J. I dragged it up above and I
set its Blending mode to Soft Light.
| | 05:01 | Now I could also perhaps make that
grayscale and I had done that in the
| | 05:05 | finished version, but actually I think
I like it just fine the way it is with
| | 05:10 | this layer still in color.
| | 05:12 | But I could perhaps reduce the
Opacity of it just to tone it down a bit.
| | 05:18 | So there are two things that
really make this work well.
| | 05:22 | And that is the layer Mask with a
Threshold adjustment on that layer Mask
| | 05:27 | applied to the Type, and then some
blurring to the edges of the Type.
| | Collapse this transcript |
| Painting with a texture brush| 00:00 | This technique is a variant on the
techniques that we used in the previous movie.
| | 00:05 | So I'm not going to be going over
exactly how we got to this point with this
| | 00:10 | layer mask and with this Filter mask.
| | 00:11 | That's all in the previous movie,
but let's with the result that we have
| | 00:15 | there, take it in a slightly different
direction and rather than have the Type
| | 00:20 | be on the textured background from
which the layer mask was derived, let's
| | 00:25 | have it on a solid background.
| | 00:27 | Now what you often see with the
application of this effect is just the Type on
| | 00:34 | a solid background.
| | 00:36 | And to me that lacks a certain
something, because if the Type is really
| | 00:40 | distressed then surely don't we want
some of the texture that's in the Type on
| | 00:45 | the background as well.
| | 00:47 | And that's what we're going to look at here.
| | 00:49 | How do we take that texture that we've
already worked into the Type and apply
| | 00:55 | it to the background?
| | 00:56 | While there are several ways, but the
way that we're going to do it here is by
| | 01:00 | working with a texture brush.
| | 01:02 | So this movie would fit just as well in
the chapter on brushes as it would on Type.
| | 01:09 | So I'm going to switch over to this, the
starting point and what I'm going to do
| | 01:15 | is just take a look at the layer mask
by Alt+clicking or Option+clicking on it.
| | 01:19 | Now what we want to do is we want to
make this layer mask into a pattern and
| | 01:24 | then use that pattern to paint with.
| | 01:26 | So first of all I'm going to Command+click,
or Ctrl+click on the layer mask to
| | 01:30 | load the selection of the layer mask,
create a new layer, and then fill the
| | 01:35 | selection on that new layer with black.
| | 01:38 | Black is my Foreground Color.
| | 01:39 | So I'm going to press
Option+Delete or Alt+Delete.
| | 01:42 | And now I'll turn off the other two
layers, so that we can see that and deselect
| | 01:47 | my selection Command+D or Ctrl+D.
Now I'm going define that as a pattern
| | 01:52 | Edit>Define Pattern.
| | 01:55 | And I am going to call it distressed.
| | 01:58 | We can now turn that off,
turn my other two layers back on.
| | 02:04 | So I have my pattern defined.
| | 02:06 | I'm now going to add a layer above the
bottom layer and it's on this layer that
| | 02:11 | we're going to be adding the yellow paint.
| | 02:14 | So I need to come and sample the yellow.
| | 02:16 | I'm going to press I to go to my
Eyedropper tool, click on the yellow that now
| | 02:21 | becomes my foreground color.
| | 02:22 | Then I'm going to choose my Brush tool and the
type of brush that I want is a Spatter brush.
| | 02:30 | Then I'm going to come over to my Brush
panel where I want to change the options
| | 02:35 | of the Spatter brush and
this is the important a bit.
| | 02:38 | I need to choose the Texture option.
| | 02:40 | So when I choose that, the texture that
I'm going to use is the one that I made,
| | 02:45 | and I want the mode to be Multiply, I
want Texture Each Tip to be turned on.
| | 02:52 | Now I can stop painting with that, but
100% is probably going to be too much so
| | 02:57 | what I'm going to is take
the Opacity way down to 10%.
| | 03:00 | I'm just going to press 1 on my keyboard.
| | 03:04 | Press my Right Bracket to increase
my brush size and then just spray over
| | 03:09 | some of that background to introduce a
little bit of yellow paint into the background.
| | 03:18 | I can click more in some parts to make it a
bit dense, or I can change the size of my brush.
| | 03:25 | To finish the whole thing off, one more
thing we need to do and that is we need
| | 03:30 | to mask this yellow paint layer with
the shape of the letters, because we're
| | 03:34 | currently seeing through the letters and
we're seeing that paint beneath, but we
| | 03:38 | don't want to see it beneath.
| | 03:39 | So I'm going to hold down my Command
key or Ctrl key, click on the Type layer.
| | 03:44 | That loads the Type as an active selection.
| | 03:46 | Now I want the active selection
to be a layer mask on this layer.
| | 03:51 | If I just come and click this, I'm
going to get the opposite of what I want.
| | 03:54 | So I need to hold down the Alt key, so
that everything, but the Type is revealed.
| | 04:00 | If you got that the wrong way around,
you can always just invert your mask
| | 04:03 | by pressing Ctrl+I or Command+I.So that
mask is having a subtle, but necessary effect.
| | 04:10 | If I hold down the Shift key and click
on it, there is the before without the
| | 04:14 | mask and there is the after.
| | 04:16 | So this whole effect is achieved by
working with the texture that's applied as a
| | 04:22 | layer mask then making that into a
pattern and then painting with that pattern
| | 04:28 | on a layer behind the Type.
| | Collapse this transcript |
| Blending type into background texture| 00:00 | This effect looks really
hard to achieve, doesn't it?
| | 00:03 | But actually it's deceptively simple.
| | 00:05 | All we need to do is add a layer mask
to our type layer and then do something
| | 00:10 | with that layer mask.
| | 00:11 | I don't want to steal my thunder by
telling you what that is right away, but
| | 00:16 | without the layer mask the type looks like that.
| | 00:18 | Let's see how we can do this.
| | 00:21 | So I have the type on a picture.
| | 00:24 | Bear in mind this isn't always going to work.
| | 00:26 | It works well here, because we have a black
and white image that has very high contrast.
| | 00:32 | So I'm going to turn off my type layer,
come to my Background layer, go to my
| | 00:37 | Channels panel, Command+Click or Ctrl
+Click on my RGB channel to load the
| | 00:43 | luminosity channel for that layer.
| | 00:44 | Then I'll turn my type layer back on and I'll
make that active selection into a layer mask.
| | 00:53 | So that's going to obscure it because
we're essentially using the image to
| | 00:56 | mask the whole layer.
| | 00:58 | How I got here was the first thing I
tried was experimenting with the contrast
| | 01:03 | of this, but I found that
wasn't really working very well.
| | 01:06 | Because if we look at the layer mask, there is
too much black and black is going to conceal.
| | 01:12 | We need more white.
| | 01:14 | So what I'm going to do is I'm just
going to invert the values of the layer
| | 01:17 | mask, Command+I. So this is great as
far as it goes except that the branches
| | 01:23 | where they overlap the type are
losing some of their definition.
| | 01:27 | So it's now that we can look on
the contrast of the layer mask.
| | 01:31 | I'm going to press Command+L and Ctrl+L
and what I want to do is these are very
| | 01:36 | sort of light grays.
| | 01:38 | So if I get my gray point slider and
move this to the right, I'm going to bring
| | 01:43 | back some of the definition.
| | 01:44 | Look what happens when I move the left;
| | 01:46 | we lose the definition.
| | 01:47 | Move to the right, we bring the definition back.
| | 01:50 | And I'll also get that black point
slider and bring that over a bit too.
| | 01:55 | So very simply, very quickly we're able
to make these letters looks like they're
| | 02:01 | actually embedded within the branches
of this tree, just using a very simple
| | 02:05 | trick with a layer mask.
| | Collapse this transcript |
|
|
10. Automating TexturesUsing the texture actions set| 00:00 | In this chapter we're going to see how
we can automate the creation of textures
| | 00:04 | primarily using actions and action is a
recorded sequence of steps that you can
| | 00:10 | playback on any image or batch of images.
| | 00:13 | When it comes to replicating
repetitive task, actions can be
| | 00:17 | massively timesaving.
| | 00:20 | We can interact with actions in
several different ways, we can use the
| | 00:24 | predefined actions that come with
Photoshop, we can edit those actions, we can
| | 00:30 | create our own actions, or we can
download actions that other people have
| | 00:35 | created from sites like Adobe Exchange.
| | 00:37 | We'll be doing all of those but let's
begin with using some of the actions that
| | 00:42 | come with Photoshop.
| | 00:43 | So I'm going to come to my Window menu
and open my Actions panel and expand it.
| | 00:52 | Now I have one action set before
actions and this are all worth exploring, but
| | 00:57 | in the context of
textures what we want are these.
| | 01:02 | So we have some textures preset
actions, but we have to first load them
| | 01:09 | and these are those actions and I'm going
to begin by working with the black granite.
| | 01:16 | These actions need something on your
canvas to work with even if that something
| | 01:22 | is as it is in my case just solid white,
I'll select the action and click the
| | 01:29 | Play button at the bottom of the
Actions panel and that is our results and if I
| | 01:36 | expand the action you can see these
rules steps that the action took to get this
| | 01:42 | result and many of these
things were now look familiar.
| | 01:45 | We have things like clouds, fine edges,
reticulation, blurring, etc., as a result.
| | 01:53 | I'm now going to run another one and
I'm now even going to clear my canvas,
| | 01:56 | because the next action will creates a new
layer we have that be Rosewood number 1, play it.
| | 02:07 | Now here is an example where there is a
stop inserted in the action where it's
| | 02:13 | suggesting the settings that you should use.
| | 02:16 | Of course you can use any settings
you like, but to get the effect as
| | 02:20 | intended you should use these, but
there is the option to customize the
| | 02:24 | action at this point.
| | 02:25 | So you have to remember what these
are Canvas 130, 11, Light Direction=Top,
| | 02:31 | click Continue takes me to the Filter,
Texture is Canvas, Scale 130, Relief 11,
| | 02:40 | Light Direction Top and there is a
rosewood texture and if take a look at the
| | 02:47 | layers panel, you can see it's created
that on a separate layer, we'll have to
| | 02:52 | look at one more and the one more I'm
going to look at and that will be Rippled
| | 02:57 | Oil right here and that's what it's look like.
| | 03:02 | Expanded these are the steps
that it took to get to this.
| | 03:06 | In the next movie we'll see how we
can adapt these actions to personalize
| | 03:11 | into our needs.
| | Collapse this transcript |
| Editing an action| 00:00 | Here we are going to see a
simple example of editing and action.
| | 00:03 | I am going to come to my Actions panel.
| | 00:05 | If you don't see it, it's
under the Window menu, right there.
| | 00:09 | I am going to be working with one of the
Textures actions, specifically Green Slime.
| | 00:16 | If I expand Green Slime, these are the
steps that it uses to get this result.
| | 00:25 | If this wasn't what you expected or
wanted, undoing is going to involve
| | 00:29 | undoing all of these steps, which is
why all of these actions include as their
| | 00:35 | first step Make snapshot.
| | 00:37 | So it always gives you an out.
| | 00:40 | You can always restore things to the
way they were before you ran the action.
| | 00:44 | So that's what I am going to do there.
| | 00:46 | If you do want to edit one of these
actions, it's not always completely
| | 00:50 | transparent where the particular
thing that you want to edit occurs in
| | 00:55 | this sequence of steps.
| | 00:57 | So it may be useful to change the
Playback options of the Actions.
| | 01:02 | Now at the moment and typically, I am
running in Accelerated mode, i.e. let's
| | 01:08 | make the action happen as quickly as possible.
| | 01:11 | But we can change this to Step by Step,
which is kind of interesting way of
| | 01:16 | deconstructing an action anyway.
| | 01:19 | Now when I run that same action, we
can see each of the steps take place in
| | 01:27 | almost real time and we realize it's right
there that the color is changed to green.
| | 01:35 | And we actually want the color
to change to purple, let's say.
| | 01:39 | What I'd like to do is edit this action.
| | 01:41 | Let's imagine that I like everything
else about it, I just want to change the
| | 01:44 | color of the result.
| | 01:45 | Maybe there is going to be a time when
I do want a Green Slime action, so I am
| | 01:50 | actually going to make a duplicate of it.
| | 01:51 | So I am going to select the action and
from the Actions panel menu, I am going
| | 01:56 | to choose Duplicate and it's going to
give me a copy, and then I'll just come
| | 02:03 | and edit the name of that and we will
call this Purple Slime, and then I am
| | 02:10 | going to come down to this
specific step that I want to edit.
| | 02:15 | In this case that is Color Balance and I
don't choose to record that step again.
| | 02:24 | These are the settings that I used to
get this green color and I can just change
| | 02:29 | these around and I am going to go
towards the Magenta and towards the Red, add a
| | 02:34 | bit more to the Blue and I'll click OK,
you'll see that the Red record button
| | 02:40 | went off, so that's just
recording that one single step again.
| | 02:45 | Now I'll restore my document to its
History Snapshot, come back to my Actions
| | 02:53 | and I'll now run my edited action and I
didn't take it out of the Step by Step mode.
| | 02:59 | So it's going to run rather slowly.
| | 03:02 | If we are happy with that result, we
can now come to Playback options and put
| | 03:08 | that back to the Accelerated mode.
| | 03:10 | So there we see just a very simple
example of how you can take one of these
| | 03:14 | predefined actions and
adapt it to your own needs.
| | Collapse this transcript |
| Creating your own texture action| 00:00 | Here we are going to see an
example of creating a simple script.
| | 00:04 | So I am going to create a script
that will create texture type on a black
| | 00:09 | background, using this background texture.
| | 00:13 | To start what is I need to be on my top
layer and I am going to include in the
| | 00:18 | Action instructions, that proviso
because without that it's not going to work.
| | 00:23 | So I am going to go to my ACTIONS
panel and why don't we create a new Action
| | 00:28 | Set, not necessary but
just a housekeeping thing.
| | 00:31 | So I'll create a new set
and I will call it My Actions.
| | 00:37 | And then within this Action Set I am
going to create a new action and I am going
| | 00:42 | to call this Textured Type.
| | 00:48 | I could add a function key to it, I am
not going to -- I could color code it, I
| | 00:52 | am not going to do that
either, but those are options.
| | 00:54 | So now I can click Record.
| | 00:58 | Now the good news is when you're
recording, it's not recording in real time so
| | 01:01 | just take your time to get it right.
| | 01:05 | We have to red button on indicating
that we are recording and the first thing
| | 01:10 | that we want to, go to the
background layer and hide the top layer.
| | 01:16 | Wherever possible when I'm recording
actions I like to use keyboard shortcuts
| | 01:21 | just so there's no
ambiguity about that action step.
| | 01:25 | The keyboard shortcut to select the layer
beneath is Option or Alt and the Left Bracket.
| | 01:33 | So that selects the layer behind the
one that you are up and now I want to
| | 01:39 | turn off the visibility for
everything else and that keyboard shortcut is
| | 01:44 | holding down the Alt or the Option key and
clicking on the eyeball of your current layer.
| | 01:51 | Now I want to load the
Luminosity channel for layer 1.
| | 01:55 | So I am going to the Channels panels
and Command or Ctrl+Click on the RGB
| | 02:02 | channel and we will see the selection active.
| | 02:05 | Now return to the layer's panel where
I want to turn the type layer on I am
| | 02:11 | going to press Option or Alt and the
Right Bracket to turn that layer back on
| | 02:18 | which is simultaneously going to hide
the Texture layer, and then I am going to
| | 02:24 | click Add layer mask.
| | 02:25 | The next thing I want to do is add a
layer behind this and fill it with color,
| | 02:30 | because I know I want the layer to go
beneath it, I am going to hold down the
| | 02:34 | Command or Ctrl key and click on Create
new layer and making sure that black is
| | 02:40 | my foreground color, press Option
or Alt and my Backspace Delete key.
| | 02:46 | So far so good, but now what I want to
do is I want to work on this layer mask
| | 02:53 | to increase the contrast so we really
bring out the texture of that background.
| | 02:59 | Select that layer mask, Option or Alt
and the Right Bracket we will select the
| | 03:04 | layer above because it's a type layer
it's actually selecting the layer mask.
| | 03:09 | And now so that we can allow
ourselves already or any other user a level of
| | 03:17 | interactivity with it rather than go
to Adjustments and Threshold which is
| | 03:25 | going to require that we put in a value that
would be applied exactly the same way every time.
| | 03:31 | What I'm going to do is choose Insert
menu Item, its going to insert the menu
| | 03:41 | item and its just going to stop right there.
| | 03:46 | Now that is the end of the
action I am going to click Stop.
| | 03:50 | There is one other thing I need to do as
a safe guard at the very beginning I am
| | 03:56 | going to insert a save history snapshot.
| | 03:58 | So I am going to select the name of my
action all the way at the top, click on
| | 04:02 | the Record button, go to my
History panel and choose New Snapshot.
| | 04:11 | Come back to my ACTIONS and it's put
that in the wrong place and the sequence, I
| | 04:17 | actually wanted to go at
the beginning of sequence.
| | 04:20 | Having stop the recording I am just
going to drag the step up, to the top of the
| | 04:24 | sequence and not let's see how our
action is going to work so I am going to just
| | 04:31 | put things back to how they were.
| | 04:35 | Let's do that by clicking
on my starting history state.
| | 04:40 | I'll select the top layer come to my
ACTIONS and then just play that action and
| | 04:49 | you will it stops at the threshold
command where we get the chance to just dial
| | 04:55 | in exactly how much of that texture we
want to incorporate it into the type.
| | 05:02 | So a simple example of creating your
own action and, including the option for
| | 05:08 | the user to interact with the exact
amount of settings that are applied.
| | Collapse this transcript |
| Finding, downloading, and installing actions| 00:00 | As well as using the texture preset
actions as well as editing those actions and
| | 00:05 | as well as writing our own, we can of
course use actions created by anyone in
| | 00:09 | the Photoshop community and there
are a great many of them out there.
| | 00:13 | I am just going to show you
one particularly good example.
| | 00:16 | I am on the Adobe Exchange web site and
I am in the Photoshop Exchange section
| | 00:24 | and I have gone to the Actions part of
that branch of the Adobe Exchange site.
| | 00:32 | In the Photoshop actions, there
is this particularly good one,
| | 00:37 | Handcolored vintage photo.
| | 00:38 | It's fantastic action.
| | 00:41 | Download this and then install it by
putting it in your Actions folder which is
| | 00:49 | in your Photoshop folder in your Presets folder.
| | 00:53 | Having done that, we are
now ready to run the action.
| | 00:57 | Come to the Actions panel to the panel
menu and choose Load Actions then we can
| | 01:06 | navigate to that Presets folder, to the
Actions folder, there it is right there
| | 01:15 | and there we have just loaded the action set.
| | 01:18 | So this is actually several actions,
there are four of them, Ageing, Colour,
| | 01:24 | Bending, Cracks and addition to that
there is an Instructions action which is
| | 01:30 | nothing more than just a
description of the action does.
| | 01:34 | So if I click on that and then play
Instructions, it's going to tell us this,
| | 01:39 | very important piece of information here.
| | 01:42 | You need to run these cumulatively
starting with the Ageing, the Colour, and
| | 01:47 | then you do Bending or Cracks.
| | 01:51 | Click stop and now come on to the
Ageing action, run that and this is all
| | 02:00 | happening in real time.
| | 02:02 | There is our result.
| | 02:05 | Isn't that just a splendid and
automated and quick result? All right!
| | 02:12 | So having run the Ageing, we can then
come to the Colour action, and then having
| | 02:19 | done that I am just going to run the
Bending action and there we have the result
| | 02:25 | after applying the three different
actions, one on top of the other, in the
| | 02:30 | recommended order, Ageing, Colour and Bending.
| | 02:34 | So this is just one example of the kind
of thing you can get with a predefined
| | 02:41 | action that you download from some
sort of Photoshop resource site, in this
| | 02:47 | case, we use the Adobe Exchange site.
| | 02:49 | These were all the steps in the Ageing
action, so this must have taken quite
| | 02:54 | some time to put together and it takes
literally the blink of an eye to run it
| | 02:59 | on your image and I think with great effect.
| | Collapse this transcript |
| Applying texture styles| 00:00 | Still in presets land and in
automation land there is one other topic that I
| | 00:05 | need to tell you about, that relates
to textures and that is Texture styles.
| | 00:13 | As you know we have these styles they
are predefined combinations of layer
| | 00:19 | effects and Photoshop comes with
some predefined textures styles.
| | 00:25 | So I'm going to load them and I'm
going to click OK to replace my existing
| | 00:31 | styles with those textures.
| | 00:34 | And if I hover over them I'll get a
tooltip telling me what they are I can just
| | 00:38 | click to apply them.
| | 00:40 | If you want to see how these are made
up most of them depend upon combination
| | 00:47 | of Color Overlay, Gradient Overlay
and Pattern Overlay and if I look at the
| | 00:52 | Pattern Overlay we see in this case
we're using a wood oak pattern sample which
| | 00:59 | is one of patterns that comes with pattern
presets and this are all your pattern presets.
| | 01:06 | In this case it sampled up to 333%
which is wide I'm going to look a little bit
| | 01:11 | on the blurry side because it's being
up sampled I don't has a color overlay
| | 01:16 | and gradient overlay and in combination we get
this I guess somewhat would oak like texture.
| | 01:24 | In this case though what I'm going to
do is delete that one, let's suppose I
| | 01:30 | have this new clothing line and I like
to very quickly apply some textures to
| | 01:37 | both the text and my background label.
| | 01:40 | So starting out with the text, I'm
going to apply the denim style to that, just
| | 01:49 | click on it like so then I'm going to
click on the layer beneath it and now
| | 01:53 | rather then apply one of the styles
I use one of the predefined actions.
| | 01:58 | So in my Textures Actions I'll have
parchment paper, click play and I need to
| | 02:06 | actually put in these values so
Canvas 71, 1, Light Direction= Top.
| | 02:16 | And in addition to that I think I would
just want to add one other thing to the
| | 02:22 | textures style made up of color overlay,
gradient overlay and pattern overlay, I
| | 02:28 | think you also need a drop shadow.
| | 02:30 | So when we add one we can just make
that 9 pulp out bit more and I'm going to
| | 02:39 | make this shadow a hard shadow by
pumping up the spray to 100%, dragging to
| | 02:46 | determine the direction of the
shadow and there is our result, Using a
| | 02:52 | combination of a predefined textures
style and a predefined texture action.
| | 02:59 | Now while these may not be the most
sophisticated textures you've ever seen, they
| | 03:03 | can sometimes be a good starting
point for your explorations with texture.
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ConclusionGoodbye| 00:00 | Thanks for watching
Photoshop for Designer Textures.
| | 00:03 | I hope you learned some interesting
techniques and I hope that you can apply
| | 00:06 | these in your own work and perhaps combine
them with techniques you're already using.
| | 00:11 | Please check out the other titles
in the Photoshop for Designer series.
| | 00:15 | My name is Nigel French and you can
find me online at nigelfrench.com.
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