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Adding texture with the Emboss filter

From: Photoshop CS5 One-on-One: Mastery

Video: Adding texture with the Emboss filter

I am so done painting at this point, that I've switched over to the Rectangular Marquee tool. I don't even want to have a painting tool selected anymore. From now on, it's all about compositing. So we're going to take Colleen with her fine hairs inside of this composition that's called Painting and fine hairs.psd. We're going to move her over into this Cloudy comp.psd file. So if you're working along with me, make sure that you have both of these compositions opened. Notice what's going on with this composition here inside the Layers panel. I want you to twirl open clouds, and actually go ahead and turn off the vague whiteness layer right there.

Adding texture with the Emboss filter

I am so done painting at this point, that I've switched over to the Rectangular Marquee tool. I don't even want to have a painting tool selected anymore. From now on, it's all about compositing. So we're going to take Colleen with her fine hairs inside of this composition that's called Painting and fine hairs.psd. We're going to move her over into this Cloudy comp.psd file. So if you're working along with me, make sure that you have both of these compositions opened. Notice what's going on with this composition here inside the Layers panel. I want you to twirl open clouds, and actually go ahead and turn off the vague whiteness layer right there.

The clouds layer is a Smart Object. If you were to open the Smart Object, you would see my original photograph. You'd also see an adjustment layer that's brightening the heck out of it. Because Colleen still looks best, since I captured her against a blown out background, she still looks most at home against an overly bright background. So I went ahead and elevated the brightness inside of the Smart Object. Then I applied a couple of Smart Filters here. So if I turn those filters off, you'll see, albeit a very bright version of, the original clouds image.

Then I used Gaussian Blur to create the effect that the sky is beyond the depth of field. And I used Median to impart a certain painterly quality, because Median goes ahead and averages, and rounds off the corners inside the image. All right, so I'll turn those guys back on. You can check out the specific settings if you like. There is nothing going on with the blend modes, just standard Normal, 100%. Then I added this vague whiteness. The notion behind the vague whiteness is it's a background for Colleen to sit on for the painting to rest against. It is very vague.

I just painted it in with a big blobby brush, nothing special going on here. But it will result in a pretty organic looking effect, especially given that I didn't bother to apply any paint strokes to this particular version of the background. I did experiment with that. It just never quite looked right. It looked best if the clouds are rendered the way they are now, very bright and out of focus. All right, I'm going to switch back to Painting and fine hairs.psd. I'm going to take both of these layers. So make sure they're selected fine hairs and painting. Alt+Drag or Option+Drag them onto the little page icon, which is fast becoming my preferred means for transferring layers between compositions.

I'll change the Document option to Cloudy comp.psd. I'll click OK. Now nothing seems to have happened, because we're still looking at Painting and fine hairs.psd. I'll press Ctrl+Tab or Cmd+Tilde on the Mac in order to switchover to Cloudy comp. Problem is I have the clouds layer active. So fine hairs and painting appear in front of clouds, and the vague whiteness wipes them out, which is not an effect I'm looking for. So I'm going to go ahead as opposed to just leaving it this way, which is, it could be construed as a happy accident.

But I actually think it looks terrible. I'm going to grab vague whiteness, and drag it underneath the painting layer like so and then we achieve this effect. All right, now I'll click on the painting layer. I'm going to set it to the Multiply blend mode by choosing Multiply from the Blend mode pop-up menu. We end up with this effect here, which I think looks pretty darn great. As a result, she has a little coolness entering around her nose, and her mouth, and her shoulders, and the back of her hair, and so on. It lends a nice blue quality to the piece. All right, so the next step is to add some texture to the paint.

I was telling you a program like Corel Painter, which is designed to be a traditional media painting program, it allows you to paint brush strokes that impart depth as you paint them. Well, Photoshop has not caught up with that program in the painting department. I should say, by comparison, Photoshop's Mixer Brush and Bristle brushes are frankly fairly primitive. Painter has been doing that kind of stuff just for eons now. Although, I would also say that Photoshop is quite a bit easier to use, believe it or not. And this is not a program that is necessarily all that easy to use.

But still, we can go ahead and impart texture to a layer inside of Photoshop using the Emboss command, for example. So I'm going to go ahead and merge most of these layers onto a new layer. All but the fine hairs, because if we emboss the fine hairs, the embossed edges would actually be thicker than the hairs themselves, so we don't want that. So go ahead and turn off the fine hairs layer. Then make sure the painting layer is active. Press Ctrl+Shift+E, or Cmd+Shift+E on the Mac in order to merge the visible layers onto a new one.

I will call this new layer merged. The next thing that I'm going to do is, because ultimately, I need to clip the merged layer inside of the painting layer. So you may recall that when you apply the Emboss command, it results in some colorful effects. So you have to, after applying Emboss, go ahead and follow that up with a de-saturation layer, basically, Hue/ Saturation with the saturation value of -100%. Well, you can't clip something inside of something that's already clipped.

This is difficult to explain. I could show you the mistake we could end up making. But it would take us several steps to get there. What I'd rather do is just nip it in the bud. We're going to convert this layer to grayscale in advance. We're going to do that just by going up to the Image menu, choosing Adjustments, and choosing Desaturate. So I'm applying a destructive modification. I'm just getting rid of the colors on this merged layer. Fine! Now we still have the colors and the layers below. You can see that here inside the Layers panel. Now if I apply Emboss to this merged layer, why then, oh, happy day.

We're not going to have any color artifacts, because we didn't start with any color in the first place. So just because I feel like this effect here should be nondestructive, I'm going to convert this merged layer into a Smart Object. So I'll go up to the Layers panel flyout menu. I'll choose Convert to Smart Object, or if you've loaded dekeKeys, you've got Ctrl+Comma, Cmd+Comma on the Mac. Now let's go up to the Filter menu, choose Stylize, and choose the Emboss command. I've already dialed in the settings I want to use. You can fool around with the Angle value; I came up with 165, just because of the direction of my brushstrokes.

I want to make sure I'm lighting them perpendicularly. So, many of my brushstrokes are flowing at this kind of Angle right here. That is, from the upper right to the lower left. That's just because that tends to be the way I was brushing along the contours of this specific image. A Height of 2 pixels works well for this effect. If you had a higher resolution image, you might go higher with a Height value. Just bear in mind that the higher you go with the Height value, the more you start separating your edges away from each other. You start getting fairly ridiculous effects after a while.

You should set your Amount probably between 200% and 300%, depending on how much relief you want associated with these brushstrokes. I'm going to leave it set to 200. So these are my values here 165, 2, and 200. Click OK. I'm going to get rid of this darn filter mask. These things irritate the heck out of me. Go ahead and right-click, and choose Delete Filter Mask. We just don't need the clutter inside the panel. I am going to change the blend mode from Normal to Overlay. This is the blend mode for the entire layer, so that we end up getting this effect right there. So if I turn it off, this is the original version of the painting.

By original, I mean the one I just completed, without any texture associated with it. If I turn the merged layer back on, there is my texture. So it's looking pretty darn good. Now if you wanted one more texture than that, you could try out Hard Light or Linear Light, if you really wanted to go for it. But I think that's a little bit too much. That looks awfully etched, and a little unforgiving. So I'm going to switch this back to Overlay. Finally, I don't like the edge along this nose, notice how harsh it is. If it weren't here, it would be someplace else. Basically, it's down this direction, because the Angle was set to 165 degrees.

But if I had lit the brushstrokes from a different angle, I might have given the top of the nose a really dark edge. I don't want it anywhere. As I was saying before, I'm going to go ahead and clip this merged layer into the painting layer. I'm going to do that by Alt+Clicking or Option+Clicking on the horizontal line between merged and painting. I want you to keep an eye on the painting here inside the image window. Notice as soon as I Alt+Click or Option +Click that line, that edge goes away, which is exactly what I'm looking for. All right, so that's how you create a textured painting effect.

Now I would go ahead and bring back the fine hairs, like so. In the next and final exercise ,people, we are going to elevate the brightness and contrast of this piece. And I'm going to show you a happy accident that makes this composition look just absolutely great.

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This video is part of

Image for Photoshop CS5 One-on-One: Mastery
Photoshop CS5 One-on-One: Mastery

192 video lessons · 44100 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 40m 45s
    1. Welcome
      2m 45s
    2. Making Photoshop your default image editor
      7m 43s
    3. Installing the dekeKeys keyboard shortcuts
      8m 10s
    4. Remapping OS shortcuts
      7m 37s
    5. Installing the Best Workflow color settings
      4m 31s
    6. The color settings explained
      6m 54s
    7. Loading the CS5 color settings in Bridge
      3m 5s
  2. 1h 11m
    1. Your creative range continues to expand
      1m 46s
    2. The Avatar project so far
      2m 38s
    3. Painting on a photograph
      7m 50s
    4. Adding texture and depth
      6m 14s
    5. Simulating chalky white paint
      7m 23s
    6. Masking and placing an image
      7m 20s
    7. Upsampling and Lens Blur
      5m 9s
    8. Blending blurry elements
      3m 48s
    9. Making a Smart Object
      6m 46s
    10. Placing an image as a Smart Object
      3m 22s
    11. Blending away a background
      5m 56s
    12. Applying Smart Filters
      4m 34s
    13. Creating a glow with Lens Flare
      3m 45s
    14. Blending and masking a glow
      5m 3s
  3. 1h 26m
    1. Using the image to select itself
      1m 53s
    2. Introducing masking
      6m 32s
    3. Making an alpha channel
      6m 54s
    4. Using the Calculations command
      6m 48s
    5. Add, Subtract, Offset, and Scale
      5m 54s
    6. Prepping an image with the Dodge tool
      6m 55s
    7. Fixing mistakes before they get too big
      6m 32s
    8. Painting in the Overlay mode
      5m 51s
    9. Exaggerating and selecting flesh tones
      7m 39s
    10. Smudge, Median, and the Blur tool
      6m 59s
    11. Masking low-contrast details
      6m 7s
    12. Creating a flesh-and-clothing mask
      5m 45s
    13. Masking and compositing the foreground
      5m 27s
    14. Finessing the final composition
      7m 39s
  4. 2h 24m
    1. Connecting the dots
      1m 40s
    2. The Pen tool and the Paths panel
      6m 32s
    3. Drawing a straight-sided outline
      6m 25s
    4. Editing a path outline
      6m 36s
    5. Adding and editing smooth points
      5m 35s
    6. Creating vector masks with the shape tools
      4m 59s
    7. Building a complex outline from shapes
      4m 26s
    8. Subtracting and transforming shapes
      6m 45s
    9. Cloning, flipping, and combining shapes
      8m 58s
    10. Roughing in non-symmetrical paths
      7m 41s
    11. Finessing a complex outline
      9m 15s
    12. Masking a layer effect
      8m 26s
    13. Isolating an image element
      6m 8s
    14. Smooth points and control handles
      9m 3s
    15. Stretching curved segments
      7m 49s
    16. Using the Rubber Band option
      9m 33s
    17. Drawing smooth points with the Pen tool
      6m 59s
    18. Shading an isolated object
      3m 45s
    19. Drawing cusp points
      7m 14s
    20. Setting points in the pasteboard
      9m 57s
    21. Using the Convert Point tool
      6m 42s
  5. 2h 57m
    1. Everything you need to know about blending
      1m 45s
    2. Photoshop CS5's blend modes
      7m 21s
    3. Cycling between blend modes
      6m 15s
    4. Darken and Lighten and their derivatives
      6m 3s
    5. The blend mode shortcuts
      8m 6s
    6. The Multiply and Burn modes
      4m 28s
    7. The Screen and Dodge modes
      6m 0s
    8. How opposite blend modes work
      8m 24s
    9. Why Multiply darkens and Divide lightens
      5m 23s
    10. Cleaning up a client's bad art
      5m 3s
    11. Dropping out a white background
      5m 56s
    12. Blending inside blend modes
      8m 3s
    13. Overlay, Soft Light, and Hard Light
      6m 26s
    14. Vivid, Linear, and Pin Light (and Hard Mix)
      6m 35s
    15. Difference, Exclusion, Subtract, and Divide
      7m 34s
    16. Great uses for the Difference mode
      6m 18s
    17. Promising uses for the Divide mode
      9m 6s
    18. Hue, Saturation, Color, and Luminosity
      7m 0s
    19. Blending an inverted layer
      3m 32s
    20. The "Fill Opacity Eight"
      7m 25s
    21. Making bad blend modes good
      5m 16s
    22. Making a knockout layer
      6m 53s
    23. Blending in the CMYK mode
      8m 3s
    24. Overprinting black text
      8m 29s
    25. Using the Luminance slider
      5m 24s
    26. Parametric luminance masking
      6m 21s
    27. Adjusting the behavior of luminance effects
      10m 8s
  6. 2h 2m
    1. Smart Objects = protective containers
      1m 35s
    2. Placing an Illustrator graphic
      6m 30s
    3. Vector copy and paste options
      6m 56s
    4. Applying Puppet Warp to vectors
      8m 9s
    5. "Gluing" vector art for Puppet Warp
      5m 50s
    6. Warping art onto the surface of an image
      8m 7s
    7. Blending a Smart Object
      4m 30s
    8. Blurring and blending a Smart Object
      6m 8s
    9. Making changes in Illustrator
      5m 57s
    10. Creating "true clones"
      7m 18s
    11. Double-flipping text
      4m 44s
    12. Applying effects to multiple layers
      3m 24s
    13. Updating true clones in one operation
      7m 36s
    14. Editing JPEGs as Camera Raw objects
      5m 49s
    15. Creating a double-exposure effect
      7m 15s
    16. Masking and shading transitions
      7m 47s
    17. Applying and repeating Camera Raw edits
      6m 9s
    18. Copying vs. cloning a Smart Object
      5m 18s
    19. Flipping a Smart Object and its mask
      3m 42s
    20. Adjusting multiple Camera Raw clones
      3m 53s
    21. Text that inverts everything behind it
      5m 34s
  7. 1h 59m
    1. This time, "smart" means dynamic
      1m 37s
    2. Introducing Smart Filters
      6m 28s
    3. Traditional High Pass sharpening
      5m 17s
    4. Smart High Pass in the Lab mode
      7m 57s
    5. Sharpening a high-frequency image
      7m 46s
    6. Retroactively reducing noise
      7m 31s
    7. Which filters are Smart Filters?
      6m 20s
    8. Shadows/Highlights as a Smart Filter
      4m 37s
    9. Nesting one Smart Object inside another
      7m 11s
    10. Drawing a mask from a nested Smart Object
      8m 7s
    11. Better Shadows/Highlights inside Lab
      9m 16s
    12. Tempering saturation values in Lab
      7m 0s
    13. Filtering live, editable text
      9m 2s
    14. Enhancing filters with layer effects
      4m 33s
    15. Applying a filter multiple times
      5m 0s
    16. Creating a synthetic star field
      7m 7s
    17. Making a stucco or drywall pattern
      6m 28s
    18. Land, sea, and clouds
      8m 30s
  8. 2h 50m
    1. Photoshop's advanced painting tools
      2m 3s
    2. Canvas texture and brush libraries
      6m 40s
    3. Painting with a predefined custom brush
      9m 21s
    4. Dissecting a custom brush
      11m 9s
    5. Designing and using a custom brush
      4m 54s
    6. Saving and loading brush presets
      5m 27s
    7. The ten styles of bristle brushes
      9m 47s
    8. Size, Spacing, and Angle
      7m 2s
    9. Using the Bristle Brush preview
      7m 53s
    10. Bristles, Length, Thickness, and Stiffness
      6m 53s
    11. Stylus tilt and mouse behavior
      5m 25s
    12. Stroking a path outline with a brush
      4m 0s
    13. Troubleshooting a stylus
      5m 49s
    14. Introducing the Mixer Brush
      7m 22s
    15. The Load, Mix, and Wet values
      5m 1s
    16. Cleaning and loading a brush
      6m 26s
    17. Shading a piece of graphic art
      6m 34s
    18. Shading with color
      7m 53s
    19. Mixing a photographic portrait
      6m 11s
    20. Tracing the fine details in an image
      5m 52s
    21. Crosshatching and brush size
      5m 53s
    22. Covering up and augmenting details
      7m 36s
    23. Painting in hair and fabric
      5m 54s
    24. Painting and scaling very fine hairs
      8m 7s
    25. Adding texture with the Emboss filter
      8m 31s
    26. Exploiting a "happy accident"
      2m 46s
  9. 1h 40m
    1. Artificial intelligence that works
      1m 22s
    2. The Auto-Align Layers command
      7m 25s
    3. The Auto-Blend Layers command
      3m 54s
    4. Masking auto-aligned layers
      4m 50s
    5. The Geometric Distortion setting
      6m 44s
    6. The Seamless Tones and Colors checkbox
      4m 8s
    7. Creating the best possible layer mask
      9m 18s
    8. Auto-blending depths of field
      5m 54s
    9. Finessing masks, accepting imperfections
      6m 29s
    10. Shooting and downsampling panorama images
      5m 54s
    11. Introducing the Photomerge command
      6m 40s
    12. Evaluating the Layout settings
      6m 47s
    13. Loading, aligning, and blending with Photomerge
      5m 36s
    14. Tracing and extracting seams
      7m 18s
    15. Adding a masked element into a panorama
      5m 55s
    16. Simplifying and correcting a panorama
      5m 58s
    17. Smart Filters and nondestructive cropping
      6m 43s
  10. 1h 18m
    1. The most mysterious of mysterious topics
      2m 29s
    2. Introducing HDR Toning
      6m 43s
    3. Reigning in clipped highlights
      5m 54s
    4. The Local Adaptation options
      9m 5s
    5. Nondestructive editing with HDR Toning
      8m 22s
    6. Using the HDR Toning Curve
      7m 2s
    7. HDR Toning vs. Shadows/Highlights
      6m 0s
    8. Merging multiple exposures
      7m 14s
    9. A first look at HDR Pro
      6m 24s
    10. Removing ghosts, correcting backlighting
      7m 11s
    11. Generating and editing an HDR comp
      7m 0s
    12. HDR rendered to completion
      5m 19s
  11. 1h 27m
    1. Processing hundreds of files in no time
      1m 43s
    2. Creating an action set
      6m 37s
    3. Making an action
      7m 7s
    4. Stop, Delete, and Record
      7m 12s
    5. Add, Undo, and Rerecord
      6m 40s
    6. Playing and testing an action
      6m 31s
    7. Playing and editing a specific operation
      6m 39s
    8. Permitting the user to change settings
      4m 58s
    9. Explaining an action with a custom stop
      5m 0s
    10. Batch-processing multiple images
      7m 22s
    11. Adding a Save As operation
      6m 34s
    12. Creating an action to save web graphics
      7m 59s
    13. Batching two actions into one
      7m 15s
    14. Saving and loading actions
      5m 30s
  12. 1m 19s
    1. See ya
      1m 19s

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