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Blending filtered effects

From: Photoshop Smart Objects

Video: Blending filtered effects

I have saved my progress as Halftoned businessman.psd, found inside the 05_smart_filters folder. You may recall we took this image from the Fotolia Image Library. We converted it to a Smart Object and we applied Color Halftone as a Smart Filter. Now, I want to show you something about the Color Halftone filter very quickly here. I will double-click on it. Notice that it has this value right here that says 16 pixels. Now, that means that the Max. Radius of any of these circles is going to be 16 Pixels, which means the maximum Diameter, which is twice the Radius, is going to be 32 Pixels.

Blending filtered effects

I have saved my progress as Halftoned businessman.psd, found inside the 05_smart_filters folder. You may recall we took this image from the Fotolia Image Library. We converted it to a Smart Object and we applied Color Halftone as a Smart Filter. Now, I want to show you something about the Color Halftone filter very quickly here. I will double-click on it. Notice that it has this value right here that says 16 pixels. Now, that means that the Max. Radius of any of these circles is going to be 16 Pixels, which means the maximum Diameter, which is twice the Radius, is going to be 32 Pixels.

So in the light areas you see we have these tiny circles, and then in the darker areas we have big pixels. Now, the reason I mention this is not so much because we care that the biggest circle is 32 Pixels across, but rather, when you see the word pixels, you should bear in mind that you are working with a resolution dependent effect. So if you are working with a high resolution image, you tend to want higher pixel values. If you are working with a low resolution image, you tend to want to work with lower pixel values. Now, it's not like, oh, for 300 Pixels per inch, you want to set your Radius value here to 30 Pixels, one-tenth, or something like tha. There is no rhyme or reason there.

It's totally up to you what you do. Just note that if you are trying to achieve a specific effect on a low resolution image, you are going to enter a lower value than you would on a higher resolution image. So be prepared to adjust that value according to the resolution. The other option that you want to look for-- So any time you see the word Pixels inside of a filter dialog box, note resolution dependent. Also, when you see the word Radius. That's another tip off. Radius is always measured in pixels, so it's resolution dependent as well. All right.

I am going to go ahead and cancel out of here. Now, this isn't the effect I am really looking for. Filters are a lot of fun to play with. A lot of people get in there and start experimenting with them, especially early on. I find that most Photoshop users have played with the Filter menu quite a bit by the time they get through the first year of using the product. And what that means is there is a lot of rinky-dink filtered images out there, and your application of a single filter is going to be just like the other guy's application of that same filter.

So you probably, more likely than not, you are going to want to modify your filtered effects. Also, it helps to go into things with an idea of what kind of an effect you want to achieve in the first place. And I know, for my part, that I don't want all these wacky colored halftone dots. I want the dots to be rendered out at more muted tones, and then I am going to want to sort of play with the image to see what kind of effect I can achieve. Now, if you decide you want to customize your effect, the first way to do it is to change the blend mode and Opacity values, and you can do that from the Layers palette here by moving over to this icon, that little double slider icon.

You can see if you hover over it, it says Double-click to edit filter blending options. Go ahead and do so, and that will bring up the Blending Options dialog box, which lets you change the blend mode and the Opacity value of this specific filtered effect, and blend it with the original image. And you have that control over every single Smart Filter you apply. Each one is going to operate independently. But the idea is whatever the effect of this filter is combined with the ones below it, you are blending it with the stuff below, or in our case, just the underlying original here, using these blend modes.

So it's not like you are kind of backing off the effect; you are mixing it, just as if it were on an independent layer. All right. So I could change the Opacity value, if I want to, like lower it to 50%, and I am going to get 50% filtered image, mixed with 50% original, which actually produces a pretty interesting effect. I could even take it down lower if I want to, 25%, and I will just get a little bit of halftoning going on. However, that's not what I want. I will change it back to 100%. I want to play with the blend mode. You have a lot of blend modes to work with here.

For example, if you wanted to retain the colors inside of the halftone dots and mix them with the underlying luminance information, which would be the detail of the image, you would choose Color, and you will get this effect right here. So you can still see all the detail now, but you are mixing in the wacky colors, which is interesting, although quite ugly, I think. So I am going to change the blend mode to Luminosity, which will be exactly the opposite. We will keep the luminance information, the detail from the dots, and we will mix it in with the original colors, which is actually a better effect I think. It gives you this.

Pretty nifty. And once again, you could then turn around and lower the Opacity value. Let's try 35% this time. Interesting! Now, it may be that you came into things with a very specific idea of what you wanted, and it may be that you came into this filter, for example, started manipulating the image, with a vague sense of what you wanted. Then you start playing with the blend modes and the Opacity values and you start to hone in on the better effect. So sometimes the tools inform your creativity is basically the idea. All right.

Anyway, that's kind of the case where I am going here. I am going to change the Opacity value back to 100. There is all sorts of stuff I could try here. I could try, for example, the Multiply mode, if I wanted to burn those halftone dots into the original. I could try Overlay and see what that ends up giving me, if I want to create a high contrast version of the image. That's not it either. I eventually decide I would try Difference, which is an inversion effect. You are using the filtered version of the image in our case to invert the original image.

So white inverts completely, black doesn't invert at all, and you come up with this effect here, which is wild I think. And then I decided, well, let's try Exclusion. Now, Exclusion is sort of a muted version of Difference. When two colors are the same that overlap each other, they go to gray as opposed to black. So let's go ahead and try that out, and we end up getting this effect here, which I actually think is better. I rarely use Exclusion, but in this case it produces an effect I quite like.

I am going to go ahead and click OK. Now, you might look at this and say well, what you like, Deke, is quite strange. Still, we need to apply a few color modifications, because I am not thrilled with the colors we have achieved so far and we are going to do that using adjustment layers in the next exercise.

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This video is part of

Image for Photoshop Smart Objects
Photoshop Smart Objects

95 video lessons · 21794 viewers

Deke McClelland
Author

 
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  1. 17m 13s
    1. Welcome to Photoshop Smart Objects
      59s
    2. Installing the dekeKeys keyboard shortcuts
      4m 18s
    3. Installing the CS4 color settings
      4m 15s
    4. Loading the CS4 color settings in Photoshop and Bridge CS4
      7m 41s
  2. 1h 12m
    1. Nondestructive transformations
      1m 14s
    2. The purpose of Smart Objects
      5m 17s
    3. The trials of destructive transformations
      5m 1s
    4. Creating a Smart Object
      6m 36s
    5. The rewards of nondestructive transformations
      4m 29s
    6. Preparing a composition for masking
      4m 59s
    7. Establishing a base alpha channel
      6m 25s
    8. Masking a Smart Object
      7m 3s
    9. Refining the layer mask
      6m 50s
    10. Multiplying the edges
      4m 17s
    11. Manually adjusting the problem edges
      6m 3s
    12. Free Transform feedback
      5m 14s
    13. The ultimate nondestructive crop
      9m 8s
  3. 1h 19m
    1. Photoshop and its support applications
      1m 45s
    2. Creating a Camera Raw (ACR) Smart Object
      5m 8s
    3. Converting a JPEG image to DNG
      4m 47s
    4. Replacing pixels with Camera Raw data
      5m 27s
    5. Matching image and ACR resolution
      4m 25s
    6. Adjusting ACR Smart Objects
      5m 33s
    7. Importing Illustrator artwork
      6m 13s
    8. Opening placed art in Illustrator
      5m 51s
    9. Examining dynamic effects
      7m 9s
    10. Modifying Illustrator artwork
      5m 20s
    11. Updating an Illustrator Smart Object
      4m 20s
    12. Styling placed artwork in Photoshop
      3m 33s
    13. Combining layer effects and adjustment layers
      5m 14s
    14. Copying a layer from a clipping group
      5m 0s
    15. Scaling vector data beyond 100 percent
      3m 9s
    16. Blending vector data with pixels
      2m 10s
    17. Saving PDF-compatible Illustrator art
      4m 23s
  4. 1h 26m
    1. Many Smart Objects reference a single source
      1m 9s
    2. Smart Objects and file size
      5m 11s
    3. Placing images as Smart Objects
      4m 44s
    4. Creating a basic lens flare
      5m 43s
    5. Turning a flare into a black hole
      6m 2s
    6. Establishing a first true clone
      4m 9s
    7. Finding the exact center of an image
      2m 37s
    8. Reflecting additional clones
      4m 55s
    9. The art of upsampling
      7m 45s
    10. Editing the root image
      5m 37s
    11. Updating all true clones
      3m 29s
    12. Roughing in a polygonal mask
      7m 13s
    13. Parametric Feather and Glow
      7m 12s
    14. Smart sharpening Smart Filter
      5m 36s
    15. Adding highlights and vibrance
      7m 10s
    16. Luminance blending
      8m 18s
  5. 49m 7s
    1. Placing one Smart Object inside another
      1m 9s
    2. Creating a super-massive Smart Object
      7m 9s
    3. Styling a super-massive Smart Object
      4m 29s
    4. Recoloring background regions
      4m 42s
    5. Cloning a super-massive Smart Object
      5m 56s
    6. Finishing off the first draft
      5m 4s
    7. The plasma ball effect
      4m 45s
    8. Applying the Smart Clouds filters
      4m 57s
    9. Converting clouds to lightning
      5m 4s
    10. Updating nested Smart Objects
      5m 52s
  6. 1h 14m
    1. Editable, nondestructive filters
      1m 24s
    2. Applying and modifying creative effects
      6m 54s
    3. Blending filtered effects
      6m 24s
    4. Tweaking filters with adjustment layers
      4m 14s
    5. Restoring halftone highlights
      4m 25s
    6. The price of Smart Filters
      5m 56s
    7. The power of true clones
      7m 13s
    8. Sharing between Smart Objects and comps
      8m 45s
    9. Just click on it
      1m 50s
    10. Applying a corrective filter
      5m 24s
    11. Smart Filters and disk space
      3m 46s
    12. Picking the right blend mode
      6m 36s
    13. Combining multiple Smart Filters
      6m 13s
    14. Editing and previewing filter settings
      5m 27s
  7. 1h 44m
    1. Still more Smart Filters
      1m 3s
    2. Introducing the non-filters
      4m 15s
    3. Reducing luminance contrast
      5m 19s
    4. Faking an HDR portrait effect
      7m 20s
    5. Adding a filter mask
      3m 22s
    6. Editing filter masks and density
      4m 26s
    7. Applying Variations as a Smart Filter
      7m 24s
    8. Establishing independent filter masks
      4m 51s
    9. Painting away unwanted halos
      6m 28s
    10. Creating a wood grain effect
      6m 2s
    11. The luminance-style filter mask
      6m 23s
    12. The downside of independent filters
      5m 11s
    13. Merging the effects of two filters
      4m 38s
    14. Adjusting and merging masked effects
      6m 26s
    15. Introducing the Filter Gallery filters
      4m 39s
    16. Applying a Filter Gallery filter
      5m 57s
    17. Merging two Filter Gallery effects
      7m 16s
    18. Adjusting the colors of Sketch filters
      5m 2s
    19. Adding a third filter to a combo
      4m 58s
    20. The versatility of Smart Filters
      3m 2s
  8. 1m 31s
    1. Goodbye
      1m 31s

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