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Photoshop Masking and Compositing: Advanced Blending
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Blending an image with a paper texture


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Photoshop Masking and Compositing: Advanced Blending

with Deke McClelland

Video: Blending an image with a paper texture

In this exercise I'm going to show you how to map our artistic surface texture onto an image. And let's go down here to the Black & White icon once again, press and hold the Alt key or the Option key on the Mac and go ahead and choose the Pattern command. In order to create a New Pattern Fill layer and we'll call this layer texture and then click OK. Now inside the Pattern Fill dialog box, you'll be able to select from just two patterns by default. Neither of which are all that useful, but there is a bunch of other patterns to choose from. To get to them click this right pointing arrow-head and then choose one of these libraries down here at the bottom of the fly-out menu.
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  1. 1m 43s
    1. Welcome
      1m 43s
  2. 33m 15s
    1. When in doubt, blend
      2m 20s
    2. Where to find blending options
      4m 10s
    3. 27 blend modes, 6 groups
      4m 23s
    4. Opacity vs. Fill Opacity
      4m 41s
    5. The "Fill Opacity Eight"
      4m 59s
    6. Blending adjustment layers
      4m 43s
    7. Blend mode shortcuts
      7m 59s
  3. 27m 3s
    1. The power of standardized arithmetic
      6m 58s
    2. Photoshop's blending formulas
      5m 27s
    3. Darken formulas vs. lighten formulas
      4m 15s
    4. Contrast mode formulas
      7m 28s
    5. Inversion, cancelation, and HSL
      2m 55s
  4. 17m 50s
    1. Normal mode vs. Dissolve mode
      2m 11s
    2. Making a dynamic Dissolve effect
      2m 21s
    3. Creating a Dissolve text effect
      4m 48s
    4. The Behind and Clear modes
      3m 2s
    5. Filling a stroke with Behind and Clear
      5m 28s
  5. 43m 24s
    1. Darken vs. Darken Color
      4m 25s
    2. Creating filter effects with Darken
      5m 0s
    3. The Multiply and Burn modes
      6m 27s
    4. Cleaning up scanned line art
      7m 30s
    5. Comping line art against a photo
      5m 12s
    6. Colorizing comped line art
      5m 14s
    7. Masking with a darken mode
      3m 59s
    8. Refining a mask with Multiply
      5m 37s
  6. 33m 36s
    1. Lighten vs. Lighter Color
      2m 29s
    2. Creating filter effects with Lighten
      2m 47s
    3. The Screen and Dodge modes
      4m 35s
    4. Blending white type, darkening shadows
      3m 2s
    5. Creating a classic double-exposure effect
      3m 49s
    6. Making dark line art bright
      5m 11s
    7. Masking with a lighten mode
      5m 4s
    8. Refine, filter, and blend
      6m 39s
  7. 35m 18s
    1. Overlay, Soft Light, and Hard Light
      5m 2s
    2. Vivid, Linear, and Pin Light
      4m 2s
    3. The amazing Hard Mix mode
      3m 51s
    4. Two variations on a single mode
      5m 37s
    5. Adding clarity with a contrast mode
      4m 9s
    6. Creating a glowing, soft-focus effect
      3m 38s
    7. Blending an image with a paper texture
      4m 11s
    8. Turning flesh into stone
      4m 48s
  8. 18m 10s
    1. Difference, Exclusion, Subtract, and Divide
      7m 7s
    2. Comparing seemingly identical images
      3m 25s
    3. Creating type that inverts any background
      3m 30s
    4. Making inversion type black and white
      4m 8s
  9. 16m 57s
    1. Luminosity, Color, Hue, and Saturation
      3m 29s
    2. Colorizing artwork with layers
      7m 24s
    3. Correcting skin tones with Hue
      6m 4s
  10. 14m 57s
    1. Using the This Layer slider option
      6m 44s
    2. Using the Underlying Layer slider option
      3m 16s
    3. Achieving greater control with Blend If
      4m 57s
  11. 48s
    1. Next steps
      48s

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Photoshop Masking and Compositing: Advanced Blending
4h 3m Intermediate Nov 28, 2011

Viewers: in countries Watching now:

Advanced Blending is the second installment in Deke McClelland's series on making photorealistic compositions in Photoshop. The course explores blending options and shows how to use them to create sophisticated effects and seamless compositions, often without masking. Beginning with the basics of blending layered images, the course sheds light on the formulas behind the Photoshop blend modes and shows how to comp scanned line art, create double-exposure effects, correct skin tones, and work with the luminance sliders.

Topics include:
  • Assembling dynamic Dissolve effects
  • Filling and stroking with Behind and Clear
  • Cleaning up and compositing scanned line art
  • Understanding the darken, lighten, and contrast modes
  • Refining a mask with Multiply and Screen
  • Creating a glowing, soft-focus effect
  • Blending images with textures
  • Comparing two seemingly identical images
  • Creating type that inverts everything behind it
  • Colorizing artwork with layers
  • Achieving greater control with the Blend If option
Subjects:
Design Masking + Compositing
Software:
Photoshop
Author:
Deke McClelland

Blending an image with a paper texture

In this exercise I'm going to show you how to map our artistic surface texture onto an image. And let's go down here to the Black & White icon once again, press and hold the Alt key or the Option key on the Mac and go ahead and choose the Pattern command. In order to create a New Pattern Fill layer and we'll call this layer texture and then click OK. Now inside the Pattern Fill dialog box, you'll be able to select from just two patterns by default. Neither of which are all that useful, but there is a bunch of other patterns to choose from. To get to them click this right pointing arrow-head and then choose one of these libraries down here at the bottom of the fly-out menu.

I'm going to go with Artistic Surfaces, and then click on the Append button in order to load those up and keep the original two patterns. And I'm going to start with this pattern here, it's called Hard Charcoal light, and I'll click on it and then I'm going to change the Scale to 200% like so. Now all of these surface textures have a lot of gray in them and that gray is going to drop out if we change the blend mode assigned to this layer to one of the contrast modes such as Overly let's say. That's not really the effect I'm looking for, I wanted to look as if for face is actually sort of mapped into the texture, and so I'm going to press the Escape key in order to deactivate that blend mode and then just press Shift+Alt+N or Shift+Option+N on the Mac in order to restore the normal mode.

And now let's go ahead and convert this texture to a smart object, so we can keep it around and modify it later if we want to. Click on the Layers panel fly-out menu and choose Convert to Smart Object command like so. Then let's turn this into a real texture by going up to the Filter menu, choosing Stylize and then choosing the Emboss command. For this sort of effect you can change the angle to anything you please, but I recommend you set the Height value to just 1 pixel and Amount of 100% is just fine, and then click OK.

And now we have something closely resembling a texture and it's got a lot of gray in it, which means we can dropout the gray and just keep the highlights and shadows by switching to one of the blend modes. Now I always recommend you start off with the Overlay mode, see what you think. If that's not quite enough, now you can switch to Hard Light, because you're working with two totally different images this time around, and you will create an enhanced effect, if that's still not enough, well then just go ahead and bump it up to Linear Light and see what happens.

Now of course this is too much of an effect, so I'm going to back it off by pressing Shift+5 to reduce the Fill opacity to 50%. Now at this point let's say, you're thinking, well, it's a pretty cool paper texture, makes the image look a little painterly or as if you've printed it on nice stock, what have you. However, this isn't quite the texture you're looking for. Well then, all you need to do to switch out to texture is double-click on the Smart Object thumbnail here inside the Layers panel. If you get the alert message, just click OK, that'll open the image and an independent window like so.

You'll end up with the Texture layer and then this empty Layer 1 below it, just go ahead and get rid of Layer 1 by clicking on it and pressing the Backspace or Delete key, and then double-click on that thumbnail to bring up the Pattern Fill dialog box. Let's go ahead and switch to a different pattern. The one I think works really well with this images is Coarse Weave, so I'll go ahead and click on it to select it, then you could if you wanted to, you could modify the scale value to make it bigger or smaller or what have you. However, this is going to work out fine, so I'll click OK and then just go ahead and close the image, and click Yes to save the image here on the PC.

You'd click the Save button on the Mac, and you change out that texture. So if I press Ctrl+Z or the Command+Z on the Mac, this is that original texture and then this is the new one. The new texture is over the top, it's just too big, so I'm going to press Shift+2 to reduce that Fill Opacity value to 20% and we end up with this nicely textured effect right here. And you know what, I think we're going to be able to see it better if I press the F key a couple of times to switch to the Full Screen mode, and that's how you map a surface texture onto an image, using a combination of the Emboss filter along with a Contrast mode.

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