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Photoshop for Designers: Textures
Illustration by John Hersey

Blending texture from a pattern fill


From:

Photoshop for Designers: Textures

with Nigel French

Video: Blending texture from a pattern fill

Here we have a fictional record cover, remember records and this record has been played so many times that you can see its outline coming through the record cover and that's what we're going to do using some texture and we're going to do that using a Pattern Fill layer. So I'm going to switch over to our starting file which looks like this. It's just a very simple piece constructed with several Shape layers. First of all, I'm going to add a layer of Noise just to give a bit of texture to these jigsaw pieces in the foreground.
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  1. 1m 30s
    1. Welcome
      1m 2s
    2. Using the exercise files
      28s
  2. 6m 52s
    1. Working with textures
      6m 52s
  3. 30m 19s
    1. Creating a rocklike texture with Clouds
      6m 17s
    2. Improving a flat sky with Difference Clouds
      3m 43s
    3. Creating a grunge effect with Fibers
      11m 30s
    4. Applying a texture channel with Lighting Effects
      4m 22s
    5. Adding an effect and blending with Lens Flare
      4m 27s
  4. 15m 20s
    1. Applying textures with Texturizer
      6m 8s
    2. Applying realistic cracks with Craquelure
      5m 11s
    3. Preparing an image for a stained glass effect
      4m 1s
  5. 30m 48s
    1. Adding noise to an overlay layer
      1m 33s
    2. Adding film grain
      6m 5s
    3. Painting with grain
      4m 10s
    4. Adding grain to a Camera Raw image
      2m 21s
    5. Matching grain when cloning
      5m 32s
    6. Accentuating texture with Speckle grain
      3m 4s
    7. Creating a split-toning effect with Stippled grain
      4m 20s
    8. Beyond the Mezzotint filter
      3m 43s
  6. 18m 5s
    1. Creating deckled edges and sepia tone
      8m 6s
    2. Adding water stains
      5m 41s
    3. Adding cracks
      4m 18s
  7. 38m 16s
    1. Blending textures with Soft Light
      4m 15s
    2. Blending textures with Hard Light
      54s
    3. Blending groups
      3m 59s
    4. Blending textures with layer masks
      3m 49s
    5. Creating an antique poster
      5m 59s
    6. Blending mode sandwich
      4m 34s
    7. Blending texture from a pattern fill
      4m 9s
    8. Applying texture to an uneven surface
      10m 37s
  8. 42m 43s
    1. Creating a watercolor effect
      5m 30s
    2. Painting on canvas
      9m 57s
    3. Creating a rubber stamp
      8m 42s
    4. Converting a photograph to a drawing with Find Edges
      2m 58s
    5. Combining a black-and-white halftone with color images
      5m 6s
    6. Creating a textured duotone effect with Conté Crayon
      2m 33s
    7. Creating an abstract image with Mosaic
      6m 2s
    8. Creating a reticulation effect
      1m 55s
  9. 59m 11s
    1. Finding and installing brushes
      2m 19s
    2. Creating a shatter effect
      3m 58s
    3. Creating a smoke brush
      3m 50s
    4. Combining Photoshop with Illustrator to create a sample brush
      9m 56s
    5. Creating coffee rings
      4m 13s
    6. Creating a Bokeh texture
      9m 50s
    7. Creating corner brushes
      4m 24s
    8. Sampling a brush stroke
      3m 3s
    9. Creating a rust jewel brush
      5m 43s
    10. Building density with brush settings
      6m 45s
    11. Painting with the Mixer Brush
      5m 10s
  10. 17m 30s
    1. Adding texture to type using clipping masks
      2m 25s
    2. Applying texture to type with layer effects
      2m 53s
    3. Applying texture to type using a layer mask
      5m 33s
    4. Painting with a texture brush
      4m 31s
    5. Blending type into background texture
      2m 8s
  11. 17m 55s
    1. Using the texture actions set
      3m 12s
    2. Editing an action
      3m 18s
    3. Creating your own texture action
      5m 14s
    4. Finding, downloading, and installing actions
      3m 2s
    5. Applying texture styles
      3m 9s
  12. 20s
    1. Goodbye
      20s

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Photoshop for Designers: Textures
4h 38m Intermediate Sep 06, 2011

Viewers: in countries Watching now:

In this course, author Nigel French shows how to use textures to create visual interest, heighten realism, and add dimension to Photoshop artwork. The course demonstrates how to apply multiple filters and paint in effects with layer masks, combine textures with images using layer blending modes, use brushes to paint in and accentuate texture, and create brush presets by sampling textures from photographs. The course also shows how to automate the application of textures with actions.

Topics include:
  • Using render filters
  • Applying textures with the Texturizer filter
  • Adding noise and film grain
  • Matching grain when cloning
  • Aging photos
  • Blending textures with layer masks
  • Applying texture to an uneven surface
  • Creating texture brushes
  • Building density with brush settings
  • Applying texture to type
  • Finding, downloading and installing actions
Subjects:
Textures Design Design Techniques
Software:
Photoshop
Author:
Nigel French

Blending texture from a pattern fill

Here we have a fictional record cover, remember records and this record has been played so many times that you can see its outline coming through the record cover and that's what we're going to do using some texture and we're going to do that using a Pattern Fill layer. So I'm going to switch over to our starting file which looks like this. It's just a very simple piece constructed with several Shape layers. First of all, I'm going to add a layer of Noise just to give a bit of texture to these jigsaw pieces in the foreground.

Let's call it Noise. I'm going to make the Blend mode of this Overlay, Fill with Overlay-neutral color. That's going to look like that and it's looking like that because it's inside the group, I need to drag it outside the group and now it's having no visual effect whatsoever, because it's a Overlay neutral gray and I'm now going to come to the Filter menu and choose Noise> Add Noise and let's add quite a lot, probably more and I would really about I just want to make sure that you can see it when you are looking on a small screen, so if we zoom in, we can see we have got some texture there.

Next, what I want to do and this is main event here is I want to add a pattern layer. Now it's very rare that I do this, but it works just great in this particular context and the Pattern that I'm going to choose is one called Fibers. Now if I don't see Fibers and I don't, it's because it's not in one of my loaded patterns and it is a part of the Grayscale Paper pattern set. So I'm going to choose that and rather then append this, I'm going to click OK to replace the existing patterns.

Fibers 1 is what I'm off to and I'm going to click OK and it would look like that. Now I'm going to fill its layer Mask with black. Black is currently my background color, so I'm going to press Command+Delete or Ctrl+Backspace key. Now what I'm going to do is call into action a couple of pen paths I already have in this file. I just drew these using the Ellipse tool and I drew them in this mode.

So they end up as paths and I've saved them. I've got one for the circumference of the record and then one for its inner ring. I'll turn this one on first of all. Now all I'm using this for is just as a visual guide and nothing more, so I'm going to make sure that white is my foreground color, choose a brush, nice big brush and I want it to be soft as well and then within an Opacity down somewhere, let's down off around just 27 % say, and then I'm just going to tab in around and that's way too much.

So I've got a brush size that is too big and I'm going to turn that down and I'm going to turn my Brush Opacity down a bit as well. So now I'm just going to sweep around in the corners a bit, something like that, so we're bringing in some of that texture. I'll come to my Path panel, I'll turn on the smaller circle and I'll do much the same thing and I just do suggest that this album by the sadly undiscovered band, the missing pieces is at least for person so popular that it gets played so often and we can just see the impression of the record coming through on the jacket and that's the effect that we get.

Now if that's a little bit too strong, we can come and adjust the Opacity on the Layout just to turn it down a bit. So there's just one example of something that we can do with a Pattern Fill layer combined with a layer Mask and in this case using these two pen paths just for visual guidance.

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