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Photoshop for Designers: Textures
Illustration by John Hersey

Building density with brush settings


From:

Photoshop for Designers: Textures

with Nigel French

Video: Building density with brush settings

Okay, we are going to see how we can take an image like this and convert it into a brush. Now because this is something that's going to be very translucent, we can use this brush and paint with it, stamp with it multiple times to really build up a very textured and dense feeling to our artwork. So let's say the first thing we want to do is to make it Black & White. Then we are going to apply a Levels adjustment to it. Let's really crank up that contrast and now what I am going to do is I am going to return to my Background layer, come to my Select menu, Color Range, and then I will just come and sample the bright values, hold down Shift key and click on a few of them, make sure we have got good range of bright values there, that's going to be my brush when I do that.
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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

Building density with brush settings

Okay, we are going to see how we can take an image like this and convert it into a brush. Now because this is something that's going to be very translucent, we can use this brush and paint with it, stamp with it multiple times to really build up a very textured and dense feeling to our artwork. So let's say the first thing we want to do is to make it Black & White. Then we are going to apply a Levels adjustment to it. Let's really crank up that contrast and now what I am going to do is I am going to return to my Background layer, come to my Select menu, Color Range, and then I will just come and sample the bright values, hold down Shift key and click on a few of them, make sure we have got good range of bright values there, that's going to be my brush when I do that.

Now I've already done that, so I am not going to do it, I have got one already saved, but that was how I did it. Now let's pop over to this document. This is nothing more than a simple Shape layer and it has a Bevel and Emboss effect applied to it. I am going to recreate it. I am going to turn that one off, come in and choose my Ellipse tool and draw myself an ellipse like so, and then I am going to add a layer mask to that. Now just because it has a vector mask, doesn't mean it can't have a layer mask as well.

Then press B to choose my Brush tool, come up and pick my bubbles brush, there it is, right there. Make Black my Foreground Color, and then I can just click multiple times and just keep building up and building up and I can vary the Opacity as I do this, brush with it a little bit and let's vary the Opacity some more, vary the Size of the brush, we got a really nice effect.

Now this line around the edge there, that's the Vector Mask, which is a little bit annoying and a little bit distracting. So I am going to press Command+H or Ctrl+H. Now it's going to ask me do I want to Hide Photoshop or Hide Extras, I want to Hide Extras. That gets rid of that. Now I can apply the Bevel and Emboss. So I am just going to borrow the one that I already have here, I am going to hold down the Alt key, drag that on to that layer and let's just go and have a look at what settings we have got applied there. So as in Inner Bevel, it's got a Size of 98, softened a little bit, the angle has been adjusted and that's about all those have been changed with it.

Let's just add that shadow down at the bottom right there. Okay, so that's one way of building density. So here is another example of how we can apply this texture, I just have this simple collage of two words with some blending modes applied and some layer effects applied and they are on these two backgrounds which together make this very interesting texture and there is also a Gradient Overlay applied there as well. But what we are going to do is we are going to create this from scratch and it's going to introduce us to some other Brush options.

So I am going to now switch over to this point and I have my type on a transparent background. I am going to hide that for the moment and I am going to create a new layer. The checkerboard is distracting for me at the moment so I am going to change my Transparency Settings and turn my Grid Size to None, so that I see a white rather than a checkerboard background. Now I have the brush selected and there are some options that we can avail ourselves over here.

If we come over to Brushes and they are Color Dynamics. If we want to introduce a particular color into this, we can crank all of these up. It's going to be random, but in this case that's just what I want. The other thing that we can introduce is an Angle Jitter. I am going to turn these off first of all just so you see what they are going to give us and why we might need them. Now I can just paint away merrily with my brush and that's so looking good, but I am going to get these clearly defined lines that reflect the border.

The brush was originally a rectangle, so it's going to belie that fact and we would like it not to or at least would like less of that. So I am going to delete that and that's something that we can address with the Shape Dynamics turning on the Angle Jitter and then rather than having old monochrome, let's have a little color in there and I have got Foreground/Background Jitters, so we are just going to flip back and forth between my Foreground/Background colors and it's all going to be rather random.

I need to choose some Foreground and Background colors so I am going to have a light brown and a yellow. Okay and now I am going to stop painting. So you can see it's angling each brush stroke, and then we are just building it up. Now perhaps what I could do, what I did in the original was changed those brush sitting slightly and added an additional layer and I am just going to do it along this one layer this turn around.

You would never know they would derive from bubbles. Okay, when I actually did this and I went and put the type back on top of it, I thought wow! You know I kind of like that, but I am not crazy about the color. So it was an interesting road to go down, but one that ultimately I decided to put back to monochromatic. But then maybe what we could have is a Gradient Overlay on that and this time, I'm going to go outwards from the center and I am going to use Color Burn.

So we see how we can take a simple concept like these bubbles, turn them into a sample brush and then apply it in all sorts of interesting ways using the Shape Dynamics of the Brush panel.

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