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Creating and applying a texture layer


Photoshop CS4 One-on-One: Advanced

with Deke McClelland

Video: Creating and applying a texture layer

I have gone ahead and saved my changes to the Maddalena image as Mucha-betta.jpg and I do think this image looks much a better but it doesn't look perfect. The problems now have everything to do with my work. I have messed up the image at this point and I'll show you what I mean. Basically what we have is variations in texture, unreasonable and unlikely variations of texture inside of this image. So notice we go from some very harsh texture right on this portion of the neck to very soft texture underneath her jaw and that's just not going to fly. I mean anybody who knows anything about Photoshop is going to know we were here and they are probably going to know we used Liquify Filter since it tends to create these kinds of texture variations, or they are going to think we went at the image with like the Smudge tool or something hideous like that.
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  1. 22m 25s
    1. Welcome to Photoshop CS4 One-on-One Advanced
      1m 43s
    2. Installing the DekeKeys keyboard shortcuts
      6m 9s
    3. Resetting the function keys on a Mac
      3m 51s
    4. Installing the CS4 color settings
      4m 37s
    5. Setting up the CS4 color settings
      6m 5s
  2. 2h 44m
    1. Highlights, shadows, and midtones
    2. Low contrast, bad meter
      5m 57s
    3. Auto tone, contrast, and color
      8m 1s
    4. Cache levels and the Histogram palette
      7m 16s
    5. How the auto commands work
      10m 15s
    6. A first look at Levels
      6m 11s
    7. Target colors and clipping
      9m 6s
    8. Modifying input levels
      9m 44s
    9. Adjusting the gamma value
      7m 35s
    10. Previewing clipping
      7m 18s
    11. The futility of output levels
      4m 56s
    12. Channel-by-channel edits
      11m 54s
    13. When levels fail
      4m 35s
    14. A first look at Curves
      8m 46s
    15. Static Curves layer tricks
      7m 45s
    16. Dynamic Curves layer tricks
      7m 25s
    17. Correcting the composite image
      8m 30s
    18. Neutralizing a color cast
      6m 52s
    19. The Target Adjustment tool in Curves
      8m 29s
    20. Correcting an image in Lab
      10m 7s
    21. The Shadows/Highlights filter
      4m 19s
    22. Radius and tonal width
      8m 11s
  3. 1h 48m
    1. Edge-enhancement tricks
      1m 13s
    2. How sharpening works
      3m 48s
    3. The single-shot sharpeners
      4m 29s
    4. The Unsharp Mask filter
      7m 57s
    5. Understanding the Radius value
      6m 25s
    6. Gauging the best settings
      7m 47s
    7. Previewing how sharpening will print
      3m 37s
    8. Measuring and setting screen resolution
      6m 57s
    9. Tweaking the screen resolution
      4m 28s
    10. Sharpening the luminance data
      8m 23s
    11. USM vs. Smart Sharpen
      4m 23s
    12. Smart Sharpen's Remove settings
      5m 50s
    13. High-resolution sharpening
      6m 16s
    14. When to leave More Accurate off
      3m 48s
    15. When to turn More Accurate on
      4m 24s
    16. The advanced options
      7m 57s
    17. Saving Smart Sharpen settings
      4m 23s
    18. Accounting for camera shake
      7m 7s
    19. Sharpening with the High Pass filter
      9m 8s
  4. 2h 16m
    1. Why would you blur?
      1m 8s
    2. Fading after an undo
      3m 27s
    3. The "bell-shaped" Gaussian Blur
      5m 43s
    4. The linear Box Blur
      3m 6s
    5. Add Noise vs. Median
      4m 50s
    6. Despeckle vs. Dust & Scratches
      6m 31s
    7. Smart Blur vs. Surface Blur
      8m 13s
    8. The Motion Blur filter
      4m 33s
    9. Radial Blur's Spin and Zoom variations
      5m 48s
    10. Mixing filtered effects
      3m 56s
    11. The "Captain Kirk in Love" effect
      5m 4s
    12. Diffusing focus with Blur and Overlay
      8m 50s
    13. Simulating Vaseline and film grain
      8m 2s
    14. Filling a layer with a neutral color
      2m 55s
    15. Old-school contrast reduction
      3m 39s
    16. Three steps to diffused focus
      7m 36s
    17. Averaging skin tones
      9m 45s
    18. Addressing the stubborn patches
      5m 26s
    19. Combining Gaussian Blur and Average
      6m 1s
    20. Blurring surface details
      3m 3s
    21. Smoothing blemishes while matching noise
      8m 6s
    22. Reducing digital noise
      8m 47s
    23. Striking a smooth/sharpen compromise
      4m 36s
    24. Smoothing over JPEG artifacts
      7m 38s
  5. 2h 31m
    1. Independent layers of color adjustment
      1m 7s
    2. Undersea color channels
      4m 2s
    3. Inventing a Red channel with Lab
      8m 20s
    4. Mixing color channels
      6m 55s
    5. Making shadows with Levels
      7m 5s
    6. Applying small color adjustments
      6m 0s
    7. Further modifying Levels in Lab
      8m 50s
    8. Creating a dynamic fill layer
      4m 38s
    9. Brushing and blending color
      4m 42s
    10. Working with "found masks"
      7m 31s
    11. Saturation, sharpen, and crop
      8m 9s
    12. Mixing a monochromatic image
      7m 2s
    13. Masking an adjustment layer
      4m 45s
    14. Working with Opacity and blend modes
      3m 39s
    15. Adding a black-and-white adjustment
      5m 53s
    16. The Target Adjustment tool in black and white
      6m 12s
    17. Tinting a monochrome photo
      3m 20s
    18. Introducing Gradient Map
      4m 17s
    19. Adjusting both color and luminance
      5m 44s
    20. Infusing elements with different colors
      6m 22s
    21. Adjustment layers as creative tools
      4m 34s
    22. Inverting and brightening the background
      5m 14s
    23. Blurring live, editable type
      5m 44s
    24. Hue, saturation, and darkness
      6m 51s
    25. Filling type with a color adjustment
      3m 24s
    26. Using one adjustment to modify another
      3m 21s
    27. Breathing color into the title
      3m 38s
    28. The Hue/Saturation humanoid
      3m 44s
  6. 1h 48m
    1. Parametric operations
      1m 23s
    2. The power of blend modes
      6m 16s
    3. Changing the Opacity value
      5m 46s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      6m 4s
    6. Blend mode shortcuts
      7m 8s
    7. Darken, Multiply, and the Burn modes
      6m 33s
    8. Tempering a Burn effect with Fill
      4m 43s
    9. Saving a blended state
      4m 18s
    10. Lighten, Screen, and the Dodge modes
      8m 22s
    11. Linear Burn = Add minus white
      5m 31s
    12. Overlay and the contrast modes
      6m 52s
    13. Fill Opacity takes priority
      6m 19s
    14. Difference and exclusion
      5m 21s
    15. Using difference for golden highlights
      4m 2s
    16. The composite (HSL) modes
      6m 8s
    17. The brush-only modes: Behind and Clear
      10m 31s
    18. Layer groups and the Pass Through mode
      8m 54s
  7. 1h 53m
    1. It's all about the presentation
    2. Moving a layer a specific number of pixels
      6m 59s
    3. Adding a pixel mask to a layer
      5m 48s
    4. Editing a layer mask
      7m 19s
    5. Combining layers into a clipping mask
      6m 19s
    6. Introducing the Advanced Blending options
      4m 45s
    7. Using the luminance blending sliders
      7m 26s
    8. Forcing through underlying luminance
      4m 32s
    9. Masking with a path outline
      5m 45s
    10. Refining a mask from the Masks palette
      7m 18s
    11. Creating and modifying a layer group
      3m 29s
    12. Establishing a knockout group
      5m 29s
    13. Fixing last-minute problems
      6m 23s
    14. Introducing layer comps
      6m 40s
    15. Exploring layered states
      6m 43s
    16. Deleting layers and updating comps
      6m 18s
    17. Saving a basic composition
      6m 21s
    18. Assigning and saving appearance attributes
      7m 15s
    19. Layer comps dos and don'ts
      7m 27s
  8. 1h 56m
    1. Type: The great imaging exception
    2. Establishing default formatting attributes
      4m 6s
    3. Saving formatting attributes as a preset
      8m 5s
    4. Making a point text layer
      6m 18s
    5. Editing size and leading
      6m 44s
    6. Working with vector-based text
      6m 12s
    7. Formatting area text
      4m 16s
    8. Creating a layer of area text
      3m 20s
    9. Resizing the text frame
      4m 34s
    10. Changing the anti-aliasing setting
      3m 58s
    11. Obscure but important formatting options
      6m 31s
    12. Text editing tricks and shortcuts
      8m 44s
    13. Creating a cast shadow
      6m 1s
    14. Blurred shadows and beveled text
      7m 16s
    15. Drawing a path outline
      4m 51s
    16. Creating type on a path
      6m 39s
    17. Flipping text across a circle
      3m 18s
    18. Vertical alignment with baseline shift
      4m 16s
    19. Warping text
      4m 57s
    20. Scaling your text to taste
      3m 33s
    21. Applying a custom warp
      6m 24s
    22. Creating an engraved text effect
      5m 11s
  9. 2h 17m
    1. Bending an image to fit your needs
    2. Creating a canvas texture
      6m 48s
    3. Masking objects against a white background
      5m 42s
    4. Scaling an image to fit a composition
      8m 9s
    5. Aligning one layer to fit another
      3m 52s
    6. Changing the Image Interpolation
      8m 10s
    7. Merging faces
      5m 32s
    8. Rotating the first clock hand
      7m 17s
    9. Adding hands and pasting styles
      6m 40s
    10. Series duplication in Photoshop
      4m 35s
    11. Masking objects against a black background
      6m 34s
    12. Skews and perspective distortions
      7m 57s
    13. Envelope-style warps
      9m 2s
    14. Old-school distortion filters
      8m 50s
    15. Introducing the Liquify filter
      4m 9s
    16. Reconstructing an image
      6m 55s
    17. Using the Warp tool
      5m 16s
    18. The Pucker and Bloat tools
      5m 53s
    19. Push, Turbulence, and Twirl
      6m 41s
    20. The Freeze and Thaw mask tools
      5m 45s
    21. Saving and loading a mesh file
      3m 59s
    22. Creating and applying a texture layer
      8m 30s
  10. 1h 28m
    1. Effects vs. styles
      1m 11s
    2. Of layer styles and masks
      4m 37s
    3. Everything about drop shadow
      8m 2s
    4. Adding a directional glow
      4m 39s
    5. Colorizing with Color Overlay
      5m 18s
    6. Stroke and fill opacity
      5m 48s
    7. Creating a multicolor Outer Glow
      9m 22s
    8. Introducing Bevel and Emboss
      7m 48s
    9. Contour and Texture
      4m 35s
    10. Simulating liquid reflections
      6m 28s
    11. Saving layer styles
      6m 18s
    12. Applying and appending styles
      4m 36s
    13. Saving and swapping style presets
      3m 16s
    14. The five effect helpers
      3m 47s
    15. Blending the effect before the layer
      5m 1s
    16. Colorizing a signature
      3m 30s
    17. Clipping an effect with a mask
      4m 5s
  11. 1h 50m
    1. Welcome to the digital darkroom
      1m 46s
    2. Opening Camera Raw in the Bridge
      5m 44s
    3. The Camera Raw 5 interface
      4m 39s
    4. Adjusting the white balance
      5m 0s
    5. Finessing and saving changes
      7m 55s
    6. Using the White Balance tool
      2m 43s
    7. Working with the Exposure controls
      7m 34s
    8. Straightening and cropping a raw image
      5m 53s
    9. Applying automatic exposure adjustments
      6m 6s
    10. Exposure warnings
      5m 44s
    11. Clarity, Vibrance, and Saturation
      4m 47s
    12. Using the Graduated Filter tool
      3m 33s
    13. Dodging with the Adjustment brush
      9m 24s
    14. Tone Curve adjustments
      6m 54s
    15. Using the Spot Removal tool
      2m 48s
    16. Removing noise and sharpening detail
      4m 5s
    17. Adjusting HSL values
      4m 18s
    18. Adjusting luminance, color by color
      4m 14s
    19. Black and white and split toning
      5m 16s
    20. Camera Raw tips and tricks
      7m 32s
    21. Correcting JPEG and TIFF images
      4m 43s
  12. 57s
    1. Until next time

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Watch the Online Video Course Photoshop CS4 One-on-One: Advanced
20h 57m Intermediate May 01, 2009

Viewers: in countries Watching now:

Photoshop is one of the world’s most powerful image editors, and it can be daunting to try to use skillfully. Photoshop CS4 One-on-One: Advanced, the second part of the popular and comprehensive series, follows internationally renowned Photoshop guru Deke McClelland as he dives into the workings of Photoshop. He explores such digital-age wonders as the Levels and Curves commands, edge-detection filters, advanced compositing techniques, vector-based text, the Liquify filter, and Camera Raw. Deke also teaches tried-and-true methods for sharpening details, smoothing over wrinkles and imperfections, and enhancing colors without harming the original image. Exercise files accompany the course.

Recommended prerequisite: Photoshop CS4 One-on-One: Fundamentals.

Download Deke's customized keyboard layouts and color settings for Photoshop from the Exercise Files tab.

Topics include:
  • Using blend modes, adjustment layers, and layer styles
  • Organizing a layered composition so it is fluid and editable
  • Creating and editing type in Photoshop
  • Using blur effectively
  • Using adjustment layers to add color
  • Combining layers into a clipping mask
  • Working with Camera Raw
Design Photography
Deke McClelland

Creating and applying a texture layer

I have gone ahead and saved my changes to the Maddalena image as Mucha-betta.jpg and I do think this image looks much a better but it doesn't look perfect. The problems now have everything to do with my work. I have messed up the image at this point and I'll show you what I mean. Basically what we have is variations in texture, unreasonable and unlikely variations of texture inside of this image. So notice we go from some very harsh texture right on this portion of the neck to very soft texture underneath her jaw and that's just not going to fly. I mean anybody who knows anything about Photoshop is going to know we were here and they are probably going to know we used Liquify Filter since it tends to create these kinds of texture variations, or they are going to think we went at the image with like the Smudge tool or something hideous like that.

So the solution is to either not worry about it and print the image at a high resolution and you can see if you have got enough resolution associated with the image, once you start zooming out, you are going to lose that texture variation. You are also not going to see as much texture variation if it's very low noise photograph in the first place. However, if we were to print this image at a low resolution, or we were to try to post this image to the web for example, at its current size or maybe a cropped version of the image, we are definitely going to see those textured variations. So what do you do about it? Well, you go ahead and try to capture the texture that's inherent inside the image and then you brush it in to those areas that lack texture and I'll show you how that works. I'm going to go ahead and zoom in here and you can see that I have got this selection going, that's not a mistake, that's by design. I used Rectangular Selection tool to draw a square selection. I'll do it again for you. Press the Shift key as you drag to make sure it's a square. It doesn't have to be a square but squares tend to work very nicely and this will be the representative texture inside the image.

Let's say you just want to select some fairly neutral area that should just be a flat color but has texture in it and you can see there is tons of texture going on here and this is a function of the scan in the first place, probably it wasn't the high quality scan. It's got a lot of noise inside of it, there is a lot of JPEG compression artifacts and of course this is a 16th century painting, so there is some flex as well, the painting has started to chip apart. All right, so we want all of that, that's good stuff. So we will be creating a pattern by going up to the Edit menu and choosing Define Pattern, but first we have to prepare this area, so it's going to work out for us. What we want to do is we wanted to be able to coat the image with this pattern using the Overlay blend mode, which means that the neutral portions of the pattern have to be gray and in fact, we want gray throughout.

So we are going to have to go ahead and jump this little square on to an independent layer by pressing Ctrl+J, Command+J on the Mac and there we have it. I'll go ahead and call this layer texture tile or something like that and then, I want you to go up to the Image menu, choose Adjustments and then choose this command right there Desaturate and that will get rid of all the color saturation. Problem now is we need most of this layer to be neutral gray and right now it's lighter than that. For example, if I were to press Ctrl+L or Command+L on the Mac to bring up the Levels dialog box, you can see that the image is quite light. This is the meaningful portion of the image right there. We don't have much in a way of any shadow detailed work with here. It's almost all midtones and highlights and that's a problem. We need to shift this histogram right there to the center and the best way to do that, the most scientific method because you could fool around with your histogram right here inside of the Levels dialog box if you want but then it would be incumbent upon you to get the numbers right and you are just eyeballing it, so who knows.

Here is a way to make Photoshop do it for you. Cancel out, you go onto the Image menu, choose Adjustments and you choose this incredibly obscure command that you use for just about nothing these days and it's this one right there, Equalize and it will go ahead and balance out that histogram and stretch it out as we will see. So go ahead and choose Equalize, and now we have an even distribution of Luminance levels inside of what is a really, really ugly pattern at this point but it's going to work out nicely for us. Then press Ctrl+L or Command+L on the Mac and you will see that we have an evenly distributed histogram for what it's worth.

All right, so I'm just going to go ahead and cancel out of that. We don't need to do anything more there. What we do need to do now is go ahead and define this as a pattern. So I want you to load the selection outline backup, Ctrl+Click or Command+Click on the thumbnail for texture tile. Then go to the Edit menu and choose Define Pattern and we will go ahead and call this chipping paint or something along those lines and then Click OK and now turn that layer off, Click on the background layer, press Ctrl+D or Command+D on the Mac and now I want you to go down to the Black/ White icon. Make sure by the way this is very important before we do that.

Go over to the palette menu here, choose panel Options and do me a favor, make sure Use Default Masks on Fill Layers is turned off as I instructed you to do a while back. So go ahead and turn that off, Click OK. Now go to the Black/White icon and choose Pattern. You will probably see your most recently created pattern or probably be automatically selected, like it is for me. If not, you Click the down pointing arrowhead and choose your new pattern, which should come up. It's saying it's chipping paint. And don't worry if yours is a slightly different size, mine is 44x44 pixels.

Don't worry about any of this other garbage, just Click OK and now we will rename this texture layer or something along those lines. And I'll change the blend mode to Overlay and it's going to be way over the top. It's just going to look terrible as you see it right here. All right, I'll press the Escape key, so Overlay is no longer active. Zoom out a little bit. Oh, my goodness, she looks awful. In my case, I'm going to reduce the Opacity to 40% by pressing the 4 key. It's pretty high still but the reason is I'll zoom in, notice the hairs really want that much texture on them because they didn't fair so well, they are pretty stretched out. Now they look pretty good. The rest of her looks pretty rotten, so here is what I want you to do about that. Go ahead and Alt+Click or Option+Click on this Add Mask icon down here at the bottom of the palette and that will add a black mask so that we are masking away the entire effect.

Then what I want you to do is I want you to get your Brush tool. So go ahead and grab it right there and your foreground color should be set to White by default. Get yourself you know fairly generous brush here you wanted to be nice and soft. Make sure the opacity for starters is 100% and then I'm going to paint with white over the hairs like so because I want to get them reinstated first. And if you go too far which you will, then you press the X key to get black and then you paint away the hairs that were over the top and paint this away too.

Then finally, I want you to press the X key again so that you have white as your foreground color. So I just went ahead and did the hairs, which were the most egregious problems inside of this image. Now I'm going to press the 5 key to reduce my opacity value to 50% and now I'm going to paint inside of some of the other soft areas like so to reinstate a certain amount of noise in here, some texturing of course, that would otherwise be lost out, a little bit too much at this point. So I'm going to come back and take care of that in just a moment.

But let's go down here and come up with a bigger brush, paint along that side of her shoulder, paint over this side of her shoulder as well, paint inside the sky a little bit to make sure that we have a little bit of texture there. If you are not getting enough texture, you can paint a second time since you are working with the reduced opacity value. Ultimately, you will get an effect that looks pretty good I think. You will get something that looks more organic and it's not such a giveaway that you have been inside of the image, if you have done good work inside Liquify Filter of course. So this is what the image looks like without that layer. Notice all those soft areas and particularly around her mouth, because I made her mouth so much bigger. What were formerly vertical chips in the paint have now become diagonal and they have also gotten stretched quite a bit. But when I reinstate my texture layer, it looks quite a bit better. I mean we are basically getting it to the point, we can't see that there is any paint chips in there at all. It's just kind of resolving away, which is definitely a good thing and that my friends covers it.

We have seen Free Transform, we have seen Warp, we have seen Liquify, we have seen every method for torturing and distorting images inside of Photoshop. In the next chapter, I'm going to show you how to master Layer Effects.

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