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Photoshop for Designers: Textures
Illustration by John Hersey
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Creating a rocklike texture with Clouds


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Photoshop for Designers: Textures

with Nigel French

Video: Creating a rocklike texture with Clouds

When working with textures in Photoshop most of the time we are going to be starting with some sort of textural image or will be printing some sort of texture and blending in some sort of texture, but there are times when you don't have a texture and you want to start with nothing and the Render group of Filters allow us to do that. We can use these filters to generate texture synthetically. Now in this particular example I have some sort of synthetic rock texture, maybe it's tinfoil, maybe it's the surface of mars, that is generated from clouds and then on top of clouds we have another filter applied to that, and then we also have this shaft of light here and just for some graphic interest I've added a shape layer in the form of this target and that is filled with red which is multiplying onto the clouds texture.
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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

Creating a rocklike texture with Clouds

When working with textures in Photoshop most of the time we are going to be starting with some sort of textural image or will be printing some sort of texture and blending in some sort of texture, but there are times when you don't have a texture and you want to start with nothing and the Render group of Filters allow us to do that. We can use these filters to generate texture synthetically. Now in this particular example I have some sort of synthetic rock texture, maybe it's tinfoil, maybe it's the surface of mars, that is generated from clouds and then on top of clouds we have another filter applied to that, and then we also have this shaft of light here and just for some graphic interest I've added a shape layer in the form of this target and that is filled with red which is multiplying onto the clouds texture.

So let's re-create this. I am going to start with a New document 1200 pixels x 800 pixels, and the first thing I am going to do is run the clouds filter. Clouds will randomly generate noise based upon your foreground and background color. So I have my foreground-background color at that default black and white and that's just fine for my purposes here. Render>Clouds, that's what I get. If you want a less contrasty result then choose a black and a gray or a light gray with a dark gray or two colors that are relatively close to each other.

If you don't like what you are randomly given because it is random. You can press Command or Ctrl+F to run that filter again until you get something that you do like. What I am going to do next and I'll be doing this throughout this series is converting my layout for Smart Filters. That's going to allow me to apply other filters to it and to keep track of what filters have been applied and exactly how much of those filters have been applied and also allow me to go back and edit the filtering.

So Smart Filters are tremendously useful. So back to the Filter menu and I am going to come down to Sketch and Bas Relief. I could also go to Filter Gallery and find it there as well. It's going to be exactly the same thing. I will press Command or Ctrl+Minus to make my Preview window smaller. And because I want my detail to be nice and crunchy and crisp I am going to up the detail and move the Smoothness slider all the way to the left and I am going to have the light coming in from the top-left but here are my other choices.

So having done that, I am now going to create a shape layer on top of this. I am going to choose my Custom Shape tool and I am going to use the Target Shape, which is right there and I want to change the foreground color that the shape layer would be rendered in. I am going to use a nice terra- cotta red that has these values 200 Red, 67 Green, and 47 Blue.

To keep the shape proportion I am going to hold down the Shift key while I drag, and then I can position that wherever I want it to go. Now I've actually ended out with the opposite of what I wanted here because I wanted the background in red and the shape reversing out of that. To fix that I am going to choose my Path Selection tool, I am going to click on the edge of that shape and then use this option right here Subtract from shape area, which is going to give me that result, and then I am going to change the Blend mode of that layer to Multiply so that we see the texture through it.

I might just want to switch to my Move tool, I am going to press the V key to do that and then just drag that around. If I want to scale it Command or Ctrl+T and holding down Option+Shift or Alt+Shift to scale it from the center point and keep it proportional. Press Enter or Return to accept that. So I am now going to create my shaft of light, and to do this I am just going to draw the shaft of light. I could also do it using a layer effect, Gradient Overlay, or I could do it using a Filter, Lighting Effects, and I am sure there are other ways as well.

I am going to do it like this. I am going to add a new layer. I am going to fill that layer with white. White is currently my background color so I am going to press Command or Ctrl and the Backspace, Delete key to fill my layer with white. I am going to change the Blend mode to Overlay. So we can see that if I turn that off it's just having an overall lightning effect on the whole composition. Now I am going to use my Polygonal Lasso tool to draw my shaft of light, like so.

I am going to inverse that selection, Command+Shift+I, and then I am going to fill that with black. So I am going to make black my foreground by pressing D and then Option or Alt and my Backspace, Delete key to fill and then Ctrl or Command+D to deselect. Now, I am going to soften that and I could convert this for smart filters but I'm going to leave dangerously here and just go directly to my Gaussian Blur and apply a lot of blurring, about 90 pixels of blurring, and then to soften that overall effect I can reduce the Opacity of that layer down to around 35-36%.

That's my end result. What I want you to take-away from this movie is not that we use the Clouds filter to make red tinfoil with target shapes on it but rather that we use the Clouds filter as a starting point and having applied the Clouds filter we can then apply other filters on top of that and then build up our texture, which we can then combine with other layers using blending modes.

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