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Creating a rubber stamp

From: Photoshop for Designers: Textures

Video: Creating a rubber stamp

Here is another of those effects that at some point in your career as a graphic artist you are going to be asked to replicate and that is our Rubberstamp Effect. There are many different recipes for creating a rubberstamp and this is mine. So here's the finished version. I will just quickly break it down for you, and then we will recreate it. Black background, manila folder which actually started its life as a wingding character so its a simple piece of vector art work, has some layer effects applied to it, has a layer mask which is roughening the edges of it then some dodging and burning to add more texture to it.

Creating a rubber stamp

Here is another of those effects that at some point in your career as a graphic artist you are going to be asked to replicate and that is our Rubberstamp Effect. There are many different recipes for creating a rubberstamp and this is mine. So here's the finished version. I will just quickly break it down for you, and then we will recreate it. Black background, manila folder which actually started its life as a wingding character so its a simple piece of vector art work, has some layer effects applied to it, has a layer mask which is roughening the edges of it then some dodging and burning to add more texture to it.

And then in a group above this we have the stamp which is broken down into two pieces. There is the letters and the border of the stamp and then the recessed part of the stamp where we also see some impression of the ink. Let's start out here in our beginning file and the first thing I am going to do is just come to the manila folder and I am going to turn on the layer Effects. Let's just have a quick look at what those layer effects are and they are these.

We have got an Inner Glow and the Inner Glow is set to a brown color, it's multiplying. We have a Gradient Overlay just to make the layer a bit less uniform over the subject. And then the main thing here is the Pattern Overlay and if I turn that off you will see there is the flat color of the manila folder. Turn on the Pattern Overlay and what I am using here is one of the predefined patterns. It's from the Grayscale Paper group and it's this one Craft Paper and I have set the blending mode to Overlay where it normally would look like that but we wanted to combine with the color of the photo.

So I have set it to Overlay. So there is our starting point, now let's come to actually work on the stamp itself. We need to apply a couple of filters here and the filters we are going to be using are Reticulation and Motion Blur. This is a smart object so I can apply them as smart filters. I am going to come down to the Sketch group where we get Reticulation. Now Reticulation is actually a film processing term but what it means to us in the context of rubberstamps is very granular texture, which I think is a much better approximation of rubberstamp than the actual stamp filter itself.

I am just going to cancel out of here for a moment and point out that. Make sure that you choose an appropriate foreground color, I have red, the color of the stamp chosen as the foreground color here because that's the color that this filter is going to use. So the only slider that's going to make any difference to us here is the Density slider and if we put it all the way up as if we had come down and stamped it with not so much impact and since we are counterintuitive but if we bring down the Density it seems like we stamped it with more impact.

Put it about there at level of 12. And now I want to follow that up with a Motion Blur filter because when the stamp hits the photo there was some blurring involved. So to the Blur group and to Motion Blur and I am going to twist the Angle so that it mimics the angle of the stamp itself. I want to have a Distance of 3 pixels. We have the two filters listed there as Smart Filters. Now what I want to do is I want to set separate the actual letters and the border of the stamp from the recessed portion where we get to this lighter version of the ink and I had Alpha channel already prepared and I am going to go and load that Alpha 1 and when I Command+Click on that it loads it.

So it's just essentially the red letters and the border and I am going to use that Alpha channel as a layer mask. So when I click right there we can see that what's happening now is we are masking out the recessed portion and I am going to duplicate this now. Command+J and then on the copy I am going to invert that mask. So I click on the mask and I press Command+I. now things look exactly the same as they did before but the advantage of this is that we can work on these two parts of the stamp independently.

I am going to take down the Opacity on this and we can also work on their layer masks independently should we choose to. Next, I am going to come to the manila folder itself and above that I am going to add a Dodge and Burn layer. So I am going to hold down my Alt key or Option key and click on Create new layer and then choose Overlay as my blend mode and Fill with Overlay-neutral color. So that's going to give me a layer of solid neutral gray and on that layer of solid neutral gray I am going to use my Dodge tool and my Burn tool.

Mainly my Burn tool because I want to make things a bit darker. So I am going to choose an appropriate brush size, nice big brush, and then I am just going to sort of paint in over the edges. I am going to take the Exposure slider down a bit to about 30. And that's really helping to bring out the texture of the craft paper Pattern Overlay that we applied down here as a layer effect. If we did want to lighten it then we would just switch to the Dodge tool but mainly I am concerned with making things a bit darker and then might be I will be doing it.

And all of that exists on its own layer so we can turn that on and off. That's how it's working where it's darker than 50% gray; it's darkening what's beneath it. I am also now going to go to the manila folder layer. Command+Click on that to load its selection and then make that into a layer mask, and then I am going to come and choose my Brush tool and I have got a Watercolor brush here and I am just going to sort of brushing around the edges and makes the edges a little less than perfect.

So now I am going to come to the manila folder layer Command+Click on that to load its selection. So with the active selection I am making sure that I am on the manila folder layer. I am going to add that as a layer mask. So I have made the layer mask and now I am going to just soften the edges of the folder, just roughen them up a little bit. And to do this I am going to come to Filter and Sketch and choose Torn Edges and we have seen this one before and I am going to done with these settings.

I want to make sure that Contrast is up sufficiently so that I don't introduce any grainy stuff into the black background. That's fine. Now in addition to that I am going to get my Brush tool and I am going to work with a small brush. I am going to small Chalk 11 pixel brush and I just want to nibble away at the corners, just a bit, just around them so that they are not too perfect. So now that we have finished working on the edges of the folder I am just going to refine the stamp itself and I am going to come to the layer masks so we have that layer mask there, which layer and layer mask, which applies to the inset portion and I am going to carry on using that same Chalk brush that I was using before.

I am going to set its Opacity to 100% and what I want to do is I just want to roughen the edges. And I am on the wrong layer mask, I should be on this one down here so I need to click on that one and I want to just take little bites out of the edges just to make them a little bit less perfect. And then I am going to come to the top layer mask, the one that is responsible for all of this speckly stuff in here and increase the size of my brush and take my brush Opacity down to 50% now and I am just going to may be come down a little bit more to about at 30% and just dab in there to make it a little bit less uniform where that speckly stuff happens.

And I think we have ourselves pretty plausible looking rubberstamp there. This has involved the use of the Reticulation filter, the Motion Blur filter, multiple layers, layer masks and then working with brushing on those layer masks to just make things a little bit less perfect than they were otherwise. And also for the manila folder we have got various different layer effects and brushing on a Dodge and Burn layer to really bring out the texture that's already there.

Show transcript

This video is part of

Image for Photoshop for Designers: Textures
Photoshop for Designers: Textures

60 video lessons · 19582 viewers

Nigel French
Author

 
Expand all | Collapse all
  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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