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Photoshop mastery can be elusive, but in Photoshop CS4 One-on-One: Mastery, best-selling author and video trainer Deke McClelland teaches the most powerful, unconventional, and flexible features of the program. In this third and final installment of the popular and comprehensive series, Deke delves into the strongest features that Photoshop has to offer, including scalable vector graphics, Smart Objects, and Photomerge. Exercise files accompany the course.
Recommended prerequisites: Photoshop CS4 One-on-One: Fundamentals and Photoshop CS4 One-on-One: Advanced, both part of the lynda.com Online Training Library®.
Download Deke's customized keyboard layouts and color settings for Photoshop from the Exercise Files tab.
In this exercise, we are going to try out a little something that I don't recommend you try out on a regular basis. Every once in a while it can be fun, but it verges on a big old waste of time. And that's free form filter experimentation, and we are going to give it a little bit of a try. All right, so here I am. I'm still at work inside of Kill Jill art.psd. We've made one modification, which is to add an application of the Cutout Filter, which we applied from the Filter Gallery. I want you to make sure, you still have your Model layer selected, and then go up to the Filter menu, and here is the deal. Make sure the Model layer is selected and I'm troubled by the fact that I have gone and ruined this woman's nose yet again.
This time I've added clown stripes, and I want to get rid of the banding. One way to get rid of banding inside Photoshop is to add noise. So I'm going to try out the Add Noise filter. So I'll go up to the Filter menu, choose the Noise command and then choose Add Noise. Notice we get the Standard Filter dialog box. We are not working inside the Filter Gallery. Now, Filter Gallery is not optional. Either a filter is part of the Filter Gallery, and I showed you which filters those are ever so briefly, or it's not. So the ones that aren't are Add Noise and Gaussian Blur and Unsharp Mask and all the others that you'll use on a regular basis. The ones that are, are the Creative Filters that you won't touch all that often by comparison, depending on who you are, some people love them. Anyway, I think I've made that point earlier.
All right, so Add Noise, I'm going to increase the amount value to 20%, and then I'm going to switch the Distribution method here to Gaussian. So that we have a higher degree of contrast between our noise. Then I don't want the color, so we are going to turn on Monochromatic, and that actually does a pretty swell job of getting rid of the patterning inside of her nose, but it also infects the image with a ton of tics or something here. So I'll go ahead and click OK nonetheless to accept the effect. I think I'm better off moving Add Noise below Cutout, and we'll see what that does. What it does is it goes ahead and roughs up the image before it gets the cutout treatment, and therefore the Cutout Filter has to sort of weave in and out of the areas inside the image, a little bit more than it had to before.
But we still have too much noise, too many tics. So I'm going to go over to the little slider icon, double-click on it in order to bring up the Blend Options dialog box, after of course, I'm confronted by the alert message. I'll just go ahead and click OK. Yes, I'm only going to see the effects of Add Noise and nothing else at this point. So I'm going to reduce the Opacity value to 30%. Then I'll click OK, and then we'll wait for it to apply, and this does rough up the clown striping just ever so slightly here. This is what the image looks like without Add Noise. So very definite clown striping, and this is what it looks like after Add Noise.
So a little less banding inside of the image. All right. If one filter doesn't do the trick, let's go in and apply another filter. Let's see what happens if we throw something else at this image. I'm going to go up to the Filter menu, and this time I'm going to choose Stylize. Now, a note before we embark on Stylize. The Stylize Filters with the exception of one, they all completely transform the image into a monochromatic image. And the colors that are at work in that monochromatic image are determined by the foreground and background colors. So by default, you'll get black and white effects. I want you to make sure that you get that default effect by pressing the D key. Then go up to the Filter menu, choose Sketch, and choose this guy right there, Conte Crayon.
You'll see all of these little previews here, all these little mobius tubes except for Water Paper as I was saying. They all show monochromatic effects exclusively, Water Paper also have some monochromatic action inside of it. It just retains some of the original color. So here is the version of the image subject to Conte Crayon. We've got a little bit of texturing going on in the background. That's determined by this Texture option right here, which is set to Canvas. You can try something else if you wanted to Burlap or one of the others. I'm going to leave it set to Canvas, and I'm actually going to leave the default settings alone here, because I don't want to turn this into a big discussion of how Conte Crayon, and these other wacky filters work. I'm going to leave the experimentation to you if indeed you decide to take advantage of these filters.
Now, we are getting completely monochromatic effect. There is nothing that we can do about that inside of the Filter Gallery because we don't have any Blending Options. For Blending Options, we have to exit back into Photoshop. So let's do that by clicking OK. Now, let's modify the Blending Options for Conte Crayon by double-clicking on the little slider icon once again, and I could go ahead and change the mode from Normal to Luminosity in order to bring back all of the original colors. And then presumably, I would take this Opacity value down to let's say 40% works pretty nicely.
But at this one, I'm thinking, you know I'm not sure that I want all of the original color saturation back. I might want to mute things just a little bit. So I'm going to switch the mode back to Normal, and that gives us more the effect I'm looking for, let's say, and it looks pretty good. I'll go ahead and click OK in order to accept that modification. Now, you can play around with the stacking order of these filters. I could move Conte Crayon below Add Noise, and see what kind of effect I get there. Don't like it so much, move Conte Crayon above Add Noise, between Cutout and Add Noise.
So I have a little bit of a filter sandwich going there, not so much either. So let's just keep it at the top of the stack. But I just want to make it clear that that's the kind of stuff you can try out as you are trying to figure out what kind of effect you want to achieve. In the next exercise, I'm going to show you what you do if you decide, no, I don't like this filter. I want to try something different, and how you can switch out filter specifically from inside the Filter Gallery.
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