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Photoshop CS5 One-on-One: Mastery
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Making a stucco or drywall pattern


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Photoshop CS5 One-on-One: Mastery

with Deke McClelland

Video: Making a stucco or drywall pattern

So as you may recall, we're in the middle of creating a magical pattern generating smart filters file. The idea is that we're creating one synthetic effect after another using filters, and nothing but filters. No drawing, some Adjustment layers, but that's about it. So everything is automated and I'm just getting you started. Once you finish up with these exercises, you can go your own way and discover other filtering variations. I've saved my progress as Synthetic starfield.psd found inside the 30_smart_filters folder.
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  1. 40m 45s
    1. Welcome
      2m 45s
    2. Making Photoshop your default image editor
      7m 43s
    3. Installing the dekeKeys keyboard shortcuts
      8m 10s
    4. Remapping OS shortcuts
      7m 37s
    5. Installing the Best Workflow color settings
      4m 31s
    6. The color settings explained
      6m 54s
    7. Loading the CS5 color settings in Bridge
      3m 5s
  2. 1h 11m
    1. Your creative range continues to expand
      1m 46s
    2. The Avatar project so far
      2m 38s
    3. Painting on a photograph
      7m 50s
    4. Adding texture and depth
      6m 14s
    5. Simulating chalky white paint
      7m 23s
    6. Masking and placing an image
      7m 20s
    7. Upsampling and Lens Blur
      5m 9s
    8. Blending blurry elements
      3m 48s
    9. Making a Smart Object
      6m 46s
    10. Placing an image as a Smart Object
      3m 22s
    11. Blending away a background
      5m 56s
    12. Applying Smart Filters
      4m 34s
    13. Creating a glow with Lens Flare
      3m 45s
    14. Blending and masking a glow
      5m 3s
  3. 1h 26m
    1. Using the image to select itself
      1m 53s
    2. Introducing masking
      6m 32s
    3. Making an alpha channel
      6m 54s
    4. Using the Calculations command
      6m 48s
    5. Add, Subtract, Offset, and Scale
      5m 54s
    6. Prepping an image with the Dodge tool
      6m 55s
    7. Fixing mistakes before they get too big
      6m 32s
    8. Painting in the Overlay mode
      5m 51s
    9. Exaggerating and selecting flesh tones
      7m 39s
    10. Smudge, Median, and the Blur tool
      6m 59s
    11. Masking low-contrast details
      6m 7s
    12. Creating a flesh-and-clothing mask
      5m 45s
    13. Masking and compositing the foreground
      5m 27s
    14. Finessing the final composition
      7m 39s
  4. 2h 24m
    1. Connecting the dots
      1m 40s
    2. The Pen tool and the Paths panel
      6m 32s
    3. Drawing a straight-sided outline
      6m 25s
    4. Editing a path outline
      6m 36s
    5. Adding and editing smooth points
      5m 35s
    6. Creating vector masks with the shape tools
      4m 59s
    7. Building a complex outline from shapes
      4m 26s
    8. Subtracting and transforming shapes
      6m 45s
    9. Cloning, flipping, and combining shapes
      8m 58s
    10. Roughing in non-symmetrical paths
      7m 41s
    11. Finessing a complex outline
      9m 15s
    12. Masking a layer effect
      8m 26s
    13. Isolating an image element
      6m 8s
    14. Smooth points and control handles
      9m 3s
    15. Stretching curved segments
      7m 49s
    16. Using the Rubber Band option
      9m 33s
    17. Drawing smooth points with the Pen tool
      6m 59s
    18. Shading an isolated object
      3m 45s
    19. Drawing cusp points
      7m 14s
    20. Setting points in the pasteboard
      9m 57s
    21. Using the Convert Point tool
      6m 42s
  5. 2h 57m
    1. Everything you need to know about blending
      1m 45s
    2. Photoshop CS5's blend modes
      7m 21s
    3. Cycling between blend modes
      6m 15s
    4. Darken and Lighten and their derivatives
      6m 3s
    5. The blend mode shortcuts
      8m 6s
    6. The Multiply and Burn modes
      4m 28s
    7. The Screen and Dodge modes
      6m 0s
    8. How opposite blend modes work
      8m 24s
    9. Why Multiply darkens and Divide lightens
      5m 23s
    10. Cleaning up a client's bad art
      5m 3s
    11. Dropping out a white background
      5m 56s
    12. Blending inside blend modes
      8m 3s
    13. Overlay, Soft Light, and Hard Light
      6m 26s
    14. Vivid, Linear, and Pin Light (and Hard Mix)
      6m 35s
    15. Difference, Exclusion, Subtract, and Divide
      7m 34s
    16. Great uses for the Difference mode
      6m 18s
    17. Promising uses for the Divide mode
      9m 6s
    18. Hue, Saturation, Color, and Luminosity
      7m 0s
    19. Blending an inverted layer
      3m 32s
    20. The "Fill Opacity Eight"
      7m 25s
    21. Making bad blend modes good
      5m 16s
    22. Making a knockout layer
      6m 53s
    23. Blending in the CMYK mode
      8m 3s
    24. Overprinting black text
      8m 29s
    25. Using the Luminance slider
      5m 24s
    26. Parametric luminance masking
      6m 21s
    27. Adjusting the behavior of luminance effects
      10m 8s
  6. 2h 2m
    1. Smart Objects = protective containers
      1m 35s
    2. Placing an Illustrator graphic
      6m 30s
    3. Vector copy and paste options
      6m 56s
    4. Applying Puppet Warp to vectors
      8m 9s
    5. "Gluing" vector art for Puppet Warp
      5m 50s
    6. Warping art onto the surface of an image
      8m 7s
    7. Blending a Smart Object
      4m 30s
    8. Blurring and blending a Smart Object
      6m 8s
    9. Making changes in Illustrator
      5m 57s
    10. Creating "true clones"
      7m 18s
    11. Double-flipping text
      4m 44s
    12. Applying effects to multiple layers
      3m 24s
    13. Updating true clones in one operation
      7m 36s
    14. Editing JPEGs as Camera Raw objects
      5m 49s
    15. Creating a double-exposure effect
      7m 15s
    16. Masking and shading transitions
      7m 47s
    17. Applying and repeating Camera Raw edits
      6m 9s
    18. Copying vs. cloning a Smart Object
      5m 18s
    19. Flipping a Smart Object and its mask
      3m 42s
    20. Adjusting multiple Camera Raw clones
      3m 53s
    21. Text that inverts everything behind it
      5m 34s
  7. 1h 59m
    1. This time, "smart" means dynamic
      1m 37s
    2. Introducing Smart Filters
      6m 28s
    3. Traditional High Pass sharpening
      5m 17s
    4. Smart High Pass in the Lab mode
      7m 57s
    5. Sharpening a high-frequency image
      7m 46s
    6. Retroactively reducing noise
      7m 31s
    7. Which filters are Smart Filters?
      6m 20s
    8. Shadows/Highlights as a Smart Filter
      4m 37s
    9. Nesting one Smart Object inside another
      7m 11s
    10. Drawing a mask from a nested Smart Object
      8m 7s
    11. Better Shadows/Highlights inside Lab
      9m 16s
    12. Tempering saturation values in Lab
      7m 0s
    13. Filtering live, editable text
      9m 2s
    14. Enhancing filters with layer effects
      4m 33s
    15. Applying a filter multiple times
      5m 0s
    16. Creating a synthetic star field
      7m 7s
    17. Making a stucco or drywall pattern
      6m 28s
    18. Land, sea, and clouds
      8m 30s
  8. 2h 50m
    1. Photoshop's advanced painting tools
      2m 3s
    2. Canvas texture and brush libraries
      6m 40s
    3. Painting with a predefined custom brush
      9m 21s
    4. Dissecting a custom brush
      11m 9s
    5. Designing and using a custom brush
      4m 54s
    6. Saving and loading brush presets
      5m 27s
    7. The ten styles of bristle brushes
      9m 47s
    8. Size, Spacing, and Angle
      7m 2s
    9. Using the Bristle Brush preview
      7m 53s
    10. Bristles, Length, Thickness, and Stiffness
      6m 53s
    11. Stylus tilt and mouse behavior
      5m 25s
    12. Stroking a path outline with a brush
      4m 0s
    13. Troubleshooting a stylus
      5m 49s
    14. Introducing the Mixer Brush
      7m 22s
    15. The Load, Mix, and Wet values
      5m 1s
    16. Cleaning and loading a brush
      6m 26s
    17. Shading a piece of graphic art
      6m 34s
    18. Shading with color
      7m 53s
    19. Mixing a photographic portrait
      6m 11s
    20. Tracing the fine details in an image
      5m 52s
    21. Crosshatching and brush size
      5m 53s
    22. Covering up and augmenting details
      7m 36s
    23. Painting in hair and fabric
      5m 54s
    24. Painting and scaling very fine hairs
      8m 7s
    25. Adding texture with the Emboss filter
      8m 31s
    26. Exploiting a "happy accident"
      2m 46s
  9. 1h 40m
    1. Artificial intelligence that works
      1m 22s
    2. The Auto-Align Layers command
      7m 25s
    3. The Auto-Blend Layers command
      3m 54s
    4. Masking auto-aligned layers
      4m 50s
    5. The Geometric Distortion setting
      6m 44s
    6. The Seamless Tones and Colors checkbox
      4m 8s
    7. Creating the best possible layer mask
      9m 18s
    8. Auto-blending depths of field
      5m 54s
    9. Finessing masks, accepting imperfections
      6m 29s
    10. Shooting and downsampling panorama images
      5m 54s
    11. Introducing the Photomerge command
      6m 40s
    12. Evaluating the Layout settings
      6m 47s
    13. Loading, aligning, and blending with Photomerge
      5m 36s
    14. Tracing and extracting seams
      7m 18s
    15. Adding a masked element into a panorama
      5m 55s
    16. Simplifying and correcting a panorama
      5m 58s
    17. Smart Filters and nondestructive cropping
      6m 43s
  10. 1h 18m
    1. The most mysterious of mysterious topics
      2m 29s
    2. Introducing HDR Toning
      6m 43s
    3. Reigning in clipped highlights
      5m 54s
    4. The Local Adaptation options
      9m 5s
    5. Nondestructive editing with HDR Toning
      8m 22s
    6. Using the HDR Toning Curve
      7m 2s
    7. HDR Toning vs. Shadows/Highlights
      6m 0s
    8. Merging multiple exposures
      7m 14s
    9. A first look at HDR Pro
      6m 24s
    10. Removing ghosts, correcting backlighting
      7m 11s
    11. Generating and editing an HDR comp
      7m 0s
    12. HDR rendered to completion
      5m 19s
  11. 1h 27m
    1. Processing hundreds of files in no time
      1m 43s
    2. Creating an action set
      6m 37s
    3. Making an action
      7m 7s
    4. Stop, Delete, and Record
      7m 12s
    5. Add, Undo, and Rerecord
      6m 40s
    6. Playing and testing an action
      6m 31s
    7. Playing and editing a specific operation
      6m 39s
    8. Permitting the user to change settings
      4m 58s
    9. Explaining an action with a custom stop
      5m 0s
    10. Batch-processing multiple images
      7m 22s
    11. Adding a Save As operation
      6m 34s
    12. Creating an action to save web graphics
      7m 59s
    13. Batching two actions into one
      7m 15s
    14. Saving and loading actions
      5m 30s
  12. 1m 19s
    1. See ya
      1m 19s

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Photoshop CS5 One-on-One: Mastery
20h 1m Advanced Sep 30, 2010

Viewers: in countries Watching now:

In the all-new Photoshop CS5 One-on-One: Mastery, the third and final installment of the popular series, join industry expert and award-winning author Deke McClelland for an in-depth tour of the most powerful and empowering features of Photoshop CS5. Discover the vast possibilities of traditional tools, such as masking and blend modes, and then delve into Smart Objects, Photomerge, as well as the new Puppet Warp, Mixer Brush, and HDR features. Exercise files accompany the course.

Recommended prerequisites: Photoshop CS5 One-on-One: Fundamentals and Photoshop CS5 One-on-One: Advanced.

Topics include:
  • Using masks and blend modes in radically new ways
  • Mastering the Pen tool and Paths panel
  • Transforming and maximizing Smart Objects
  • Employing Smart Filters to create complex effects
  • Exploring the capabilities of Bristle brushes and the Mixer Brush
  • Merging multiple images into seamless panoramas
  • Exploring the full range of luminance with HDR Pro
  • Recording actions and batching-processing images
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Making a stucco or drywall pattern

So as you may recall, we're in the middle of creating a magical pattern generating smart filters file. The idea is that we're creating one synthetic effect after another using filters, and nothing but filters. No drawing, some Adjustment layers, but that's about it. So everything is automated and I'm just getting you started. Once you finish up with these exercises, you can go your own way and discover other filtering variations. I've saved my progress as Synthetic starfield.psd found inside the 30_smart_filters folder.

And in this exercise we're going to take the starfield and we're going to convert it into a kind of stucco pattern that you might see on a drywall or exterior wall and we'll look into a couple of variations. So let's start things off by turning off the Levels Adjustment layer. The layer that's called starmaker. Then we need to click on the Base layer and somehow transform this blurry noise into a texture and that somehow is the Emboss filter. So go out to the Filter menu, choose Stylize, and choose Emboss and these are the values I recommend. You can experiment with your own values as much as you like, but I've got an Angle of 45 degrees, a Height of 3 pixels, and an Amount of 300%.

Then click OK and you can already see this stucco pattern emerge here. Let's give it some color by pressing the Alt key or the Option key on the Mac, click and hold on the black-white icon go ahead, and choose the Hue/Saturation command, and let's name this guy color and that's it. So this will be the color layer because we're going to infuse the Base layer with color. Click OK. Turn on the Colorize check box. And the values I'm going to use are 30 for the Hue value, and then 15 for the Saturation value, but of course, this is your wall painted any color you want.

Don't need to change Lightness, by the way, just use Hue to dial in a color value and then Saturation to determine it's intensity and that's it. So that's one variation on a drywall pattern. Now, let's say we want a more deluxe pattern, something that has a little bit of sculpting going on. Why I'll go down to Smart Filters here. Don't turn off the Smart Filters heading, but do go ahead and turn off all the filters we've applied so far. So click on Emboss and drag down to Add Noise to turn everybody off for a moment. And of course, we're just temporarily hiding them, we can come back later.

Make sure your foreground and background colors are black-and-white as by default, if not press the D key. And then go up to the Filter menu and everything is dimmed, which means I have the wrong layer selected. So go down to the Layers panel and click on Base to make it active. All right, now I back up to Filter menu, go down here to Render and remember I was telling you that there are two random noise generating filters inside of Photoshop; one is Add Noise for single pixels of noise and the other is Clouds which generates fractal noise. Now Difference Clouds works along with it.

It's basically applying the Clouds filter subject to the Difference mode so that you can heap one cloud pattern onto another, but Clouds is your general one stop fractal noise filter. So go ahead and choose it. And right now we're seeing this sort of brownish noise because we still have the Color Adjustment layer turned on. That's just fine leave it on. Now, let's go ahead and take Clouds and put it at the back of the stack. So drag it down to under Add Noise there. Now turn on Emboss which will turn the clouds pattern into a texture, like so.

Very interesting, sort of a kind of parchment texture and then go ahead and turn on Gaussian blur if you want to smooth the texture over a little bit. And then turn on Add Noise as well and then we get this kind of bumpy parchment texture. And you can see the difference here; if you turn Clouds off now, this is what a fairly flat stucco pattern looks like. And then if we turn on the Clouds filter, we end up adding a little bit of wave. So these filters, in other words, just keep on giving. Let's heap on one more filter. I'm going to go up the Filter menu choose Sketch, and choose this guy right here, Note Paper. And that's going to bring up the big old filter gallery.

And notice we now have a kind of palette knife effect and these are the default settings by the way, Image Balance of 25, Graininess of 10, and a Relief of 11. You might want to take that Relief value down a little bit that so that we have some smaller shadow. So I'm going to take it down to about 6 like so and then click OK in order to accept that modification. And now we have a kind of palette knife pattern going on. If that adds too much contrast for your taste, then go ahead and double-click on the Settings icon right there for Note Paper and then you can reduce the Opacity value.

I'm going to take it down to, say 75%, and click OK. If, at anytime, you decided that you like something along the way better than what you're seeing now, all you have to do is turn off one of these effects. So I could turn off Note Paper like so in order to see what I had before. You can also try turning some of the other filters off, for example, if I turn Note Paper back on here, and then I turn off Clouds, then I will remove some of that sort of sculpture variation that I had going. I'll turn Clouds back on. Let's try turning Add Noise off and we end up getting an entirely different effect this time around. All right.

Turn Add Noise back on and now let's try turning off Emboss. And we end up with these, kinds of, landmasses going on inside of this pattern. And at this point, you could double-click on Note Paper in order to change its settings. And now try adjusting the Image Balance function. So notice if I reduce the Image Balance, we end up getting more water, I suppose, at this point. I am not sure what's water and landmass, but anyway, we get more of the light stuff. And then if we end up increasing the Image Balance, we end up getting more of the dark stuff.

So just drag that back and forth until you get an effect that you like. And I might stop at something like 26 I guess. Things are looking good to me and then I'll click OK in order to accept that modification. So you can see just how flexible this file is. This is kind of stuff you could never do with static filters or if you did, you'd be tearing out your hair because you'd have to keep making a re-approach in order to try out each one of these different effects. This way though, it's just a matter of turning the filters on and off and incidentally here is something else to bear in mind, if you want to vary the behavior of clouds, if you want to come up with a different clouds effect, all you do is double-click on Clouds and Photoshop goes ahead and rewrites it, because there is no Clouds dialog box, it just reapplies the filter.

And if you don't like that, just double-click on Clouds again and everything changes onscreen. In the next exercise we're going to try our hand at swapping out Note Paper for a few of the other filters available to us in the filter gallery.

Find answers to the most frequently asked questions about Photoshop CS5 One-on-One: Mastery.


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Q: The instructions for installing the dekeKeys don't work on my computer (which is running Mac OS X Lion). Is there an update to these?
A: The dekeKeys distributed with this course will still work for Lion. You just need to add them to a slightly different folder than in previous versions of OS X.

Open a new Finder window and choose Go > Go to Folder. Type the following file path exactly as written below. Copying and pasting may result in an error.

~/Library/Application Support/Adobe/Adobe Photoshop CS5/Presets/Keyboard Shortcuts

Move and/or copy/paste the dekeKeys to this folder and follow the rest of the instructions as outlined in the video, "Installing the dekeKeys keyboard shortcuts."
 
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