IntroductionWelcome| 00:00 |
(music playing)
| | 00:04 |
Hi, I'm Nigel French.
Welcome to Photoshop for Designers: Filters.
| | 00:09 |
In this course we're going to create good
looking and practically useful image
| | 00:13 |
treatments with Photoshop filters using
non-destructive techniques and a
| | 00:17 |
transparent workflow.
Photoshop filters are sometimes derided
| | 00:22 |
as being cheap tricks.
But we're going to see how to push beyond
| | 00:26 |
the standard results.
When you combine filters and when you use
| | 00:30 |
filters alongside other Photoshop
features like blend modes, layer masks,
| | 00:35 |
and clipping groups, their creative
potential increases exponentially.
| | 00:43 |
When you think about how most of the
filters are derived from traditional
| | 00:46 |
analog techniques, you can apply them in
similar ways to their traditional
| | 00:50 |
counterparts, and you can apply them in
unexpected ways, ways in which they were
| | 00:54 |
not necessarily intended for.
So let's get started with Photoshop for
| | 01:01 |
Designers: Filters.
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| Using the exercise files| 00:00 |
If you are a Premium subscriber to
lynda.com you can dowload the exercise
| | 00:04 |
files for this course.
The files are arranged by chapter with
| | 00:08 |
each example in its finished and its
beginning state.
| | 00:13 |
If you don't have access to the exercise
files you can still have a valuable
| | 00:16 |
learning experience, either just watching
the movies, or following along with files
| | 00:20 |
of your own.
The title of the movie indicates the
| | 00:25 |
filter that is featured, but because
nearly all the techniques involve the use
| | 00:29 |
of more than a single filter, I have
included this chart as a free download to
| | 00:33 |
all subscribers.
This clearly indicates all the movies in
| | 00:39 |
which a particular filter is used.
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1. OverviewDesigning with filters| 00:00 |
Look under the Filter menu in Photoshop
and you'll see a long list of enticingly,
| | 00:05 |
sometimes misleadingly named effects.
You can use these effects to breath new
| | 00:10 |
life into your images.
Many of these filters have been around
| | 00:15 |
since the dawn of Photoshop time.
Others, the New Blur Gallery for example,
| | 00:20 |
are recent additions.
With so many choices, deciding on when
| | 00:25 |
and how to use a filter can be difficult.
And because everyone has the same
| | 00:31 |
filters, we need to take a few extra
steps to make filters our own.
| | 00:36 |
With some planning, a few tricks, and
some clever work arounds, filter can help
| | 00:41 |
us create images that are eye popping,
and a long way from the results you'd get
| | 00:45 |
with just the Default options.
And that's what this of course is about.
| | 00:52 |
We're going to be creating good looking,
practically useful, and non-distructive
| | 00:56 |
techniques using filters.
Sometimes the effect will require a
| | 01:01 |
combination of filters.
Sometimes the use of other Photoshop
| | 01:05 |
features like blend modes and layer masks
along side the filters.
| | 01:10 |
And sometimes the filters will be used in
unexpected ways.
| | 01:15 |
Ways in which they were not necessarily
intended for.
| | 01:18 |
In all cases, they're going to look good,
which is of course why we're here.
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| Terms, keyboard shortcuts, and menus| 00:00 |
Before we begin creating our filter
effects, let's just define a few terms
| | 00:04 |
and set a few ground rules.
Firstly, the term filter.
| | 00:08 |
It applies to all of those options under
the filter menu.
| | 00:13 |
Some people mistakenly refer to
adjustment layers as filters.
| | 00:19 |
Unless it's under the filter menu, even
if, as in the case of photo filter
| | 00:23 |
adjustment layer, it has the word filter
in the name, it's not a filter.
| | 00:29 |
The two exceptions to that are, if you
have converted a layer to a small object
| | 00:34 |
and as this layer here has been converted
to a small object.
| | 00:39 |
And we'll be looking at strategies for
working with small objects.
| | 00:44 |
Then you can, from the Image menu
Adjustments, apply Shadows Highlights and
| | 00:49 |
editable filter layer, as you can see
right here, which is tremendously useful.
| | 00:57 |
You can also, from under the Edit menu,
apply Puppet Warp as an editable filter layer.
| | 01:04 |
Let's just say a few words about keyboard
shortcuts.
| | 01:07 |
Some of the big filters, Adaptive Wide
Angle, Lens Correction, Liquefy, have
| | 01:12 |
their own keyboard shortcut.
For others, you will see this keyboard
| | 01:18 |
shortcut Command or Ctrl+F.
I'm going to turn off this top layer and
| | 01:23 |
then come to the background layer, which
is not a smart object, it's just a
| | 01:27 |
regular layer.
And if I apply a filter to it, I'm just
| | 01:33 |
going to randomly choose Gaussian Blur.
And then I were to use the keyboard
| | 01:40 |
shortcut, Command or Ctrl+F.
I would apply the same amount of that
| | 01:46 |
filter again, in this case another 14
pixel Gaussian Blur.
| | 01:50 |
I'm going to undo that.
Let's say that having applied Gaussian
| | 01:55 |
Blur, it's now at the top of my filter
menu.
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If I want to apply it again, but change
the amount, I can hold down the Option key.
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As I choose it from under the filter menu
or I can use the keyboard shortcut,
| | 02:08 |
Cmd+Option, or Ctrl+Alt+F, which brings
up the Gaussian Blur dialog box, that
| | 02:13 |
allows you to change the value.
I'm not going to back up to this point,
| | 02:20 |
because a 14-pixel Gaussian blur on this
image is not really doing it any favors.
| | 02:28 |
Many of the newer bigger filters have
large preview windows.
| | 02:33 |
In the case of Smart Sharpen, we see a
large preview window.
| | 02:37 |
And you can see the effect of the filter
applied in this preview window with the
| | 02:42 |
values that are over here on the right.
And if you want to see the before state
| | 02:48 |
of the image, click and hold down.
So there's the before, when I release
| | 02:53 |
there's the after.
In any of your filter dialog boxes,
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when you change the values, if there are
values, not all filters have values that
| | 03:02 |
you can effect but most of them do.
If you change those values and you want
| | 03:08 |
to reset them to the default values, hold
down the Option or Alt key.
| | 03:13 |
You'll see that the Cancel becomes Reset,
and then you're back to where you were
| | 03:18 |
when you came in.
It's worth mentioning that for those
| | 03:24 |
filters that you use frequently, you
might consider adding a keyboard shortcut.
| | 03:30 |
So if I come to the edit menu, and to
keyboard shortcuts, a very commonly used
| | 03:34 |
filter is smartshop, and it does not have
a keyboard shortcut associated with it.
| | 03:42 |
So it wouldn't be a bad idea to add one.
So what I want to do here is create a new
| | 03:47 |
shortcut set.
I'm just going to give that my name.
| | 03:54 |
Then I come to the application menu that
contains the item that I'm looking for,
| | 03:58 |
and obviously that's the Filter menu.
I'm going to expand that.
| | 04:04 |
And then we'll scroll down to Sharpen,
Smart Sharpen, click in there, and now we
| | 04:09 |
decide what shortcut we want to use.
I am to go for Command F13.
| | 04:15 |
Confident that that has not been used by
anything else.
| | 04:20 |
It does warn me that it can be
overwritten.
| | 04:23 |
That's okay.
I'm now going to accept that.
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Click OK.
And then from the Filter menu, I will now
| | 04:31 |
go to Sharpen and see that I have the
Command F13 shortcut applied to it.
| | 04:39 |
Another important point I want to make
concerning filters is their arrangement
| | 04:43 |
on the menu.
Now, if we look at the Filter menu.
| | 04:48 |
I'm in Photoshop CS6.
And if you're also in Photoshop CS6, it's
| | 04:52 |
possible that your filters are arranged
differently.
| | 04:55 |
That you have a slightly more tidy
arrangement than I have.
| | 05:00 |
And that's because I've set my filters to
be arranged the way they were, in CS5 and earlier.
| | 05:08 |
That means that filters that exist in the
Filter Gallery also show up in their
| | 05:13 |
respective groupings below that
horizontal line.
| | 05:19 |
So they show up in two places.
Now why would I choose to do this?
| | 05:23 |
And I'm just going to convert my
background layer to a Smart Object so you
| | 05:26 |
can see what I'm talking about.
If I come and apply an Artistic filter,
| | 05:31 |
I'm going to use cut out just randomly,
I'm not even going to bother with the values.
| | 05:36 |
But when I do that cut out is now
specifically listed as my smart filter.
| | 05:43 |
Had I been using the new CS6 arrangement,
that would just say Filter Gallery.
| | 05:49 |
And it would say Filter Gallery
regardless of the specific filter I had
| | 05:54 |
chosen from the Filter Gallery.
There are pros and cons to both choices.
| | 06:00 |
Let me just show you what the choice is,
first of all.
| | 06:03 |
In Preferences, if I go to Plug-ins, I
have chosen this, Show all filter gallery
| | 06:06 |
groups and names.
If we uncheck this option, it makes for a
| | 06:11 |
tidier Filter menu.
Filters that are part of the Filter
| | 06:17 |
Gallery show up there, and there only.
However, checking this option while it
| | 06:25 |
means more clutter, has the advantage of
listing the specific name of the smart
| | 06:29 |
filter under the smart filter layer.
I'll let you decide what's going to work
| | 06:36 |
for you.
But it's especially relevant for me in a
| | 06:39 |
teaching capacity to be able to retrace
my steps and to be able to see what
| | 06:43 |
filter was applied.
| | 06:46 |
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| The importance of Smart Filters| 00:00 |
To keep your work editable and your
workflow transparent, it's best wherever
| | 00:04 |
possible to use Smart Filters.
This means first converting the layer to
| | 00:09 |
which you're applying the filter to a
Smart Object.
| | 00:12 |
Now, the layer I have here that's called
Original is already a Smart Object.
| | 00:17 |
We can see that it has a badge in it's
bottom right-hand corner of the thumbnail.
| | 00:21 |
But if we wanted to recreate this, I
will go now to the layer above, which is
| | 00:26 |
how this image began.
And to convert this to a Smart Object, I
| | 00:31 |
can either Right-click to the right of
its layer name, choose Convert to Smart Object.
| | 00:39 |
I can go the layer's panel menu and
choose Convert to Smart Object, or I can
| | 00:43 |
from the Filter menu chose Convert Small
Filters.
| | 00:49 |
When you do that, you will see this
message to enable re-editable small filters.
| | 00:54 |
The selected layer will be converted into
a small object.
| | 00:59 |
It's nice to know, but we do not need to
keep seeing that, so check Don't Show Again.
| | 01:06 |
Smart Objects mean that a copy of the
layer is stored outside the document and
| | 01:10 |
can be edited independently.
The relationship of a Smart Object to the
| | 01:15 |
document is similar to the other linked
image in InDesign.
| | 01:19 |
When the Smart Object is changed, it
updates within the context of the document.
| | 01:25 |
So for example, If I double-click on the
thumbnail of the Smart Object, I open up
| | 01:29 |
a separate document that is just that one
layer.
| | 01:34 |
And if I make a change to it, I'm just
going to invert the values by pressing
| | 01:38 |
Cmd or Ctrl+I.
And then save those changes.
| | 01:43 |
We now return to the original document.
We see them update in place.
| | 01:49 |
Smart filters mean that the effect of the
filter remains continuously editable.
| | 01:56 |
So, for example, here I have applied the
Chrome Filter.
| | 02:00 |
If I want to change the amount of that
Chrome Filter, I could double-click on it.
| | 02:05 |
I'm returned to the Filter Gallery with
the exact values that I used to apply the effect.
| | 02:13 |
And let's say that we just wanted to vary
that a bit.
| | 02:16 |
And the effect is now updated.
Along with layer masks and adjustment
| | 02:21 |
layers, this makes smart filters an
important component of a non-destructive workflow.
| | 02:28 |
Prior to smart filters, which were
introduced in Photoshop CS3.
| | 02:33 |
Filters had to be applied directly to the
layer which made it harder to retrace
| | 02:37 |
your steps if you went wrong.
And also much harder to recreate those
| | 02:43 |
effects that were the result of a happy
accident which is quite a common
| | 02:47 |
occurrence in Photoshop.
| | 02:50 |
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| Understanding filter blend modes| 00:00 |
The editability of Smart Filters is
fantastic.
| | 00:04 |
But there's even more.
By double-clicking the badge to the right
| | 00:08 |
of the filter name, you can edit its
blending options and opacity.
| | 00:14 |
This is a much underused feature, and it
can profoundly change the effect of the filter.
| | 00:20 |
So, for example, when I first applied the
Chrome filter to this layer, it looked
| | 00:25 |
like this.
Which looks not very good.
| | 00:29 |
But we change the blending mode to
Overlay, possibly dial down the opacity,
| | 00:34 |
and we have a whole different result.
Now you've always been able to fade the
| | 00:42 |
effect of a filter, and change its
blending mode right after the filter has
| | 00:45 |
been applied.
And you can do that once a filter has
| | 00:49 |
been applied from under the Edit menu
right here.
| | 00:53 |
But the great thing about Smart Filters
is that you can do this at any time.
| | 00:58 |
You can return to that blending mode
badge, double-click on it, and change the
| | 01:03 |
blending mode and the opacity for as long
as your filter remains as a Smart Filter.
| | 01:11 |
This has really profound consequences,
and it means that it's also possible to
| | 01:15 |
achieve the effect you're after without
duplicating layers.
| | 01:20 |
So for example, I might have been tempted
to apply the Chrome filter to a duplicate
| | 01:26 |
layer above, and then change the blending
mode of that layer to Overlay.
| | 01:33 |
But when I do that, I end up with two
layers.
| | 01:35 |
I end up with double the file size.
So it's often easier and more economical
| | 01:40 |
to achieve the effects you're after by
changing the Smart Filters blending mode.
| | 01:46 |
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| Using filter masks| 00:00 |
Smart filters come with filter masks,
which allow us to localize the effect of
| | 00:05 |
the filter.
Or to put it another way, using filter
| | 00:09 |
masks, we can paint in and out the effect
of the filter.
| | 00:14 |
Paint in black to mask the filter, paint
in white to reveal the effect of the filter.
| | 00:20 |
You can also paint in gray to partially
conceal, or reveal the effect depending
| | 00:25 |
on how dark or light the gray.
So, if we take a look at the filter mask
| | 00:31 |
I have here, it looks like this.
Without this filter mask, and I'm going
| | 00:36 |
to just disable it by holding down the
Shift key.
| | 00:39 |
The effect would look like this.
One slight drawback is that you have only
| | 00:44 |
one filter mask.
So, if you have stacked several filters,
| | 00:48 |
in this case I had just the one applied.
But if I had applied more than one, the
| | 00:54 |
same filter mask would apply to them all.
When you combine filter masks with layer
| | 01:00 |
masks, which is what I have here attached
to the Smart Object layer.
| | 01:06 |
You can localize the effect of the filter
on a specific layer, then localize the
| | 01:11 |
overall result and combine it with other
layers beneath.
| | 01:17 |
If I now turn off the Background Group,
this layer would look like this.
| | 01:22 |
And if we take a look at the Background
Group, we see that it's a copy of the
| | 01:27 |
original layer, to which a different
filter has been applied, which looks like this.
| | 01:34 |
Combine the two together for this overall
effects, and this is achieved through the
| | 01:39 |
use of the Filter Mask applied to the
Filter layer and the Layer Mask applied
| | 01:44 |
to the Smart Object layer.
| | 01:48 |
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| The stacking order of filters| 00:00 |
I mentioned earlier that a possible
pitfall of working with filters is that
| | 00:04 |
your work might end up looking like
everyone else's.
| | 00:07 |
because everybody else has the same
filters.
| | 00:10 |
But you can very easily avoid this trap
by combining your filters.
| | 00:15 |
Applying filters on top of other filters.
The stacking order of the filters can
| | 00:20 |
have a profound effect on the result.
Those listed at the bottom are applied first.
| | 00:27 |
And then the filter above is applied to
that result, and so on.
| | 00:31 |
So for example here, we start out by
applying Under-painting.
| | 00:35 |
Then to that result I have applied
Diffuse Glow.
| | 00:40 |
And to that combined result, I've applied
Angled Strokes.
| | 00:43 |
I've named this document Angled Strokes,
because it's essentially about the Angled
| | 00:49 |
Strokes filter.
But I couldn't have achieved this effect
| | 00:53 |
of the Angled Strokes without first
applying the Under-painting and the
| | 00:57 |
Diffused Glow.
When you combine multiple filters and
| | 01:03 |
vary their stacking order with Filter
Blending modes, Opacity, Filter Masks and
| | 01:09 |
Layer Masks, the creative possibilities
multiply exponentially.
| | 01:16 |
I do just want to make a point about
Stacking Order.
| | 01:19 |
Here, I have two different versions of
this scene which starts out looking like this.
| | 01:27 |
So, we have this version which, as we
saw, was applied through combining three
| | 01:32 |
different filters in the Filter Gallery.
The order is significant.
| | 01:39 |
So, for example if I move Under-painting,
which, as its name suggests, needs to go
| | 01:44 |
first at the bottom of the stack.
If I move this to the top of the stack we
| | 01:49 |
can see how that changes the appearance
of the image.
| | 01:54 |
But I also applied these same three
filters.
| | 01:58 |
Under-painting, Diffused Glow and Angled
Strokes individually here, using exactly
| | 02:04 |
the same amounts.
Rather than applying them all in one
| | 02:09 |
place in the filter gallery, I went first
to Artistic, Under-painting, then back to
| | 02:14 |
Diffuse Glow, then back to Angled
Strokes.
| | 02:19 |
Diffuse Glow, by the way, is in the
Distort group.
| | 02:24 |
And even though I used exactly the same
values I got a very different result.
| | 02:30 |
There's no right or wrong.
But just be aware that your result will
| | 02:33 |
vary according to how you stack the
filters.
| | 02:37 |
And whether or not you apply them all in
one go in the Filter gallery, or as
| | 02:41 |
separate filters.
One last point I want to make is that
| | 02:47 |
it's very easy to move filters around.
So for example, if I wanted to move a
| | 02:52 |
filter effect from one layer to another,
I'm first going to Convert my Background
| | 02:57 |
Layer to a Smart Object.
I'll then turn off the Background Copy.
| | 03:04 |
Now to get this to the state that
Background Copy two was in, I'm just
| | 03:09 |
going to copy the filters from Background
Copy two to Layer two.
| | 03:15 |
I will hold down the Option or Alt key as
I drag the Smart Filter to that layer.
| | 03:19 |
And there we see the effect.
If I didn't hold down the Option or Alt
| | 03:23 |
key, I just would have moved the filters
rather than copied them.
| | 03:27 |
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|
2. Sharpening: What Every Designer Needs to KnowSharpening overview| 00:00 |
Before we look at the sharpening filters,
I'd just like to make a few observations
| | 00:04 |
about sharpening in general.
Firstly, what it is and what it's not.
| | 00:10 |
So here we have an image.
The left side has been sharpened.
| | 00:15 |
The right side remains un-sharpened.
I've achieved this by applying a filter
| | 00:19 |
mask right here, and you can see that the
right side of that filter mask is black.
| | 00:24 |
Now, when we are looking at this at Fit
in Window view, we may not notice much
| | 00:28 |
difference from one side to the other.
And indeed, looking at the video of
| | 00:34 |
this, I'm not sure how much of this
relatively subtle effect will carry across.
| | 00:40 |
But when we zoom into 100%, we can
clearly see that the detail on the left
| | 00:44 |
side is a lot crisper than that on the
right.
| | 00:49 |
So sharpening achieves this through
increasing the contrast of the edges.
| | 00:54 |
It gives you the illusion of a sharper or
more punchy image.
| | 01:00 |
What it doesn't do is, it will not take
something that's out of focus and bring
| | 01:04 |
it into focus.
Secondly, Photoshop has five sharpening filters.
| | 01:12 |
The first three of them are not much use
to us.
| | 01:15 |
There's nothing that Sharpen, Sharpen
Edges, and Sharpen More can do that can't
| | 01:20 |
be done with more control using either
Unsharp Mask or Smart Sharpen.
| | 01:28 |
Now what's the difference between the
two?
| | 01:30 |
Well, not much really.
Smart Sharpen has a few more options than
| | 01:34 |
Unsharp Mask.
Which is the order of the two filters.
| | 01:38 |
But either is a good choice for
sharpening.
| | 01:41 |
For localized sharpening, there is also a
Sharpen tool.
| | 01:46 |
It's here under the Blur tool.
Although I prefer to do any localized
| | 01:50 |
sharpening the way I've done it here by
working on a filter mask.
| | 01:56 |
So, that's not really a tool that I use.
Thirdly, almost every image you work with
| | 02:00 |
will benefit from sharpening.
Depending on the nature of the image,
| | 02:06 |
some of them will benefit greatly, and
some will benefit only in a small way.
| | 02:11 |
It really depends on how much edge detail
there is.
| | 02:15 |
And that's why I've chosen this image to
demonstrate sharpening because it has a
| | 02:19 |
lot of edge detail.
The next point I want to make is that you
| | 02:24 |
need to know where your sharpening is
being applied.
| | 02:27 |
Many cameras allow you to apply
sharpening in-camera.
| | 02:32 |
I recommend you turn off this feature and
apply your sharpening in Photoshop, where
| | 02:36 |
you'll have far more control.
If you're shooting camera raw images or
| | 02:42 |
using the Camera Raw plug-in to edit your
JPEGs or TIFFs, be aware that you can
| | 02:47 |
apply sharpening here, and that's fine.
There is a different scale of sharpening here.
| | 02:54 |
The scale is from zero to 150, whereas in
Photoshop with the Unshut mask and the
| | 02:59 |
Smart Sharpen filters the scale is from
zero to 500.
| | 03:06 |
It's fine to apply sharpening in the
Camera Raw plugin, but be aware that if
| | 03:10 |
you've done so, you'll obviously need
less in Photoshop.
| | 03:14 |
Some people prefer not to sharpen in the
Camera Rawl plugin and do all the
| | 03:18 |
sharpening in Photoshop.
Personally, I sharpen in Raw and then add
| | 03:23 |
a bit extra in Photoshop according to
whether the image is destined for screen
| | 03:28 |
or print and at what size it's going to
be reproduced.
| | 03:34 |
I'm only going to cover the basics of
sharpening.
| | 03:37 |
Deke McClelland has recorded a ten hour
course for the lynda.com library on sharpening.
| | 03:43 |
That's how deep this subject is.
Now, even though it was recorded for
| | 03:48 |
Photoshop CS3, the information is still
very relevant.
| | 03:52 |
Lastly, we'll be working with the
sharpening filters, Unsharp Mask and
| | 03:57 |
Smart Sharpen.
But there are also other ways to sharpen
| | 04:01 |
that involve the use of other filters.
High Pass, Surface Blur, and Gaussian
| | 04:07 |
Blur, combined with different layer
blending modes.
| | 04:11 |
And we'll also be taking a look at and
comparing those methods.
| | 04:16 |
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| Unsharp Mask and Smart Sharpen| 00:00 |
So, for the first of our Sharpening
filters, we are going to look at Smart
| | 00:04 |
Sharpen, and also compare it with Unsharp
Mask.
| | 00:08 |
Here's our finished result, and this is
the approach I'm going to be taking with
| | 00:11 |
all of these movies.
We'll start at the end, looking at the
| | 00:15 |
finished result, and then we'll recreate
from scratch.
| | 00:18 |
So, you can see it's converted to a Smart
Filter and I have applied Smart Sharpen.
| | 00:23 |
Now switch over to the beginning state.
Step number one, I'm going to right click
| | 00:27 |
just to the right of the word background,
on the Background layer, and convert to a
| | 00:31 |
Smart Object.
Then come to the Filter menu >Sharpen >
| | 00:36 |
Unsharp Mask.
Now Unsharp Mask, is very similar to
| | 00:40 |
Smart Sharpen, is the forerunner of Smart
Sharpen.
| | 00:45 |
It has an amount and a Radius value.
The amount is essentially the volume control.
| | 00:52 |
And the radius is the width of the edge
that is being sharpened.
| | 00:57 |
The amount goes from zero to 500.
Currently at 500, that's way too much.
| | 01:02 |
I'm going to set that back to 150, and
the Radius, I'm going to put to one pixel.
| | 01:09 |
These are broad generalizations, but
generally you want between, about 75 and
| | 01:15 |
200, and a Radius of between 0.5 and 2.
And the threshold, the higher the
| | 01:20 |
threshold value, the more pixels are
protected, i.e., you are lessening the
| | 01:24 |
overall effect.
So, I'm going to set the threshold to zero.
| | 01:32 |
These are the default values, 150, 1, and
0 respectively.
| | 01:37 |
And these always make a good starting
point.
| | 01:40 |
For a higher resolution image you might
consider using a higher amount and a
| | 01:44 |
higher radius, but there's also ones
personal taste involved as well.
| | 01:51 |
Now I'm actually not going to apply
Unsharp Mask, but rather I'm going to
| | 01:55 |
apply Smart Sharpen.
But using those same values, 150 and 1.
| | 02:02 |
You'll notice that with Smart Sharpen
there is no threshold slider.
| | 02:06 |
The way that you can limit the amount of
the filter, is through the advanced options.
| | 02:12 |
And you can fade the amount of the filter
in the shadows or in the highlights.
| | 02:19 |
But for now I'm going to apply those same
values, 150 and 1 and I'm going to remove
| | 02:25 |
Lens Blur.
The default value here is actually set to
| | 02:30 |
Gaussian Blur but more appropriate for a
digital image Lens Blur.
| | 02:35 |
We have a nice big preview window.
If I click and hold down in there we see
| | 02:38 |
the before state.
Let go we see the after state.
| | 02:43 |
And there's one more option that's
relevant to us here, and that is More Accurate.
| | 02:48 |
With this checked, it's slightly
misnamed, it doesn't mean that it's
| | 02:52 |
going to be more accurate than without it
being checked, but it does mean that more
| | 02:55 |
edges will be affected.
And in this case of this type of image, I
| | 03:00 |
want as many edges effected as possible.
If I turn that off, we see that this
| | 03:06 |
detailing here in green is less effected
than with it turned on.
| | 03:12 |
Now I prefer it to be more sharpened
rather than less.
| | 03:17 |
So I'll click OK.
And you can see that we now have a Smart
| | 03:21 |
Filter applied beneath the layer itself.
We can return to that at any time just by
| | 03:27 |
double-clicking on it.
It remembers the exact values that we used.
| | 03:32 |
We can, if we want, limit the effect of
that filter by painting on the Filter Mask.
| | 03:38 |
In this case, I don't want to do that.
And we can also change the Blending mode
| | 03:42 |
of the filter.
Sometimes you may find, when applying
| | 03:47 |
sharpening, that you notice a slight
color shift.
| | 03:51 |
That's not the case with this image.
But you may notice it with other images.
| | 03:55 |
In which case, you can apply sharpening
with the Luminosity Blend mode.
| | 04:00 |
And now, in this case, it's not going to
make any difference but, it may with
| | 04:04 |
other images.
So, there we have our now sharpened image
| | 04:09 |
and just to evaluate the effects of that
once again, I'm going to switch to 100%
| | 04:14 |
view and I can turn off that filter.
There's the before and there's the after.
| | 04:21 |
| | Collapse this transcript |
| Sharpening with Vivid Light and Surface Blur| 00:00 |
We're now going to look at a different
approach to sharpening, one that involves
| | 00:03 |
the use of the Surface Blur Filter.
It's not very obvious to use a blurring
| | 00:08 |
filter to create a sharpening effect.
And yet that what we can achieve with
| | 00:14 |
this Surface Blur Filter, which will blur
everything but the edges in your image.
| | 00:21 |
This is the finished version, so we have
the Background Layer, and on top of this
| | 00:26 |
we have a group.
In this group, there are two layers, the
| | 00:31 |
top layer is inverted and has the Surface
Blur Filter applied to it, and that
| | 00:36 |
Surface Blur is applied with a Blending
mode of Luminosity.
| | 00:43 |
The Blending mode of the group is set to
overlay, and the Blending mode of the top
| | 00:47 |
most layer within that group is set to
Vivid lights.
| | 00:52 |
And if we turn off that group, even that
in window view, we can see the effect.
| | 00:58 |
So, there's the before, and there's the
after, I'm now going to go to 100% view,
| | 01:03 |
before, after.
And now I'm going to switch over to the
| | 01:08 |
beginning state.
And I'm going to start by duplicating the
| | 01:12 |
Background Layer twice, press Cmd+J
twice.
| | 01:17 |
And then select the two top layers and
press Cmd, or Ctrl+G, to put them into a group.
| | 01:24 |
Change the Blending mode of this group to
Overlay, and then come and select the top
| | 01:30 |
layer in that group and Invert it, Cmd or
Ctr + I.
| | 01:37 |
And then we want to set the Blending mode
of that layer to Vivid light.
| | 01:43 |
With everything set up like so, not much
happening.
| | 01:46 |
But we're now going to convert that top
layer in group one to a Smart Object, and
| | 01:51 |
then apply Surface Blur to it.
And I'm perhaps going to overdo it
| | 01:58 |
somewhat, so I'm going to use the maximum
amount of 100 pixels.
| | 02:03 |
And unlike other filters where threshold
limits the effect of the filter,
| | 02:06 |
threshold here actually increases the
effect of the filter.
| | 02:12 |
I'm going to use the threshold value of
25.
| | 02:17 |
If we turn on and off that filter, we can
see that we do now have a shift in color
| | 02:22 |
as well as sharpness.
So, I'm going to go to the Blending mode
| | 02:29 |
of that filter and change it to
Luminosity, click OK, and there is our result.
| | 02:38 |
Let's Zoom in to 100%, before, and after.
And now I now would like to compare this
| | 02:44 |
with the sharpening that we achieved
using the Smart Sharpen Filter.
| | 02:52 |
I'm going to first of all close the
finished version of this file, the one
| | 02:56 |
that we sought to begin with, leaving us
with just the beginning version and the
| | 03:01 |
Smart Sharpen version.
And then I'll go to the Window menu and
| | 03:06 |
choose Arrange and view them two up
vertically.
| | 03:12 |
Go back to Arrange and choose Match All,
so now we can see both at the same view size.
| | 03:20 |
And if I hold down the Shift key and the
Space Bar, I can move both windows together.
| | 03:27 |
The Smart Sharpen has more of a
sharpening effect.
| | 03:33 |
This was Smart Sharpen applied with the
more accurate check box checked, so that
| | 03:37 |
it's sharpening more detail.
But we also see, if we go to an increased
| | 03:44 |
view size.
If we compare the edges we see that the
| | 03:49 |
Smart Sharpening at 200% is introducing
some halos around the edges.
| | 03:56 |
And this is the telltale sign of
something that perhaps has been oversharpened.
| | 04:03 |
And this is something you do need to
watch out for with the sharpening.
| | 04:06 |
We don't want to see those halos, we
don't suffer the same problem with the
| | 04:11 |
Sharpening using Surface Blur and Vivid
light.
| | 04:15 |
Although overall I do prefer the Smart
Sharpening, because we just get so much
| | 04:20 |
more detail in this area here, and pretty
much everywhere on the image.
| | 04:26 |
But with the Surface Blur, we do not run
into the same issue of halos around the edges.
| | 04:33 |
So, another thing for you to consider in
your sharpening strategies, would I use this?
| | 04:40 |
No, I think it's interesting, frankly I
find Smartshop and the whole lot easier,
| | 04:44 |
and more effective, more direct, and
gives you a slightly better result.
| | 04:50 |
| | Collapse this transcript |
| Sharpening with Gaussian Blur| 00:00 |
Another sharpening technique, this one
using the Gaussian blur filter.
| | 00:04 |
Again, somewhat counter-intuitive to use
a blurring filter to achieve sharpening,
| | 00:08 |
but that's the result that we get.
So here's the finished result, once again
| | 00:14 |
I'm looking at this in fit in Window
view.
| | 00:17 |
The result is going to be somewhat
subtle, it may not show up too well on
| | 00:20 |
the video, but if I turn off that layer
group, there's the before, and there's
| | 00:25 |
the after.
If I now zoom into 100%, we should be
| | 00:29 |
able to see it a lot more clearly,
before, and after.
| | 00:34 |
And you can see that this one really
relies upon just a darkening or
| | 00:38 |
increasing of contrast along the edges in
somewhat of a heavy handed way.
| | 00:44 |
And there is the addition of a levels
adjustment layers here which is amping
| | 00:48 |
the up perhaps a bit too much.
If we turn that off we can still see a
| | 00:54 |
sharpening result but not quite as,
brutal a result as we saw before.
| | 01:01 |
So, let's start out with the beginning
file, and as with the surface blur
| | 01:06 |
technique, this one also depends upon
working with two copies of the background layer.
| | 01:13 |
So, start out with pressing Ctrl+J twice,
and then putting these two into a layer group.
| | 01:20 |
Selecting them both Cmd or Ctrl+G, and
then converting the top on to a negative,
| | 01:26 |
or inverting the values.
Cmd or Ctrl+I.
| | 01:32 |
Now here is where the paths of this
technique and the previous technique
| | 01:36 |
diverge because at this point we want to
change the blending mode to linear dodge.
| | 01:44 |
Which is going to make everything
seemingly disappear.
| | 01:47 |
Convert the layer to a smart object.
And then we want to apply a Gaussian blur.
| | 01:54 |
And I'm going to use a value of three
pixels.
| | 01:56 |
And you can see that what that does is it
brings up the edges, which is interesting
| | 02:01 |
and may have other applications as well.
There are different ways we can turn our
| | 02:07 |
images into line drawings.
This is one of them.
| | 02:11 |
We can see that we have some color along
those edges.
| | 02:15 |
And we want the edges to be
monochromatic.
| | 02:17 |
So I'm going to change the blending mode
of the filter from normal to luminosity.
| | 02:23 |
We now have edges that are just grey
values.
| | 02:27 |
The sharpening effect is now achieved by
changing the blending mode of the layer
| | 02:32 |
group from pass through to multiply.
And if I turn that Off, there's the
| | 02:38 |
before, there's the after.
Let's see that 100%, pan up here.
| | 02:44 |
Before, look at these edges here and here
after.
| | 02:48 |
To ramp up that effect somewhat, I'm
going to turn off the background layer,
| | 02:53 |
leaving me with just this outline, so
that we can see exactly what's happening here.
| | 03:01 |
I can increase the contrast of these
edges.
| | 03:04 |
And I can do that with a levels
adjustment layer.
| | 03:08 |
Now, if I go too far, I'm going to start
introducing unwanted detail in the sky.
| | 03:14 |
So if I were to get the black point
slider, and bring this all the way over,
| | 03:17 |
like so.
You can see we're introducing elements of
| | 03:20 |
the sky that we just do not want to see
and that do not deserve to be sharpened.
| | 03:26 |
So I'm going to rein that in.
I'm going to work with the gray point
| | 03:29 |
slider and bring that to the right,
possibly even bringing the white point
| | 03:34 |
slider a little bit to the left.
So we're increasing the contrast, but
| | 03:40 |
we're keeping an eye on what's going on,
just to make sure that we are not
| | 03:44 |
introducing some unwanted gray values.
And let's just see what that's doing.
| | 03:49 |
There's the before, and there's the
after.
| | 03:52 |
So we have slightly more contrasty edges.
Now, if I turn on the background layer,
| | 03:57 |
pan over here, the overall effect of the
sharpening.
| | 04:02 |
Look at this area right here.
Before, after.
| | 04:08 |
As I did before with the surface blur,
I'm now going to compare this result to
| | 04:13 |
what has become a defacto control.
The effect of sharpening with the Smart
| | 04:19 |
Sharpen filter.
So, I'm going to close the version that
| | 04:24 |
we saw when we started this, the finished
version, so we've now got the version
| | 04:27 |
that we've created.
And we have the version that was created
| | 04:32 |
with the Smart Sharpen filter.
Let's arrange these as 2-Up Vertical and
| | 04:39 |
Match All.
Let's increase the view size there.
| | 04:46 |
We'll come back, choose Match All again.
I'm now holding down the Spacebar and the
| | 04:52 |
Shift key, so that we can move both
together.
| | 04:57 |
And we see much the same sort of story as
we saw with the surface blur.
| | 05:00 |
The effect of the sharpening isn't as
crisp as the Smart Sharpen filter.
| | 05:06 |
But we do avoid the problem of high lows.
Or artifacts around the edges that we see
| | 05:12 |
the beginning of in this version here on
the left that has the smart sharpen
| | 05:17 |
applied to it.
Do take into consideration we are looking
| | 05:23 |
at this at 200%.
So as to which is the best that's for you
| | 05:27 |
to decide.
Just find a method that works for you.
| | 05:31 |
But in terms of practical everyday usage.
I think Smart Sharpen is a hard one to beat.
| | 05:37 |
| | Collapse this transcript |
| High-pass sharpening| 00:00 |
This next example is something referred
to as high pass sharpening, a technique
| | 00:04 |
that's been around for a long time.
The existence of smart filters do make it
| | 00:08 |
now possible to apply this with just a
single layer, which is what I have here.
| | 00:13 |
We can see that I've converted the layer
to a smart object, applied high pass,
| | 00:17 |
applied it with an overlay blend mode.
Let's just see what this would look like
| | 00:23 |
without the filters.
And I'm going to zoom into 100% first of all.
| | 00:29 |
If I turn this off, there's the beginning
state.
| | 00:33 |
And turn it on.
There's the effect of the filter you can
| | 00:36 |
see really sharpening that metal work.
So I'm now going to switch over to the
| | 00:41 |
beginning state, where I will convert the
layer to a smart object.
| | 00:47 |
Come to the Filter menu and choose Other
> High Pass.
| | 00:51 |
Now a variant of this technique involves,
first of all, duplicating the layer and
| | 00:55 |
then applying the filter to this
duplicate layer, and changing the blend
| | 00:59 |
mode of the layer to Overlay.
But let's just keep it as one layer.
| | 01:04 |
More economical in terms of file size.
Other > High Pass.
| | 01:08 |
It's going to vary how much is
appropriate, somewhere between about 3 to
| | 01:12 |
10 pixels.
But the beauty of smart filters is that
| | 01:16 |
you can always revisit the amount and
change it if you need to.
| | 01:22 |
So then I'll double-click on the Blending
mode icon, change that from Normal to
| | 01:26 |
Overlay, and all of that 50% gray will be
neutralized by the overlay blending mode
| | 01:31 |
of the filter.
Let's take a look at it.
| | 01:37 |
There's the before.
There's the after.
| | 01:40 |
| | Collapse this transcript |
| Sharpening and line art| 00:00 |
Here we're going to see how we can use
Smart Sharpen in an extreme way to
| | 00:04 |
convert this image into a piece of line
art.
| | 00:08 |
Something like this, so if we pass now to
the beginning image.
| | 00:14 |
First thing I'm going to do is convert my
Background layer to a Smart Object.
| | 00:21 |
I am then going to load a pre-saved alpha
channel by coming to the Channels panel,
| | 00:26 |
Cmd or Ctrl+clicking on Alpha One.
And then applying that alpha channel as a
| | 00:34 |
Layer Mask.
I'd like some solid color behind this, so
| | 00:37 |
I'm going to add a Solid Color layer,
which in the case is going to be white.
| | 00:44 |
I'll now come back to the Image layer,
what's currently layer 0, and I'm
| | 00:48 |
going to apply Smart Sharpen to it.
Now what's interesting here is that we
| | 00:55 |
are applying the sharpening at its
maximum amount, with values that would be
| | 00:59 |
far too big to apply in a photographic
context.
| | 01:04 |
An amount of 500, and the Radius is
going to depend upon the resolution of
| | 01:08 |
the image.
This is a relatively small image, we'll
| | 01:12 |
it's not that small.
So, I think I'm going to increase the
| | 01:16 |
Radius to about 3.5, click OK.
So, that's really brought out every water
| | 01:22 |
droplet and every vein in that leaf.
Above this, I'm now going to apply a
| | 01:30 |
Threshold command.
And then, we can vary this to make more
| | 01:35 |
of the pixels black, or more of the
pixels white.
| | 01:40 |
But in order to control it, that's where
the Dodge and Burn layer comes in.
| | 01:45 |
So, I'm going to just for now, leave this
at it's starting point of 128 or a 50%
| | 01:51 |
threshold, and then come back to layer 0.
And now I'm going to add a layer above
| | 01:58 |
this, which is going to be filled with
overlaying neutral 50% grey.
| | 02:05 |
To give myself a head start here, I'm
going to hold down the Option or Alt key
| | 02:08 |
as I click on Create New Layer.
I'll change the Blending mode to Overlay,
| | 02:14 |
and I will check Fill with Overlay
Neutral Color.
| | 02:19 |
I'll now tap B to go to my Brush tool,
use my left bracket or right bracket to
| | 02:23 |
adjust the size of my brush.
Tap two to work at an opacity of 20%.
| | 02:31 |
And I'm now going to paint over these
areas that do not have enough detail to
| | 02:35 |
bring back more detail.
Conversely, if there are areas with too
| | 02:41 |
much detail, I can tap my X key to make
white my foreground color, and then paint
| | 02:45 |
over those.
So, we just want to get a nice even
| | 02:49 |
amount of detail over the surface of the
leaf.
| | 02:56 |
And there we have it.
Now let's just see, what is the part
| | 02:59 |
played by the Smart Sharpen filter in
this overall effect?
| | 03:04 |
Well, if I turn if off, quite a big part.
That's what the Smart Sharpen filter is
| | 03:09 |
doing, It's bringing out all of that
detail.
| | 03:11 |
| | Collapse this transcript |
|
|
3. Blurring for EffectUsing Field Blur to vary focus in a scene| 00:00 |
For this first in our series of Blurring
Filters, let's look at the new Field Blur
| | 00:05 |
which is part of the Blur gallery.
First thing I should mention here is that
| | 00:11 |
I've applied this as a Smart filter.
You will not be able to apply as a Smart
| | 00:18 |
filter unless you have Photoshop version
13.1 or later.
| | 00:24 |
Now, at the time of recording, version
13.1 had only recently been released.
| | 00:31 |
It is a creative Cloud-only update.
It's a relatively small update, but it
| | 00:37 |
has a few very useful features and some
that are pertinent to us working with the
| | 00:42 |
Blur filters.
If you are working with an earlier
| | 00:47 |
version, then you will just need to
duplicate the layer for insurance sake.
| | 00:52 |
So, Cmd+J and then carry on as normal.
You will still have the filters.
| | 00:57 |
You just won't be able to apply them as
Smart filters.
| | 01:01 |
Here, I'm using Field Blur to vary the
focus in this image.
| | 01:07 |
If we turn off the filter, you can see
what I mean.
| | 01:10 |
Let's go to 100% view.
Actually, that's a little bit too big.
| | 01:16 |
But we can see that just the way the
photograph was taken, the stop sign and
| | 01:20 |
the root sign are somewhat defocused.
I just want to defocus them more so that
| | 01:25 |
we draw attention to the sunflower.
Let's take a look at the Blur gallery.
| | 01:32 |
And we can see in the Blur gallery that I
have dropped four pins.
| | 01:36 |
One on the stop sign, one on the route
sign, and then one each on the sunflower
| | 01:41 |
and the withering sunflower down here.
I'm going to switch to the beginning
| | 01:48 |
version, Convert to a Smart Object >
Filter > Blur > Field Blur.
| | 01:57 |
I'm going to move my first pin over the
stop sign.
| | 02:01 |
Increase the value of that to 20 pixels.
I'll now add another pin over the route
| | 02:08 |
sign, set that also to 20 pixels.
Now, to restore focus to the sunflower,
| | 02:15 |
I'll click on that.
You can drag these pins around and you
| | 02:19 |
can dial in the amount of the blur.
Like so, or just traditionally by moving
| | 02:24 |
the slider or typing in the value.
So, I want to dial this down to zero, and
| | 02:30 |
then the same thing down there.
And that's going to go to zero as well.
| | 02:36 |
We have the option of saving the mask to
channels.
| | 02:40 |
I'm going to do that just so you can see
exactly what's happening here and how the
| | 02:44 |
Blur gallery is achieving this affect.
So, if we now go two channels, here's the
| | 02:51 |
Blur Mask that was created, and I'll
press Cmd or Ctrl+6 just to look at that.
| | 02:57 |
And we can see that where I dropped the
pin over the sunflower, and the withering
| | 03:01 |
sunflower in the bottom left, those areas
are black.
| | 03:05 |
So, they're protected from the Field
Blur.
| | 03:08 |
Everything else is white or gradating
from the black to the white, and that is de-focused.
| | 03:16 |
And that there is our result, before, and
after.
| | 03:22 |
| | Collapse this transcript |
| Using Iris Blur to accentuate a foreground| 00:00 |
In this example I want to use the Iris
Blur filter to draw the eye into the
| | 00:04 |
photo, and also to create a vignette of
the surfer.
| | 00:09 |
So, this is the finished version.
You can see that we have an adjustment layer.
| | 00:14 |
If I turn that off that removes the
vignette, and we also have a Smart Filter.
| | 00:20 |
So I'm going to switch now to the Iris
Blur Begin file, convert the background
| | 00:25 |
layer to a Smart Object.
Come and apply the Iris Blur filter.
| | 00:33 |
Now, I need to arrange this pin over my
figure, and then I can resize it, like so.
| | 00:39 |
If I want to reshape it, I need to make
sure that I'm on the edge and my cursor
| | 00:44 |
looks like that.
Because I want a relatively gradual
| | 00:50 |
transition from the sharp area of the
image into the blurred area, I'm making
| | 00:54 |
this relatively large.
Then we have these four pins which
| | 01:01 |
determine how the blur transitions into
the focused part of the image.
| | 01:07 |
And if you pull on any one of them, they
all move together.
| | 01:12 |
The closer you move them to the center,
the more gradual the transition.
| | 01:18 |
And the further we move them out, the
more abrupt the transition.
| | 01:23 |
Now we also may want to adjust these
independently.
| | 01:27 |
In which case, we hold down the Alt or
Option keys.
| | 01:30 |
So I would like to bring this surf at the
top back into focus.
| | 01:34 |
So I'm going to hold down the Option or
Alt key.
| | 01:37 |
And drag that top one up.
I think I'll drag that one down a bit as well.
| | 01:43 |
And this one, I think can come a bit
closer so that we have a more gradual
| | 01:47 |
transition on the left-hand side as we
look at the image.
| | 01:52 |
I want to make sure that I am saving
Master Channels at high quality because
| | 01:57 |
we're going to use the mask that it
generates in order to build the vignette
| | 02:00 |
in the next step.
As to how much blur I want, well I can
| | 02:06 |
use the dial right here, or I can just
use my slider.
| | 02:10 |
And let's go with a value of ten.
So I'll click OK.
| | 02:19 |
Now I'll switch to my Channels panel.
There's the mask that it built for me.
| | 02:23 |
I'm going to hold down Cmd or Ctrl, click
on that to activate that as a selection,
| | 02:27 |
then come back to my layers where I'm now
going to add a Hue/Saturation adjustment layer.
| | 02:35 |
All I'm going to do here is slightly
bring down the Lightness value, just
| | 02:40 |
darkening the edges of the image, so we
get that effect.
| | 02:46 |
So if I now just switch to the History
panel, there's our starting point, and
| | 02:50 |
there's where we're ending up.
Relatively subtle, but we're drawing
| | 02:56 |
focus to the figure using Iris Blur and
also accentuating that even further with
| | 03:01 |
the use of a vignette built upon the mask
that was generated by the Iris Blur filter.
| | 03:08 |
| | Collapse this transcript |
| Using Iris Blur with the Bokeh effect| 00:00 |
Here's we're going to use the Iris Blur
filter in combination with the Bokeh
| | 00:04 |
light effects to create these blurred
disks of lights that we have in the foreground.
| | 00:10 |
If we take a look at the starting point,
this is how the image looks.
| | 00:16 |
As always, I will convert to a smart
object, and then come to my Iris Blur.
| | 00:22 |
And I'm going to move the pin over Saint
Paul's Cathedral.
| | 00:29 |
Adjust the shape of it.
And reposition it right here.
| | 00:34 |
And then that top pin right there, I'm
going to move that, and that one alone up higher.
| | 00:40 |
So I'm going to hold down the Option or
Alt key when I do that, just to make sure
| | 00:44 |
that we include the spire.
Then I'm going to set the blurring to 44.
| | 00:52 |
And now what I want to do is to introduce
some Bokeh, or "bo-kay", however it's pronounced.
| | 00:59 |
As I move this slider up, you can see
that those lights in the foreground turn
| | 01:04 |
to abstract discs of light.
That seems about the right value there.
| | 01:11 |
Optionally, I can also change the color,
but if I go too far with the light, you
| | 01:15 |
can see that they just get a little bit
too hot.
| | 01:22 |
Also, optionally, we can adjust the light
range, the range of values that's
| | 01:26 |
going to be affected by this.
Usually whenever I try this, I don't like
| | 01:31 |
the result.
If I introduce more lights to be affected
| | 01:34 |
by the result, then we get this hot
flare, which is not really working at
| | 01:37 |
all, so I'm going to put that back.
And then click OK.
| | 01:45 |
To finish it off, we can see very clearly
where the effect has been added.
| | 01:50 |
We have the grain from the original that
has just been smoothed out too much by
| | 01:54 |
this Iris Blur filter.
So I'm going to add a layer above this.
| | 02:00 |
Hold down Option or Alt.
I'll give it a name.
| | 02:05 |
I will change the Blend mode to Overlay,
and I will fill with overlay neutral color.
| | 02:12 |
I'm going to convert that to a smart
object.
| | 02:14 |
It's just going to give me the option of
revisiting this layout if I need to add
| | 02:18 |
or remove any more grain.
Then I'm going to come to Filter >
| | 02:24 |
Artistic > Film Grain.
Now we also are navigating blind here,
| | 02:29 |
but, I can tell you from my trial run
that these values, which happen to be the
| | 02:33 |
default values for the Film Grain filter,
work just fine in this context.
| | 02:40 |
But if we did need to revisit that
amount, double-click on the name of the
| | 02:43 |
filter right there.
I'll zoom out, and there is our effect.
| | 02:50 |
Iris Blur combined with Bokeh light
effects, combined with added film grain.
| | 02:56 |
| | Collapse this transcript |
| Creating an abstract bokeh background| 00:00 |
Here are some suggestions for how to make
a bokeh texture that you might use as a background.
| | 00:06 |
And this file begins like this.
And the key here is that when we use the
| | 00:11 |
Bokeh Effects in the Blur Gallery, what
we find is that the highlight values tend
| | 00:16 |
to blur out very quickly.
So we need to tame those highlights
| | 00:22 |
before we apply the effect.
So starting here, let me just illustrate
| | 00:27 |
the nature of the problem before we go
any further.
| | 00:30 |
I'll convert to Smart Objects.
And then if we go to Field Blur, as soon
| | 00:35 |
as I increase the amount of blur and
bring up the Light Bokeh, when these
| | 00:41 |
discs start appearing they all too
quickly will burn out in these highlight areas.
| | 00:52 |
So, before we do that, I'm going to come
to the Select menu and to Color Range.
| | 00:59 |
I'm now going to make a sand port colors
selection.
| | 01:02 |
Clicking on some highlight area, holding
down my Shift key to extend that selection.
| | 01:09 |
Anything that looks bright, let's include
it in the selection.
| | 01:14 |
So, we end up with a selection that's
going to look like that.
| | 01:18 |
And then click OK.
Now with that selection active, I am
| | 01:23 |
going to come to a curves adjustment.
And I'm going to flatten out those highlights.
| | 01:29 |
Now this may not look promising.
But it will yield a better result.
| | 01:36 |
So now that we've got that.
There's the effect of that flattening of
| | 01:39 |
the highlights applied.
I'm going to stamp these two layers into
| | 01:43 |
one by pressing Cmd+Option+Shift+E, or
Ctrl+Alt+Shift+E, and that will stamp
| | 01:49 |
them down into one layer.
And then this one layer I will also
| | 01:55 |
convert to a Smart Object.
And then come to my Field Blur in this
| | 02:00 |
case, since we're blurring the whole
thing.
| | 02:05 |
And I'm now going to turn the Light Bokeh
up, all the way to 100%.
| | 02:10 |
Raise the blur value, and I'm also
going to extend the light range.
| | 02:16 |
Then we will see these discs start
appearing.
| | 02:20 |
And I'm going to go as far as I can until
things start blurring out, which over
| | 02:24 |
here seems to be the problem area.
For sake of argument, let's say that we
| | 02:32 |
like that.
Now what I'm going to do is duplicate
| | 02:36 |
that layer, Cmd or Ctrl+J.
Cmd or Ctrl+T to go to my free transform.
| | 02:42 |
It's telling me that I'm not going to see
the effects of the filter.
| | 02:46 |
That's okay.
I don't need to see that again.
| | 02:49 |
I will just zoom out a bit, and then hold
down my Shift key, and spin that around
| | 02:54 |
through 180 degrees.
Increase my view size.
| | 03:01 |
Now revisit the Blur Gallery, where I'm
going to tweak it a bit so we get discs
| | 03:05 |
of a different size.
Smaller discs, in this case.
| | 03:11 |
Maybe we'll even adjust the color.
Click OK.
| | 03:17 |
And then I'm going to change the Blending
mode of that layer to Soft Light to allow
| | 03:21 |
it to combine with the layer beneath.
And of course I could do that several
| | 03:27 |
times to really build up a dimensional,
almost, texture of these floating discs
| | 03:31 |
of light, which could then be used as a
background in all sorts of different ways.
| | 03:38 |
| | Collapse this transcript |
| Creating a tilt-shift effect| 00:00 |
Traditionally, tilt shifting has been
used to photograph buildings to avoid the
| | 00:05 |
distortion of perspective or key-stoning
effect.
| | 00:09 |
But recently, and especially in the
digital realm, tilt shifting has become
| | 00:14 |
synonymous with a sort of toy town, or
miniturizing effect such as we see here.
| | 00:21 |
We now have a filter that will do this
for us.
| | 00:23 |
It's part of the Blur Gallery.
Bear in mind that, in order to apply this
| | 00:28 |
filter and other filters from the Blur
Gallery as a Smart Filter, as I am doing here.
| | 00:34 |
You do need to have the very latest.
Or, at least, at the time of recording.
| | 00:39 |
The latest version of Photoshop, which is
CS6, but the version number
| | 00:43 |
chronologically 13.1.
So let's take a look, I've got two
| | 00:46 |
versions here, one with the tilt shift
applied horizontally, but then because
| | 00:51 |
this is such a vertical picture, I also
have one with the tilt shift applied vertically.
| | 01:00 |
Let's switch to the beginning file and as
always, I will convert to a small object.
| | 01:07 |
And the from the Filter menu, go to Blur
and to Tilt Shift.
| | 01:12 |
Basically what this is doing is it's
blurring from the top and it's blurring
| | 01:16 |
from the bottom.
What we need to do is get this center
| | 01:19 |
point and determine our point of focus.
So, I'm just going to drag this down to
| | 01:25 |
about there.
Since that point of focus is so far down
| | 01:29 |
in the image, for this particular image
I'm also going to press Cmd minus to zoom out.
| | 01:35 |
So I can see this line here, which I'll
get to in just a moment.
| | 01:40 |
So I now have the blurring from the top.
If I grab the solid lines, this
| | 01:45 |
determines my field of focus.
So if I want more stuff focused, I can
| | 01:49 |
move that back.
And if I want less I can move it down.
| | 01:53 |
The dotted line determines the gradation
of the blur into sharpness.
| | 01:59 |
So if I want more stuff blurred, which in
this case I think I do, I'm going to drag
| | 02:03 |
that dotted line down.
And for the bottom blurring I'm going to
| | 02:09 |
drag it up.
And then we can also determine the amount
| | 02:13 |
of blur either with the slider, or
numerically over here, or we can use the
| | 02:17 |
dial right here to dial in the amount of
blur, and I'm going to go for 20 which is
| | 02:21 |
probably a little bit too much but just
to make the point.
| | 02:28 |
I'll click OK.
And there we see our tilt shift effect.
| | 02:33 |
And indeed, 20 is quite a bit too much.
Probably want to dial that down to about
| | 02:38 |
somewhere in the region of 12, I think,
on reflection.
| | 02:43 |
And that's the beauty of the smart
filter.
| | 02:45 |
I can just revisit that any time I want
to adjust the amount of that blurring.
| | 02:50 |
I'm now going to duplicate that, and
revisit the filter gallery.
| | 02:54 |
Because this time, I actually want it to
be vertical.
| | 02:59 |
If you want to rotate your tilt shifting,
then you need to hover over these circles.
| | 03:04 |
And your cursor will change to a rotate
cursor.
| | 03:08 |
Since I want to do it pretty much through
90 degrees I'm also going to hold down my
| | 03:11 |
Shift key to allow me to do that.
And there we have the blurring occurring
| | 03:17 |
on the left and on the right, and I can
dial in just how much transition I have
| | 03:21 |
from blur to sharpness.
I can bring my field of focus.
| | 03:27 |
Towards the center, or out towards the
edges, as necessary.
| | 03:31 |
And one other thing I can do that I
didn't mention in the first example is I
| | 03:35 |
have this symmetric distortion.
So I'm going to leave this one now.
| | 03:40 |
And return to the original horizontally
applied tilt shift.
| | 03:46 |
Because symmetric distortion will make
the distortion equal on the top and on
| | 03:50 |
the bottom.
Without symmetric distortion, it's only
| | 03:54 |
the bottom that's going to be distorted.
Frankly it doesn't make a whole lot of difference.
| | 03:58 |
But if I turn that on, and then increase
the distortion.
| | 04:04 |
And now turn it off, you will notice a
slight change in the top area of blurring.
| | 04:10 |
And I'm not really sure which one I
prefer.
| | 04:13 |
They're just sort of different.
I think I'm going to leave it off actually.
| | 04:18 |
So, there we see the simple application
of two tilt shift effects.
| | 04:23 |
One horizontal and the other vertical.
| | 04:26 |
| | Collapse this transcript |
| Creating a blur effect with Motion Blur and Puppet Warp| 00:00 |
In this example, I'm going to combine the
motion blur filter with puppet warp.
| | 00:05 |
Here's our starting state, and here is
our finishing state.
| | 00:08 |
If we look at the finished state, we can
see that we have a layer to which a
| | 00:12 |
motion blur smart filter has been
applied.
| | 00:16 |
And there is some work been done on the
filter mask.
| | 00:20 |
On top of that, we have an additional
layer that is just the arm itself, at a
| | 00:25 |
reduced opacity, in this case 50%.
To which motion blur, as well as puppet
| | 00:32 |
warp has been applied.
And then a third layer, which is a
| | 00:36 |
blurring of the drumstick itself.
And to complete the effect, a color
| | 00:42 |
lookup table.
And at the very top of the layer stack, a vignette.
| | 00:47 |
So let's come to the beginning state.
Convert the background layer to a smart object.
| | 00:54 |
And start out with a Motion blur.
And I'm going to use an angle of minus 45
| | 01:00 |
which more or less follows the angle of
the drumstick, and a distance of 90 pixels.
| | 01:07 |
Now I want to restrict the amount of
blurring that's happening on that layer.
| | 01:13 |
So I am going to fill my Smart filter
with black.
| | 01:17 |
Black, in my case, is currently my
background color.
| | 01:21 |
Cmd + Delete will fill my Filter mask
with black.
| | 01:26 |
Tap B, to go to my Brush tool.
Make sure that I have a soft edge brush,
| | 01:31 |
which I do and then I can just paint over
the areas I want to be blurred.
| | 01:39 |
Which is that arm and to a lesser extent,
so I'm now going to tap 5 to switch my
| | 01:44 |
opacity to 50% the other arm as well.
Now, I'm going to temporarily turn off
| | 01:51 |
that Smart filter because I want to copy
the arm to a separate layer.
| | 01:56 |
I have a predefined alpha channel.
Which I'm going to load by command
| | 02:01 |
clicking on it and then Cmd or Ctrl GA to
copy that selection to a new layer.
| | 02:08 |
I'll turn back on my Smart filter.
I'll come to layer one, which I will now
| | 02:13 |
rename OM, convert that to a smart object
and apply Puppet Warp.
| | 02:21 |
Now the reason I'm including puppet warp
is because while it's not technically a
| | 02:25 |
filter, when you apply it to a smart
object, it behaves as a smart filter.
| | 02:31 |
We will see it listed below the layer
itself.
| | 02:35 |
That's going to put a mesh down over the
arm.
| | 02:39 |
And I'm going to drop some pins that will
stabilize the arm.
| | 02:42 |
Becasue we want the movement to take
place from the wrist.
| | 02:46 |
Having dropped those pins, I'm going to
then click and drag to move the drumstick
| | 02:51 |
and the hand down to about there.
So having applied the puppet warp, I also
| | 02:57 |
want to blur the arm layer.
I'm going to borrow the motion blur
| | 03:02 |
filter applied to layer zero.
Hold down the Option or Alt key and drag
| | 03:06 |
that above puppet warp.
And it's important that it go above
| | 03:10 |
puppet warp so that the puppet warp
happens first.
| | 03:13 |
And then that result is blurred.
I want slightly less blurring here so,
| | 03:18 |
I'm going to double-click on the motion
blur smart filter and reduce it's
| | 03:22 |
distance to 30 pixels.
Now I may have introduced a problem up
| | 03:28 |
here on the shoulder where we see some
blurring that we do not want.
| | 03:32 |
So I will click onto the smart filter,
and tap B to make sure I'm in my Brush tool.
| | 03:38 |
And then paint in black over that area,
so that we're not blurring that.
| | 03:45 |
I will now take down the opacity of this
whole layer to 50%.
| | 03:50 |
I'll tap the V to go to my Move tool, and
then 5 to reduce the layer opacity to 50%.
| | 03:56 |
The next thing I'd like to do is make
sure I have a blur between the drumstick
| | 04:00 |
and it's blurred representation.
I'm going to create a new layer to add
| | 04:06 |
this to, and then with my Polygonal Lasso
tool, I'm going to make a selection, like so.
| | 04:14 |
And I want to then pick up the color of
the drumstick.
| | 04:18 |
I'll temporarily disable that smart
filter, so that I can come and sample
| | 04:23 |
that drumstick color.
Turn that back on, come to Layer 1, and
| | 04:29 |
then fill that selection with that color.
I'll now rename that.
| | 04:35 |
I will convert it to a smart object.
And then apply some blurring to it.
| | 04:41 |
So, from the Filter menu I would choose
Motion Blurs since it's being applied to
| | 04:46 |
a small object it's ultimately going to
bring up the Filter dialog box.
| | 04:53 |
Make that a distance of 90 pixels, a map
that we used on the bottom layer.
| | 05:00 |
And then take the opacity of this layer
down to about 20% and that's the effect
| | 05:05 |
that, that is going to achieve.
Now, to finish off the whole thing, I'm
| | 05:12 |
going to add a color look-up table, which
will use this predefined color look-up
| | 05:17 |
table futuristic leak.
And above the whole thing I'm going to
| | 05:24 |
add a vignette.
Many ways to create a vignette.
| | 05:28 |
This is just one of them.
I'm going to create a new layer.
| | 05:32 |
I will then tap my M key to go to my
Elliptical Marquee tool.
| | 05:38 |
Draw myself an ellipse outwards from the
center.
| | 05:42 |
Inverse that.
Fill that selection with black.
| | 05:47 |
Just so I can retrace my steps, I'm
going to convert that to a smart object.
| | 05:51 |
And then come and apply some Gaussian
blur.
| | 05:54 |
A large amount of Gaussian blur.
We'll make that 100 pixels.
| | 05:59 |
And then reduce it's opacity to 70%.
And there we have our overall effect.
| | 06:10 |
It's a motion blur applied to the bottom
layer.
| | 06:13 |
A motion blur and puppet warp applied to
a copy of the arm on a separate layer.
| | 06:20 |
A motion blur applied to the space
between the drumstick and it's blurred representation.
| | 06:26 |
And then a color look up adjustment layer
and a vignette on top of that.
| | 06:30 |
| | Collapse this transcript |
| Using Motion Blur to create a starburst effect| 00:00 |
Here I'm going to create a simple
starburst effect using the Motion Blur filter.
| | 00:05 |
In this, the finished version, we have a
layer group above the Background layer.
| | 00:10 |
In that layer group are two layers.
Each one has a selection of the
| | 00:15 |
highlights, the lights effectively.
One has the Motion Blur filter applied at
| | 00:22 |
a 45 degree angle, and the other at a
minus 45 degree angle.
| | 00:26 |
And then just to refine the effect, I
have applied a layer mask to that layer group.
| | 00:33 |
So, switching now to the beginning
version, what I'm going to do is come to
| | 00:37 |
the Select menu and Color range, and then
go to Highlights.
| | 00:43 |
And you can see that's going to give us a
nice quick selection of the highlight areas.
| | 00:48 |
I'm then going to copy that to a new
layer by pressing Cmd or Ctrl+J.
| | 00:55 |
And I'll then convert that to a Smart
Object.
| | 00:59 |
Come to the Filter menu > Blur > Motion
Blur, and we'll use minus 45 as the angle
| | 01:04 |
for the first one a distance of 100
pixel.
| | 01:10 |
You will need to vary that according to
the size of the image and the specifics
| | 01:14 |
of the image, but 100 pixels is going to
work here.
| | 01:17 |
Click OK.
I'm now going to duplicate that layer.
| | 01:21 |
Cmd or Ctrl+J.
I'll revisit the blur where I just
| | 01:26 |
changed the angle, and there we have our
starburst effect.
| | 01:32 |
Now, that's working well on the lights,
it's not working so well on the actual
| | 01:36 |
carriages themselves.
So I am now going to select both of those
| | 01:41 |
layers Cmd or Ctrl+G, we'll put them in a
group.
| | 01:46 |
Add a layer mask to them.
Tap B to go to my Brush tool, increase
| | 01:49 |
the size of my brush, make sure that
black is my foreground color, and then I
| | 01:53 |
can just paint over the areas where I
don't want that blurring effect.
| | 02:01 |
And there we have it, a simple starburst,
created by a combination of two
| | 02:05 |
applications of the Motion Blur filter.
| | 02:09 |
| | Collapse this transcript |
| Creating a radial blur| 00:00 |
Radial blur is one of those filters with
very few options.
| | 00:04 |
So, it's very easy to apply.
Sometimes it works, sometimes it doesn't.
| | 00:08 |
When it does, it can be a very effective
way of drawing focus into an image.
| | 00:13 |
So, let's begin with the starting image.
Which I will convert to a smart object.
| | 00:19 |
Filter menu > Blur.
Radial blur.
| | 00:23 |
And the blur method I want to be zoom.
Which is roughly simulating the look that
| | 00:28 |
you would get if you are taking the
picture with a zoom lens and moving the
| | 00:31 |
barrel of the lens at the same time.
The punchline here is that you can move
| | 00:38 |
the center of the blur.
And we want the center of the blur to be
| | 00:42 |
here in the image.
Now, unfortunately, what you can't do is
| | 00:46 |
you can't move around on the image itself
and have this preview area update.
| | 00:52 |
Nor can you actually see a preview of how
the filter will look.
| | 00:56 |
So, let's see how that looks.
That's a little bit too over to the left.
| | 01:02 |
So, I'm going to return to the filter,
and move that over a bit to the right,
| | 01:05 |
and maybe dial that down a bit, 'til we
get it just right.
| | 01:12 |
When we get it how we want it, I would
then return to this, and change the
| | 01:15 |
quality to Best, which is going to take
longer to render.
| | 01:21 |
But if we look here, here's another
instance of how you can use radial blur.
| | 01:25 |
In this case I'm also using a filter
mask.
| | 01:29 |
So, here I'll convert to a smart object.
Since Radial Blur was the last filter used.
| | 01:35 |
Hold down Option or Alt key as I choose
it from the Filter menu.
| | 01:41 |
Position the blur center.
Again, I want to use zoom.
| | 01:44 |
I'm going to use the maximum amount in
this case and I'm going to change the
| | 01:48 |
quality to Good.
And then tap B for my Brush tool, adjust
| | 01:51 |
the size of my brush as necessary.
And then just paint in black to restore
| | 01:59 |
whatever part of the image we don't want
to be blurred, like so.
| | 02:05 |
So, radial blur, every once in a while, a
useful way of drawing focus into the image.
| | 02:12 |
| | Collapse this transcript |
|
|
4. Artistic FiltersAn overview of the Filter Gallery| 00:00 |
Here, we're going to take a foray into
the Filter gallery.
| | 00:03 |
But before we do, let's talk in broad
strokes about the Filter gallery and the
| | 00:08 |
conventions of using the Filter gallery.
This example uses colored pencil, but in
| | 00:14 |
general, I want to say this.
The Filter gallery gives us access to all
| | 00:20 |
of these filters organized thematically.
And because I must have been using
| | 00:26 |
Halftone Pattern last, that the one that
has come up.
| | 00:30 |
So, let's just switch that to Color
Pencil.
| | 00:32 |
I'm not worried about how this looks at
the moment, but more just the conventions
| | 00:37 |
and the interface of the Filter gallery.
So, we can expand and contract these
| | 00:43 |
different folders.
We can show and hide this side bar.
| | 00:50 |
Any values that you change to, if you
want to switch to the default for this
| | 00:54 |
particular filter, hold down the Cmd key
or the Ctrl key, and then click on Default.
| | 01:02 |
You can stack the filters.
So, if I now click New, it gives me
| | 01:06 |
Accented Edges.
And then, if I want, in addition to
| | 01:10 |
Accented edges to apply Angled Stroke,
say, I'll click New > Angled strokes.
| | 01:17 |
Now, the way I've applied this, first of
all Accented Edges is applied, and then
| | 01:21 |
Angled Strokes on top of that.
The order is significant, and if I change
| | 01:26 |
the order, we can see how that's going to
change the, our result over here.
| | 01:31 |
We can change the view size.
We can use our standard viewing
| | 01:36 |
shortcuts, Cmd+minus, Cmd+plus.
And we can also hold down the Option or
| | 01:42 |
Alt key to change the Cancel button to
Reset to change things to how they were
| | 01:47 |
when we first arrived at the Filter
gallery.
| | 01:52 |
I'm going to cancel out of here.
And I want to make one other point, which
| | 01:57 |
is a repetition of a point I made in an
earlier movie, and that's how the filters
| | 02:01 |
are listed.
Now in CS5 and earlier, those same
| | 02:06 |
groupings that we see in the Filter
gallery, are repeated here.
| | 02:13 |
Artistic Brush Stroke, etc.
Now, whether you access them from the
| | 02:18 |
Filter gallery, or whether you access
them specifically from this flyout menu,
| | 02:23 |
the result is exactly the same.
I'm recording this in CS6, but presumably
| | 02:29 |
it's going to stay this way.
The organization has been simplified.
| | 02:35 |
And you can only access these, many of
these filters, through the Filter gallery.
| | 02:40 |
And that makes good sense.
However, if you want your work flow to be
| | 02:45 |
completely transparent, as I do,
especially in a teaching context, then
| | 02:50 |
you do have the option of, if you come to
the Preferences and to Plug-ins, checking
| | 02:56 |
Show All Filter gallery groups and names
of changing things back to how they were
| | 03:02 |
CS5 and earlier.
And the advantage of that, from my
| | 03:10 |
teaching perspective, is that the filters
will be listed as Colored Pencil or
| | 03:15 |
whatever the filter is, rather than just
saying Filter gallery which doesn't
| | 03:19 |
really describe and doesn't make your
work flow as transparent as it might be.
| | 03:28 |
Your choice.
But that's why, if you're working along
| | 03:31 |
with me in CS6, your menu organization
may look different from mine.
| | 03:36 |
Okay, meet me in the next movie and we'll
go into this technique using Colored Pencil.
| | 03:43 |
| | Collapse this transcript |
| Beyond the Colored Pencil| 00:00 |
It has to be said that Colored Pencil is
not my favorite filter.
| | 00:04 |
It has quite a few limitations but if
certain criteria are met you can get a
| | 00:08 |
good result with it.
And those criteria are: you want to be
| | 00:13 |
working with an image that is on a white
background so that you can isolate the subject.
| | 00:20 |
Secondly, and you can see that I've done
this here, you'll need a separate layer
| | 00:25 |
for the paper.
And you can then apply a filter to that
| | 00:28 |
separate layer to give it some texture.
And thirdly, and perhaps most
| | 00:33 |
importantly, one application of the
filter is not going to do it.
| | 00:39 |
You're going to get all strokes that are
the same width and the same weight.
| | 00:44 |
And that's not really going to work.
So, you can see here, that I've applied
| | 00:49 |
the filter three times to three separate
layers.
| | 00:53 |
Each of these layers has the Multiply
Blend mode applied to them.
| | 00:57 |
And then they are put in a Layer Group,
which itself has the Multiply Blend mode applied.
| | 01:03 |
And then that will then combine with the
separate paper layer beneath.
| | 01:08 |
So, let's see how we can do that.
Here's our starting point.
| | 01:12 |
And the first thing I'm going to do is
convert that to a Smart Object.
| | 01:18 |
I'm now going to create a Solid Fill
layer.
| | 01:22 |
Solid color, and I want to choose here an
ivory color for the paper.
| | 01:29 |
I'm now going to convert this to a Smart
Object, and I'm going to apply the Note
| | 01:34 |
Paper filter to this.
Now, Note Paper will use your background color.
| | 01:41 |
So, you want to make sure that your
background color is set to the color that
| | 01:45 |
you've chosen for the color fill.
I'm going to get my Eye Dropper tool, and
| | 01:49 |
then hold down the Option or Alt key and
click on that, and that will then become
| | 01:53 |
my background color.
I'll now come to the Filter menu, and to
| | 01:58 |
Sketch, and Note Paper.
Now this is not the only way to give a
| | 02:03 |
paper texture, but it's one easy way of
doing it.
| | 02:06 |
I'm going to use these default values.
So, we now have a texture background on
| | 02:12 |
which we can put our Colored Pencil
effect.
| | 02:17 |
So, coming to the first of what will be
my three Colored Pencil layers.
| | 02:23 |
I'm now going to go to the Filter
Artistic group and Colored Pencil but
| | 02:27 |
before I do so, another important point.
Like Note Paper, Colored Pencil uses your
| | 02:34 |
background color.
So, for this, I want to set my background
| | 02:39 |
color back to its default which is white.
So, I'm going to press the D key and my
| | 02:45 |
background color now becomes white.
Filter > Artistic > Colored Pencil.
| | 02:51 |
And you can see there, it's the first in
the list, and that's why I'm dealing with
| | 02:55 |
this filter first.
I'm just doing it alphabetically.
| | 03:00 |
Now for my first application, I'm going
to have everything up to the max.
| | 03:05 |
So, Pencil Width and Pressure maxed out
at 24 and 15 respectively and a Paper
| | 03:10 |
Brightness of 50.
I'm going to be using a Paper Brightness
| | 03:15 |
of 50 at all times so that we avoid
problems like this where we, we make the
| | 03:19 |
paper a horrible flat gray or a black.
So, we don't want that.
| | 03:25 |
So, Paper Brightness of 50.
Click OK.
| | 03:29 |
I'm now going to Duplicate that and I'm
going to set the Blend mode of this to Multiply.
| | 03:37 |
I'm going to revisit the amount of
Colored Pencil applied to this and I'm
| | 03:42 |
going to take it down to the Pencil Width
of 12 and a Stroke Pressure of 8.
| | 03:51 |
Now, incidentally, let me just mention
this.
| | 03:53 |
I'm applying these to three separate
layers.
| | 03:56 |
I could stack up three applications of
Colored Pencil on one layer.
| | 04:01 |
That gets you a very different result.
I tried it.
| | 04:05 |
It doesn't work as well, in this context,
as applying them to separate layers.
| | 04:11 |
All right, there's layer number two.
I'm going to Duplicate that one and
| | 04:15 |
revisit the filter again by
double-clicking on it and here I'm
| | 04:19 |
going to take the Pencil Width down to
the one and six for the Pressure.
| | 04:25 |
There's the result.
Now, to combine the three applications of
| | 04:30 |
our Colored Pencil with our background
color, I'm going to select those three layers.
| | 04:37 |
Put them into a group by pressing Cmd or
Ctrl+G and then changing the Blend mode
| | 04:41 |
of that group to Multiply, and that is
our result.
| | 04:46 |
| | Collapse this transcript |
| Using the Cutout filter: Part one| 00:00 |
The Cut-out Filter is a very versatile
filter, one of my favorites.
| | 00:05 |
And it's great for creating flat color
illustrations, that were very popular in
| | 00:10 |
the 1920's and 30's.
And perhaps, that's why I think it works
| | 00:14 |
well applied to this image, this
building, the Delaware Pavilion in
| | 00:19 |
Bexhill on Sea, on the south coast of
England, was designed in 1935.
| | 00:25 |
So aesthetically, it just seems to work
well, with the Cut-out Filter.
| | 00:30 |
So this is our result, let's just break
this down.
| | 00:34 |
As much as I like the Cut-out Filter, you
do have to work quite hard to get the
| | 00:38 |
kind of result that you want.
And this is not straight off the peg, as
| | 00:44 |
it were.
We've had to do a few things to this
| | 00:47 |
image, to make it work.
So I'm starting with a flat field, of
| | 00:51 |
color for the sky.
And on top of that, I'm applying one
| | 00:55 |
instance of the Cut-out Filter to the
foreground.
| | 00:59 |
On top of that, I'm applying another
instance of the Cut-out Filter, to the
| | 01:04 |
building itself.
I'm also using some Surface Blur on this,
| | 01:10 |
to simplify things, somewhat.
And then, sitting on top of that, we have
| | 01:15 |
another instance of the Cut-out Filter
with different values, applied to the shadows.
| | 01:23 |
And then, just to finish it off, I have a
ue saturation which is taking out these,
| | 01:28 |
somewhat, distracting reds, And a slight
tweak to the levels.
| | 01:35 |
So let's start with this, beginning
photograph.
| | 01:40 |
First thing I want to do is, convert this
to a Smart Object, And then I'm going to
| | 01:44 |
come to my Channels panel, where I have
two predefined Alpha Channels.
| | 01:51 |
So let's start out with Alpha Two, which
is the building itself.
| | 01:56 |
And then I'm going to Copy that selection
to a New Layer, Cmd or Ctrl J.
| | 02:01 |
I want to sample the sky color from the
sky in the original photograph.
| | 02:07 |
So I'm going to tap the I key to go to my
Eyedropper tool, and sample that blue.
| | 02:15 |
Then come to my solid color, and that's
going to serve as my Sky Layer.
| | 02:20 |
I'm now going to turn off Layer Zero, and
will turn back on the Visibility on Layer
| | 02:25 |
One, which I'll Rename Building.
OK.
| | 02:30 |
So first of all, let's convert Building
to a Small Object, so that we can apply
| | 02:35 |
Smart Filters to it.
And before I apply the Cut-out Filter, I
| | 02:40 |
am going to come to Blur, and to Surface
Blur.
| | 02:45 |
So Surface Blur is going to avoid
blurring your edges, and what we're after
| | 02:50 |
with Surface Blur is just a
simplification of things.
| | 02:56 |
Now if I hold down my Mouse button, you
can see they're the original, and you can
| | 03:01 |
see there's too much detail.
So, when I release that, we can see how
| | 03:07 |
that simplifies things.
Now, do I want to simplify by this much?
| | 03:12 |
I think I probably do, so I'm using the
Radius of a 100, and a Threshold of 25.
| | 03:18 |
We can always revisit these values,
should we need to, but I'm going to start
| | 03:21 |
out with that.
And then we can come to the Artistic
| | 03:26 |
Filters, and to Cut-out.
Now, for this first application, I am
| | 03:31 |
going to use a number of levels.
So we have a Scale here of two to eight.
| | 03:38 |
And I'm going to use five.
Edge Simplicity, now I, I I don't want to
| | 03:42 |
simplify things too much on this Layer,
which is going to provide most of our detail.
| | 03:48 |
So, I'm going to turn that down to zero,
and Edge Fidelity, I'm going to turn that
| | 03:52 |
up to it's maximum of three.
And we'll click OK.
| | 03:58 |
So, here on the Building Layer, I am now
going to turn off the Smart Filters.
| | 04:03 |
And also I'm going to Hide the Color Fill
Layer.
| | 04:06 |
Come to the Select menu > Color Range,
and I want to sample just the Shadow areas.
| | 04:14 |
I'm now going to Copy those Shadow areas
to a new Layer.
| | 04:18 |
Just before I do so, I'm going to tidy up
the selection a little bit.
| | 04:22 |
because you can see down here, I have
some of these areas at the bottom of the
| | 04:26 |
building selected.
I'm going to get my Quick Selection tool.
| | 04:31 |
Hold down the Option or Alt key, as I
just drag over those to exclude them from
| | 04:36 |
the selection.
Now I'm going to Copy this selection to a
| | 04:41 |
new Layer, Cmd or Ctrl+J.
And I'll name this Shadows, I will
| | 04:47 |
convert it to a Small Object.
I'm now going to Copy the Filters that I
| | 04:52 |
applied to the Building Layer.
Hold down the Option or Alt key, and drag
| | 04:57 |
those onto the Shadows Layer, and then
expanding that layer, so that we can see
| | 05:01 |
those filters.
I'm going to revisit the Cutout.
| | 05:07 |
Because here, I want to use only two
levels to really simplify this, I'm
| | 05:15 |
going to increase the Edge Simplicity.
OK.
| | 05:21 |
And we can see that's made quite a
difference.
| | 05:25 |
My next step is to reintroduce the
Foreground, and to do that I'm going to
| | 05:29 |
need to turn off Layer Zero.
Hold down Option or Alt, click on it's
| | 05:34 |
Eyeball, so that we see just this.
And then I'll come to my Channels panel,
| | 05:38 |
where I have Alpha Channel one already
saved.
| | 05:41 |
Cmd or Ctrl click on that to load as a
selection.
| | 05:45 |
Back to my Layers.
Cmd J to Copy that selection to a new Layer.
| | 05:53 |
I'll Rename that, Foreground.
I will convert it to a Smart Object.
| | 06:02 |
And I'm going to drag it above the Color
Fill Layer.
| | 06:05 |
And then I'm going to Copy in this case,
just the Cut-out Filter.
| | 06:10 |
So I'm going to hold down Option or Alt,
and drag the Cut-out from building onto foreground.
| | 06:19 |
And I'm now going to revisit the Cut-out
Filter applied to foreground.
| | 06:24 |
I'm not sure exactly what I want here,
but I think it's going to be somewhere
| | 06:29 |
between three and six for the Levels.
So three, we lose any detail in the grass.
| | 06:36 |
Four, it looks pretty good.
What would five look like?
| | 06:40 |
Yeah, five.
And six, which somewhat bizzarly, seems
| | 06:46 |
to give us less detail than five.
Right, so now, we can turn on the
| | 06:53 |
building, turn on it's Small Filters,
turn on Shadows, turn on its Small
| | 06:59 |
Filters and then turn on the Sky, which
upon reflection, is a little bit too
| | 07:05 |
royal blue in color.
So, I'm going to double-click on that,
| | 07:12 |
and let's just tone that down a bit.
As a finishing step, there are some reds
| | 07:20 |
and magentas in here, that I want to get
rid of.
| | 07:26 |
And to do this, I'm going to apply a Hue
Saturation Adjustment Layer.
| | 07:33 |
I'll choose my Targeted Adjustment tool.
And click on those reds.
| | 07:39 |
Desaturate.
Staying where I am, I am then going to
| | 07:45 |
click on that little spot of magenta
right there.
| | 07:51 |
You can see my target of colors now
changed to magenta, and I'm going to
| | 07:55 |
De-saturate that as well.
Now, when I look at this area here, I see
| | 08:00 |
some things I'm not entirely happy with.
There's just too much detail here.
| | 08:06 |
So this is the building Layer, that we're
concerned with.
| | 08:09 |
And what I'm going to do to rectify this,
is I'm going to click onto the Filter
| | 08:14 |
Mask and then tap B for my Brush key.
And I'm going to Mask Out some of this
| | 08:20 |
Filter applied to the building Layer.
Now, that actually brings back more detail.
| | 08:27 |
But the detail just combines better with
the Shadows Layer, which is sitting on
| | 08:32 |
top of it.
So you may need to do this as necessary,
| | 08:37 |
on part of the building Layer.
OK.
| | 08:41 |
And when I'm happy with that, one last
thing I'll do, is come to the top of my
| | 08:47 |
Layer Stack, add one last Adjustment
Layer levels, just to boost the contrast
| | 08:52 |
a little bit.
And since I don't want the levels to
| | 09:01 |
apply to the sky beneath, I'm going to
select All of these Layers with the
| | 09:05 |
exception of the Color Fill Layer, and
put them into a group, and then change
| | 09:09 |
the Blending mode of that group to
Normal.
| | 09:15 |
And you can see that the sky is now
unaffected, by that Levels Adjustment Layer.
| | 09:21 |
So, there we have an application of the
Cut-out Filter, applied to different
| | 09:25 |
parts of the image.
Three different times, combined with
| | 09:30 |
Surface Blur.
And as you can see, it's a filter like
| | 09:33 |
most of the others that doesn't work
exceptionally well, straight out of the can.
| | 09:39 |
But if you think about its application,
and customize it, and apply it
| | 09:44 |
selectively, then you can get a very good
result.
| | 09:49 |
| | Collapse this transcript |
| Using the Cutout filter: Part two| 00:00 |
Here I'm using the Cutout filter for a
very different effect, an effect very
| | 00:05 |
loosely inspired by the work of Kathe
Kollwitz, whose work looks like this.
| | 00:12 |
I'm beginning with an image like this,
and you can see that the image is already Monochromatic.
| | 00:19 |
So if you're beginning with a color
image, then you can use the Black and
| | 00:23 |
White Adjustment to convert that to black
and white.
| | 00:29 |
So I am now going to switch over to the
starting file, and I will convert the
| | 00:33 |
Background layer to a Smart Object.
So I'm going to come to the Filter menu >
| | 00:40 |
Artistic > Cutout.
Now actually the first filter I applied
| | 00:45 |
was Smart Sharpen, but I'm going to add
that in after the Cutout filter, just so
| | 00:49 |
you can see what a dramatic effect it
makes.
| | 00:53 |
Now I want to use the following values
here.
| | 00:58 |
I want maximum number of levels, which is
eight.
| | 01:03 |
But I want to avoid this jagged look
around the different posterized areas.
| | 01:08 |
So I'm going to increase the Edge
Simplicity.
| | 01:12 |
I'm going to take that up to about six.
And that gives us a very angular quality.
| | 01:18 |
And then I'm also going to take down the
Edge Fidelity to two, which further
| | 01:21 |
enhances that angular quality.
So there's our starting point.
| | 01:26 |
I've started out with eight gray levels,
but actually want to simplify it further
| | 01:30 |
and take that down to two.
And I'm going to do that with the Torn
| | 01:35 |
Edges filter, which is in the sketch
group.
| | 01:38 |
Now Torn Edges will use your foreground
and background colors.
| | 01:42 |
And I wasn't paying attention to what my
foreground color was before I came here.
| | 01:47 |
So I'm going to have to cancel out of
there and restore my foreground,
| | 01:50 |
background colors to black and white,
respectively, just by pressing the D Key.
| | 01:55 |
Having done that, I will revisit Torn
Edges.
| | 02:00 |
Let's make my Preview fit in my window.
And my image balance, where we have a
| | 02:05 |
scale of zero to 50, and I want it pretty
much in the middle.
| | 02:11 |
So I'm going to go with 25 there.
I'm going to put the smoothness all the
| | 02:16 |
way up, and then contrast.
If I take the Contrast all the way down,
| | 02:20 |
you can see that that's going to give us
this sort of granular look.
| | 02:25 |
And the same would be true, but with more
white if I go to it's maximum.
| | 02:29 |
So the contrast, I want to be somewhere
in the middle where we have a pretty much
| | 02:33 |
even black-white split.
So, I'm going to put that at 12.
| | 02:37 |
Now if I switch back to my finished
version, you can see that I actually have
| | 02:42 |
more detail here than what we currently
have.
| | 02:46 |
Now, to get more detail out of this,
that's where the Smart Sharpen can come in.
| | 02:53 |
So I'm going to come back to the Filter
menu, and to Sharpen > Smart Sharpen.
| | 02:58 |
I'm going to use values that are rather
extreme, especially the Radius.
| | 03:03 |
So the amount is relatively moderate of
100%, but the radius of 20 is quite extreme.
| | 03:10 |
Now when I apply that, that's not having
the effect I want.
| | 03:14 |
And that's because of the stacking order
of these filters.
| | 03:17 |
I want the sharpening to happen first.
So I'm going to Drag this down.
| | 03:22 |
And we can see that that makes quite a
big difference.
| | 03:26 |
So, there essentially is the result.
But I do just want to make one refinement
| | 03:30 |
to this, and that is that I'd like to
reintroduce some detail over here on the
| | 03:34 |
right-hand side.
And to do this, I'm going to duplicate
| | 03:38 |
the layer along with all of its Smart
Filters.
| | 03:43 |
And on the copy, I'm going to make an
adjustment to the amount of the Torn
| | 03:46 |
Edges that is applied.
So, I'll double-click on Torn Edges.
| | 03:50 |
Takes me back to the Filter gallery,
where I'll press Cmd or Ctrl+0, so I can
| | 03:54 |
see all of my image in the Preview.
And I'm now going to adjust the image
| | 03:59 |
balance, just so that we can reintroduce
some detail here on the right hand side.
| | 04:05 |
I'm going to take that down to nine,
click OK, and I now just need to blend
| | 04:10 |
the two images together.
I'm going to do that by adding a Layer
| | 04:16 |
mask to this and filling that layer mask
with black.
| | 04:20 |
I'll hold down the Alt or Option key as I
click on Add Layer Mask.
| | 04:25 |
Tap the B key to go to my Brush tool.
Make sure that white is my foreground color.
| | 04:30 |
And then paint over that area to
reintroduce whatever parts of the
| | 04:36 |
foreground we deem necessary.
So there is the cut out filter used for a
| | 04:42 |
sort of German Expressionist look.
| | 04:45 |
| | Collapse this transcript |
| Using the Cutout filter: Part three| 00:00 |
In this example I'm using the Cut Out
filter in combination with several others.
| | 00:06 |
Smart Sharpen, Shadows Highlight, Film
Grain and also a couple of Adjustment
| | 00:11 |
Layers to create a travel poster.
Suggested by the kind of travel posters
| | 00:17 |
that London transport were producing in
great volumes in the 1920s and 30s to
| | 00:21 |
promote travel to the outer reaches of
London.
| | 00:27 |
This is our starting point.
This is not London, it's the Aisle of
| | 00:31 |
White but a similar sort of scene.
I am going to convert this background
| | 00:36 |
layer to a smart object.
And I am now going to apply an alpha
| | 00:42 |
channel to that becasue the cut out
filter is very unkind to skies.
| | 00:50 |
So the, the clouds are just not really
going to work very well with cut out.
| | 00:54 |
Let me just show you how it would look,
if we apply cut out.
| | 00:59 |
The values I want to use are maximum
number of levels, minimum edge simplicity
| | 01:05 |
maximum edge fidelity.
And that gives us a pretty good starting
| | 01:11 |
result on the foreground.
But as you can see, the sky is not
| | 01:15 |
going to fare well.
So we want to simplify things.
| | 01:18 |
And just have a solid color sky.
I'm going to undo that.
| | 01:24 |
And before I apply the cut out filter,
I'm going to load alpha one presaved channel.
| | 01:30 |
And then I'm going to apply that to
what's now the smart object.
| | 01:36 |
So now I'm going to return to the cut out
filter.
| | 01:39 |
Since it was the last one I used I'll
hold down the Option or Alt.
| | 01:43 |
Choose it from under the Filter menu.
And we are actually applying that to the
| | 01:48 |
layer mask, that's no good.
So I need to make sure I've clicked onto
| | 01:52 |
the layer itself.
Let's try that again.
| | 01:56 |
So, even though we have a layer mask
applied, a preview is showing us how it
| | 02:00 |
will look applied to the whole image.
So, we're just going to Filter out with
| | 02:06 |
our eyes what's going on in the sky,
because we're not going to actually see that.
| | 02:11 |
So, eight, zero, and three, respectively.
And there's our starting point.
| | 02:19 |
Now, I need to recreate the sky.
And I'd like the sky to be suggested by
| | 02:23 |
some of the blue that's in the image.
So I'm going to sample that blue right
| | 02:29 |
there, using my eyedropper tool.
Then come to the solid color layer and it
| | 02:34 |
turned out that that blue was a bit more
gray than I had in mind so I'm just going
| | 02:38 |
to adjust that.
To give me a blue.
| | 02:43 |
Something like that.
And then put that underneath my layer zero.
| | 02:49 |
So in addition to cut out, we need a
couple of other things.
| | 02:53 |
It's looking a bit flat.
We're not seeing as much detail as we
| | 02:55 |
would like.
So to bring out a bit more detail.
| | 02:59 |
I'm going to do two things.
First of all I'm going to sharpen the image.
| | 03:03 |
So Filter > Sharpen > Smart Sharpen.
And we can see already that that's making
| | 03:11 |
quite a big difference if we look at our
preview window.
| | 03:14 |
I'm going to use values of 150 for the
amount and two for the radius.
| | 03:22 |
So I'm going to turn that off.
Turn it back on again.
| | 03:25 |
Now it made some difference, but not that
much.
| | 03:28 |
It would make more difference if the
sharpening happened first, and then the
| | 03:32 |
cutout were applied the the sharpened
image.
| | 03:35 |
So I'm going to change the order of the
filters, dragging smart sharp down.
| | 03:40 |
And that's our result.
So we get a lot more detail there.
| | 03:43 |
Secondly, I'd like to apply shadows
highlights.
| | 03:48 |
Shadows highlight is an image adjustment.
It's not actually under the Filter menu.
| | 03:53 |
But if you have converted your layer to
a smart object, which, of course, we have.
| | 03:59 |
You can apply shadow highlight as a smart
filter.
| | 04:03 |
Making it continuously editable.
Which immensely increases the value of
| | 04:08 |
this menu item.
I'm just going to go with these values,
| | 04:13 |
opening up the shadows by 35%.
If I turn off the preview, we can see
| | 04:16 |
that's making quite a big difference.
Next, I'd like the colors to just pop a
| | 04:21 |
little bit more.
So I'm now going to use an adjustment layer.
| | 04:25 |
I'm going to use vibrance and this is
going to, rather than saturate all of the
| | 04:29 |
colors, it's just going to saturate those
more muted colors.
| | 04:33 |
And I'm going to whack that all the way
up to 100.
| | 04:36 |
That's okay, but it is also effecting the
sky, so I need to make that into a
| | 04:40 |
clipping mask, so that it only effects
the layer beneath.
| | 04:46 |
Hold down Option or Alt, click on the
line between those two layers.
| | 04:50 |
And another adjustment layer again, just
to affect the contrast here, I'm going to
| | 04:56 |
use levels, get my white point slider.
Bring this towards the center and I'm
| | 05:02 |
going to do the same with my black point
slider.
| | 05:05 |
Bring that towards the center.
I forgot I also need levels to be clipped
| | 05:09 |
to the layer beneath.
So Option or Alt and click on the line
| | 05:14 |
seperating it from the layer below so
that it is not effecting the color fill layer.
| | 05:21 |
To finish off, I'm just going to add a
layer of grain that goes at the very top
| | 05:25 |
and applies to everything.
I'll hold down my Option or Alt key, and
| | 05:30 |
click on Create New Layer and I will call
this Grain.
| | 05:34 |
I will make it's blending mode overlay
and I will fill it with overlay neutral color.
| | 05:40 |
So that gives me a layer of grey.
To give myself maximum flexibility in
| | 05:46 |
terms of being able to edit this in the
future.
| | 05:49 |
I'm going to convert it to a smart
object.
| | 05:52 |
Then come to my Filter menu > Artistic >
Film grain.
| | 05:56 |
I could use Add noise but in this case
I'm going to go with Film grain.
| | 06:00 |
And I'm going to increase the highlight
area on that all the way up to 20 and
| | 06:04 |
bring the grain down to three.
and that's a very slight change that you
| | 06:10 |
may not fully appreciate on the video.
But if I zoom in, you can see that we've
| | 06:14 |
definitely got some texture there.
It might be a little bit too much.
| | 06:19 |
If it's too much, I can double-click on
that to tame it a little bit.
| | 06:24 |
Let's bring down the grain and the
highlight area.
| | 06:28 |
Okay.
So there is our finished result.
| | 06:34 |
The cutout filter helped out by Smart
Sharpen.
| | 06:36 |
Helped out by Shadows Highlights, also
Film Grain.
| | 06:39 |
And then with a supporting role, played
by the levels and vibrance adjustment layers.
| | 06:47 |
| | Collapse this transcript |
| The Dry Brush filter| 00:00 |
The Dry Brush filter is going to give us
a stipple effect which can look really
| | 00:04 |
good, but it doesn't really look much
like a paint brush.
| | 00:07 |
So, let's not even bother trying to make
it look like a dry brush, but just after
| | 00:12 |
an interesting effect.
And this is my interesting effect.
| | 00:17 |
This is using a picture of Zabriskie
Point in Death Valley, California.
| | 00:21 |
And it begins like this.
So I'm using the dry brush filter in
| | 00:26 |
combination with the texturizer to apply
a sandstone texture to it.
| | 00:32 |
And then also to boost the edge contrast
with a copy of that layer.
| | 00:37 |
To which I have applied the Find Edges
filter.
| | 00:40 |
I'm going to switch now to the beginning
state, and convert this to a Smart Object.
| | 00:47 |
And let's start out by applying Dry
Brush.
| | 00:51 |
Cmd+0 to fit that image within our
preview window.
| | 00:55 |
I want to use a small brush size here, so
I'm going to bring the brush size down to one.
| | 01:00 |
I want maximum detail, and I'm going to
have the texture, we have a range of one
| | 01:04 |
to three with texture, I'm going to have
a texture of two.
| | 01:08 |
That's the result I'm going to get.
So the before.
| | 01:14 |
And the after.
Now I'm going to come back and come down
| | 01:18 |
to the texture filters and texturizer.
Now you would think it would make logical
| | 01:25 |
sense to apply the texture first and then
the dry brush.
| | 01:29 |
I can tell you I tried it.
It didn't work as well as applying the
| | 01:33 |
texture afterwards in this context.
The texture I'm going to use, given the
| | 01:38 |
nature of the subject, is Sandstone.
Which seems the most appropriate one.
| | 01:42 |
And I'm just going to go with the default
values of 100% scaling and a relief of
| | 01:46 |
four, light coming from the top.
So now I'm going to duplicate this layer.
| | 01:52 |
Cmd+J.
And I'm going to delete those two filters.
| | 01:58 |
And to the top layer, I'm going to apply
a stylize find edges treatment.
| | 02:05 |
Which will look like that.
Now when you apply find edges, you get
| | 02:08 |
these weird color shifts.
Or you can, and in this case I do.
| | 02:13 |
To prevent this from happening, I'm going
to change the blending mode of the Find
| | 02:16 |
Edges filter.
By double-clicking on the Blending mode
| | 02:20 |
icon, and changing that to Luminosity.
And then I'm going to change the Blending
| | 02:26 |
mode of the whole layer to Multiply so
that this layer will now combine with the
| | 02:30 |
layer beneath.
And there is our effect.
| | 02:35 |
So, dry brush, a texture applied on top
of that, then a whole separate layer that
| | 02:40 |
really defines the edges and that top
layer has the Multiply blend mode applied
| | 02:44 |
to it.
| | 02:47 |
| | Collapse this transcript |
| Looking at the Fresco filter| 00:00 |
Next up we have the Fresco filter.
And you can use fresco in two ways.
| | 00:05 |
You can disregard entirely its name, and
just get something that you think looks cool.
| | 00:10 |
Or you can try and take it at face value,
literally, which is what I'm doing here.
| | 00:16 |
And make it look like it is a mural
painted on a wall.
| | 00:20 |
So I have two layers here, and my top
layer, looks like this.
| | 00:26 |
And if I turn off the smart filters and
set its opacity back to 100%.
| | 00:32 |
There is our starting point, so this I
have combining with a layer beneath.
| | 00:39 |
And that layer beneath is our wall.
And to create our wall, I'm just
| | 00:43 |
manufacturing this entirely from filters.
Starting out with an application of
| | 00:48 |
clouds, and then to give that some
texture applying bar relief.
| | 00:54 |
And then to further give it a different
type of more granular texture, applying
| | 00:59 |
sandstone using the Texturizer filter,
and then on top of that, plaster.
| | 01:06 |
On top of all of that we have our image
with the fresco filter applied to it,
| | 01:11 |
yielding this result.
So let's start out with the beginning
| | 01:17 |
version of the file, convert to a smart
object, and before we go any further with
| | 01:22 |
this, let's create our wall texture.
So I'm going to create a new layer.
| | 01:29 |
And I'll start out by converting this
blank layer to a smart object.
| | 01:34 |
There are very few filters that will work
with no material whatsoever.
| | 01:39 |
But the Render Clouds is one that will.
So with black and white as my foreground,
| | 01:45 |
background colors respectively, I'll go
to Render and Clouds.
| | 01:49 |
And that's the result I get.
It's going to be random.
| | 01:52 |
If you don't like it the first time
around, just press Cmd+F, and you'll get
| | 01:55 |
another random generation of a cloud
pattern.
| | 01:59 |
I only need the one so I'm going to
delete that second one.
| | 02:02 |
I'm now going to come back to the Filter
menu and down to Sketch and Bar Relief.
| | 02:09 |
Here I'm going to turn the detail down
and the smoothness down to two.
| | 02:14 |
And I want the light coming from the top.
Next, I'm going to return to the Filter
| | 02:19 |
menu, and to Texture, and to the
Texturizer, where I'm going to apply sandstone.
| | 02:25 |
I'm just going to increase the scaling on
that somewhat, just to bring out the
| | 02:28 |
texture a little bit more.
I'm going to go up to 110%, and increase
| | 02:34 |
the Relief, for the same reason, to 11.
And again, the light coming from the top.
| | 02:43 |
Finally, the Plaster filter, and this is
in the Sketch group.
| | 02:48 |
So, I have to admit this is a somewhat
gratuitous use of the Plaster filter,
| | 02:52 |
which frankly isn't of much use, and I,
for one, wouldn't be sorry if I never
| | 02:55 |
found it on the Filter menu ever again.
But I do just want to use it here in a
| | 03:02 |
literal way, to show what can be done
with it if I really wanted a plaster effect.
| | 03:08 |
I would get a better result going and
taking a picture of some plaster.
| | 03:12 |
But in a pinch, if we're in a hurry we
can use the plaster filter.
| | 03:17 |
And I'm going to use it with these
values.
| | 03:19 |
An image balance of 28, making it a
little bit darker.
| | 03:25 |
And I'm going to take the smoothness down
to one.
| | 03:29 |
Now the result that I get is different
this time around, and that's because
| | 03:32 |
every time you use Clouds the result is
random.
| | 03:36 |
So my plaster is a little bit stronger
than it was in the original.
| | 03:40 |
And I'm going to tame it by
double-clicking on the blending mode of
| | 03:43 |
the filter.
And then taking the opacity of the
| | 03:48 |
plaster down to about 60%.
Then I'm going to put that layer
| | 03:53 |
underneath my image layer, and on the
image layer which is currently a smart object.
| | 04:00 |
I'm going to come to the Filter menu and
down to Artistic.
| | 04:05 |
And the starring role, played by the
Fresco Filter.
| | 04:10 |
And here I'm going to use a Brush Size of
two.
| | 04:12 |
Let's just reduce the Preview by pressing
Cmd+0, so we can fit the image in window.
| | 04:17 |
Brush Size of 2, I'm going to up the
Brush Detail to the maximum of ten, and
| | 04:21 |
I'm going to leave the Texture at the
minimum of one.
| | 04:26 |
And I'm going to turn down the opacity on
that layer to about 75%.
| | 04:30 |
| | Collapse this transcript |
| Turning on the neon| 00:00 |
Here, I'm going to use the Neon Glow
filter to create a neon glow.
| | 00:05 |
And I'm going to combine it with the use
of the Plastic Wrap filter.
| | 00:09 |
And that's what makes me happiest about
this, the fact that I found a use for the
| | 00:13 |
Plastic Wrap filter.
This is the finished result.
| | 00:17 |
Here's our starting point.
Let's just dive straight in with this one.
| | 00:20 |
So, I'm going to convert this with a
Smart Object.
| | 00:24 |
Now, the first thing I need to do is
isolate the area of neon.
| | 00:28 |
And thankfully, you'll be thankful, I've
already created a path that does that.
| | 00:33 |
So, I've drawn around the neon area a pen
path.
| | 00:37 |
That pen path is not a closed path, so I
cannot make it into a selection.
| | 00:43 |
And if I try, nothing is going to happen.
So, what I'm going to do instead is I'm
| | 00:48 |
going to stroke that path.
In order to do that, I need to create a
| | 00:53 |
new layer above my existing layer.
So, I'm going to create an empty new layer.
| | 00:59 |
And then, I'm going to choose red as my
foreground color, the color of my neon.
| | 01:06 |
Then I'm going to go to my Brush tool,
and I'm using a brush size of 8 pixels.
| | 01:11 |
So, this is a brush size that's just
about the width of the neon tubing and a
| | 01:16 |
hardness of 50%.
Now, with the path active, I will come to
| | 01:22 |
the Paths panel, and the panel menu where
I will choose Stroke Path.
| | 01:28 |
I'm going to use the Brush, click OK,
that's the result I get.
| | 01:33 |
I'm going to change it's Blend mode to
color, and I'm going to turn its Opacity
| | 01:39 |
down to 50%.
That's a start.
| | 01:44 |
Let me now just deactivate the path so
that we're not seeing the path, which can
| | 01:47 |
be a bit distracting.
So now back to the layers.
| | 01:52 |
Clicked back onto layer zero, my Smart
Object layer.
| | 01:55 |
I'm going to come to the Filter menu >
Artistic > Plastic Wrap.
| | 02:02 |
And I'm using the Plastic Wrap filter to
bring out the highlights in the neon tubing.
| | 02:07 |
I'm going to use a Highlight Strength of
10, a Detail of 11 and a Smoothness of 7.
| | 02:16 |
Now, the problem there is that the
plastic wrap gets applied to everything.
| | 02:20 |
So, we need to limit what the plastic
wrap filter is applied to and we only
| | 02:23 |
want it applied to the tubing.
Now that I have this on a separate layer,
| | 02:29 |
I'm going to use this as the basis for my
selection.
| | 02:34 |
So, I will Cmd-click on the thumbnail of
Layer 1, loading that selection, then
| | 02:40 |
click onto the Filter Mask of Layer 0.
I will inverse that selection, Cmd+Shift+I.
| | 02:48 |
And currently, black is my background
color, so I'm going to press Cmd or Ctrl
| | 02:53 |
and the Backspace+Delete key to fill my
selection with black.
| | 02:59 |
And now if I hide my edges, we can see
that we have a Filter Mask that looks
| | 03:04 |
like that.
And we can now see the effect of the
| | 03:08 |
Plastic Wrap filter applied just to the
neon tubing.
| | 03:11 |
Having done that and using the same
Filter Mask, I'm going to come back to
| | 03:15 |
the Filter menu.
Artistic > Neon Glow, and I'm going to
| | 03:20 |
apply a neon glow.
Before I do that, I'm just going to
| | 03:23 |
cancel that.
I want you to know that when you apply
| | 03:26 |
neon glow, your foreground color is going
to have an effect.
| | 03:30 |
So, I'm going to restore my foreground
color to the default of black by pressing
| | 03:35 |
the D key and back to Neon Glow.
So, we determine the glow color here,
| | 03:43 |
which is 25500 bright red.
And that's interacting with my
| | 03:49 |
foreground color, the black.
And I can swing the glow one way or the
| | 03:54 |
other, making it positive or negative.
So if the glow is positive, it is an
| | 04:00 |
outer glow, if it's negative, it's an
inner glow.
| | 04:04 |
I'm not worrying too much about that.
And I'm also having to navigate this
| | 04:09 |
somewhat blind because we're seeing the
whole image.
| | 04:12 |
Ultimately, we're only going to see
applied within the area of the neon tubing.
| | 04:17 |
So, I'm going to go with these values and
then that's the result that we get.
| | 04:24 |
I'm going to refine that further by
changing the Blending mode of Neon Glow
| | 04:29 |
to Color Dodge.
And I might also want to just turn that down.
| | 04:35 |
Let's go down to about, 80%.
So, let's see the affect of Neon Glow and
| | 04:42 |
Plastic Wrap combined and using this
Filter Mask.
| | 04:46 |
There's our before, or there's our real
starting point.
| | 04:51 |
Then we added this layer, a separate
Layer 1, where we've filled the neon
| | 04:56 |
tubing area with red.
Change the Blending mode to Color, tone
| | 05:01 |
it down to 50%.
But then, we've really made it look like
| | 05:05 |
neon tubing by applying these two filters
to the layer beneath.
| | 05:09 |
Just to finish it off, I am going to
apply a color look up Adjustment layer.
| | 05:16 |
And the one I want to use is Moonlight,
to make it look like it's night time.
| | 05:19 |
That's a little bit on the blue side for
me.
| | 05:22 |
So, I'm going to turn that down to an
Opacity of 70%, so it looks like, it's
| | 05:26 |
dusk, and the neon has just come on.
| | 05:31 |
| | Collapse this transcript |
| Using the Poster Edges filter| 00:00 |
In this example, I'm using the Poster
Edges filter in combination with a Layer
| | 00:05 |
Mask and an adjustment layer, to create
this Sepia-toned effect on this image of
| | 00:09 |
the Brooklyn Bridge.
Let's switch to the beginning state.
| | 00:14 |
And I'm going to convert this to a Smart
Object and go to Post Edges.
| | 00:19 |
Now when you choose Post Edges, it's
basically going to make your edges black.
| | 00:25 |
And I'm going to use a relatively light
application of this, in fact, I'm
| | 00:30 |
going to make the edge thickness 1, the
edge intensity 2.
| | 00:37 |
And I'm going to put Posterization up to
6.
| | 00:41 |
By putting Posterization up I'm
maintaining as many levels as possible.
| | 00:46 |
And you can see it really brings out the
definition in that brick work.
| | 00:52 |
Whenever you use Post Edges, the edges
always become black, which may be a
| | 00:56 |
problem, may be not.
But we'll see how if we don't want black
| | 01:01 |
edges away around that.
Next I'm going to add a black and white
| | 01:06 |
adjustment layer And I'm going to apply
this as a tint, effectively, sepia toning
| | 01:11 |
the image.
Now I may decide to stop there, but
| | 01:16 |
what's bothering me about the image at
the moment are the black edges.
| | 01:21 |
So, I am going to create a color fill
layer, filled with a dark brown and then,
| | 01:27 |
on layer zero, the image itself.
I'm going to create a Layer Mask that
| | 01:34 |
will effectively mask out all of the
black areas, and reveal the dark brown
| | 01:39 |
areas underneath.
So, to start with, I'm going to use my
| | 01:44 |
Eyedropper tool, and I'm going to sample
a dark brown color.
| | 01:50 |
We'll go with that, and then I'm going to
click on the Color Picker and make it a
| | 01:54 |
little bit darker.
Then I will create a solid color layer
| | 01:59 |
that uses that color and drag that solid
color to the bottom of my Layer Stack.
| | 02:05 |
Now coming to layer zero, I am going to
zoom in on my image.
| | 02:11 |
Press W to choose my Wand tool, and I'm
going to turn my tolerance down to 15.
| | 02:21 |
And I want contiguous unchecked so that
it selects all pixels like this one.
| | 02:29 |
And then I'm going to make that selection
into a Layer Mask.
| | 02:35 |
I'm going to hold down the Alt key as I
do so, because I want to hide all.
| | 02:40 |
So, that's the mask that it gives me, and
that's the effect that we get.
| | 02:47 |
If I turn off that mask, that's how it
looks with the black outline, and then
| | 02:51 |
turn on the mask.
We see we now have dark brown outline,
| | 02:56 |
which I think is just more in keeping
with the overall color pallet of the image.
| | 03:01 |
So, just a suggestion for how you might
make poster edges work for you, working
| | 03:06 |
around its limitations of always giving
you a black edge.
| | 03:11 |
| | Collapse this transcript |
|
|
5. Brush Strokes FiltersThe Angled Strokes filter| 00:00 |
In this simple example I will be using
the Angled Strokes filter in combination
| | 00:04 |
with Diffuse Glow and underpainting to
achieve this effect that we have on the
| | 00:08 |
right of the screen.
I'll move up to the beginning version and
| | 00:14 |
consolidate all the tabs.
Now before we begin applying the filters,
| | 00:19 |
we need to do some retouching.
We want to remove any distracting
| | 00:24 |
details, like this telegraph pole.
So we want to end up with a layer that
| | 00:28 |
looks like this.
This has been achieved using Simple
| | 00:33 |
Content Aware fill, I chose my Polygonal
Lasso tool, made a selection of the
| | 00:38 |
offending telegraph pole leaving area
around its edge.
| | 00:47 |
And then press Shift and the Backspace
Delete key.
| | 00:51 |
And fill that selection with Content
Aware.
| | 00:55 |
And then just repeat that process until
all of that distracting detail has been removed.
| | 01:01 |
once that's done, I'm going to move on to
applying the filters.
| | 01:04 |
I'll convert the re-touch layer to a
smart object and then Filter menu > Brush
| | 01:11 |
Strokes > Angled Strokes.
Cmd + 0 to have my image fit inside my window.
| | 01:20 |
For my purposes, that's just a bit too
much detail that happens with the angled
| | 01:25 |
strokes filter on this image.
So, before I apply this, I actually want
| | 01:32 |
to come to my Artistic filters and apply
Underpainting to simplify things.
| | 01:39 |
And when I do that, I do not want any
texture, and if we zoom in on the tree,
| | 01:43 |
we can see the texture that's being
applied there, in this case canvas.
| | 01:49 |
I don't want any texture so I'm going to
take down Texture Coverage to zero.
| | 01:56 |
The filter still has the simplifying
effect that we want, but we don't get the canvas.
| | 02:00 |
On top of that, I'm going to apply a
Diffused Glow, which is in the Distort group.
| | 02:09 |
Not quite sure why it's in Distort, but
it is.
| | 02:13 |
Rather than replace under painting, I
want to add this to under painting.
| | 02:16 |
So, I need to click here to Add a New
Effect Layer, and then Diffuse Glow.
| | 02:20 |
As for the amount of Diffuse Glow that's
applied, it really is just a case of
| | 02:22 |
trying out with the sliders to arrive at
a result you like.
| | 02:26 |
I'm going to use a graininess of five, a
glow amount of six.
| | 02:34 |
And a clear amount of 14.
Now on top of the under painting and the
| | 02:39 |
diffused glow, now's the time to add the
angled strokes.
| | 02:43 |
So once again I'll create a new effect.
And then come to my Brush Strokes >
| | 02:50 |
Angled Strokes.
And what is really nice about this filter
| | 02:55 |
is the way that with each band of color
the angle of the stroke changes, which is
| | 02:59 |
a very pleasing result.
After experimenting with the sliders,
| | 03:06 |
especially the stroke length, I pretty
much arrived back at the default values
| | 03:10 |
of 50, 10, and 3 respectively.
Because these three Filters were applied
| | 03:17 |
in one go, they are listed as Filter
Gallery rather than broken down into
| | 03:20 |
three separate listings.
And if we did need to change them then we
| | 03:25 |
would just Double Click on Filter Gallery
where we'll find them with the exact
| | 03:28 |
amounts that we had applied.
| | 03:31 |
| | Collapse this transcript |
| The Crosshatch filter| 00:00 |
Creating a portrait using the Crosshatch
filter.
| | 00:03 |
This is where we are starting with this
image and this is where we're going to
| | 00:07 |
end up.
So I'm now going to come to the starting
| | 00:10 |
state, and let's see that image only.
I'm going to create a layer of solid color.
| | 00:17 |
Before I do that, I'm going to sample
some of the skin tone.
| | 00:21 |
And that will become the color of my
Solid Color layer.
| | 00:26 |
I'll then convert that to a smart object.
And then come to the Filter menu, Texture
| | 00:34 |
> Texturizer.
I'll apply a Canvas Texture, scaling of
| | 00:39 |
100%, and a relief of four light coming
from the top.
| | 00:44 |
Now I just want to break up the
uniformity of that canvas.
| | 00:48 |
So I'm then going to come to the Distort
Group and to Ripple, and apply an amount
| | 00:54 |
of minus 500, with a size of small.
So that's the effect that we get.
| | 01:02 |
We need to texture there initially
because we can't ripple an area of flat color.
| | 01:07 |
So the Ripple filter needs something to
work with.
| | 01:11 |
That can now be moved beneath the Image
layer, and then I will convert the Image
| | 01:16 |
layer to a smart object.
Come to my Filter menu, and to my Brush
| | 01:22 |
strokes > Flyout menu, and Crosshatch.
Let's fit that into the window.
| | 01:29 |
Now it's mainly the stroke length that
we're concerned with.
| | 01:33 |
And I am going to go straight down the
middle with a stroke length of 25.
| | 01:40 |
Now that may not look very promising as a
starting point, but here's how we can
| | 01:44 |
control how that filter is being applied
to the image.
| | 01:50 |
I'm temporarily going to turn off that
smart filter.
| | 01:52 |
Come to my Select menu, and go to Color
Range, where I will sample just the
| | 01:57 |
shadow areas.
I now want to turn that selection into a
| | 02:03 |
layer mask.
So, I will click on the Add Layer mask
| | 02:07 |
icon, I will turn back on my Filter.
We still see that the Crosshatch has some
| | 02:14 |
odd and undesirable effects.
It's introducing this area of white and
| | 02:20 |
gray, which I don't want.
So I'm going to remove that effect by
| | 02:25 |
double-clicking on the blending mode
badge of the Crosshatch filter and change
| | 02:30 |
the blending mode of the filter to
Overlap.
| | 02:36 |
That's an improvement.
I will zoom out.
| | 02:40 |
I just need to make a slight amendment to
the layer mask.
| | 02:43 |
We can see that in the top left hand
corner, that color range shadows
| | 02:47 |
adjustment has not got us exactly what we
want.
| | 02:51 |
If I Option or Alt click on the Layer
mask we can see that it looks like this.
| | 02:55 |
We may need these gray areas on the left
to become black.
| | 02:59 |
So I'll tap my B key to go to my Brush
tool and going to change the blending
| | 03:03 |
mode of my brush to Overlay.
Make that a nice big brush and a soft
| | 03:09 |
brush and then just paint over those gray
areas to turn them black.
| | 03:16 |
Now what I want to do is click onto the
Layer mask.
| | 03:19 |
I'm going to apply that filter again.
Same settings, but this time applied to
| | 03:23 |
the mask.
Filter menu > Crosshatch Filter.
| | 03:28 |
And there we see our Crosshatching
effect.
| | 03:33 |
One last thing, and that is, I'm going to
make it monochrome by choosing a black
| | 03:36 |
and white Adjustment layer.
I only want this to apply to layer zero,
| | 03:41 |
so I'm going to hold down the Option or
Alt key when I chose my Adjustment layer.
| | 03:47 |
And then check Use Previous layer to
create clipping mask.
| | 03:51 |
And there is my Crosshatch portrait.
Now, I just want to point out that you
| | 03:55 |
can also use that same technique with
these other very similar filters dark
| | 03:59 |
strokes and sprayed strokes.
If I come back to my original image, I'll
| | 04:05 |
turn off the Crosshatch group, and then
that's the effect using dark strokes.
| | 04:11 |
And that is the effect using sprayed
strokes.
| | 04:15 |
So the key here, was, use the layer mask
to limit what the filter is effecting and
| | 04:19 |
then apply the filter to the Layer mask
itself.
| | 04:23 |
| | Collapse this transcript |
| The Ink Outlines filter| 00:00 |
In this example, I'm going to use the Ink
Outlines filter in the Brush Strokes
| | 00:05 |
filter group.
In combination with find edges and few
| | 00:09 |
other techniques to create this effect
that we have here on the right hand side,
| | 00:13 |
derived from the image on the left.
Let's begin by looking at the finish
| | 00:18 |
state of document.
We can see that most of the action is
| | 00:23 |
happening here in this layer group where
I have my smart object to which I have
| | 00:29 |
applied two filters.
Beneath everything is a color fill layer
| | 00:35 |
to which I have applied a note paper
filter just to give it some texture.
| | 00:40 |
And sitting on top of the whole thing, a
layer of the original image set to the
| | 00:45 |
soft light blending mode to restore some
of the original color.
| | 00:50 |
So let's go to the beginning state where
I will start out by converting this layer
| | 00:56 |
to a smart object.
And I'll also create a solid color layer
| | 01:02 |
that will act as my background paper
layer below the whole thing.
| | 01:08 |
And I'm going to use a slightly off-white
color for that.
| | 01:13 |
That can come down beneath there and I
will then convert that to a smart object.
| | 01:19 |
Let's turn off the Image layer.
I'm going to switch to my Eyedropper tool
| | 01:24 |
by tapping I, hold down Option or Alt key
and sample that color.
| | 01:29 |
Because the Notepaper filter organized in
the sketch group, but also found in the
| | 01:35 |
filter gallery uses your background
color.
| | 01:41 |
I'm just going to go with these default
values.
| | 01:44 |
So, there we have some texture to work
with.
| | 01:47 |
Now, on the layer itself, I'm going to
start out by applying a find edges command.
| | 01:54 |
And to avoid shifts in the color of those
edges, I'm going to set the blending mode
| | 01:59 |
of that to luminosity.
Then to leave character in this example,
| | 02:04 |
the Ink Outlines filter.
Organize with the Brush Strokes.
| | 02:15 |
And the reason I applied the find edges
first, is that without doing that, and
| | 02:18 |
I'll turn it off just like can see how
this would look had we not first applied
| | 02:22 |
the find edges, is that Ink Outlines
would have been far too solid.
| | 02:28 |
We would've ended up with just too much
black ink effectively.
| | 02:32 |
I'm going to adjust the stroke length,
I'm also going to reduce the light
| | 02:37 |
Intensity and the dark intensity.
We see several problems with this.
| | 02:44 |
One is that around the edges where the
buildings meet the sky, those outlines
| | 02:49 |
look rather odd.
And the second and more problematic thing
| | 02:54 |
is that we have ink outlines in the sky
itself, so we want to exclude the sky.
| | 03:00 |
Realizing this, we are now going to make
ourselves a selection.
| | 03:05 |
Now, I'm going to turn off those smart
filters, so that we have the image itself
| | 03:09 |
to make the selection from.
And I'm going to do this using Color Range.
| | 03:15 |
What we want is a selection of the
shadows.
| | 03:21 |
Then I can turn back on that smart
filter layer.
| | 03:24 |
Now, before I fill that selection with
black, I need to inverse that selection
| | 03:30 |
Cmd + Shift + I.
Black is currently my background color so
| | 03:35 |
I'm going to use this keyboard shortcut,
command and my Backspace Delete key.
| | 03:40 |
And we can see that we now have a filter
mask that looks like that.
| | 03:44 |
Let me just deselect the marching ants
hold down my Option or Alt key and click
| | 03:49 |
on that, and there is our Filter Mask.
Which I now need to modify a bit because
| | 03:55 |
I need to include in it this bright area
of sky up top.
| | 04:00 |
So, I'll tap B to go to my Brush tool, X
to make back my foreground color, set to
| | 04:05 |
the normal blending mode, I can just
paint over that.
| | 04:12 |
So, we now see how we are limiting the
effect of our filters to just the
| | 04:17 |
buildings, and the river, and the boats,
excluding the sky.
| | 04:23 |
Next, to combine this layer with the
texture layer that we have beneath and we
| | 04:27 |
choose it's blending mode to multiply.
But there's something about this that is
| | 04:33 |
not quit right so I'm going to revisit
the ink outline filter, specifically,
| | 04:36 |
it's blending mode.
I'm going to double-click on the blending
| | 04:40 |
mode badge and I'm going to change the
blending mode of this filter to multiply
| | 04:45 |
which improves thing significantly.
And the next thing I want to do is dampen
| | 04:51 |
down somewhat the strength of the
outlines in the river.
| | 04:57 |
And to do that, I'm going to paint on the
filter mask, which currently looks like that.
| | 05:04 |
So where that is white in the foreground,
we're seeing the effect of the filters at 100%.
| | 05:12 |
I want to make those white areas of the
foreground a light grey color so that we
| | 05:16 |
only partially see the effect of the
filter.
| | 05:20 |
I'll click onto the Filter Mask.
I could paint this in or I could make a
| | 05:24 |
selection and fill it.
I'm actually going to paint it.
| | 05:28 |
So, I'm going to tap my B key, and let's
make sure that I have a soft-edge brush.
| | 05:34 |
I'll increase the size of my brush,
reduce the opacity of my brush to 40% and
| | 05:39 |
then I can just paint over those areas,
like so.
| | 05:44 |
Now, I'd like to duplicate this filter
mask and use it as a layer mask for the
| | 05:50 |
layer itself, so that we are masking the
sky completely and revealing the texture
| | 05:56 |
layer beneath.
To duplicate that, I'm going to Cmd +
| | 06:02 |
Click onto the filter mask to load a
selection.
| | 06:07 |
Make sure I'm clicked onto the layer
itself and then click on Add Layer Mask.
| | 06:13 |
Finally, just to complete the overall
effect I'm going to duplicate that layer,
| | 06:19 |
throw the filters away, throw away the
layer mask, and change its blending mode
| | 06:24 |
to soft light.
So that we just reintroduce some of the
| | 06:30 |
original color.
So there's the before, and there's the
| | 06:34 |
after, with the addition of that extra
layer that sits at the top.
| | 06:40 |
So there, we see the effect of the Ink
Outlines combined with the find edges.
| | 06:45 |
And I say that I would show you how that
would look without the combination of the two.
| | 06:49 |
If this were just Ink Outlines, it would
look like that, not very good at all.
| | 06:55 |
But working with the find edges, that's
the result we get.
| | 06:59 |
And just for the sake of it, let's have a
look how it would look if we only had
| | 07:02 |
find edges.
A very different effect, and not the one
| | 07:06 |
that we're after in this case.
So, it's the combination of those two
| | 07:10 |
filters working together that gets us
this result.
| | 07:14 |
| | Collapse this transcript |
| Sumi-e| 00:01 |
The Sumi-e filter attempts to simulate
black ink painting.
| | 00:05 |
And if we're going to take it literally,
it should be black ink painting on a
| | 00:09 |
white background.
But of course, we can use the filter any
| | 00:13 |
way we choose.
But my first version of this image is
| | 00:17 |
going to involve using black brush
strokes on a white background.
| | 00:22 |
Here's the finished version, and as you
can see from the list of smart filters,
| | 00:26 |
it's not just a question of using the one
filter, but rather this filter in
| | 00:30 |
combination with others.
Let's look at the beginning image.
| | 00:37 |
And I will start out by converting it to
a Smart Object.
| | 00:42 |
First thing I'm going to do is the lens
correction.
| | 00:45 |
So, from the Filter menu, I'll come to
the Lens Correction, a very powerful
| | 00:50 |
filter that all we're going to use it for
is just to fix the vertical distortion.
| | 00:57 |
I'm going to come to the Custom tab.
And for the vertical perspective, I'm
| | 01:02 |
going to move the slider to the left.
And as I do so, you can see that's just
| | 01:06 |
straightening up the sides of the
building.
| | 01:10 |
And I want to go to a value of minus 19,
which is what I used before, and it worked.
| | 01:15 |
So, I'll click OK.
And there's the before, there's the after.
| | 01:21 |
Slight problem there is that we are
losing the top of the image.
| | 01:26 |
So, I need to extend my canvas somewhat,
because we don't want to lose the top of
| | 01:30 |
the building.
So, I'm going to come to the Image menu >
| | 01:35 |
Canvas Size.
And I'm going to add just a bit to the
| | 01:40 |
top, so I think 4.5 inches.
That gives me plenty of room.
| | 01:46 |
The next thing I want to do is make a
selection of the building.
| | 01:52 |
And I'm going to start out by just using
the Magic Wand tool and selecting the sky.
| | 01:58 |
And then go into choose Select > Similar.
I'm going to grow that again, to make
| | 02:05 |
sure that we get all of those areas of
sky which I'm currently not picking up.
| | 02:11 |
I will zoom out.
I'll then inverse that selection.
| | 02:16 |
Come to Refine Edge.
I'm going to put the radius up to one
| | 02:22 |
pixel, smooth it by one.
Increase the contrast to 10%, and shift
| | 02:28 |
the edge slightly to the left.
Click OK.
| | 02:35 |
That then will become my Layer mask.
So, that the filters we apply do not have
| | 02:40 |
to take account of the sky, and we're
going to add the sky in as a solid color fill.
| | 02:45 |
I'll create that solid color, we're
going to use a white background, although
| | 02:50 |
we could change this should we need to.
Back now to Layer zero, and I'm going to
| | 02:57 |
start out by applying the Fragment
filter.
| | 03:00 |
This is in the Pixelate group, and I'm
talking about this group of filters as a
| | 03:04 |
whole, but for now I'm just going to
choose Fragment.
| | 03:08 |
It makes it look like the image is
misregistered, but if you change the
| | 03:12 |
Blending mode of the Fragment filter.
To Divide, we get an outline of the
| | 03:19 |
image, next, I want to accent even more
those edges.
| | 03:26 |
So, I'm going to return to the Filter
menu and to Stylize and chose Find Edges.
| | 03:34 |
Now in both cases you can see that while
we're finding the edges, we are also
| | 03:38 |
introducing some unwanted color
artifacts.
| | 03:42 |
These are probably going to get fixed in
one go when we apply a Black and White
| | 03:46 |
Adjustment layer.
But as we go along, if I make the
| | 03:50 |
Luminosity Blend mode applied to the Find
Edges.
| | 03:53 |
You can see that goes a long way towards
addressing the problem.
| | 03:58 |
And then, finally, the punch line, the
reason we're here, the Sumi-e filter.
| | 04:04 |
This is in Brush Strokes.
We're seeing here the effect applied to
| | 04:09 |
the whole image, not taking into account
the Layer mask.
| | 04:13 |
And that's why we're working with the
Layer mask, because we don't want this
| | 04:16 |
stuff going on in the sky.
We can ignore that, because that's
| | 04:20 |
going to be masked out.
The results of using this filter always
| | 04:25 |
tend to be very contrasty.
I think that's the nature of how this
| | 04:29 |
technique looks.
So, I'm going to embrace that contrast.
| | 04:33 |
But at the same time I don't want to go
too far with it.
| | 04:37 |
So, I'm going to use stroke pressure of
three and a contrast of 20.
| | 04:43 |
Click OK, and I've just noticed we've got
a white line at the top of the mask.
| | 04:50 |
I'm going to click on there, create
myself a marquee.
| | 04:54 |
And then fill that area with black.
And there is our finished result.
| | 05:00 |
Like I said, if we did want to put it on
a color background, we can just change
| | 05:04 |
the color of the color fill, and we now
have that interesting result.
| | 05:09 |
| | Collapse this transcript |
|
|
6. Working with the Distort FiltersCreating a circular image with the Polar Coordinates filter| 00:00 |
I'm going to show you how to use the
polar coordinates filter to create an
| | 00:03 |
effect like this.
A circular image.
| | 00:06 |
Now the interior image is just an add on.
What we're really concerned with here is
| | 00:10 |
this circular image of, in this case, the
San Francisco skyline.
| | 00:17 |
This is our starting point.
And you can see in the foreground,
| | 00:20 |
there's some rather sloppy retouching
going on, which in this particular
| | 00:24 |
instance I know that, that is going to
get masked out, so I'm not too worried
| | 00:27 |
about it.
But what's essential here is that we make
| | 00:33 |
this into a 360.
Now, this isn't of course a 360.
| | 00:38 |
So what I'm going to do is, I'm going to
duplicate it, flip the copy, and then we
| | 00:43 |
will have a continuous loop.
Of course, if you do have the time and
| | 00:49 |
the facility to take a real 360 degree
image, then that will also yield some
| | 00:53 |
very interesting and likely better
results than this.
| | 01:00 |
First thing I want to do, is I want to
make sure my layer is unlocked, which it is.
| | 01:04 |
And then I'm going to come to my Image
menu and Canvas Size.
| | 01:08 |
I want to increase the width of my canvas
to 200%.
| | 01:14 |
Holding down my Option key, I'll drag
over a copy of the image.
| | 01:20 |
I'm also holding down the Shift key to
constrain movement.
| | 01:24 |
I'll come to the Edit menu, Transform,
Flip Horizontal, then I'm going to take
| | 01:29 |
those two layers and convert them into a
smart object.
| | 01:36 |
The next thing I'm going to do is
going to look a little bit odd and seems
| | 01:39 |
to go against all the rules that we've
spent so long acquiring in Photoshop.
| | 01:45 |
And that is I'm going to massively and
disproportionally change the scale of
| | 01:49 |
this image.
So I have Constrain Proportions unchecked
| | 01:54 |
here and that's essential.
I cannot think of many times when you do
| | 01:58 |
want Constrain Proportions unchecked but
this is one of those times.
| | 02:03 |
This is supposing that I want to make a
circular image that is 2,500 pixels, both
| | 02:09 |
in width and height.
And that's going to result in that very
| | 02:15 |
squashed-looking skyline.
I'm going to now rotate this through 180
| | 02:21 |
degrees, and that's necessary if, as I
do, we want the sky to be on the outside
| | 02:25 |
of the circle.
Cmd+t to free transform, hold down the
| | 02:31 |
Shift key, and then spin that round
through 180 degrees.
| | 02:36 |
And we're now ready for the main event,
which is to apply the Polar Coordinates Filter.
| | 02:42 |
We're going from rectangular to polar.
And there's our result.
| | 02:47 |
Now, when we do this, weird stuff is
going to happen in the corners but this
| | 02:51 |
is a circular image so we're going to
mask out the coordinates.
| | 02:55 |
And I'm going to mask out the corners
with a pen path.
| | 02:59 |
I'll come and choose my Ellipse tool.
I want to make sure that the behavior of
| | 03:03 |
this tool is set to draw path.
And then I'm going to move into the
| | 03:08 |
center of my image, hold down the Option
key or the Alt key, and draw myself a
| | 03:13 |
path like so.
And I now want to use that path as a
| | 03:18 |
Vector mask.
So I can come to the Layer menu, choose
| | 03:21 |
Vector Mask, Current Path, or I can hold
down the Cmd key and click on the Add
| | 03:25 |
Mask icon.
I'd now like to add a layer of solid
| | 03:31 |
color at the bottom, and this solid color
is going to be black.
| | 03:36 |
I need to make sure before I do that,
that I do not have that path active.
| | 03:43 |
So I just click away from that path, and
then come and apply my solid color
| | 03:48 |
layout, which I will drag to the bottom.
You will likely find, and I do find, that
| | 03:55 |
I have a noticeable seam, so I'm going to
need to fix that.
| | 04:01 |
I'll add a layer above that.
And then I'll come and choose my Spot
| | 04:05 |
Healing tool.
Adjust my brush size as necessary.
| | 04:09 |
(INAUDIBLE) to make sure that I have
sample all layers checked, if I'm
| | 04:12 |
going to be sampling from one layer, and
cloning to the next.
| | 04:17 |
And I do want to make sure that, that
black is turned off, so that that's not
| | 04:20 |
factored into the equation.
And if when I do that, I get a nasty
| | 04:25 |
edge, as I now have, I am going to,
borrow the vector mask I applied to this layer.
| | 04:32 |
And copy it to my, Spot Healing layer, so
that it is also masked.
| | 04:36 |
Now I see a seam running down through the
middle.
| | 04:39 |
I'm not worried about that because that
is going to be masked out in the next step.
| | 04:45 |
I'm now going to come to this image.
Same bridge, completely different perspective.
| | 04:50 |
Which I am going to use as the
background.
| | 04:54 |
Cmd+a to select all, Cmd+c to copy.
Back into this document.
| | 05:00 |
And select my Color Fill layer, and then
Paste above that layer like so.
| | 05:07 |
And once again, I'm going to borrow the
vector mask that I applied to the
| | 05:11 |
original (UNKNOWN) coordinates layer.
going to hold down Option or the Alt key.
| | 05:18 |
As I drag from that onto that image
layer.
| | 05:22 |
Now we want to see through this layer,
onto that other view of the Bay Bridge
| | 05:26 |
looking down California Street.
This is one of those rare occasions when
| | 05:32 |
we want to have a Vector mask and a Layer
mask applied to the same layer.
| | 05:38 |
So I'm going to tap my M key to go to my
Elliptical Marquee tool.
| | 05:44 |
And I'm going to draw myself a circle,
outwards from the center, so I'm holding
| | 05:48 |
down Option and Shift.
And I might just need to slightly
| | 05:53 |
reposition that, if I didn't get it
exactly centered.
| | 05:57 |
And I can also go to my Transform
Selection to make any final tuning
| | 06:01 |
adjustments to that, that are necessary.
Tap my M key, to go to my Elliptical
| | 06:08 |
Marquee tool.
And I'll now add that as a layer mask.
| | 06:14 |
But I got it the wrong way around.
Entirely not the result I'm after.
| | 06:17 |
So I can either invert that mask, or I
can undo and then hold down the Option or
| | 06:22 |
Alt key when I click on the Add Mask
icon.
| | 06:27 |
Now, to bring this image into the center
of the circle, I'm going to break the
| | 06:32 |
chain between that image and it's Vector
mask.
| | 06:36 |
Make sure I'm clicked on to the image
layer itself, and then I'm just holding
| | 06:40 |
down my Shift key, and tapping my down
arrow to dial that into position.
| | 06:46 |
And I might want to move over a little
bit to the right as well.
| | 06:51 |
And I felt that this point that the color
was a bit too distracting, so I added a
| | 06:55 |
black and white adjustment layer and
attempt to give it a sepia tone.
| | 07:01 |
The very last thing that I did was an
inner glow to the layer that the polar
| | 07:05 |
coordinates filter is applied to.
And I want to chane the color of that and
| | 07:12 |
I'm going to pick up the color from the
sepia tone.
| | 07:14 |
And I'm going to change the blending mode
to mulitply and increase the size of htat somewhat.
| | 07:23 |
And then click OK.
In doing that I realize that that inner
| | 07:27 |
glow is not playing well with the
retouching I did on this layer.
| | 07:32 |
So I'm just going to zoom in on that.
And once again choose my Spot Healing tool.
| | 07:40 |
And rather roughly fix that problem.
A number of things going on there, but
| | 07:45 |
the main event here is the Polar
Coordinates filter.
| | 07:49 |
And as you saw, it was necessary to
duplicate the image.
| | 07:53 |
Change the image size to make it a square
image with constraint proportions unchecked.
| | 07:59 |
And don't forget to turn it upside down
If you want the sky, in this case, on the
| | 08:04 |
outside of the circle.
| | 08:06 |
| | Collapse this transcript |
| Applying distort filters to shape layers| 00:00 |
Here we're going to see how we can apply
some distort filters to a custom shape
| | 00:03 |
that has been converted to a smart
object.
| | 00:07 |
Now these techniques are by no means
limited to working with custom shapes.
| | 00:11 |
But I think custom shapes do present a
good opportunity for me to look at some
| | 00:15 |
of the distort filters that we might
otherwise overlook.
| | 00:21 |
So I'm going to start out with just a
blank canvas and that blank canvas is
| | 00:26 |
going to be 500 pixels by 500 pixels.
And then I'm going to go to my Custom
| | 00:33 |
Shape tool, come to my Custom Shape
dropdown and the one I'm going to use is
| | 00:38 |
this one.
Now, if you don't see all of these, you
| | 00:43 |
will need to, from this list, choose All
and then Append.
| | 00:48 |
So I'm now going to add that custom shape
to my canvas.
| | 00:51 |
I want to draw outwards from its
centerpoint.
| | 00:53 |
So I'm going to hold down the Option or
Alt key as I do so.
| | 00:59 |
And if you do need to change the color,
choose a color from your swatches, Option
| | 01:04 |
or Alt and your Backspace, Delete key.
Cmd + A to select all, then I'm going to
| | 01:09 |
center it vertically and center it
horizontally.
| | 01:15 |
I'm now going to convert this Custom
Shape to a Smart Object.
| | 01:18 |
And now that it is a small object, we can
apply small filters to it and then always
| | 01:23 |
return to the original vector shape and
change it should we need to.
| | 01:30 |
So, I'm going to come to a Filter menu
and distort and I'm going to go to Twirl.
| | 01:38 |
And let's twirl it by 175 degrees.
Now with Twirl applied using the Normal
| | 01:45 |
Blend mode, this is the result that we‘ll
get.
| | 01:49 |
We are just distorting the shape of the
original custom shape.
| | 01:54 |
But if we go to the Blending options, and
then change to say, multiply.
| | 01:59 |
We get these nice overlapping areas of
transparency because we see the original
| | 02:03 |
shape and then superimposed on it, the
distorted result.
| | 02:09 |
Now that I've done that I want to
increase the size of my canvas by 200% so
| | 02:13 |
that I can add in transparent pixels to
the new canvas.
| | 02:17 |
I'm going to delete the background layer.
And then come to Canvas Size, I'm
| | 02:22 |
going to position this one in the bottom
left hand corner.
| | 02:28 |
Increase my canvas size.
I'll zoom out, and you can see that with
| | 02:35 |
an increased size of canvas.
The shape of this alters because it's
| | 02:39 |
twirled sufficiently that it can go
beyond the bounds of the 500 pixels
| | 02:43 |
square that we defined it within.
With my rulers turned on, and my rulers
| | 02:48 |
set to percent, I'm going to draw some
guides.
| | 02:53 |
To mark the center point.
And then I am going to spin it around
| | 02:58 |
like so.
Holding down the Shift key as I do so.
| | 03:03 |
Minus 135 degrees, so that it appears to
radiate out from the center point.
| | 03:11 |
I'm going to duplicate that.
And move that up to my top left quadrant.
| | 03:17 |
I will spin this one around as well, also
holding down the Shift key.
| | 03:23 |
Notice that when I do this, you don't see
the effect of the filter applied while
| | 03:27 |
you're making the transformation.
But as soon as you accept that transformation.
| | 03:32 |
It comes back.
Duplicate it again.
| | 03:36 |
Move that one over.
Spin it around and then one more time.
| | 03:41 |
Duplicate that.
I will spin this one around as well.
| | 03:47 |
So we now have this effect, and to see
this better it would help if we had a
| | 03:53 |
solid color background.
I'm just going to collapse my smart
| | 03:59 |
filters to give myself a little bit more
room on my Layers panel.
| | 04:04 |
And then I'm going to to choose a solid
color.
| | 04:09 |
And I want the green to be a little bit
darker than that.
| | 04:12 |
That needs to go all the way to the
bottom.
| | 04:15 |
Now, I'd like to just do something to
this background color fill layer.
| | 04:19 |
I would like to apply a gradient overlay
to it and some grain to it.
| | 04:24 |
Before I do anything, I will convert it
to a small object, then I'll come to my
| | 04:30 |
gradient overlay.
Where I'm going to set the blend mode to
| | 04:35 |
linear burn.
I'll use a percentage of 50%.
| | 04:41 |
I'm going to reverse it so that it goes
outwards from the center point and make
| | 04:45 |
it radial.
Then I'm going to come to my Artistic
| | 04:52 |
filters > Film grain.
And I'll just go with these settings.
| | 04:57 |
3, 20, and 10 respectively for the grain,
highlight area, and intensity.
| | 05:04 |
Now I'm going to select all four of these
custom shapes that have been converted to
| | 05:09 |
smart objects.
And make them into one parent, smart
| | 05:13 |
object because then, what I'm going to do
is apply some distortion filters to that.
| | 05:20 |
So I'll come to the Filter menu, how
about we use Pinch since I don't think
| | 05:24 |
we're going to have much of an
opportunity to use it any other time.
| | 05:31 |
So all we have is the ability to make it
convex or concave.
| | 05:35 |
But I want it to look like this and I'm
not sure it's any better, nut it's different.
| | 05:42 |
But here's where we can really effect a
big change.
| | 05:44 |
And that's by changing the blend mode of
this filter.
| | 05:47 |
So I'm going to double-click on my
blending mode badge.
| | 05:50 |
And once again I am going to use
multiply.
| | 05:53 |
And we would get that sort of it and if
we drill down throughout various layers
| | 05:58 |
of small object.
So if I double-click on my small object
| | 06:03 |
patch way back to this point where we got
four of them and then we double-click on
| | 06:08 |
any one of these.
Here is our starting point and let's say
| | 06:13 |
that we don't want to use this shape, we
want to use another shape.
| | 06:17 |
We have another layer here.
We're now going to use it.
| | 06:21 |
And on this extra layer, I've turned off
the original shape.
| | 06:25 |
I am going to create another shape.
And this shape is going to be this one.
| | 06:32 |
Start drawing, hold down the Option or
Alt key as I do so.
| | 06:36 |
And maybe we would like it to be a
different color as well.
| | 06:41 |
So now when I save this, we move up one
level in the hierarchy where we see that
| | 06:46 |
save has impacted this document.
We see the asterisk up here indicationg
| | 06:52 |
that this needs to be saved.
I'll press Cmd + S.
| | 06:58 |
And then we come back to our compisition
where it's updated again.
| | 07:03 |
By affecting one thing, that original
custom shape that had been converted into
| | 07:09 |
a smart object.
Completely changed the appearance of our
| | 07:13 |
pattern design background, whatever it is
we tend this to be.
| | 07:19 |
| | Collapse this transcript |
| Creating marbled paper with the Wave filter| 00:00 |
Here I'm using the Wave filter in
combination with the Liquefy filter to
| | 00:04 |
achieve this random but interesting
pattern.
| | 00:08 |
And my inspiration here are these marbled
endpapers, the kind that you might find
| | 00:12 |
in an antiquarian book.
Now admittedly my color scheme is a bit
| | 00:18 |
more garish then you might find in an
antiquarium book but you can choose
| | 00:22 |
whatever colors you want.
So we have here three layers and each
| | 00:28 |
layer is a smart object, each layer has
applied to it the Wave filter and the
| | 00:32 |
Liquify filter.
Each subsequent layer has a different
| | 00:38 |
blending mode, and a different amount of
the wave filter applied to it.
| | 00:44 |
These layers are all based upon this
smart object, which is created from just
| | 00:49 |
a series of simple shape layers.
So that's what I'm going to create to
| | 00:56 |
begin with.
And I'm going to create this at a width
| | 01:00 |
of 1536 by 1024 pixels.
I'll start out with a solid color fill,
| | 01:06 |
and I want to use a yellow color.
Because there's going to be so much
| | 01:11 |
overlapping and blending of colors.
You give yourself a few more options.
| | 01:17 |
Leave yourself head room.
So start out with a relatively pale color.
| | 01:21 |
I am going to choose now, a rectangle
Shape tool, making sure that I am working
| | 01:25 |
in the Shape mode.
And draw myself a rectangle.
| | 01:32 |
And if that's in the wrong color, which
it is, I'm going to choose a tangerine
| | 01:37 |
kind of color.
Option or Alt, and the Backspace Delete
| | 01:41 |
key to fill the shape with that color.
I'm now going to duplicate that.
| | 01:47 |
A bunch of times.
Hold down the Option or Alt key.
| | 01:51 |
And I'm intentionally leaving a varient
amount of space between these duplicates.
| | 01:58 |
And I also notice that I'm not quiet
touching the bottom there.
| | 02:02 |
So I'm going to select all of those and
pull them down just beyond the edge of
| | 02:06 |
the canvas.
And now carry on.
| | 02:13 |
Now, one by one, I'm going to vary the
width of these.
| | 02:17 |
So that's Cmd or Ctrl.
Click on the shape to select it, or to
| | 02:21 |
select it's layer.
And then Cmd or Ctrl+t to bring up your
| | 02:25 |
free transform options.
And we want some that are thin, and some
| | 02:30 |
that are thick.
I think that will do for now.
| | 02:35 |
So, I want to select all of these
rectangles, and press Cmd or Ctrl+g to
| | 02:39 |
put them in a group.
So, I'm now going to duplicate that
| | 02:45 |
group, Cmd or Ctrl+j, I'll zoom out.
I've got enough room to manipulate the
| | 02:51 |
transformation I'm about to perform.
Cmd or Ctrl+t will select that group, I
| | 02:56 |
want to spin it through 90 degrees and
hold down the Shift key.
| | 03:01 |
So, we'll have it looking like that, and
then I also want to shape it so that it's
| | 03:06 |
the size of the canvas.
And then I'm going to change the blending
| | 03:12 |
mode of that group to multiply.
I'll throw away the background layer not
| | 03:19 |
that that's of great consequence but
there's no reason for it to be there.
| | 03:23 |
And with the two layer groups and the
color fill layer, I'm going to convert
| | 03:27 |
all of these to a smart object.
So, we're now ready to apply the Wave filter.
| | 03:33 |
Distort, and Wave.
Before I do anything, I'm going to put it
| | 03:39 |
back to it's default values, by holding
down Cmd or Ctrl and clicking on Default.
| | 03:46 |
And as I mentioned, this is rather
random.
| | 03:50 |
And a little wave definitely goes a long
way.
| | 03:53 |
I'm going to make the number of
generators just one.
| | 03:55 |
And wavelength, which tends to work more
on the horizontal shape, I want the two
| | 04:01 |
sliders to be relatively close to each
other.
| | 04:07 |
Amplitude, which tends to work more on
the vertical shape.
| | 04:13 |
I want the Amplitude sliders to be
relatively close to each other as well.
| | 04:19 |
Horizontal and vertical scale will both
be at 100% and type is sign.
| | 04:25 |
And we'll want to wrap around.
There's our starting point.
| | 04:31 |
So what I'm going to do next is mix that
up a little bit further using Liquify.
| | 04:37 |
I should put a disclaimer in here and say
that, if you're not working with a fast
| | 04:41 |
computer, you may find this rather
frustraitng.
| | 04:44 |
So you might want to skip the liquify
part of it because it can be very
| | 04:47 |
processor intensive.
I want to use the Twirl tool here.
| | 04:53 |
And I need to be working with a brush
size big enough to effect a large area of
| | 04:58 |
my canvas.
And then I'm just going to start pushing
| | 05:03 |
this around to further randomize what we
already have.
| | 05:07 |
And if, in doing that, you find you're
pulling away from the edges, then the
| | 05:12 |
next step is to reconstruct those edges
with the Reconstruct tool.
| | 05:18 |
Much smaller brush size in this case, and
just paint over those edges, making sure
| | 05:23 |
that we are not introducing any
transparent pixels on the edge of our image.
| | 05:31 |
An important point here is that if you do
want to get into twirling your pixels.
| | 05:36 |
You'll have a far more successful result,
or far more options using the Twirl tool
| | 05:41 |
as part of the Liquify tool sets than
using the Twirl filter.
| | 05:47 |
I'll click OK.
And I'm now going to duplicate that whole layer.
| | 05:52 |
I'll change the blending mode to Soft
light.
| | 05:56 |
I'll re-visit the Wave filter.
I'm going to leave wave length and
| | 06:02 |
amplitude as they are but just change the
number generators.
| | 06:07 |
Click OK.
You can see that by going from 1 to 13
| | 06:10 |
generators, that's quite a massive
difference.
| | 06:13 |
In fact, it may be too much of a
difference, think I might want to go down
| | 06:16 |
to 5.
And then I can repeat that whole process,
| | 06:21 |
maybe using a different blending mode in
this case, what about Color Dodge.
| | 06:27 |
And take the opacity down.
Revisit the Wave filter.
| | 06:33 |
And if we used 5 last time, that's the
number of generators, this time maybe
| | 06:37 |
we'll use 10.
So that's my result this time around.
| | 06:42 |
And we saw what it was earlier.
And you can see, there's quite a massive
| | 06:46 |
difference between the two.
Every time you do this, the result is
| | 06:50 |
going to be quite random.
And because these have been applied to
| | 06:55 |
smart objects should we decide that we
want to change any of the colors my final
| | 07:00 |
point here, I'll return to the smart
object.
| | 07:05 |
And maybe upon reflection that is a
little bit too intense so on the top
| | 07:10 |
group what I'm going to do, is just
reduce the opacity.
| | 07:15 |
And I may even reduce the opacity of this
group as well.
| | 07:19 |
So that we're now working with far more
muted colors.
| | 07:22 |
And when I save this, that's going to
update after a brief pause.
| | 07:29 |
And we can see that it's a dramatically
different result.
| | 07:33 |
So much so that we might want to turn off
the color dodge layer or change that
| | 07:37 |
layer maybe to color burn.
An infinite number of possibilities there
| | 07:43 |
using the Wave filter.
| | 07:45 |
| | Collapse this transcript |
| Creating Art Nouveau type with the ZigZag filter| 00:00 |
The ZigZag filter doesn't see much action
these days.
| | 00:03 |
It's on of those older filters with fewer
options, but you can get some quite
| | 00:07 |
interesting results with it.
And somewhat randomly I came up with this
| | 00:13 |
effect, and I like the kind of art
nouveau feel that it has with the
| | 00:16 |
swirling shapes around the letters.
So, let's see how we can recreate this.
| | 00:23 |
If we move over to the starting file.
I wanted to use a very subdued color
| | 00:29 |
pallet for this.
I'm going to start out by loading the
| | 00:33 |
Pastels & Neons Coated color palette, and
I'm actually going to replace what's
| | 00:38 |
already there.
So, I'll just click OK.
| | 00:42 |
So I have two layers of type, zig and
zag, both in Helvetica bold uppercase.
| | 00:50 |
So starting with the zig, I'm going to
apply a very light blue to that.
| | 00:55 |
Option or Alt and the Backspace/Delete
key to fill that type layer with that color.
| | 01:00 |
And then I'm going to use a very light
tangerine to apply to the other type layer.
| | 01:07 |
I'll just come back, and so that we get
some interaction between the two, I'm
| | 01:11 |
going to change the opacity of the top
layer to 70%.
| | 01:16 |
Next I'm going to select those two type
layers, and make them into a smart object.
| | 01:23 |
We now need a color fill to go behind
them.
| | 01:26 |
I'm going to choose my Eyedropper tool.
I'm going to sample this blue, because I
| | 01:32 |
want to use that color for my background.
You might want to go just a little bit darker.
| | 01:38 |
And then put that underneath the type.
I'm going to convert the Color Fill layer
| | 01:45 |
to a smart object.
I'm going to start out by adding some
| | 01:49 |
Grain > Artistic Film.
I'll set that back to the default values,
| | 01:54 |
Cmd+ click on the default button.
On top of that I would also like to add
| | 02:00 |
some fibers.
Fibers is one of those render filters
| | 02:04 |
that uses your foreground and background
colors.
| | 02:07 |
So I'm going to restore those to their
default black and white by pressing the D key.
| | 02:13 |
And then coming to Filter > Render >
Fibers.
| | 02:18 |
And what we get is going to be somewhat
random.
| | 02:21 |
I'm going to use these values, 16 and
four respectively, for the variants in strength.
| | 02:27 |
And then I am going to subdue that
massively by changing the Blend mode to
| | 02:32 |
Soft Light.
And the opacity way down to about 15%.
| | 02:41 |
So there's our background.
We can now return to our top layer.
| | 02:45 |
And I'll give it a drop shadow.
I'd like the drop shadow to use the color
| | 02:51 |
of the type itself.
So I'm going to sample that orange color
| | 02:56 |
and just make that a little bit darker.
I'm also going to give it an inner shadow.
| | 03:04 |
And for the inner shadow, I would like to
sample that background color and maybe
| | 03:08 |
make that a little bit darker too.
Click OK.
| | 03:14 |
And now, I'm going to apply the ZigZag
filter, using these values, 48 for the
| | 03:19 |
amount and three for the ridges.
But then to really make it work, I'm
| | 03:25 |
going to double-click the Blending
Options icon and change the Blending mode
| | 03:30 |
of the filter to Linear Dodge.
So that's going to restore the original shape.
| | 03:36 |
And then we get this swirling art
nouveau-esque shape around the original shape.
| | 03:43 |
And there we have an unexpectedly good
use of the ZigZag filter.
| | 03:49 |
| | Collapse this transcript |
|
|
7. Effective Use of the Pixelate FiltersUsing the Color Halftone filter| 00:00 |
The first of our Pixelate filters, the
Color Halftone filter, simulates the
| | 00:04 |
effect of a color halftone.
So, there's a simulation of the breakdown
| | 00:10 |
of the pixels into dots of cyan, magenta,
yellow and black.
| | 00:14 |
That is, and this is the important point
I want to make about this filter.
| | 00:18 |
Assuming that you convert the image to
CMYK.
| | 00:22 |
And that's an important point, because if
you apply this filter to an RGB image,
| | 00:27 |
you get a half-tone pattern made up of
dots that are red, green and blue.
| | 00:32 |
And that doesn't exist.
I'm going to move over now to my starting image.
| | 00:38 |
And before I apply the color halftone
filter, I'm just going to brighten it a
| | 00:41 |
little bit.
Because applying this filter is going to
| | 00:43 |
make it look a bit darker.
I'll convert it to a smart object.
| | 00:48 |
And let's just see how this will look if
I apply the filter to the image while
| | 00:52 |
it's still an RGB image.
So here's the Dialog Box.
| | 00:59 |
Maximum Radius, that's the size of the
dot and these are the angles of the cyan,
| | 01:03 |
magenta, yellow, and black.
You can change these angles.
| | 01:07 |
Sometimes people use this filter to just
have a black half tone dot.
| | 01:12 |
As an alternative to the half tone filter
that's part of the sketch group.
| | 01:18 |
And if you were to do so, you'd have all
four channels being the same angle.
| | 01:23 |
So when I Apply that and we Zoom-In, I'm
going to double-click on my Zoom tool to
| | 01:28 |
go to 100%.
You can see that the dot pattern that we
| | 01:32 |
have there is not an accurate reflection
of how a CMYK half-tone will look.
| | 01:38 |
And I'm going to now switch to a Two Up
Vertical arrangement, and I will also put
| | 01:44 |
this document to 100% and we can compare
the two.
| | 01:51 |
In the image that has been converted to
CMYK, we have the rosette pattern and
| | 01:55 |
that's what we're after.
We do not get that when we apply the
| | 01:59 |
filter to an RBG image.
We need to come back to our RGB image.
| | 02:05 |
Let's Undo what we just did, and convert
to CMYK.
| | 02:10 |
And the best way to do that is actually
using Convert To Profile rather than
| | 02:16 |
Image and mode.
Convert To Profile gives you the chance
| | 02:20 |
of changing your destination profile.
I'm assuming here that my Color settings
| | 02:25 |
have been set up correctly for whatever
printing or screen circumstance I'm
| | 02:29 |
preparing these files.
But I can see visual feedback on how it's
| | 02:34 |
going to look according to what rendering
intent I use.
| | 02:39 |
Generally it's a tossup between
Conceptual and Relative Color metric.
| | 02:43 |
And I choose Color metric.
There is a slight shift, I'm not sure one
| | 02:48 |
is better than the other.
They're just slightly different.
| | 02:53 |
Whichever one looks best, that's the one
to use.
| | 02:56 |
I'm going to go with perceptual I think.
So we now have a CMYK image.
| | 03:03 |
Tells us that right there.
Let's go back to our fit in Window view.
| | 03:09 |
The next thing I'd like to do before
applying the filter is just open up the
| | 03:13 |
shadows a bit.
And I'm going to do that through Shadows
| | 03:17 |
Highlights Adjustment.
And since I've converted this to a small
| | 03:22 |
object, I can do that non-destructively,
and it's going to act as if it were a filter.
| | 03:28 |
I'll just use these values of opening up
the shadows by 35%.
| | 03:33 |
Then to the Filter menu, color half
tone, the last one we used.
| | 03:37 |
I'm going to use the same values again,
so I'm going to just choose it, right there.
| | 03:43 |
And if we now look at that at 100% view
size.
| | 03:46 |
And we see that rosette pattern, which is
a farm more accurate simulation of how
| | 03:51 |
things would look when printed with a
very course low number line screen half
| | 03:55 |
tone pattern.
| | 03:58 |
| | Collapse this transcript |
| Using Color Halftone for a black-and-white halftone effect| 00:00 |
Here, I am going to use the Color Half
Tone filter in combination with the Lens
| | 00:05 |
Correction Filter.
And the seldom used plastic wrap filter
| | 00:10 |
in order to create this sinister eye that
we see on the right hand side.
| | 00:16 |
Let's just take a look at the finished
version.
| | 00:21 |
What we have here are two layers of the
eye graphic, and if we look at the base
| | 00:27 |
layer, this has three filters applied to
it.
| | 00:33 |
The first, Lens Correction, is applying a
Vignetting, or darkening of the corners.
| | 00:40 |
The second, is giving this very strange
plastic quality to the eye.
| | 00:46 |
And then on top of that, we have the
color half tone which is not really a
| | 00:50 |
color half tone, it's just a black and
white half tone.
| | 00:55 |
I could have used the Half Tone filter
from the sketch group but I tend to find
| | 00:59 |
that color half tone generally delivers a
better result.
| | 01:04 |
On top of that we have a copy of the eye.
Which has just one of those 3 filters
| | 01:09 |
applied to it and is set to the Multiply
Blend mode.
| | 01:14 |
And then on top of that we have an
adjustment layer.
| | 01:17 |
So, now if I switch to the beginning
file, I'll convert the Background layer
| | 01:21 |
to a Smart object.
And the first thing I'm going to do is
| | 01:25 |
darken the corners and I'm going to do
that with Lens Correction.
| | 01:29 |
You've seen me use other techniques for
creating a Vignette and there are several
| | 01:34 |
techniques that allow you to do this.
But since this is a course about filters,
| | 01:39 |
here's a technique that involves using a
filter, to create a Vignette.
| | 01:43 |
And I want to click on the Custom tab,
and we're concerned with these two sliders.
| | 01:45 |
Crank this all the way over to the left
hand side, and also the mid point is
| | 01:49 |
going to come most of the way over to the
left hand side.
| | 01:53 |
And then on top of that we want the
Plastic Wrap filter which is part of the
| | 02:00 |
Artistic group.
And that's going to give that rather
| | 02:06 |
scary quality to the eye.
And I'm going to use these settings, ten
| | 02:10 |
for the highlight strength, 11 for the
detail, and seven for the smoothness.
| | 02:15 |
Now, it's time for the Color Halftone
from the Pixelate group.
| | 02:22 |
And the key here is that we don't want
the cyan, magenta yellow dots.
| | 02:27 |
In fact, we are in an RGB image, so we
wouldn't get them, but we don't want red,
| | 02:31 |
green, blue dots.
So I mentioned, in the previous movie
| | 02:34 |
that you get better result from the Color
Half Tone filter.
| | 02:38 |
If you convert your image to a CMYK
image, that's true if you want a true
| | 02:42 |
color half tone CMYK effect.
In this case, I just want black dots.
| | 02:49 |
So, I'm going to set the angle for all
four channels to be the same, 45.
| | 02:54 |
And I'm going to use a Radius of eight
pixels.
| | 02:57 |
The minimum is four, and you'll want to
vary this according to the resolution of
| | 03:02 |
your image.
But I'm going to go with 8 and that's the
| | 03:08 |
effect that I will get.
Now, if we look closely at these dots, we
| | 03:12 |
can see that they have a color halo
around them.
| | 03:17 |
Which we do not want, so I am going to
reduce it by double-clicking on the
| | 03:22 |
blending mode of the color halftone
filter, and changing that to Luminosity.
| | 03:30 |
So, at this point, I'm going to duplicate
that layer along with its three smart filters.
| | 03:36 |
And I'm going to throw away the Lens
Correction, and throw away the Color
| | 03:40 |
Halftone from the top version, and then
change its blending mode to multiply.
| | 03:48 |
Finally, all we need to do is just to add
a tint to the whole thing.
| | 03:53 |
So, I'm going to use a black and white
Adjustment layer.
| | 03:55 |
There are numerous ways I could do this,
but this is as good a way as any.
| | 03:59 |
I'll click on the Tint Box, click on the
Tint Swatch, and I'm going to move over
| | 04:03 |
to the blues.
And then, I'm going to reduce the Opacity
| | 04:10 |
of that adjustment layer down to about
50%.
| | 04:15 |
And there's our finished result.
| | 04:16 |
| | Collapse this transcript |
| Creating a line drawing with the Fragment filter| 00:00 |
Here I'm going to use the Fragment filter
to achieve this line drawing effect that
| | 00:03 |
we see on the right-hand side.
Let's take a look at the finished version.
| | 00:10 |
All we need to do is apply fragment, and
the key here is that we apply the
| | 00:13 |
Fragment filter with the Divide Blend
mode.
| | 00:17 |
So, to the beginning file.
This version is a little bit murky looking.
| | 00:23 |
So before I get to apply fragment, I want
to brighten things up a bit.
| | 00:28 |
I'm going to convert my layer to a Smart
Object, and then apply a Shadows
| | 00:32 |
Highlight adjustment.
Now, Shadows Highlight is not strictly a filter.
| | 00:37 |
But when you apply it to a Smart Object,
that's how it behaves.
| | 00:41 |
I'm going to open up the shadows by 50%.
And you can see there we have Shadows
| | 00:46 |
Highlight now listed as a Smart filter,
and I can revisit that.
| | 00:52 |
I can just as I can with any filter, I
can change the blending mode of that, etc.
| | 00:58 |
I'm now going to duplicated that layer,
Cmd+J, and I will delete the Shadows
| | 01:02 |
Highlight from the top most copy, and
then go and apply the Fragment filter.
| | 01:07 |
Which is in the pixelate group.
That doesn't look very promising.
| | 01:13 |
But as soon as I double-click on the
Filter Blending mode button and change
| | 01:16 |
that to divide, we get this interesting
effect.
| | 01:22 |
Now we need to refine this a little bit.
What I would like to do is have some of
| | 01:26 |
the color version show through.
So, I'm going to add a layer mask to the
| | 01:31 |
topmost layer, and then choose my brush.
And I'm working with one of these natural
| | 01:37 |
media brushes.
I'll use that one.
| | 01:40 |
And then, I'm going to come to my Brushes
panel, where I just want to change the
| | 01:44 |
angle of the brush.
Simply because I think it works better at
| | 01:49 |
this angle for this image.
And then, increase the size of that brush.
| | 01:54 |
And then painting in black, I can reveal
some of the color of the original layer beneath.
| | 02:02 |
Now, we have some taxis down in the
bottom right-hand corner.
| | 02:05 |
And it is a law that whenever you have a
yellow taxi in an image, you have to
| | 02:09 |
reveal them as being yellow taxis.
So, I'm going to do that.
| | 02:16 |
We now see that in the line drawing, I've
still got some residual color, which I'd
| | 02:20 |
like to remove.
So, I will do that by adding a Black and
| | 02:24 |
White Adjustment layer.
But of course, that's also now making
| | 02:29 |
everything black and white.
I'll come and fix that in just a moment.
| | 02:33 |
I'm going to use the maximum black preset
to make those lines stronger.
| | 02:38 |
And then, I'm going to limit the effect
of this adjustment layer by holding down
| | 02:42 |
the Option or Alt key.
And clicking on the line that separates
| | 02:46 |
it from the layer below, making it into a
Clipping Mask.
| | 02:50 |
And there is our effect.
So essentially, it's all about using the
| | 02:56 |
Fragment filter in the Divide Blend mode.
| | 02:59 |
| | Collapse this transcript |
| Creating an authentic mezzotint| 00:00 |
Mezzotint is an intaglio printing process
invented in the mid 17th century.
| | 00:06 |
Like half tones, it breaks a continuous
tone image down to a pattern of tiny dots.
| | 00:13 |
Mezzotints are inherently monochromatic.
That said, if you want to apply the
| | 00:20 |
Mezzotint filter to a color image,
there's nothing stopping you.
| | 00:25 |
But if you do that, it's important to
know that you will get better results
| | 00:29 |
with a CMYK image than with an RGB image.
Now, whether or not you can discern the
| | 00:35 |
subtle difference on the video, I'm not
sure.
| | 00:37 |
But if I zoom in on the RGB image, to
which the Mezzotint filter has been
| | 00:44 |
applied, fine dots, we see these
undesirable, very bright red dots.
| | 00:53 |
That's not something that will happen
with the CMYK version.
| | 00:56 |
It's not great, but it's better.
But we really want something that looks
| | 01:01 |
like a Mezzotint, and that's what I have
here.
| | 01:06 |
This is a bitmap image, i.e., all of its
pixels are either 100% black or 100% white.
| | 01:14 |
But we get an amazing range of tonality
from this image.
| | 01:18 |
And this is going to involve using not
the Mezzotint filter at all.
| | 01:22 |
We're going to completely bypass that and
instead, we are going to use the
| | 01:26 |
Pointillize filter.
And the second major point here is that
| | 01:30 |
when we use the Pointillize filter we
have to use it on a very high resolution file.
| | 01:36 |
Because the pattern of dots, the size of
the dots are too big to be used on a low
| | 01:40 |
resolution file.
So even though you intend or may intend,
| | 01:45 |
at the end of the process, to make a
smaller copy of the file, we need to
| | 01:49 |
start out with high resolution image.
So with that in mind, I'm actually going
| | 01:55 |
to open up the Camera Raw file for the
image that we are looking at.
| | 02:00 |
And it begins its life like this.
And I need to make some changes to it in
| | 02:04 |
Camera Raw.
First of which is, I'm going to go to
| | 02:07 |
full screen.
So I'm just going to make some
| | 02:11 |
adjustments to the contrast and the
clarity.
| | 02:16 |
I'm going to convert it to greyscale.
And I'm going to apply some sharpening.
| | 02:24 |
I'm also going to go to lens corrections,
and enable lens profile corrections.
| | 02:29 |
And it's not going to make a whole lot of
difference, but a slight improvement.
| | 02:34 |
That's most of what I want to do here.
But very importantly, I'm now going to
| | 02:38 |
come down here to my work flow options.
And I'm going to bring this in at the
| | 02:43 |
largest resolution possible.
So, this is the base resolution of the camera.
| | 02:48 |
And this is the highest up sampled
version possible.
| | 02:52 |
And I'm going to use that.
I'm also going to open it as a Smart Object.
| | 03:01 |
So now I'll open that up in Photoshop.
Of course, it already has the Smart
| | 03:06 |
Object badge applied to its layer.
I'm now going to apply the Pointillize filter.
| | 03:13 |
Pixelate > Pointillize.
And I want to apply the smallest size
| | 03:17 |
possible, which is three.
Now that may be all you want to do, but I
| | 03:23 |
actually want to go a little bit further
here.
| | 03:26 |
Because we do have gray values here and I
want to convert all of the pixels to
| | 03:29 |
black or white.
So that will involve using a threshold adjustment.
| | 03:35 |
Now when I do that, I get this very
unforgiving result.
| | 03:40 |
I can move the threshold slider to
introduce more whites, and of course as I
| | 03:45 |
do that I am going to lose detail in
certain parts of the image.
| | 03:50 |
So I'm actually going to leave it where
it is, at 128.
| | 03:55 |
And we see that we're losing all detail
in the sea and sky.
| | 04:00 |
To restore some of that detail, I'm
going to go back to Camera Raw.
| | 04:04 |
And I can do this because I've opened it
as a Smart Object.
| | 04:08 |
So when I double-click on the Smart
Object badge, here I am back in Camera
| | 04:12 |
Raw with all the settings applied.
I'm now going to use a graduated filter,
| | 04:18 |
which I will put over the top portion of
the image.
| | 04:24 |
And I'm going to decrease the exposure on
that by about one stop.
| | 04:29 |
I'm also going to go to my local
adjustment brush and darken the exposure
| | 04:35 |
in that area down there, and down there.
So now click OK.
| | 04:44 |
So it's an improvement but there's still
a long way to go.
| | 04:47 |
And I'm going to get the rest of the way
by applying a dodge and burn layer
| | 04:51 |
between the threshold adjustment and the
image layer.
| | 04:55 |
I'll hold down my Alt or Option key and
click on the Create New Layer button.
| | 05:02 |
I'll name it.
Change the blend mode to overlay.
| | 05:05 |
Fill with overlay neutral color.
So I now have a layer of gray.
| | 05:08 |
And I'm going to switch to my Brush tool
by tapping the B key.
| | 05:13 |
Now it's a question of moving back and
forth between white and black as your
| | 05:17 |
foreground color.
And painting with an opacity of somewhere
| | 05:22 |
between about ten to 20%.
I'm going to tap two to go to 20%.
| | 05:27 |
So, I'll start out by lightening the
tones on the front of the boat and I
| | 05:32 |
think I need to up my opacity a bit.
So, I've got to 40%.
| | 05:39 |
And I'll just keep painting over that
until I get some of that detail back.
| | 05:44 |
I'm going to now go to 60%.
And that's proving very resistant.
| | 05:50 |
So I'm not going to do too much more with
this technique to try and get the detail
| | 05:54 |
out of this foreground area.
We can address that in a different way.
| | 05:58 |
I'll reduce my opacity.
I'm down at 40% now.
| | 06:03 |
And you can see, I'm just able to bring
back areas of detail.
| | 06:09 |
So there's a fair amount of back and
forth, varying your opacity, and
| | 06:13 |
switching between black and white as your
foreground color.
| | 06:21 |
Now even with all of that, we're still
not getting detail here, and inside the boat.
| | 06:25 |
So I'm now going to return once again to
Camera Raw, and I'm going to use a tone
| | 06:31 |
curve and my targeted adjustment.
Come down to this area here.
| | 06:39 |
And I'm going to increase those shadows
just by dragging up.
| | 06:44 |
And you can see that's changing the shape
of the curve.
| | 06:48 |
I'll maybe do a little bit inside the
boat as well.
| | 06:51 |
Click OK.
So now when the Smart Object is updated,
| | 06:56 |
we're teasing out some more detail.
I'll return to the dodge burn layer.
| | 07:01 |
To tease out some more.
So after a lot of back and forth, I'm at
| | 07:07 |
this point.
And I still don't have as much detail as
| | 07:10 |
I would like in the shadow areas on the
boat.
| | 07:13 |
So, I'm going to try a slightly different
approach here.
| | 07:17 |
I'm going to click on the image layer and
come to my adjustments, and apply shadows highlights.
| | 07:24 |
And I just want to open up the shadows
just enough to bring out some of that detail.
| | 07:29 |
I'm going to go with 10% there.
And that's going to cause me to revisit
| | 07:36 |
my dodge burn layup.
I'm going to make a few changes to that.
| | 07:42 |
Now at this point, what we're going to do
is we're going to make our Bitmap copy.
| | 07:47 |
I want to retain this original, in case
we do need to make any changes to it,
| | 07:50 |
because the copy that we're going to make
is going to be a single flattened layer.
| | 07:56 |
And it's going to be in the Bitmap Color
mode.
| | 07:59 |
So it doesn't have too many options for
editing it thereafter.
| | 08:04 |
So firstly, I'm going to save this one.
I'll call that Mezzotint One.
| | 08:11 |
So I'll click OK.
Now I'm going to make a duplicate and I'm
| | 08:15 |
going to duplicate merged layers only.
And look how different that looks.
| | 08:22 |
As soon as we actually flattened
everything into a single layer, we've got
| | 08:27 |
this very tonally rich mezzotint.
It's not absolutely necessary to do this
| | 08:32 |
last step, but it will make the file size
a lot smaller.
| | 08:36 |
And just goes to prove that this is all
about black pixels and white pixels.
| | 08:40 |
I'm going to go to mode and Bitmap >
Flatten layers, OK.
| | 08:46 |
And I want the output to be 600 pixels
per inch.
| | 08:50 |
And I'm going to use a 50% threshold,
i.e., everything lighter than 50% grey
| | 08:55 |
will become white, and everything darker
will become black.
| | 09:02 |
You see its appearance doesn't change.
If we look at it at 100% view, that's
| | 09:07 |
what it looks like.
But those dots are small enough that when
| | 09:11 |
viewed or printed at an appropriate size,
we maintain this wide range of tonality.
| | 09:18 |
So that's a Mezzotint effect, using, not
the Mezzotint filter, but the Pointillize
| | 09:23 |
filter, on a high resolution image, that
began its life as a Camera Raw file.
| | 09:30 |
| | Collapse this transcript |
| Creating a misregistration effect| 00:00 |
So, this is a course about Photoshop
filters, and here I'm about to show you a
| | 00:04 |
technique that involves the use of no
filters.
| | 00:08 |
Why?
You may ask.
| | 00:09 |
Well, the reason is that the Pixelate
filters, that we're talking about, all
| | 00:14 |
involve creating some sort of
printer-like effect.
| | 00:19 |
Now, here's a printer-like effect, the
effect of misregistration on the press.
| | 00:24 |
The eye was actually in a real world
situation trying to create with a filter,
| | 00:29 |
and I couldn't find one that did it.
But there is a very easy way to create
| | 00:34 |
this effect, and that's what I'm going to
show you.
| | 00:37 |
So, I'm going to begin with this image.
And since this effect is created on the
| | 00:43 |
printing press, we need this to be a CMYK
image.
| | 00:48 |
So step one is to Convert to Profile,
experiment with the rendering intents.
| | 00:53 |
I'm going to end up in this case, using
Absolute Colorimetric.
| | 00:57 |
That gives us four separate channels.
It's now just a question of going to
| | 01:02 |
those channels, and ideally we want to be
clicked on to one of those channels, but
| | 01:07 |
have the other channels visible.
So I've clicked on to cyan, and then I've
| | 01:12 |
clicked on the visibility icon of CMYK,
so that we can see the effect of the
| | 01:16 |
change that we're going to now make
within the context of the whole image.
| | 01:22 |
I'm in my Move tool.
I'm going to hold down the Shift key, and
| | 01:25 |
press my Right arrow.
So that's going to move it to the right.
| | 01:29 |
And now I'm going to move to the magenta
channel.
| | 01:32 |
Shift key, and my Left arrow, to move it
to the left.
| | 01:35 |
If I want to move in smaller increments,
leave out the Shift key.
| | 01:39 |
Maybe I'll move the magenta back ever so
slightly, and then just repeat that process.
| | 01:45 |
How far you move each of the channels is
entirely up to you.
| | 01:49 |
So there we have a really bad case of
misregistration.
| | 01:54 |
To finish this off, you might want to
crop it, because it looks a little bit
| | 01:57 |
odd on the edges.
But that effect would be true to a real
| | 02:01 |
case of bad misregistration, so in this
case I'm just going to leave it as is.
| | 02:06 |
So no filters involved in this process,
but that's only because there is no
| | 02:10 |
filter that will achieve this kind of a
look.
| | 02:14 |
| | Collapse this transcript |
| Experimenting with pointillist techniques| 00:00 |
The Pointillize filter in the Pixelate
group is designed to simulate the effect
| | 00:05 |
of the pointillism painting style which
was popular in France in the late 19th century.
| | 00:12 |
You can adopt two different approaches to
pointillism in Photoshop.
| | 00:16 |
One is very simple and straightforward.
And the other is far more time consuming,
| | 00:21 |
but ultimately yields a better result.
Because of the similarities between
| | 00:26 |
pointillism, where the tonality of an
image is built up through multiple dots
| | 00:30 |
of pure color overlapping dots.
The similarities of that to the CMYK
| | 00:36 |
printing process, in both cases you will
get a better result using a CMYK as
| | 00:41 |
opposed to an RGB image.
So this is the result using the
| | 00:48 |
Pointillism filter and not much else.
And this is the result of separate layers
| | 00:55 |
of color with a Pointillize filter
applied independently to those separate
| | 00:59 |
layers of color.
And you have here the option of changing
| | 01:04 |
the actual colors that you're working
with.
| | 01:08 |
In both cases, this is our starting
point.
| | 01:11 |
And the first thing I want to do here is
convert this image to CMYK.
| | 01:17 |
Then I'm going to Convert to Profile.
Of our four rending intents, Absolute
| | 01:23 |
Colorimetric for this particular image
yields the most saturated result.
| | 01:30 |
And for that that reason, because we want
a saturated image, I'm going to use that
| | 01:34 |
rendering intent.
Next, I'm going to convert this to a
| | 01:39 |
smart object.
Before I apply Pointillize I'm going to
| | 01:43 |
come to Adjustments > Shadows Highlights
just to open up the shadows.
| | 01:50 |
And then, apply the Pointillize filter.
I'm working with a medium resolution
| | 01:55 |
image, and I'm going to apply the minimum
cell size of three.
| | 01:59 |
There's my result.
Just to finish that off I'm going to add
| | 02:04 |
a hue saturation adjustment layer above
the whole thing, boosting the saturation
| | 02:08 |
to plus 50.
If we want to take it further, here's how
| | 02:13 |
we can take it further.
I will turn off the Pointillize filter,
| | 02:18 |
and there's some repetition involved
here, because I need to repeat this
| | 02:22 |
process four times.
I'm going to come to the Channels panel
| | 02:27 |
and one by one, I'm going to load the
selections of each of the channels.
| | 02:32 |
Then inverse them, create a new layer,
and then fill that new layer with
| | 02:36 |
whatever color I choose.
Presumably it won't be too far away from
| | 02:42 |
cyan, magenta, yellow and black, but I
can vary it.
| | 02:46 |
So Cmd+click on cyan.
Cmd+Shift+I to inverse layers.
| | 02:50 |
And I want this new layer to go at the
very top of my layers stack.
| | 02:59 |
So that I get the same result as I got
last time, I'm going to load some
| | 03:02 |
swatches I saved earlier.
So from the Swatches panel menu I will
| | 03:07 |
choose Replace Swatches.
And in the Zero Seven Pixelate Filters
| | 03:12 |
folder, there is this Color Swatch file.
So I'm going to choose the first of my
| | 03:19 |
colors, that light cyan.
And I'm going to fill that layer with
| | 03:25 |
that color.
I'll now turn that layer off, so that I
| | 03:29 |
see the preview of my image the way it
was before.
| | 03:33 |
Then repeat the process for the magenta
channel.
| | 03:36 |
Cmd+click on it.
Cmd+Shift+I to inverse that selection.
| | 03:42 |
Layers panel, and I want the new layer to
go beneath layer one.
| | 03:47 |
So I'll hold down the Cmd, or Ctrl key
and click on Create New Layer.
| | 03:52 |
I'll choose the color that I'm going to
use and fill that layer.
| | 03:57 |
And turn the layer off back to channels.
Cmd+click on yellow.
| | 04:05 |
Inverse the selection.
Back to my Layers panel.
| | 04:09 |
Create a new layer beneath layer two.
Choose my color.
| | 04:13 |
Fill the selection with that color.
Turn it off, return to my Channels panel,
| | 04:18 |
and the last of our four channels, the
black channel.
| | 04:23 |
Make the selection.
Inverse the selection.
| | 04:27 |
Create a new layer.
Here's where we get to exercise the
| | 04:31 |
flexibility that this technique offers
us.
| | 04:34 |
We don't have to use cyan, magenta,
yellow and black, and I'm going to use this.
| | 04:38 |
Blue, green instead of black, because if
you were a pointillist painter in the
| | 04:42 |
late 19th century, I doubt you would've
been painting with black paint.
| | 04:47 |
Fill that layer.
So, having done that, I can now turn off
| | 04:51 |
my bottom two layers, which, essentially
serve their purpose.
| | 04:56 |
I'll now turn on these layers.
That's what we have so far.
| | 05:01 |
To remove the distraction of the
checkerboard, I am going to create a
| | 05:05 |
layer of solid color that goes beneath
everything.
| | 05:09 |
And I'm just going to make this pure
white.
| | 05:13 |
Now one by one, what I want to do is
convert each of these layers to smart objects.
| | 05:20 |
And then, I'll come to the top one, and I
will apply the Pointillize filter.
| | 05:27 |
Again, we get to exercise more control
here, because we have the option of
| | 05:31 |
varying the cell size for each of our
colors.
| | 05:35 |
Since I'm working with a medium
resolution image, and we can't go any
| | 05:39 |
lower than three as the cell size.
I'm only going to vary it very slightly,
| | 05:45 |
because anything more than a cell size of
five for an image of this size is
| | 05:48 |
going to look to big and clumpy.
Having applied that filter there, I'm
| | 05:55 |
going to change the blending options of
it by double-clicking on the Blending
| | 05:59 |
mode icon and changing that to Soft
Light.
| | 06:04 |
So I'll click OK.
I'm then going to duplicate that filter
| | 06:07 |
three times by holding down Option or
Alt, and dragging onto each of the
| | 06:11 |
remaining three layers.
And they all now have that filter applied
| | 06:17 |
to them with the same cell size.
I think I'll just vary the cell size for
| | 06:22 |
the magenta, and what was formerly the
black.
| | 06:26 |
Now, the blue green.
Then I will select all of those layers,
| | 06:31 |
and I will change the blending mode of
them to Multiply.
| | 06:37 |
If we look at it at 100% view, that's
what it looks like.
| | 06:41 |
And I'm going to just dial down the
opacity on that to about 90%.
| | 06:48 |
So there is our custom Pointillize
effect.
| | 06:52 |
Compare this with the result that we got
from just applying the filter without
| | 06:56 |
doing much else to it.
I think the result is better, but most
| | 07:01 |
importantly, it's very different, and the
approach that is used opens up a whole
| | 07:05 |
range of possibilities.
Possibilities that we don't have time to
| | 07:10 |
explore in the context of this movie.
But as you can see I could exercise a
| | 07:15 |
great deal of control with this image by
changing the colors, by adding additional
| | 07:19 |
colors, by removing colors.
And by changing the amount of the filter
| | 07:25 |
that is applied and the blending mode of
the filter that is applied to each of
| | 07:29 |
those colors independently.
| | 07:32 |
| | Collapse this transcript |
|
|
8. Using the Render FiltersCreating a woodgrain effect with Fibers| 00:00 |
Here, I'm going to show how to create
this simple wood texture from scratch
| | 00:04 |
using the Fibers filter and the Liquefy
filter.
| | 00:08 |
I'm going to start with a new document,
and I'm going to use a web size of 1280x1024.
| | 00:16 |
I want to make sure that my foreground
color and background color are set to a
| | 00:20 |
dark brown and a light brown
respectively.
| | 00:23 |
These are the colors that the Fibers
filter is going to use.
| | 00:27 |
So if you need to change your foreground
color, come over to your Swatches panel.
| | 00:32 |
We'll have that one as the foreground,
and then hold down the Cmd key.
| | 00:36 |
Click on a light brown to choose your
background color so that we can make this
| | 00:41 |
texture continuously editable.
I'm going to convert my Background layer
| | 00:46 |
to a Smart Object.
And then, come to the Filter menu and
| | 00:50 |
choose Render Fibers.
You can see there it's using the
| | 00:54 |
foreground background color.
I can determine the type of grain using
| | 00:58 |
the strength and the Variance sliders.
I'm going to go with a variance of 40 and
| | 01:04 |
a strength of 10.
To make the grain less uniformly
| | 01:08 |
vertical, I'm now going to apply the
Liquify filter.
| | 01:11 |
When you first come to Liquify, it
probably doesn't look like this.
| | 01:17 |
It looks like this because this is how I
was last using it.
| | 01:20 |
I'm going to reset this filter box to its
default settings by holding down the Cmd
| | 01:23 |
key and the clicking on the Default
button.
| | 01:27 |
You'll probably arrive at liquify looking
like this.
| | 01:31 |
I'm now going to check Advanced mode, and
the tool I want is the Twirl tool.
| | 01:37 |
I can change my brush size.
I'm going to go to a bigger brush by
| | 01:40 |
pressing my right bracket, and then just
work on that grain, just twirl it around
| | 01:44 |
a bit.
And you will find that in places, it's
| | 01:48 |
going to come away from the edges.
That's okay.
| | 01:52 |
We're going to fix that in the next step.
To introduce some knots into the wood
| | 02:00 |
might go down to a smaller brush size,
and then work on those areas a bit more intentively.
| | 02:19 |
To fix the problem of the image coming
away from the edges, we can switch to our
| | 02:29 |
Reconstruct tool.
And just paint over those edges to
| | 02:38 |
restore them to how they were.
Click OK, and there we have our wood
| | 02:47 |
grain effect.
And just to reiterate, we have applied
| | 02:52 |
this to a Smart Object.
So, if there's anything about this that
| | 02:56 |
we need to change, we can do so very
easily.
| | 02:59 |
I can revisit Fibers, and we'll get this
message telling me that the Liquify
| | 03:02 |
filter currently stacked on top will not
be visible.
| | 03:06 |
That's fine.
I can change the variance and the
| | 03:10 |
strength, and I can also if necessary
revisit the Liquify filter as well.
| | 03:15 |
| | Collapse this transcript |
| Distressing a photo with Fibers and Difference Clouds| 00:00 |
Here we're going to create a distressed
look to this photo starting out with this
| | 00:05 |
beginning state.
And using the Fibers filter in
| | 00:08 |
conjunction with Difference clouds and
Film Grain.
| | 00:12 |
Let's take a look at the finished version
to begin with.
| | 00:17 |
We have at the bottom of our layer stack
our picture and then on top of that
| | 00:22 |
converted to a smart object.
We have a layer to which is applied first
| | 00:28 |
of all Fibers, Different clouds, Film
Grain.
| | 00:33 |
The blending mode of this layer is set to
Overlay to combine with the layer beneath.
| | 00:39 |
Its opacity is reduced in this case to
79%.
| | 00:42 |
And I've also added a Gradient Overlay to
this layer to create a Vignetting effect.
| | 00:47 |
One of the potential drawbacks of the
Fibers filter is that it will always
| | 00:52 |
create a vertical pattern.
If you also, as why I'm using here, want
| | 00:57 |
a horizontal pattern, then you need to
duplicate that layer and transform that
| | 01:02 |
duplicated layer.
So, here I have both a horizontal and a
| | 01:06 |
vertical pattern of fibers combining.
So, let's switch over to our starting
| | 01:11 |
state and I'm not going to convert the
background layer to a smart object.
| | 01:17 |
Because in this case, I just want to
create an empty layer above this.
| | 01:22 |
I'll restore my foreground background
color to the, default black and white.
| | 01:28 |
And I'm going to fill that empty layer
with white.
| | 01:31 |
Currently I have my transparency grid set
to none.
| | 01:35 |
Which is why this appears to be white,
but it is actually transparent.
| | 01:39 |
So, to fill with the background color I
will press Cmd+ Delete.
| | 01:43 |
So, that I can keep track of the filters
that I have applied.
| | 01:48 |
And the amount of those filters, I'm
going to convert to a smart object.
| | 01:53 |
Come to the Filter menu>Render> fibers.
Fibers is going to use my foreground and
| | 02:01 |
background colors.
So, I can adjust the variance and the
| | 02:05 |
strength to get the kind of fiber pattern
that I'm after.
| | 02:16 |
And apply that.
So, let's start out by changing the Blend
| | 02:20 |
mode to Overlay.
And then, I'm also going to tap 8, to set
| | 02:24 |
the opacity of that layer to 80%.
Now, to take it a little bit further, in
| | 02:29 |
addition to fibers, I'm also going to
come to another in the render group.
| | 02:36 |
Difference Clouds.
Now Difference Clouds, as well as Clouds,
| | 02:39 |
will both use your foreground and
background colors to randomly generate a
| | 02:43 |
cloud patent.
Different clouds tend to be a little more
| | 02:48 |
contrasty, in practice, I can go either
way on these.
| | 02:53 |
Sometimes I'll use one, sometimes the
other, for seemingly no particular reason
| | 02:57 |
other than I just gravitate to one or the
other.
| | 03:00 |
But the, the main difference is that this
one is a more contrasty result.
| | 03:05 |
It's going to use your foreground and
background colors to do this, so.
| | 03:10 |
Having said that, I want it to be more
contrast, I don't want it to be too contrasty.
| | 03:16 |
So, for that reason, I'm going to have a
light gray and a dark gray foreground
| | 03:21 |
background combination.
And then, apply that filter.
| | 03:25 |
Now what that's doing is, if we turn off
the fibers and if we set the Blending
| | 03:30 |
mode back to Normal.
We can see that it's just creating this
| | 03:36 |
smokey, foggy pattern.
Which is just having the effect of
| | 03:40 |
randomizing the lights on the image when
combined with the fibers and when set to
| | 03:45 |
the Overlay Blend mode.
So, there it is, before the application
| | 03:50 |
of that filter and there it is after.
To finish off this effect, I'm going to
| | 03:54 |
apply Film Grain.
Now, when I come to my filter menu, I see
| | 03:57 |
that its changed since I was last here.
And that's because I did a reset on my Photoshop.
| | 04:04 |
So, that's going to cause me just to go
to my Preferences and to my Plug-ins and
| | 04:08 |
check Show All Filter Groups.
Now this is just my personal preference.
| | 04:14 |
I like to see all of my filters broken
out into their different groups.
| | 04:19 |
I could have found Film Grain in the
Filter gallery.
| | 04:23 |
Well, I'm going to go to Artistic > Film
Grain, and increase the highlight area on
| | 04:28 |
that, and increase the amount of grain.
And that's the overall effect that we're
| | 04:34 |
getting with the Film Grain.
I'm just going to pop back to the
| | 04:37 |
original for a moment.
Which, upon reflection, is a bit too
| | 04:44 |
intense, so I'm going to revisit that and
take the highlight area down.
| | 04:49 |
I'm also going to take the intensity
down.
| | 04:53 |
Now I would like to exclude the shadow
areas.
| | 04:56 |
A quick way of doing that is going to be
to turn off that Fibers layer or the
| | 05:00 |
layer to which we've applied the various
different texture effects.
| | 05:06 |
And then from the Select menu, choose
Color Range.
| | 05:09 |
I just want to sample the shadow areas.
Now with that as my selection, I am
| | 05:16 |
going to come to my Smart Filter Mask.
Clicked on to my Smart Filter mask, I'm
| | 05:23 |
now going to fill that area with black.
I will press Cmd+ D to deselect, and
| | 05:29 |
that's giving us something of an odd
result there.
| | 05:33 |
Because right now where that mask is
white, we're seeing the full effect of
| | 05:37 |
those filters and where it's black, we're
seeing no effect of those filters.
| | 05:43 |
So, I'm going to double-click on that
mask and reduce its density.
| | 05:47 |
Down to around 35% effectively.
And if we look at the mask now by itself,
| | 05:53 |
making it grey and white as opposed to
black and white.
| | 05:58 |
Now to also have a horizontal pattern of
fibers, I'm going to duplicate this
| | 06:03 |
layer, Cmd+ J.
And at this point, I am going to have to
| | 06:07 |
restorize the layer because if I attempt
to transform it while it's still a smart object.
| | 06:13 |
The filter will re-orient itself and be
vertical, which is not what we want.
| | 06:19 |
So, I'm going to rasterize the layer,
let's zoom out a bit.
| | 06:25 |
And then press Cmd +T which will put a
transformation rectangle around it.
| | 06:29 |
And then I'm going to hold down my Shift
key.
| | 06:31 |
And spin that through 90 degrees.
Of course I am going to have to transform it.
| | 06:37 |
But that's okay.
It's just a texture.
| | 06:39 |
So, I'm not even bothering to transform
it proportionally.
| | 06:42 |
I'm just pulling it around so that it
fills the space of my canvas.
| | 06:47 |
Now if that's too much I can always
reduce the opacity of that particular layer.
| | 06:54 |
And then finally I'm going to come back
to my Smart Object layer to which I will
| | 07:00 |
apply a layer effect, specifically a
Gradient Overlay.
| | 07:06 |
And this is going to give me my
Vignetting effect.
| | 07:09 |
So, what I want here is for it to be a
Radial Gradient.
| | 07:13 |
I'd like that to be reversed so that it's
dark on the edges.
| | 07:18 |
And I want the Blending mode to be
multiply and then I can move over the
| | 07:22 |
center of that vignette.
And drag that over the center of my
| | 07:27 |
subject, like so.
And this is a darker result than the
| | 07:31 |
original image that I showed you.
But I'm quite liking it like this, so I
| | 07:36 |
think I'm going to end up with a darker
result here.
| | 07:39 |
But I will reduce the opacity down to
about 75%.
| | 07:43 |
And there we have a distressed image
created with a combination of two fiber
| | 07:47 |
layers, one of them rotated.
And also the application of Difference
| | 07:53 |
Clouds and Film Grain.
| | 07:55 |
| | Collapse this transcript |
| Creating synthetic textures with the Clouds filter| 00:00 |
Here I'm going to demonstrate how we can
create a texture from nothing.
| | 00:04 |
The Render filters like Clouds,
Difference Clouds, and Fibers, let us
| | 00:08 |
create synthetic textures either from
transparency, in the case of Clouds and
| | 00:13 |
Difference Clouds, or some opaque pixels,
in the case of Fibers.
| | 00:20 |
So here I've created a texture by
combining Clouds with Bar Relief and Chrome.
| | 00:24 |
And I'm going to recreate something
similar, in the beginning state of this file.
| | 00:30 |
So I have a empty layer above my shape
layer.
| | 00:33 |
There's nothing on it whatsoever.
And from the Filter menu, I'm going to
| | 00:37 |
come to Render and clouds, and that's
going to give me this black on white
| | 00:41 |
clouds texture rendered from my
foreground and background colors.
| | 00:48 |
I'm actually going to undo that, because
in order to keep a track of what's been
| | 00:52 |
applied to this layer, I am first going
convert it to a smart object.
| | 00:58 |
And then I'll run that filter again.
And we can now see that I can revisit
| | 01:02 |
clouds, should I need to.
I can turn it off and on, etcetera.
| | 01:07 |
So in addition to clouds, I am going to
do a couple of other things.
| | 01:11 |
But first of all, I'm going to click this
texture to the shape layer beneath by
| | 01:15 |
holding down the Option key and clicking
on the line that separates those two layers.
| | 01:21 |
Now, to make it look less Photoshop
Filter Cloud-like, I'm going to then
| | 01:26 |
apply from my Sketch group, the Bar
Relief filter, which will make it a
| | 01:31 |
little bit crunchier in texture.
And on top of that, I'm going to return
| | 01:38 |
to Sketch, and apply Chrome.
Chrome applied in the normal Blend mode
| | 01:44 |
can often give you this rather weird
looking affect which I am not a big fan of.
| | 01:50 |
But I am going to start out with that and
then change it's blending mode to Overlay
| | 01:55 |
for a much more pleasing effect.
And there is my texture.
| | 02:00 |
And just to bring that out I have on the
shape layer beneath.
| | 02:05 |
Added a couple of layer effects and in a
Glow and a Drop Shadow.
| | 02:09 |
So my point there is that you can combine
various different textures for an
| | 02:13 |
infinite number of different effects.
But I had to start out with something,
| | 02:19 |
and that something was a layer of
synthetic clouds.
| | 02:24 |
| | Collapse this transcript |
| Adding drama with Lens Flare| 00:00 |
Here I'm going to use the Lens Flare
filter, in combination with glowing
| | 00:03 |
edges, to liven up this rather lackluster
image of Stonehenge that we see on the left.
| | 00:10 |
Let's take a look at the finished
version.
| | 00:12 |
So, I have my image to which I have
applied the Glowing Edges filter.
| | 00:17 |
And I'm applying glowing edges with a
blending motive difference which gives
| | 00:21 |
this interesting effect to the edges
especially interesting I think in the sky.
| | 00:28 |
Now I have to admit I chanced upon this
one randomly and that is sometimes how it
| | 00:32 |
works with filters.
There are some happy accidents.
| | 00:37 |
And there are some unhappy ones as well.
But I'm not sharing those with you.
| | 00:42 |
On top of that, I have a layer of black
converted to a smart object, to which I
| | 00:46 |
have applied the Lens Flare filter.
And which I have made into the Screen
| | 00:53 |
Blend mode.
It gives an interesting effect if we view
| | 00:56 |
it in the Normal Blend mode.
When we change it to screen, the black is neutralized.
| | 01:03 |
And all we see is the flare itself.
Which is one of the main points I want to
| | 01:07 |
make about using lens flare.
Apply it on a black background, change
| | 01:11 |
that background to screen, and all you
see is the flare itself.
| | 01:16 |
Now in addition to that, I am also using
a filter mask so that we only see the
| | 01:20 |
lens flare behind the rocks and not in
front of the rocks.
| | 01:26 |
Which we would, without the application
of that filter mask.
| | 01:29 |
Then to add a bit more drama, I've added
a second lens flare, right here.
| | 01:34 |
And you can see I've changed the position
of that so that it appears to be coming
| | 01:38 |
through the stones.
And on top of the whole thing, and
| | 01:43 |
changing it dramatically, I've added a
Color Lookup Adjustment layer.
| | 01:48 |
Let's see how we can do this from
scratch.
| | 01:52 |
So firstly, I'm going to convert that to
a smart object.
| | 01:55 |
So now I'm going to go to my Filter menu
and down to Stylize and Glowing edges.
| | 02:04 |
I'm going to fit my image within my
Preview window, and, the values I want to
| | 02:09 |
use here are, respectively, three 20 and
11.
| | 02:15 |
That's going to give me very glowing
edges, but everything else is pretty much
| | 02:18 |
going to be black.
I don't want my image to be black.
| | 02:22 |
So, in order to make it not black, but
retain some of that glowing edge quality.
| | 02:27 |
I'm going to come and change the blending
mode of that filter, by double-clicking
| | 02:31 |
on the Blending mode icon.
And then come down to difference.
| | 02:36 |
A blending mode that is correctly used to
align layers so that you can see the
| | 02:41 |
difference, hence the name, between those
layers.
| | 02:45 |
Now we're using it here, or I'm using it
in a very different way to that.
| | 02:50 |
But what it's doing is it's neutralizing
the black.
| | 02:53 |
The effect is still way too strong, so
I'm going to reduce that to 30%.
| | 03:00 |
And it's giving a very interesting
quality to the clouds in the sky.
| | 03:03 |
Now, I am going to create a new layer.
And I'll tap D to set my foreground
| | 03:10 |
background colors to their default black
and white, and fill that new layout with black.
| | 03:17 |
Option or Alt+Delete.
Now I will convert that to a small
| | 03:21 |
object, and change its blending mode to
screen, which effectively neutralizes
| | 03:26 |
that whole layer.
But we now have a layer to which we can
| | 03:30 |
non-destructively apply the Lens Flare
filter.
| | 03:34 |
So in the Render group, I will choose
Lens Flare.
| | 03:39 |
And I can then just move that around
where I want it to go.
| | 03:46 |
If you hold down the Option or Alt key
and click on the preview window, you can
| | 03:49 |
also specify where you want the center of
the flare to be.
| | 03:54 |
Using its X and Y coordinate.
Now, I'm going to do that for the second
| | 03:58 |
version, but not for this one.
This one I'm just going to position by eye.
| | 04:02 |
I'm going to leave it about there, and
the default value is a brightness of
| | 04:05 |
100%, but I'm going to go with a
brightness of 137%.
| | 04:09 |
And that's the result that I get.
Now, if I want to mask the foreground of
| | 04:15 |
that flare, which indeed I do.
Then I'm going to come and load a
| | 04:20 |
pre-saved alpha channel, which looks like
that, and then come to my Layers panel.
| | 04:27 |
And I'm now going to inverse that
selection so it is the foreground that is
| | 04:32 |
selected, Cmd+Shift+I, and fill that with
black.
| | 04:36 |
Black is currently my background color so
I will press Cmd+Delete.
| | 04:42 |
You can see that's now masking out the
foreground of the flare.
| | 04:47 |
I'm now going to duplicate that Smart
Object with the Lens Flare filter applied
| | 04:51 |
to it.
And in this case I do not need the layer
| | 04:55 |
mask on the Smart filter so I will select
it > Option > Delete to remove it.
| | 05:00 |
I'm going to revisit the Lens Flare, but
before I do so.
| | 05:04 |
I'm going to choose my Info panel.
I want the center of this flare, to be
| | 05:11 |
exactly there.
So, I'm going to mouse over that area and
| | 05:16 |
just make a mental note of it's x and y
coordinates.
| | 05:22 |
So, 541, 602.
I'll now go to my lens flare.
| | 05:26 |
Just by double-clicking on that Smart
Filter layer, and then I will Option or
| | 05:31 |
Alt and click on the Preview.
541, 602.
| | 05:39 |
Then click Ok, and that is exactly where
the center of the flare goes to.
| | 05:45 |
To complete the composition, I want to
change its colors.
| | 05:47 |
And I'm going to do this using a color
lookup table.
| | 05:50 |
The Color Lookup Adjustment layer is new
in CS6.
| | 05:55 |
And we have a bunch of predefined color
lookup tables.
| | 05:58 |
The one that I used before was Night From
Day.
| | 06:03 |
Which gives me this interesting effect
that not quite what I'm after, so I then
| | 06:08 |
change the blending mode to linear light.
That's more dramatic, but also not what
| | 06:14 |
I'm after.
Rather randomly, I arrived at this result
| | 06:18 |
by changing the data order from red,
green, blue to blue, green, red and
| | 06:23 |
that's the result I get.
| | 06:26 |
| | Collapse this transcript |
| Using Lighting Effects with a texture map| 00:00 |
In this example, I will be using the
Lighting Effects filter, in conjunction
| | 00:04 |
with a Texture map, a Blending mode and
the Fragment Filter.
| | 00:10 |
Let's just take a look at the finished
state.
| | 00:14 |
And we can see that we have the lighting
effects filter applied to the Smart Object.
| | 00:19 |
And importantly, the Lighting Effects
uses a Texture map.
| | 00:24 |
And the texture map is alpha channeled to
that I have created using the fragment
| | 00:28 |
filter and the Calculations command.
(SOUND).
| | 00:34 |
I'm beginning with this image that's a
closeup of a sunflower.
| | 00:37 |
I will convert the background layer to a
Smart Object.
| | 00:41 |
Then, come to my channels panel and
evaluate my color channels, Cmd+3 red,
| | 00:46 |
Cmd+4 green, and Cmd+5 blue.
I decide that I want to use the Green channel.
| | 00:52 |
Well, there's not much between it and the
Red channel, but the Blue channel is too contrasty.
| | 00:57 |
So I am gonna use the Green channel.
And then, applying the Calculations
| | 01:02 |
command, I'm gonna create a copy of the
Green channel by merging it with itself
| | 01:06 |
using a Blend mode of Overlay.
Then this is a variation on a technique
| | 01:13 |
that I've used in several other places
throughout this course.
| | 01:17 |
I am gonna apply the Fragment filter.
But what's different about my usage of
| | 01:22 |
that filter here is that I'm applying it
to a channel rather than to a layer.
| | 01:28 |
Filter > Pixelate > Fragment, and it
looks like that.
| | 01:34 |
Now, if you'll remember my other uses of
this filter, I then change the Blend Mode
| | 01:38 |
of the filter.
I cannot do that cuz I don't have a blend
| | 01:42 |
mode badge right here because I'm
applying it a channel not to a layer.
| | 01:46 |
But I can, so long as it's the next thing
I do, go up to the Edit menu > Fade
| | 01:51 |
Fragment, where I can change the Blend
Mode to Divide to give me that result.
| | 01:59 |
Now, I'm a little bit worried about the
detail towards the center of the flower
| | 02:03 |
which is not quite strong enough.
I'd like to boost the contrast there.
| | 02:08 |
And to do that, I'm gonna duplicate that
alpha channel once again.
| | 02:11 |
(SOUND) This time, I'm gonna use the
Multiply Blend Mode.
| | 02:16 |
So I'm blending Alpha 1 with itself using
the Multiply Blend Mode.
| | 02:21 |
Let's just compare the results of those
two alpha channels.
| | 02:26 |
So Cmd+7 is Alpha 2 and Cmd+6, Alpha 1.
And we can see that Alpha 2 is definitely
| | 02:32 |
more contrasty.
That will now serve as my Texture map.
| | 02:37 |
So, I'm gonna come back to my RGB
channel.
| | 02:40 |
And back to my Layers and then go to the
Render Lighting Effects filter.
| | 02:46 |
The first time you use it, Lighting
Effects may look like this.
| | 02:49 |
So we need to make some major adjustments
to it.
| | 02:52 |
Firstly, I'm gonna adjust the shape of
the spotlight, making it more of a circle.
| | 03:02 |
And I can also adjust the Hotspot, I can
go up to 50 for the Hotspot and I will
| | 03:06 |
leave the Intensity at at 25.
Maybe I'll go up to 30.
| | 03:11 |
But now I also in addition to the spot
light, want an infinite light that goes
| | 03:15 |
behind this that lights the rest of the
scene.
| | 03:19 |
So I'm gonna up here and click on Add New
Infinite Light.
| | 03:24 |
And when I do that, I get this gear stick
that I can sort of drag around, to
| | 03:28 |
determine the angle of the light.
And I'm going to put that up there.
| | 03:33 |
I am going to dial that down somewhat in
intensity but the main event here is
| | 03:37 |
using the Texture channel.
So where it says Texture currently none,
| | 03:42 |
I'm now going to choose Alpha 2.
And then increase the height of that
| | 03:47 |
texture, and then things start to get
interesting.
| | 03:51 |
And I'm gonna go up to a height of 20.
(SOUND) And click OK.
| | 03:58 |
Now that may be all you need to do, but I
would like to take this a little bit further.
| | 04:03 |
I'm going to add a layer of solid color
beneath this.
| | 04:09 |
(SOUND).
And that solid color is gonna be orange.
| | 04:11 |
And I'm just gonna type in the values of
that orange in CMYK percentages.
| | 04:19 |
50 Magenta, 100 Yellow, and 10 Black.
Drag that underneath and then change the
| | 04:26 |
Blending Mode of Layer Zero, the top
layer to Linear Burn.
| | 04:30 |
So at this point, things look way too
dark and I need to make a couple of changes.
| | 04:34 |
The first is I'm going to change the
Blending Mode of the Lighting Effects Filter.
| | 04:39 |
I'll double click on the Blending Mode
Badge.
| | 04:41 |
And then I'm gonna apply overlay as the
blending mode.
| | 04:46 |
My second problem is that the infinite
light isn't strong enough.
| | 04:50 |
But that's easy to fix because all I need
to do is revisit Lighting Effects.
| | 04:54 |
I'm going to click on Infinite Light and
I'm going to double it's Intensity.
| | 05:00 |
Slightly more than double its Intensity
(SOUND) and there is our result.
| | 05:04 |
Now, there are many, many variants that
you can apply to this.
| | 05:08 |
I happen to like this result, but I also
experimented with a few other things,
| | 05:13 |
such as, at this point, finding the edges
using Stylize > Find Edges.
| | 05:20 |
Now that looks very strange but if I then
drag Find Edges underneath Lighting
| | 05:25 |
Effects and change the blending mode of
Find Edges to Luminosity, then we get a
| | 05:30 |
whole different and equally interesting
kind of effect.
| | 05:38 |
I'll let you be the judge of which is
best.
| | 05:40 |
But I'm gonna go back to this which I
think is my prefered finsihed state.
| | 05:43 |
| | Collapse this transcript |
| Creating a patchwork effect| 00:00 |
There probably won't be too many times
when you want to use the Patchwork Filter.
| | 00:04 |
But when you do, you can very easily
create an effect like this.
| | 00:08 |
So this is a piece of type that sits on
top of a layer to which is applied the
| | 00:12 |
Patchwork Filter in combination with
Ocean Ripple.
| | 00:18 |
And it's pretty straightforward.
Let's just switch over to the beginning
| | 00:22 |
file, right here.
This piece of type was made with a font
| | 00:26 |
downloaded from the Dafont website.
It's called Mesh Stitch, and it's by Fran Board.
| | 00:33 |
So you can download that font if you want
to achieve just this effect.
| | 00:38 |
I've converted the type into a shape
layer so that you don't actually need the
| | 00:42 |
type at this point.
And what I'm gonna do next is go to the
| | 00:47 |
layer that sits beneath this and convert
it to a Smart Object.
| | 00:53 |
And I'm now gonna apply Patchwork.
When I apply Patchwork its going to use
| | 00:57 |
my foreground and background colors.
So I could set them now, but instead I'm
| | 01:02 |
deliberately gonna make sure that they
are at their default values of black and white.
| | 01:08 |
And if we want to change the color of the
resulting patchwork we'll do that with a
| | 01:13 |
color overlay layer effect.
So down to Texture > Hatchwork, and we
| | 01:19 |
get this.
There's not really a whole lot we can do
| | 01:23 |
with this but I would like my square size
to be as big as possible and I would like
| | 01:27 |
to take down the Relief to 3.
Now the problem is that it just looks too uniform.
| | 01:35 |
So in addition to applying patchwork, I'm
going to apply another filter here in the
| | 01:40 |
filter gallery, rather than as a separate
standalone filter, it will be added to
| | 01:44 |
Patchwork right here.
And that one is in the Distort Group and
| | 01:51 |
it's Ocean Ripples.
So I'm gonna click on New Effect Layer
| | 01:56 |
and then click on Ocean Ripple.
And you can see how that's gonna break up
| | 02:01 |
the uniformity of the Patchwork filter.
A bit too much at the moment.
| | 02:06 |
So I'm gonna reduce both the Ripple size
and the Ripple magnitude down to 2.
| | 02:11 |
And we now have this relatively
convincing Patchwork Effect.
| | 02:16 |
To change the color of this, I'm gonna
come to the Color Overlay Layer Effect.
| | 02:22 |
I would like it to be in a very faint
yellow (SOUND) like so.
| | 02:27 |
And I would like the blending mode of
that to be Multiply.
| | 02:34 |
If I wanted to invest a bit more time in
this I could also displace the type over
| | 02:39 |
the texture of the Patchwork.
So I'm now gonna to come to the type layer.
| | 02:44 |
I have saved as a separate document this
displacement map.
| | 02:49 |
So what I did was apply patchwork to a
layer of solid white using those same settings.
| | 02:54 |
A square size of 10, and a Relief of 3.
Saved that as a PSD file.
| | 03:01 |
And I can now come to my type layer here
and that's already been converted to a
| | 03:06 |
smart object.
So I'm now going to come down to Distort
| | 03:11 |
> Displace.
I'm gonna displace by 5 pixels,
| | 03:14 |
horizontally and vertically.
I can then choose that displacement map
| | 03:18 |
that I've made.
And that's the result that we'll get.
| | 03:22 |
Let's just zoom in on that a bit.
That's before the displacement, and
| | 03:26 |
that's after the displacement.
One finishing touch is I'm gonna come
| | 03:31 |
back to the background layer and add a
Gradient Overlay to that.
| | 03:36 |
This will be Reversed.
It will be Dithered.
| | 03:39 |
It will be Radial, and I'll change the
color.
| | 03:42 |
Rather than go from black to white, I'll
go from a yellow to white.
| | 03:50 |
And I'll change the Blend Mode to
Multiply and reduce the Opacity.
| | 03:54 |
(SOUND).
I'm not really liking that color too much.
| | 03:58 |
(SOUND).
And, I will also increase the size.
| | 04:05 |
And then I can drag that around on the
layout just to position the Gradient
| | 04:10 |
relative to the layer.
And there is my finished Patchwork Effect.
| | 04:16 |
The trick here is to combine patchwork
with something else.
| | 04:20 |
In this case, Ocean Ripple, and then
displace whatever it is that is on top of
| | 04:24 |
that Patchwork using a displacement mat
built from that Patchwork Texture.
| | 04:30 |
| | Collapse this transcript |
|
|
9. Creative Use of the Sketch FiltersCombining Bas Relief with Lighting Effects| 00:00 |
What I want to do here, is take a picture
of a First World War soldier, and make
| | 00:05 |
him appear as if he is sculpted from
granite, as if this is part of a war memorial.
| | 00:13 |
Let's take a look at the finished
version.
| | 00:14 |
I have saved in a layer group Sseveral
layers to which I have applied different
| | 00:21 |
amounts of the bar relief filter.
Each of these is masked so we are only
| | 00:29 |
applying the filter to the figure itself
and not the background and each of them
| | 00:33 |
has a blending mode so that they combine
with the layers beneath.
| | 00:40 |
So there are four different instances if
we have another layer which is a copy of
| | 00:45 |
the background to which I have applied a
lighting effects filter, a lighting
| | 00:50 |
effects filter which uses a texture
channel that is derived from the original
| | 00:55 |
image to burn that texture.
into the granite itself and then all of
| | 01:04 |
these are put into a group to which I
have applied an inner and outer glove.
| | 01:11 |
Let me just build those layers up one by
one so you can see what I'm talking about.
| | 01:14 |
So there's the background texture and
then We have 1 application of Bar Relief.
| | 01:23 |
And as you can see, one application is
not very convincing.
| | 01:27 |
Here's a second, this one uses soft
light.
| | 01:30 |
And a third, with differing amounts
applied every time, this one also uses
| | 01:35 |
soft light, and a fourth.
So now, we have something that actually
| | 01:41 |
looks like it's sculpted.
At the top and clicked to the layer
| | 01:46 |
beneath, I have a copy of the granite to
which the lighting effects filter is applied.
| | 01:52 |
Let's see how we can do this.
So, here's our starting point and I'm
| | 01:56 |
gonna come to my picture, I have a path
already defined.
| | 02:01 |
I'm gonna turn on that path and then I'm
gonna make that path into a selection.
| | 02:07 |
And that selection into a Layer Mask,
then I'm going to convert this to a Smart Object.
| | 02:14 |
Having done that, I'm gonna come to my
Sketch filters and to Bar Relief, and of
| | 02:18 |
course we can also find it in the Filter
Gallery.
| | 02:24 |
Let's zoom out so that we can see that in
Window.
| | 02:27 |
And I'm going to start out by applying
Detail of 15 and Smoothness of one.
| | 02:32 |
So this is going to give us the most
detailed application, of this filter.
| | 02:37 |
And the light.
I'm going to set the light too.
| | 02:40 |
Well I'm going to leave it at top right.
But we want to make sure that it's
| | 02:42 |
consistent throughout.
Now for this first instance I'm going to
| | 02:46 |
change the blending mode of the layer to
luminasto because look what happens to
| | 02:50 |
the color and how that's differing from
the color of the granite in the background.
| | 02:57 |
And when I change that to luminosity we
get a much better blend of the color of
| | 03:01 |
the figure and the color of the rock.
So now I'm going to duplicate that layer
| | 03:07 |
Cmd or Ctrl+J I will change the blending
mode of the duplicate to Soft Light.
| | 03:14 |
I'll revisit the application of the
filter where this time, I'll reduce the
| | 03:18 |
amount of details to 7 and increase the
amount of smoothness to, well, also to 7,
| | 03:23 |
about the midpoint.
So we now have a much.
| | 03:28 |
Cruder version, but this will, then,
combine with the layer beneath.
| | 03:34 |
So that's one application, and then,
there's those two layers.
| | 03:38 |
I'm going to duplicate that again,
Command or Control J, let's visit that
| | 03:42 |
filter once more.
I'm going to put the detail all the way
| | 03:46 |
down, and put the smoothness all the way
up.
| | 03:50 |
And we can see that's adding in areas of
highlight, that we just otherwise
| | 03:55 |
wouldn't get.
Now I'm gonna come back to the Background
| | 04:00 |
Layer and duplicate that.
I'm gonna drag that all the way to the
| | 04:04 |
top of my layer stack.
And convert it to a Smart Object.
| | 04:10 |
I'll now come to my channels panel.
Make sure I turn off temporarily that
| | 04:15 |
background texture or foreground texture.
Also turn off temporarily the smart
| | 04:22 |
filters of the top layer and change it's
blend mode to normal.
| | 04:28 |
I'm also going to turn off the background
layer as well, so we're just left with
| | 04:31 |
the figure.
Now what I'm going to do is duplicate one
| | 04:35 |
of my channels it doesn't matter which
one because it's mono chromatic they're
| | 04:37 |
all going to be the same.
And I'll click on red copy now all those
| | 04:43 |
things I turned off and need to turn them
back on again.
| | 04:54 |
And I need to be on that topmost layer.
So I'm going to come to my filter menu,
| | 05:00 |
render, lighting effects, and the main
event here is choosing a texture channel,
| | 05:05 |
texture channel being the alpha channel
that we just duplicated, red copy, and we
| | 05:10 |
can see that's going to burn into the
granite.
| | 05:17 |
The texture of that alpha channel.
I might make a few other changes.
| | 05:23 |
Basically I'm going to go with the
setting as they were last time I used
| | 05:26 |
this filter, an intensity of 25 and an
exposure of 29.
| | 05:30 |
But feel free to mess around with these
other sliders, gloss or metallic in this-
| | 05:34 |
Circumstance are not really gonna make
much difference.
| | 05:37 |
But, we can also change the position of
the light.
| | 05:41 |
Now we're coming from the top right,
that's what we said in each application
| | 05:45 |
of those filters.
So, I'm gonna make sure that our light,
| | 05:49 |
here, is also coming from the top right.
And, by the way I'm using here an
| | 05:53 |
infinite light as opposed to a spot or
point.
| | 05:57 |
And I can just pull that around to
determine the angle of the light.
| | 06:02 |
And I will click okay.
Now if the overall effect of that is too
| | 06:08 |
strong, and I think it is- I'm going to
diminish it so that it only appears
| | 06:12 |
within in the figure itself by clipping
it to the layer beneath.
| | 06:19 |
And I can do that by holding down the
option or alt key and clicking on the
| | 06:23 |
line that separates those two layers.
And I can also dial down the opacity to
| | 06:30 |
about 80%.
The last thing I want to do to complete
| | 06:34 |
the effect is select all of these layers
and put them into a layer group and then
| | 06:38 |
apply layer effects to them.
And the reason that I'm putting them into
| | 06:43 |
a group is so that I only need to apply
those effects once.
| | 06:47 |
So I will select them all press Command
or Control G.
| | 06:50 |
First of all I want to apply an outer
glow.
| | 06:55 |
And I want the outer glow color to be a
dark color as opposed to a light color
| | 06:59 |
and I'm going to sample from the actual
image itself and I need the blending mode
| | 07:04 |
to be a darkening blending mode like
multiply and i'm going to increase the
| | 07:09 |
size of that somewhat.
And decrease the opacity down to about 35%.
| | 07:19 |
So that should be relatively subtle
change.
| | 07:22 |
While I'm here, I'm also going to apply
an inner glow.
| | 07:26 |
Same principles apply.
We need a darkening blending mode so I'll
| | 07:30 |
choose multiply and sample same of that
dark color from the image.
| | 07:36 |
And reduce the opacity also down, to
about 35%, an increase the size.
| | 07:44 |
An there is our finished effect.
As you can see, a single application of
| | 07:48 |
the bas relief filter, is not gonna do
it.
| | 07:51 |
It's not gonna really be effective.
So we had to apply it multiple times with
| | 07:55 |
different blend modes.
Specifically in this case, Soft Light,
| | 08:00 |
and then also apply a texture channel to
a Lighting Effects layer that sits above
| | 08:04 |
the whole layer stack.
| | 08:07 |
| | Collapse this transcript |
| Creating a charcoal portrait| 00:00 |
Okay, here I'm gonna use the Charcoal
filter, supported by the Note Paper
| | 00:04 |
filter, and the Smudge tool, and a black
an white adjustment layer, and the
| | 00:08 |
Multiply Blending mode.
If we take a look at the finished
| | 00:14 |
version, we can see that we begin with a
base layer of paper to which I have
| | 00:17 |
applied the note paper texture.
On top of this, we have the original
| | 00:22 |
image with the charcoal filter applied to
it on top of this.
| | 00:26 |
And clipped to it, we have a layer that
I've called smudged and that's exactly
| | 00:30 |
what it is.
I've smudged the edges using the Smudge tool.
| | 00:35 |
And then above all of this, I have a
black and white adjustment layer with a
| | 00:39 |
color tint applied.
Moving now to the original file, first
| | 00:45 |
thing I'm gonna do is add a layer of
solid color and that will be white.
| | 00:52 |
I'm going to convert this to a Smart
Object and then come to my Sketch
| | 00:57 |
filters, Note Paper and apply that
texture to the paper.
| | 01:04 |
I'm then going to Unlock my Background
Layer and move that above that colored
| | 01:08 |
filled layer.
I'll now convert this to a Smart Object.
| | 01:14 |
Return to my Sketch Filters and to the
Charcoal Filter.
| | 01:19 |
I'll just reset these values to their
default.
| | 01:22 |
And we can see that with a default
Charcoal thickness of 1, in the case of
| | 01:26 |
this particular image and just looks a
little bit scary with those demonic eyes.
| | 01:32 |
So I'm gonna increase the thickness of
the Stroke to 4.
| | 01:36 |
The other two options Detail and
Light/Dark Balance I'm gonna leave as
| | 01:40 |
they are.
I now want to change the Blending Mode of
| | 01:44 |
this to Multiply, so that we've restored
the paper texture beneath the charcoal drawing.
| | 01:51 |
Next, I wanna create the smudging, and to
do this, I am gonna need to duplicate
| | 01:55 |
that layer, Cmd or Ctrl+J.
I need to change the Blend Mode of the
| | 02:00 |
duplicate to Normal.
And in order to be able to paint on this
| | 02:05 |
layer I'm gonna need to rasterize it.
So I'll right-click on it and rasterize
| | 02:09 |
it and I'll now choose my Smudge tool.
With my Smudge tool, I'm gonna paint with
| | 02:15 |
a brush that is a charcoal brush or a
chalk brush or something like that.
| | 02:21 |
It doesn't necessarily have to be
charcoal.
| | 02:23 |
Let's take a look at what we have here.
Chalk, 60 pixels.
| | 02:26 |
I'm gonna use the Chalk, 60 pixels.
But then increase its size.
| | 02:32 |
(SOUND) That's better.
So now I can just smug those edges.
| | 02:36 |
The Smudge tool is gonna move the pixels
around, so a little goes a long way.
| | 02:41 |
Don't use it at too high of strength or
you'll find you've bent your image into a
| | 02:46 |
perhaps undesirable shape.
(SOUND).
| | 02:53 |
Using this tool, I just wanna randomize
it a bit and make it look less like a
| | 02:57 |
generic Photoshop filter and more like a
charcoal drawing.
| | 03:02 |
(SOUND).
Okay.
| | 03:03 |
That's fine for now.
In doing this though, what we have lost
| | 03:09 |
is the texture of the Color Fill layer.
To restore that, I'm going to clip this
| | 03:17 |
layer which I'll call smudged.
I'm gonna clip it to Layer zero beneath
| | 03:22 |
and I'll hold down the Option or Alt key
to do that.
| | 03:26 |
And then the texture comes back.
Unclipped it looks like that, we just got
| | 03:29 |
a plain white background behind it.
Clipped, we see the texture coming through.
| | 03:33 |
And then to finish the whole thing off,
black and white adjustment layer, and I'm
| | 03:38 |
gonna do nothing more here than check the
Tint checkbox.
| | 03:43 |
And that gives me this nice sepia color.
(SOUND).
| | 03:47 |
So that's the Charcoal filter used on top
of a layer of texture, and then combined
| | 03:51 |
with a layer of smudging.
| | 03:54 |
| | Collapse this transcript |
| Making it shine with the Chrome filter| 00:00 |
Let's see how we can make the chrome
filter work for us.
| | 00:03 |
Here I'm using it in combination with the
Find Edges filter.
| | 00:07 |
Here's our starting point, and here's
where we're going to end up.
| | 00:11 |
Let's just take apart the finished file
to begin with.
| | 00:14 |
So as you can see one of the layers has
the Find Edges filter applied to it to
| | 00:19 |
create that effect.
On top of it, we have a copy of that
| | 00:24 |
layer to, which is applied a layer mask,
masking out the background, revealing the
| | 00:29 |
fined edges background beneath.
And also to which I have applied the
| | 00:37 |
chrome filter.
You'll notice that that chrome filter has
| | 00:41 |
a filter mask applied to it limiting the
effect of that filter on the portion of
| | 00:46 |
this top layer.
But really it's probably simpler than
| | 00:51 |
I've made it sound.
I'm gonna start out by converting my
| | 00:55 |
Background Layer to a small object and
then duplicating that.
| | 01:00 |
I'll turn off the top layer, come to the
layer beneath, to which I'm gonna apply
| | 01:06 |
the Stylus Find Edges Filter.
Now, when I apply Find Edges, I get some
| | 01:12 |
weird color shift's happening.
And I'm ultimately gonna end up
| | 01:17 |
desaturating this.
So it's not gonna matter too much.
| | 01:20 |
But look what happens if I change the
Blending Mode of this filter from Normal
| | 01:25 |
to luminosity.
You get this very nice effect and I may
| | 01:30 |
be tempted to leave it like this.
If I did want to make it just a black and
| | 01:35 |
white line drawing, then I would have to
come to a black and white Adjustment
| | 01:39 |
Layer and I can affect the contrast of
this by using the different color sliders.
| | 01:46 |
I see in the sky I've got probably a
little bit too much noisy details.
| | 01:51 |
So I'm gonna use my targeted Adjustment
tool there, click on the sky.
| | 01:55 |
Obviously, that targets the blues and
then, I'm going to move that slider to
| | 01:59 |
the right.
All of that dirty gray detail in the sky
| | 02:03 |
just falls away to white.
Okay, next I'm gonna turn on my top layer
| | 02:09 |
and I have a predefined alpha channel
that I've already saved.
| | 02:16 |
So, now we come to the channels panel,
there is alpha1 it's just a selection of
| | 02:20 |
the shape of the car and it's shadow.
I will Cmd or Ctrl + Click on that to
| | 02:25 |
activate the selection and then apply
that as a layer mask right there.
| | 02:31 |
Now, I want to apply the chrome filter, I
need to make sure that I'm actually on
| | 02:35 |
the layer as opposed to on the layer
mask.
| | 02:38 |
So I am going to click on the layer
thumbnail come to the Filter Menu down to
| | 02:42 |
Sketch, and choose Chrome.
Applied to the whole image, it looks a
| | 02:47 |
little bit too much.
I'm gonna go with it anyway.
| | 02:51 |
I'm just gonna use these values.
Detail of 4, Smoothness of 7.
| | 02:56 |
Now, here's how I'm gonna moderate the
effect of the Chrome filter.
| | 03:00 |
Firstly, I will change its Blending Mode
from normal to overlay.
| | 03:05 |
I could also reduce its opacity although
I'm going to leave it a 100% for now.
| | 03:12 |
But now, I'm going to paint onto the
Smart Filter layer, I'm gonna click on
| | 03:16 |
the Smart Layer.
Now, since the chrome work on this
| | 03:20 |
probably represents slightly less than
50% of the total what I'm going to do is
| | 03:25 |
tap X to make black my foreground color,
if it isn't already, and then fill that
| | 03:30 |
filter mask with black.
I will then tap X again to make white my
| | 03:37 |
foreground color, tap B to go to my Brush
Tool, choose an appropriate size brush.
| | 03:44 |
I have a 70 pixel brush, actually I could
probably go a little bit bigger to start with.
| | 03:49 |
And now I'm just gonna paint over that
chrome work, so that we reintroduce the
| | 03:52 |
effect of that filter.
Changing the size of my brush as I go and
| | 04:05 |
if I go too far, those are half done
there.
| | 04:08 |
I can just tap X to switch back to black
as my foreground color, fix that.
| | 04:20 |
So, let's just see exactly what that's
doing without the filter mask, the chrome
| | 04:25 |
filter applied with the overlay blending
mode to the whole of layer zero.
| | 04:31 |
Of course, not in, we're not seeing the
masked portions.
| | 04:34 |
And then, with the filter mask, it looks
like that.
| | 04:38 |
I'm gonna make one additional change and
that is, I'm gonna double click on the
| | 04:43 |
Filter Mask and reduce it's density so
that the area's that are black become
| | 04:48 |
grey, so that we reintroduce some of the
effect of the filter to those masked areas.
| | 04:56 |
And I'm gonna go down to somewhere in the
mid to high 60's.
| | 05:02 |
So, there's my overall effect.
If I think the line drawing is a little
| | 05:06 |
bit too strong, I can come to that layer
and then tap my V key to go to my Move
| | 05:10 |
Tool, and tap my 5 key to reduce the
opacity of that layer down to 50%.
| | 05:16 |
And, of course, I also have the option of
seeing that background layer, color
| | 05:21 |
either at 100% or a reduced percent.
I'm not sure which I like best.
| | 05:27 |
So a range of different options there to
explore.
| | 05:31 |
The important part here was that we use
the Layer Mask to limit what portion of
| | 05:35 |
that top layer we are seeing.
And in addition, we used a filter mask to
| | 05:40 |
limit how the filter was applied to that
visible portion of that layer.
| | 05:46 |
| | Collapse this transcript |
| Creating a portrait with the Graphic Pen filter| 00:00 |
Using the Graphic Pen to create a
portrait.
| | 00:04 |
The key here is that we apply the Graphic
Pen multiple times with differing stroke lengths.
| | 00:09 |
Let's take a look at the finished
version, and you can see the Inner Layer
| | 00:13 |
group, to which is applied the Soft Light
Blending mode.
| | 00:17 |
I have three different layers with three
different applications of Graphic Pen.
| | 00:21 |
It's only with multiple applications of
this filter.
| | 00:25 |
That you can get a good result.
Let's switch to the beginning file.
| | 00:29 |
I'll convert the Background layer to a
Smart Object.
| | 00:33 |
I will come and create a layer of solid
color.
| | 00:36 |
And I want that to be a bright orange,
and, I'm then going to sample that color,
| | 00:40 |
because the next thing I'm going to do
with it will is apply the Notepaper
| | 00:44 |
filter, and the Notepaper filter will
use.
| | 00:49 |
My foreground color, the next thing after
I've converted it to a Smart Object.
| | 00:56 |
Okay, so we now have some texture and
that texture I'm going to put beneath our
| | 01:01 |
portrait in progress.
So this is already a Smart Object.
| | 01:06 |
I'll come to the Filter menu.
And down to Sketch, and Graphic Pen, and
| | 01:10 |
this filter also will use your foreground
color.
| | 01:15 |
So I need to cancel out of here and reset
my foreground, background colors to black
| | 01:20 |
and white for the result that I want.
Let's fit that in window.
| | 01:28 |
Okay, now, for all three applications I
will be using the same Light Dark Balance
| | 01:34 |
of 70.
What I'm going to be varying is the
| | 01:38 |
stroke length.
I'm going to start out with the longest
| | 01:42 |
strokes at 15.
Add a stroke direction of right.
| | 01:45 |
And we can see that that's okay but if we
look closely, all this highlight detail
| | 01:50 |
is going to be lost.
And that's what we're going to get back
| | 01:55 |
with the other applications of the
filter.
| | 01:59 |
Next thing I'm going to do is temporarily
disable the Smart Filter, because I now
| | 02:03 |
what to sample a specific tonal range.
I'm going to come to, Color Range.
| | 02:11 |
And I'm going to set that to Mid-Tones.
So now with the Mid-Tones selected.
| | 02:17 |
I'm going to copy that selection.
To a new layer.
| | 02:20 |
I'll turn that off.
I'll come back to layer zero.
| | 02:23 |
Do the same thing.
But this time, sample the highlights.
| | 02:27 |
Copy that to a new layer.
Let's move that one to the top.
| | 02:31 |
And I'll rename this one, Highlights.
And I'll rename that one, Mid-Tones.
| | 02:39 |
Both of these will be converted to Smart
Objects.
| | 02:43 |
Now I'll turn back on the Smart Filter
applied to the bottom layer.
| | 02:47 |
I'm gonna copy that Graphic Pen filter
onto First Mid-Tones, I'm holding down
| | 02:51 |
the Option or Alt key, and then do the
same thing again to copy it to Highlights.
| | 02:59 |
I'll expand the Smart Filters for both.
So that we can see what's happening layer
| | 03:04 |
by layer, I'll turn off the base layer,
and we'll just have the mid-tones now visible.
| | 03:12 |
I'll revisit the amount of the Graphic
Pen, and take that down to a Stroke
| | 03:16 |
Length of 10.
And I'm also gonna change the Stroke
| | 03:21 |
Direction from right to left diagonal.
I'll now turn that one off, and we'll
| | 03:26 |
come and look at the highlights revisit
the amount of Graphic Pen.
| | 03:31 |
This time I'm gonna take the Stroke
Length down to five and we'll leave the
| | 03:35 |
Stroke Direction at right.
Now when we turn those three on together
| | 03:40 |
we get a much more convincing portrait
than we would have done with just a
| | 03:44 |
single application.
But we want to now combine this with the
| | 03:50 |
background so I'm gonna select.
All three of those and put them into a
| | 03:54 |
layer group by pressing Cmd or Ctrl+G.
I'm then gonna change the Blending mode
| | 03:59 |
of that layer group.
To Soft Light, and there is our finished result.
| | 04:04 |
| | Collapse this transcript |
| Creating a circular halftone effect| 00:00 |
In this example, I am going to use the
Circular Half-Tone Filter, in order to
| | 00:04 |
achieve this effect, loosely inspired by
the logo of a certain reality TV show.
| | 00:10 |
So, I have the original layer, which you
can see I've turned off.
| | 00:15 |
That's no longer being used.
But I have a layer of solid color.
| | 00:20 |
On top of that I have a threshold
modified version of the eye.
| | 00:25 |
Where we have just a single color of
pixel and that color in this case is white.
| | 00:31 |
And clicked to that, we have a layer of
solid color, the same color as the background.
| | 00:38 |
To which is applied a Circular Half-Tone.
So the first thing and perhaps the most
| | 00:44 |
important thing here is I need to create
a single color graphic representation of
| | 00:49 |
this image.
And I'm going to do that using the
| | 00:53 |
Threshold Adjustment layer.
And I can move the slider one way or the other.
| | 00:58 |
And I'm going to put it about there.
But I also need a bit more control than
| | 01:03 |
threshold is going to give me, so I'm
gonna add a new layer above, the
| | 01:06 |
Background Layer holding down Option or
Alt.
| | 01:10 |
This will be in the Overlay Blend Mode
and filled with overlay neutral color.
| | 01:15 |
I'll now tap my B key to go to my Brush
Tool.
| | 01:18 |
Increase or decrease my Brush Size as
necessary.
| | 01:22 |
Set my foreground, Background colors to
black and white, and my opacity somewhere
| | 01:29 |
between 10 and 20%.
And now when I paint over the eye in
| | 01:34 |
black, that's gonna introduce more
detail.
| | 01:39 |
And if I want less detail, I'll switch to
white and start painting over the eye.
| | 01:45 |
In white.
And I might wanna go back and forth on
| | 01:49 |
that but this gives me the chance to
control how much detail I get in my
| | 01:53 |
resulting single color rendition of the
image.
| | 02:07 |
All right.
Let's say I'm happy with that.
| | 02:10 |
I am now going to select all three of
those layers, and I'm gonna stamp them
| | 02:13 |
down into a single layer.
Keyboard shortcut for this,
| | 02:17 |
Cmd+Option+Shift+E, Ctrl+Alt+Shift+E, or
if you hold down the Alt key, or the
| | 02:22 |
Option key, and then choose Merge Visible
from the Layouts panel, you get the same result.
| | 02:29 |
So I now have everything on a single
layout, and I'm gonna turn off everything
| | 02:33 |
beneath that.
Firstly, I'll just make a minute, an
| | 02:37 |
adjustment up here, I'll switch to white
as the foreground color, set the opacity
| | 02:41 |
of my paintbrush back to 100%.
And do a little bit of cleanup.
| | 02:52 |
Now I want to delete all of the white
pixels.
| | 02:55 |
So I'm going to tap W to get my Wand Tool
and if you don't get your Wand Tool you
| | 02:59 |
can type Shift+W or, of course just
choose it from the Tool space.
| | 03:05 |
With my Tolerance way down, all the way
down to one.
| | 03:08 |
I'll click on one of the white pixels I
have Contiguous unchecked selecting all
| | 03:13 |
of the white pixels in the image.
And then I can press the Delete key to
| | 03:18 |
get rid of them.
With what remains, I'm gonna convert this
| | 03:22 |
to white, so I'm gonna invert the values,
Cmd+I.
| | 03:26 |
Now we need our layer of color.
In fact, two layers of color, we're going
| | 03:30 |
to make a sandwich of an eye, one color
layer above and one below.
| | 03:36 |
So I'm going to add a Solid Color Layer,
and I'm going to use that bright pink.
| | 03:43 |
I'll put that beneath my eye, like so,
I'll hold down the Optional or Alt key.
| | 03:48 |
And I'll drag another copy above it.
Now on the one that is above it.
| | 03:55 |
I'm going to convert this to a Smart
Object so that we can apply Smart Filters
| | 03:59 |
to it.
I'll come to the Filter menu, down to
| | 04:03 |
Sketch Half-Tone Pattern.
So, when you apply a Half-Tone Pattern,
| | 04:08 |
you can apply it as a Dot, a Line, or, in
this case.
| | 04:13 |
As a Circle.
And, I'm gonna use a Size of 2 and a
| | 04:16 |
Contrast of 5, I forgot to do something,
when you apply this filter, it uses your
| | 04:18 |
Foreground and Background colors.
So I need to change my Foreground,
| | 04:30 |
Background colors.
First of all, I'll tap D, which makes
| | 04:33 |
white my Background color, then I'll tap
I to pick up my Eyedropper Tool, and I'll
| | 04:37 |
sample the color of my Color Fill Layer.
Now I can go back to that Sketch >
| | 04:43 |
Half-Tone Pattern, and you can see now
we've got the right color.
| | 04:47 |
Okay, and.
Finally, I need to clip this layer to my
| | 04:52 |
Eye layer.
And I do that by holding down Option or
| | 04:55 |
Alt, clicking the line between them, and
there's our result.
| | 04:59 |
It's important for this effect, that the
Background color, the color of this
| | 05:03 |
layer, be the same as the color that
you're using as your Foreground color.
| | 05:09 |
When you apply the Half-Tone Filter.
| | 05:12 |
| | Collapse this transcript |
| Creating a line halftone effect with a displacement map| 00:00 |
Here's a technique similar to the
circular half turn effect from the
| | 00:03 |
previous movie.
But this one also uses a displacement map.
| | 00:08 |
Here's our starting point, here's where
we're ending up.
| | 00:10 |
And we have, at bottom, a color fill
layer.
| | 00:14 |
On top of that, we have a very stylized
version of the portrait creating it using
| | 00:19 |
the threshold adjustment layer.
And on top of this.
| | 00:24 |
We have another color fill layer to which
is applied the line half tone pattern and
| | 00:29 |
in addition a displacement map and then
this layer is clicked to the layer
| | 00:34 |
beneath to give this effect.
And we can see how the lines are bending
| | 00:40 |
around the contours of the face.
So I'm gonna switch to this, my starting point.
| | 00:46 |
In this file I've included, the Threshold
Adjustment Layer, as well as this Dodge
| | 00:50 |
and Burn Layer that controls the amount
of black or white, in the image.
| | 00:55 |
And I demonstrated this technique, in the
circular half time movie, so I'm not
| | 00:59 |
gonna repeat myself here.
So we're gonna start at this point And
| | 01:04 |
then I'm going to stamp this result down
to a single layer, command option shift
| | 01:08 |
or control alt shift E.
So I've now got all of that on one layer
| | 01:13 |
and in this case I want to delete the
black pixels.
| | 01:18 |
So I'm going to go to my wand tool.
Use a torrence of one contiguous unchecked.
| | 01:24 |
Click on any black pixel and press the
Delete key.
| | 01:27 |
And then I'm gonna press the Command D to
deselect.
| | 01:30 |
So that leaves me with just the white.
I need to put a layer of solid color
| | 01:35 |
beneath this.
And I'm gonna use that color.
| | 01:45 |
Right now I'll need another layer of
solid color.
| | 01:47 |
In this instance for the particular
effect that I'm going for, the same
| | 01:51 |
color, so I'm going to duplicate this one
layer that I have here, option, Alt and
| | 01:55 |
drag a copy above layer two.
Because I'm going to be applying filters
| | 02:00 |
to this layer, I am going to convert it
to a smart object.
| | 02:05 |
And then I'm gonna come to the filter
menu.
| | 02:07 |
Now when I do this, I want to make sure
that my foreground color is this blue color.
| | 02:11 |
So if it's not, choose your eyedropper
tool and sample this color to make that
| | 02:15 |
your foreground color, and I'm using a
background color of white.
| | 02:19 |
And that's because the sketch filters use
your foreground and background colors to
| | 02:23 |
determine the result.
So half tone pattern is what I'm after,
| | 02:28 |
and in this particular instance I'm after
a line type.
| | 02:33 |
I'm going to increase the contrast to the
halfway point of 25, and I'm also going
| | 02:38 |
to increase the size to 5.
To make that appear within the contours
| | 02:46 |
of the face, hold down the Option or Alt
key and click on the line between those
| | 02:50 |
two layers.
To get that result.
| | 02:54 |
Now we want to bend these lines.
And to do that we need a displacement map.
| | 02:59 |
I'm gonna come down to my background
layer, because the displacement map is
| | 03:03 |
gonna be based upon the background layer.
With the background layer and the
| | 03:08 |
background layer only selected, I will
come to the image menu, and choose
| | 03:11 |
duplicate, and I want to duplicate merge
layers only ie I don't want all of the
| | 03:15 |
other stuff that is currently hidden.
So here's the copy, and I'm gonna make
| | 03:22 |
this into grey scale And I'm also gonna
increase the contrast.
| | 03:27 |
Cmd+ or Ctrl+L to go to your levels and
dramatically boost the contrast.
| | 03:33 |
I'm now gonna save that.
I will call it displacement, and I'm
| | 03:39 |
gonna save that as a PSD File.
Now I return to my file in progress.
| | 03:48 |
And we can turn on the layers that we're
actually working with.
| | 03:52 |
Now the background layer can be turned
off.
| | 03:54 |
I'm gonna come to my top color fill
layer, and to the filter menu.
| | 04:00 |
To distort and then to displace.
Exactly how much you displace it by is
| | 04:05 |
going to vary from image to image in this
case I'm going to use ten pixels for both
| | 04:10 |
vertical and horizontal I want it to
stretch to fit and to wrap around now I
| | 04:14 |
need to find that displacement map.
There it is right there, and there you
| | 04:22 |
can now see the lines bending around the
contour of the face, and the shoulders.
| | 04:29 |
So that's a line halftone pattern with a
displacement map applied to it.
| | 04:34 |
| | Collapse this transcript |
| Creating a scan-line effect| 00:00 |
Here I'm gonna show how to create this
scan line effect, using a combination of
| | 00:04 |
lighting effects, a half-tone pattern,
some noise, some motion blur and some
| | 00:07 |
different layering techniques.
Let's begin by looking at the finished
| | 00:13 |
version and.
If we view just the bottom most layer, we
| | 00:18 |
can see that this has four filters
applied to it.
| | 00:22 |
And if I turn each of these off there we
start out with our original color image.
| | 00:28 |
So to begin with, I'm adding a dramatic
lighting effect that is really going to
| | 00:32 |
over expose the scene.
And that works very well in combination
| | 00:36 |
with the line half-tone pattern.
So that the thickness of the lines will
| | 00:42 |
vary as it crosses over these very
overexposed parts of the image which is
| | 00:46 |
the effect that I'm after.
On top of that, I've added some noise
| | 00:52 |
because this is a very old and very
malfunctioning TV.
| | 00:56 |
And I've also added some motion blur.
On top of that one layer I've duplicated
| | 01:01 |
the layer.
Retained the noise and the half-tone
| | 01:05 |
pattern, removed the lighting effect and
the motion blur so that we bring the
| | 01:09 |
figure somewhat back into focus.
And then above that we have some grain to
| | 01:15 |
give this feeling of a moving scan line
working its way down the TV.
| | 01:21 |
Screen and finally.
I've given the whole thing a blue tint.
| | 01:26 |
So in the beginning version.
I'm going to redo all of those things.
| | 01:31 |
Starting out with making the image into a
Smart Object.
| | 01:34 |
And then coming to the Filter menu.
Render > Lighting Effects.
| | 01:39 |
So here I have a spot light.
And I've cranked up the intensity and the
| | 01:44 |
hot spot, to beyond what you would
typically use.
| | 01:48 |
I deliberately want this to be an over
exposed scene.
| | 01:53 |
To that I'm going to add a half-tone
pattern.
| | 01:56 |
And it's the half-tone pattern that is
really gonna make this image
| | 01:59 |
monochromatic because the half-tone
pattern.
| | 02:02 |
Will use my foreground and background
colors currently at black and white.
| | 02:09 |
Rather than a dot, I want to use a line.
And I like the size of the line to be two.
| | 02:15 |
And I want to maximize, maybe not
maximize but I want to up the contrast.
| | 02:21 |
I'm going to go to 28 in terms of the
contrast.
| | 02:24 |
Now let's add some noise to that.
I could add noise, I could add grain, I
| | 02:28 |
could film grain.
I'm just going to choose Noise > Add
| | 02:32 |
Noise, I'd like the noise to be
monochromatic.
| | 02:37 |
And let's put that up to 15%.
Next we want to give it some blurring,
| | 02:43 |
some motion blurring.
And I'm gonna make the angle of the blur horizontal.
| | 02:53 |
Maybe give it a slight angle.
But, just a very slight one.
| | 02:57 |
So that is our base layer.
I'm now gonna duplicate that layer Cmd+J,
| | 03:02 |
and I will remove the Motion Blur.
And I will remove the lighting effects.
| | 03:08 |
And then change the Blending Mode of the
top layer to Multiply.
| | 03:13 |
That's where we were before I duplicated
this layer.
| | 03:15 |
And that's the result of the two layers
now combined.
| | 03:19 |
Next, I'm going to create an empty layer.
And then fill it with white.
| | 03:24 |
White is currently my background color so
I'll press Cmd+Delete.
| | 03:27 |
I'll convert this to a Smart Object.
And then I'll come and add some grain to this.
| | 03:33 |
So I'm going to come down to my Texture
group and to Grain and we have various
| | 03:37 |
different types of grain.
I want Horizontal Grain, I want the
| | 03:42 |
intensity cranked up to the max and the
contrast in the middle.
| | 03:50 |
I'll change the Blending Mode of that
layer to Multiply, and now I want to mask
| | 03:54 |
part of that grain so it's not appearing
on the whole image.
| | 03:59 |
I'm going to add a Layer Mask to that
layer, increase my Brush Size, and I also
| | 04:03 |
want to increase the Hardness of my brush
so it's a Hard Edge brush.
| | 04:08 |
And I can do that right there.
I can also use the shortcut Shift+Right
| | 04:11 |
Bracket to increase the hardness of the
brush.
| | 04:14 |
And then I'm just going to, on that layer
mask painting in black.
| | 04:19 |
Swipe over certain parts of the image to
give the impression that we have just a
| | 04:24 |
few vertical bars of scan lines that are
moving down our malfunctioning TV set.
| | 04:31 |
That's before that layer, and that's
after it.
| | 04:34 |
And then, finally, to complete the whole
effect.
| | 04:37 |
I'm gonna add a black and white
Adjustment layer, and I'm gonna tint
| | 04:41 |
that, and I'm gonna change the color of
the tint to a blue.
| | 04:46 |
And there we have, Big Brother, watching
us.
| | 04:49 |
Created with a combination of lighting
effects, half-tone pattern, noise, motion blur.
| | 04:55 |
And layer blending options.
| | 04:57 |
| | Collapse this transcript |
| Creating a hand-painted look using the Photocopy filter| 00:00 |
To achieve this hand-painted effect from
a photograph, I'm going to use the
| | 00:04 |
Photocopy filter in combination with the
Cutout filter and Surface Blur, and a few
| | 00:08 |
other simply techniques.
Let's just break down the end state,
| | 00:14 |
first of all.
And we can see that we have a layer of texture.
| | 00:19 |
And that's achieved just by applying the
notepaper filter and also, a layer effect
| | 00:23 |
to apply a gradient overlay.
And then, on top of that, we have the
| | 00:28 |
chicken, itself.
And the chicken has been masked, so that
| | 00:33 |
we are not effecting or not seeing the
background and also we've applied these filters.
| | 00:41 |
The filter gallery is a combination of
cut-out and photocopy and then surface
| | 00:46 |
blur just slightly simplifies the line
work.
| | 00:50 |
On top of those, we have two layers of
color and just to finish the whole thing
| | 00:54 |
off to boost the contrast we have a
levels adjustments layer.
| | 01:00 |
So I'm now gonna switch to the beginning
state where I already have set up this
| | 01:05 |
layer of texture.
I've shown this technique in numerous
| | 01:09 |
movies, so I don't want to just repeat
myself again, so we're already at this point.
| | 01:15 |
We are now going to work on the image
layer itself.
| | 01:19 |
I'm gonna convert that to a smart object.
Next, I'm gonna mask it I have a
| | 01:24 |
pre-saved alpha channel so I'm gonna come
to my channels panel Cmd or Ctrl + Click
| | 01:29 |
on that to load the channel and then make
that into a Layer Mask.
| | 01:36 |
Next, I want to apply my filters.
So, I'm going to come to Filter > Sketch
| | 01:41 |
> Photocopy, and if it looks like that,
then you're in the wrong place, as I am.
| | 01:47 |
That's because I am actually on the mask
instead of on the image layer.
| | 01:51 |
So I'm going to cancel out of that, click
on to the layer thumbnail And then return
| | 01:56 |
to the Photocopy filter, and if it looks
like that, you're still in the wrong
| | 02:00 |
place, and that's because the Photocopy
filter uses your foreground and
| | 02:04 |
background colors.
And I don't want the outline to be in
| | 02:10 |
yellow, so I'm gonna cancel that, make
sure that I have my foreground background
| | 02:13 |
colors set to black and white.
Third time lucky, that's more like it, okay.
| | 02:21 |
The detail I want to use 4, and darkness
we have a scale of 0 to 50.
| | 02:28 |
I'm gonna put it in the middle or there
about 26.
| | 02:32 |
And those are the values that I'm using
because in experimenting with the file, I
| | 02:35 |
found that they gave me the best result.
Now I want to simplify things a little
| | 02:40 |
bit further.
So I'm gong to combine Photocopy with Cutout.
| | 02:45 |
I'm not going to apply Cutout separately.
But rather as part of this One filter
| | 02:49 |
gallery operation.
So I'm going to come down here to create
| | 02:54 |
a new effect layer.
It's going to give me a second version of Photocopy.
| | 02:59 |
But as soon as I come to Artistic, and
click on Cutout.
| | 03:03 |
That's what I get and I need just a
little bit more detail.
| | 03:07 |
So I'm going to up the number of levels
from four to five.
| | 03:12 |
Edge simplicity and edge fidelity can
both stay at four and two respectively.
| | 03:18 |
So we now have that line work.
And to introduce the texture of the
| | 03:22 |
background back into the linework, I'm
gonna change the blending mode of this
| | 03:27 |
layer to multiply.
Just to simplify things a little bit
| | 03:32 |
further, I'm gonna add a surface blur.
And you can see how that's, sort of,
| | 03:39 |
blending the strokes together in a rather
pleasing way.
| | 03:43 |
I have to admit, a somewhat unexpected
way, but there is the nature of the game, here.
| | 03:49 |
We often have happy accidents.
So when I turn on the preview, you can
| | 03:53 |
see that.
Its really creating a more hand painted
| | 03:57 |
look with the application of the surface
blur filter and I'm gonna use these
| | 04:02 |
values radius of 10 threshold of 40.
So we're not at the point where we want
| | 04:08 |
to color our illustration.
I will create a new layer above this and
| | 04:13 |
I need to set it blending mode to color.
I need to make sure that it is clicked to
| | 04:19 |
the image layer so Im going to hold down
optional opt, clock on the line between
| | 04:24 |
the two now I will choose the color that
I want to work with, tap B for my brush.
| | 04:32 |
Making sure you have a soft edged brush,
I'm just gonna soften the edge of that by
| | 04:36 |
pressing Shift and the Left Square
Bracket, and then I can just paint over that.
| | 04:41 |
And if I just go over the edges, it
doesn't matter because this layer is
| | 04:44 |
clipped to the layer beneath.
All right that's a good starting point
| | 04:56 |
now I'm gonna add another new layer and
I'm gonna use a brown color for that and
| | 05:00 |
a larger paint brush and I forgotten to
do two very important things to this layer.
| | 05:08 |
Now we'll continue.
Regardless, the order in which you do
| | 05:14 |
them doesn't make any difference, just so
long as they all get done.
| | 05:30 |
(SOUND) And again I'll go over the edge
sort of being deliberately sloppy, and
| | 05:34 |
you'll how it's not going to make any
difference, as soon as I clip this to the
| | 05:38 |
Layer Beneath and change its Blend Mode
to Color.
| | 05:44 |
And then one more Layer of Color.
This time I'll clip it and change its
| | 05:49 |
blend mode to begin with.
Now here's the reason why its a good idea
| | 05:58 |
to add your colors on separate layers
because should you decide that you want
| | 06:02 |
to change them it's very easy to do so if
each color is on its own independent layer.
| | 06:08 |
So if I decide that I don't want orange
but rather I want yellow I can just
| | 06:12 |
change the foreground color.
Option and Shift, the Shift key protects
| | 06:16 |
the transparency, Option and Shift or Alt
+ Shift and Backspace + Delete key will
| | 06:21 |
then replace the color whatever is your
foreground color.
| | 06:27 |
And if that's a little bit too intense
which I think it is, you can just dial
| | 06:31 |
down the opacity and to finish the whole
thing off a levels adjustment layer that
| | 06:36 |
does nothing more than, boost the
contrast.
| | 06:41 |
So I'm gonna get the black point and
white point, bring them towards the
| | 06:44 |
middle and I'm gonna get the grey point
and bring that slightly to the right.
| | 06:50 |
You'll notice that when I do that, that
also shifts the contrast on the
| | 06:53 |
background texture which if you don't
want that to happen, and I don't, once
| | 06:57 |
again we need to clip that layer to layer
zero.
| | 07:01 |
Opt or Alt and click on the line between
the layers.
| | 07:05 |
So it's now only affecting this layer.
So, there's our finished result.
| | 07:11 |
One technique for converting a photograph
to what looks like a hand painted illustration.
| | 07:18 |
| | Collapse this transcript |
| Creating a "cut paper collage" using the Stamp filter| 00:00 |
Here I'm gonna use the stamp filter to
create this type of illustration that we
| | 00:04 |
see on the right, which is suggested by
the work of the Beggarstaff brothers who
| | 00:07 |
were illustrators working at the end of
the 19th and the beginning of the 20th century.
| | 00:14 |
So this technique relies upon, in this
case, 3 applications of the Stab filter,
| | 00:20 |
each with different settings.
The Stab filter uses your foreground and
| | 00:26 |
background colors to deliver the results,
so we need to change the foreground
| | 00:30 |
colors and background colors three times.
And apply the filter to three separate layers.
| | 00:37 |
The most time-consuming part of this
whole process is making the masks that
| | 00:41 |
will isolate just what portion of the
image you want to affect.
| | 00:46 |
Thankfully, I've already done that for
you.
| | 00:49 |
So, when we move to the beginning state
of the file, we will see that we have
| | 00:53 |
these three pre-saved alpha channels.
I've also already created the layer of
| | 00:59 |
solid color that will be revealed when we
apply those masks.
| | 01:04 |
So firstly I'm gonna go to the Channels
Panel and activate the figure mask.
| | 01:11 |
And since this is an inverse selection at
the moment.
| | 01:15 |
All we need to do is hold down the Option
or Alt key when we click on Add Layer
| | 01:19 |
Mask to get the result that we want.
If you ever end up with a layer mask that
| | 01:24 |
is the inverse of what you want, click on
that mask and press Cmd or Ctrl+I.
| | 01:30 |
So having masked that, we can now apply
the stamp filter to it.
| | 01:35 |
For this first application, I want
foreground and background colors of black
| | 01:40 |
and white, respectively.
And even though we masked it, we do see,
| | 01:47 |
in the preview window, the whole image.
We're just gonna concentrate on how the
| | 01:52 |
filter affects the suit.
So I'm going to bring down the light/dark balance.
| | 01:58 |
So we introduce a few more highlights in
the shoes and on the jacket.
| | 02:04 |
The higher the smoothness, the less
detail so I think I'm going to leave that
| | 02:08 |
where it was at five.
Okay, I'm now going to duplicate.
| | 02:15 |
That layer.
Cmd+J and for other effects you've seen
| | 02:18 |
me now just revisit the filter, simply by
double-clicking on the Smart Filter name.
| | 02:24 |
That's not gonna work here because we
need to apply it with a different
| | 02:27 |
foreground color.
So I'm actually gonna throw that away.
| | 02:32 |
I'm also going to throw away the layer
mask.
| | 02:35 |
I'll now go to my channels panel and find
the one that we're after which is the tie channel.
| | 02:41 |
Come to my layers panel.
Once again, this is an inverse selection.
| | 02:46 |
So I'll hold down the option or alt key
when you make it into a layer mask.
| | 02:51 |
We want our foreground and background
colors in this instance to b, red and white.
| | 02:56 |
So I'm gonna, tap the I key, and then
sample the red from the background, which
| | 03:01 |
is not working because I'm on the layer
mask.
| | 03:05 |
I need to be clicked onto the image
layer.
| | 03:07 |
And I can now, revisit the stamp filter.
All I'm concerned about here is what's
| | 03:14 |
going on with the tie.
I might want to adjust the light dark
| | 03:18 |
balance to introduce more of the patent
of the tie.
| | 03:24 |
Okay, one more time, command, control, j.
I will once again have to throw away the
| | 03:29 |
layer mask, throw away the stamp Come and
get the appropriate channel.
| | 03:35 |
Face and hands.
Cmd or Ctrl click on the channel to
| | 03:38 |
activate it and then since once again it
is an inverse selection, hold down Option
| | 03:44 |
or Alt and Click on Add Layer mask to
make it into a Layer Mask.
| | 03:51 |
And now we can revisit the Stamp filter
for a third time, I need to change my
| | 03:55 |
foreground/background colors again.
I need to click on to the layer thumbnail
| | 04:00 |
as opposed to the layer mask.
And this time I am actually going to put
| | 04:06 |
the colors in numerically just so that I
get a result like the one we saw in the
| | 04:09 |
finished version.
And my foreground color, I'm specifying
| | 04:16 |
this as an RGB color, 156, 116, 88, and
my background color Two, three, four,
| | 04:22 |
one, nine, seven, one, seven, three.
So now I can revisit the stamp filter.
| | 04:32 |
All we're concerned about is how this is
effecting the face and hands and I might
| | 04:37 |
want to simplify that bit so I'm moving
the light dark balance to the right.
| | 04:44 |
And there is our result.
Remember, this was, inspiration, loose inspiration.
| | 04:54 |
This is where we have ended up.
There are some blotches that I would
| | 04:58 |
probably want to fix, and in order to do
that, I would just add a new layer at the
| | 05:02 |
top of the layer stack.
In this case, most of the retouching
| | 05:07 |
needs to be done in black.
So I'll switch to black as my foreground color.
| | 05:11 |
Choose the black the black brush and then
I can just paint over those areas just do
| | 05:15 |
any areas of quick touch up.
But there we have an application of the
| | 05:20 |
stamp filter applied three seperate times
to three seperate layers using different
| | 05:24 |
foreground and background colors and
different settings.
| | 05:29 |
| | Collapse this transcript |
|
|
10. Working with the Stylize FiltersCreating a painterly look with the Diffuse filter| 00:00 |
For this example I'm going to use the
diffuse filter.
| | 00:03 |
Multiple applications of the diffuse
filter in combination with reduce noise
| | 00:07 |
and smart sharpen and that's going to
give me this result that we have here on
| | 00:11 |
the right.
Where, well it's difficult to describe
| | 00:16 |
but it's not so far away from the effects
that you might get using the oil paint
| | 00:19 |
filter which we'll see later on in this
course.
| | 00:24 |
So let's just take a look at how this has
been achieved.
| | 00:28 |
And you can see from my list of smart
filters, that I've applied the diffused
| | 00:33 |
filter three times.
Each time with the same settings.
| | 00:37 |
There are four different settings with
diffuse, normal, darken only, lighten
| | 00:43 |
only, and the one that I'm using-
Anisotropic.
| | 00:48 |
Yep, I didn't know what it meant either.
But it's the one that works best.
| | 00:53 |
That's all we need to know.
And there are no further settings with
| | 00:57 |
the Diffuse filter.
So, we don't have many options.
| | 01:01 |
If we want more, we just apply it a
second or a date a third time.
| | 01:06 |
And then here's where it gets
interesting.
| | 01:08 |
After three applications of the Diffuse
filter.
| | 01:11 |
If we hit it with a drastic application
of the reduced noise filter.
| | 01:15 |
Things take on this appearance and then
we add a sharpening a drastic application
| | 01:21 |
of smart sharpen.
And they look like this.
| | 01:26 |
So I'm going to switch to the beginning
file now And the first thing I want to
| | 01:30 |
say here is to get a good result I had to
do some retouching to the original.
| | 01:36 |
So this is the original, and you can see
there are some blemishes on the leaves
| | 01:40 |
and I just did some quick retouching to
fix that.
| | 01:44 |
So with that retouching done, I'm gonna
convert it to a Smart Object.
| | 01:49 |
And then come to my stylized filters
diffuse.
| | 01:52 |
Now incidentally this is different,
entirely different from diffuse glout.
| | 01:57 |
And, as I said, I'm gonna use a
nesotropic.
| | 02:00 |
All of these effectively work on the
edges, but in ways that I can't describe
| | 02:04 |
with words, and we need to just sort of
see what's going on, on the screen So
| | 02:08 |
I've done it once, not much difference.
I'm gonna press Cmd or Ctrl+F to do it
| | 02:15 |
again and again.
Then, I'm gonna come to the Noise group
| | 02:18 |
of filters and to Reduce Noise.
A more typical use of this filter would
| | 02:22 |
be to remove JPEG artifacts from a very
low resolution image, but what I'm gonna
| | 02:29 |
do here is.
Get an entirely different result by
| | 02:36 |
cranking up the strength to 10.
Taking the details all the way down to zero.
| | 02:44 |
And we've got a very oil paint-ally like
look already.
| | 02:47 |
Reducing the Color noise up to 100,
sharpen the details, down to zero.
| | 02:55 |
And now it sounds like a bit of a
contradiction having reduced the details
| | 02:59 |
with reduce noise.
I'm now going to sharpen the details with
| | 03:03 |
Smart Sharpen.
And I'm gonna use numbers way in excess
| | 03:10 |
of what you would ever use on a
photographic image.
| | 03:13 |
In amount of three hundred and a radius
of 5.
| | 03:17 |
I'm going to set Remove to Lens blur.
Which actually makes more difference then
| | 03:24 |
I was expecting.
And that's the result I'm after.
| | 03:31 |
So I can't entirely explain why that
works.
| | 03:34 |
But it does work.
And that's the important thing.
| | 03:37 |
I have here another image, and I'm just
going to quickly convert this to a smart
| | 03:42 |
object, and I've now got a copy the smart
filters from the version we were working
| | 03:47 |
on to this, and we can see how the same
application will affect this sort of
| | 03:51 |
image, particularly This image because it
has text in it.
| | 03:58 |
Look what it does to the text which is
sort of interesting.
| | 04:01 |
And to the shapes of the apples and other
fruits there.
| | 04:05 |
I think its a much improved image.
Its a very mediocre image without some
| | 04:09 |
treatment and I think this could be an
interesting new lease of life.
| | 04:15 |
For this particular image.
So that's an application of, or a
| | 04:19 |
multiple application of the Diffuse
Filter combined with reduced noise and
| | 04:23 |
Smart Sharpen.
| | 04:25 |
| | Collapse this transcript |
| Using the Find Edges filter to create a line drawing| 00:00 |
I'm going to use the find edges filter to
create this sepia-toned line drawing from
| | 00:04 |
the photograph that we begin with on the
left hand side of the screen.
| | 00:08 |
So let's look at the finished version to
begin with.
| | 00:12 |
And the first thing I want to point out
here is that I've done some prep to this
| | 00:15 |
image to make it work better.
So I've retouched it to remove any
| | 00:19 |
distracting detail.
And then I've applied the Equalize adjustment.
| | 00:24 |
This is under the Image > Adjustments
menu, right there, it's a very old
| | 00:28 |
command, seldom used, but it has the
effect of distributing the tonal range
| | 00:31 |
equally across the histogram, which,
bearing in mind what we're going to do
| | 00:35 |
with this, is going to have an
advantageous effect.
| | 00:41 |
At that point, we're then ready to apply
the filters.
| | 00:47 |
High pass to increase the sharpness of
the edges, shadows, highlights, to open
| | 00:52 |
up the shadows, and then find edges
applied with the luminosity blend mode
| | 00:56 |
then to paint in some of the detail that
we may have lost.
| | 01:03 |
a layer of dodging and burning and
optionally a color look-up adjustment to
| | 01:08 |
turn the whole thing to sepia.
So we're in the beginning file, I've
| | 01:13 |
already done the retouching.
I've already applied the equalize command
| | 01:18 |
and it's on the top layer that we are
going to work.
| | 01:22 |
So I'm going to convert this top layer to
a smart object And, we'll start out, with
| | 01:27 |
a high pass filter.
And, I'm going to overdo it, because I
| | 01:32 |
want the edges to be oversharpened in
this case, so, a radius of ten pixels,
| | 01:36 |
and then, to remove all of that grey
stuff all we need to do is double click
| | 01:40 |
on the blending mode badge of the filter.
And change the blending mode to Overlay.
| | 01:48 |
Could also possibly use Hard Light, but
I'm gonna go with Overlay.
| | 01:54 |
Having done that, back to my image
adjustments, and this time I'm going to
| | 01:59 |
apply Shadows Highlights, just to open up
the shadows.
| | 02:05 |
And now we're ready to find the edges.
When we do so, whenever you use Find
| | 02:10 |
Edges you wil get some odd color shifts.
And you can mitigate those by changing
| | 02:17 |
the blend mode of the filter to
Luminosity.
| | 02:22 |
So now I'm gonna add that dodge burn
layer.
| | 02:24 |
Hold down Option or Alt and click on my
create new layer button this is gonna
| | 02:28 |
have a blend mode of overlay and will be
filled with overlay neutral color.
| | 02:35 |
Tap B to go to my brush tool.
I'm gonna be paintinh in black to darken
| | 02:40 |
areas and white to lighten areas.
And I'm gonna use an opacity of 20%.
| | 02:51 |
So whatever areas of detail I want to
restore I'm just gonna paint over them if
| | 02:55 |
neccessary upping my opacity and if there
are any areas that are too dark.
| | 03:01 |
And in this case I don't really think
there are but if there were any I would
| | 03:04 |
paint in white.
So let's see what happens if I do paint
| | 03:14 |
in white and an opacity of 10% over that
cooling tower doesn't really make a whole
| | 03:19 |
lot of difference.
Okay, and now for the optional last step,
| | 03:25 |
which is just to apply a color look out
table, and one of these is called sepia,
| | 03:32 |
and it's one of the abstract ones.
There we are And there's our end result.
| | 03:45 |
So that's what we start with, and that's
how we finish up.
| | 03:48 |
| | Collapse this transcript |
| Combining the Find Edges filter with hand painting| 00:00 |
i'm going to use the fine edges filter to
create the effect we have on the right
| | 00:04 |
with a hand painted look.
In combination with fine edges I will
| | 00:09 |
also be using smart sharpen reduce noise
and adjustment layers.
| | 00:14 |
Lets begin with this starting point and
I'm going to consolidate all of the tabs
| | 00:18 |
and press the tab key To bring back my
interface.
| | 00:23 |
First thing I wanna do is convert this to
a Smart Object.
| | 00:27 |
Then I'm going to, from the Filter menu,
choose Stylize > Find Edges.
| | 00:33 |
When you apply Find Edges, as we have
seen, you can get some odd color shifts
| | 00:36 |
on the edges themselves.
To minimize that, I'm gonna change the
| | 00:42 |
blending mode of that filter to
luminosity.
| | 00:46 |
Now, you may find that that's as good a
result as you're gonna get.
| | 00:50 |
And, in which case, you can stop right
there.
| | 00:53 |
But, let's push this a little bit
further.
| | 00:56 |
So I'm gonna come to the Sharpen filters,
and to Smart Sharpen.
| | 01:01 |
And apply this amount of Smart
Sharpening, 300%, 1 pixel, Remove Lens
| | 01:06 |
Blur and More Accurate to work on as many
edges as possible.
| | 01:12 |
Let's just see that before, and after.
Before, after.
| | 01:18 |
Then, and seemingly contradictory to
having just sharpened, I'm now going to
| | 01:22 |
reduce noise, which is going to give a
different sort of quality to the edges
| | 01:26 |
that we have.
I've zoomed in a bit so we can see those
| | 01:30 |
edges a bit closer.
Then I'm going to come to noise.
| | 01:35 |
And reduce noise.
I want the strength of the 10.
| | 01:39 |
And reduce color noise up at 100%.
If I click and hold down in the previous
| | 01:45 |
window, there's my before and there's my
after.
| | 01:48 |
I'll press Cmd or Ctrl+Minus to zoom out.
Now if I want to see those edges with
| | 01:54 |
more contrast, then I need a levels
adjustment layer.
| | 01:59 |
So, I'm gonna choose levels and boost my
black point and if I wanted to drop out
| | 02:03 |
some of the lighter grey values I could
also bring my white point closer to the
| | 02:07 |
center, but in this case I'm not gonna do
that I might wanna move my grey point
| | 02:11 |
slightly to the right.
Again, we might think that we need go no
| | 02:19 |
further, but let's push it a little bit
further still.
| | 02:23 |
If I want my edges to be monochromatic,
like a pencil sketch, then I need to
| | 02:27 |
apply a black and white adjustment layer.
And now I have my edges effect created by
| | 02:36 |
this combination of three layers and
three filters.
| | 02:42 |
I'm going to put those layers into a
layer group by pressing Cmd+G, and
| | 02:46 |
beneath this layer group, I'm going to
add a new layer, which I will fill with color.
| | 02:53 |
And you can see here, on my Swatches
panel, I have sampled some colors from
| | 02:57 |
the original colors of the image.
If you wanna do that, you can just come
| | 03:02 |
back to this point to turn off, those
adjustment layers, turn off the smart
| | 03:06 |
filters, sample the colors.
An I do need one other, so I'll do that here.
| | 03:12 |
Let's say that we wanna sample that,
light brown.
| | 03:16 |
Okay, we'll go for that one right there.
An then to add that color, to my swatches
| | 03:21 |
panel Hold down the Alt key and click.
Didn't quite turn out to be the color I
| | 03:27 |
wanted it to be.
Never mind.
| | 03:30 |
I'll just use one of these other ones.
But that's how you can sample colors from
| | 03:33 |
the original image.
Just click around and you'll see the
| | 03:36 |
sampling ring.
And then to add your foreground color to
| | 03:39 |
your swatches panel without having to
name it.
| | 03:42 |
Hold down the option key and click, on
any space that you have at the bottom of
| | 03:46 |
your swatches panel.
Anyway, back with the colorizing.
| | 03:51 |
Let's turn those adjustment layers and
those filters back on.
| | 03:55 |
Now, back on to my layer, and I will
choose.
| | 04:00 |
The orange color that I have sampled,
I'll choose a brush.
| | 04:04 |
And in this case I'm using this
watercolor brush.
| | 04:08 |
I think I need to make it a little bit
bigger.
| | 04:11 |
And I'm just going to start painting with
it, and you see that nothing happens and
| | 04:16 |
nothing will happen until I make the
blending mode of that group multiply.
| | 04:22 |
So having done that, the line work is
gonna show through on top of the color
| | 04:26 |
that we're now painting.
So I can go ahead and paint in the
| | 04:32 |
carrots, and for each area of color, we
want a new layer, so I'm gonna add
| | 04:36 |
another layer.
Change my color and then go ahead and
| | 04:42 |
paint with that color.
And on reflection, this green is looking
| | 04:47 |
a little bit dark, so I'm gonna switch
this green for another green, and that's
| | 04:51 |
very easily done.
I just need to lock my transparency.
| | 04:55 |
Come and choose another green, I'm just
going to sample this one from the greens
| | 04:59 |
on my swatches panel.
And if I hold down Option, and press the
| | 05:03 |
Delete key, that green will replace the
green that's already there.
| | 05:10 |
And I can now continue to paint in that
color.
| | 05:14 |
Except I will now need come and to unlock
the transparency to do so.
| | 05:19 |
This green is a bit bright but that's
okay because when I filled in the area
| | 05:23 |
that I wanted to occupy I'm just going to
reduce the opacity of this layer.
| | 05:34 |
So let's dial that down, somewhere around
there, and I can also change the order of
| | 05:39 |
the layers.
I'm going to put the orange on top of the
| | 05:42 |
green to just address the problem of that
edge there.
| | 05:47 |
And now I'll add another new layer.
And I went and added two which is okay
| | 05:51 |
because I'm going to need two.
And repeat that process for the diferent
| | 05:57 |
areas of color.
And adding these colors to separate
| | 06:06 |
layers is going to give you a great deal
of flexibility, should you need to change
| | 06:10 |
the color, should you need to reduce the
opacity of just that color, or, should
| | 06:14 |
you need to add to or subtract from just
that color, very easily done if that
| | 06:17 |
color is on a separate layer.
So i could now if I needed to just kind
| | 06:24 |
of tap e for my eraser tool and rub out
some of that if I went wrong.
| | 06:30 |
Last layer of color, and in this case,
I'm just gonna fill this whole layer with
| | 06:35 |
that color And Drag that one Down to the
Bottom.
| | 06:40 |
I think I can now come to each of these
Color Layers in turn and I'm in my Move
| | 06:45 |
Tool so I'm just going to Tap, in this
case, 7 to set that to 70%.
| | 06:51 |
And I come to the Green and that can
maybe go down to 30% on this dark brown,
| | 06:57 |
and can go down to maybe 60%, and then
this one to also maybe 60%.
| | 07:04 |
To tidy things up I'll to put all of
those colors into their own group, which
| | 07:08 |
I'll then name, and then behind
everything so that if you are working
| | 07:12 |
with transparancy you won't see any
checkerboard.
| | 07:17 |
All right I'm going to create a new layer
of solid color, which will be in this
| | 07:21 |
case white, and that will go at the very
bottom of the stack of layers.
| | 07:28 |
So we have there two layer groups, the
top one is the line work created by the
| | 07:32 |
application of Find Edges, helped out by
the addition of Smart Sharpen and given a
| | 07:37 |
sort of different effect by the
application of reduced noise, contrast
| | 07:41 |
boosted by levels, and then made
monochromatic by the use of black and white.
| | 07:50 |
Which incidentally, if you turn that off,
the color of the original will then
| | 07:54 |
combine with the colors that you've
painted.
| | 07:57 |
And you may find that to be a preferable
result, but you can go either way with
| | 08:00 |
that one.
And then all of this just sits on top of
| | 08:04 |
four layers of color, each of which has
been adjusted in its opacity and you've
| | 08:09 |
rubbed out and added to that area as
necessary.
| | 08:16 |
And crucially, the blending mode of the
top layer group is set to multiply.
| | 08:21 |
| | Collapse this transcript |
| Creating a glowing-edges effect| 00:00 |
If you're lucky enough to have been to
Venice, you almost certainly have a
| | 00:03 |
picture much like this one.
So what I wanna do with this is use the
| | 00:08 |
Glowing Edges filter to achieve this
kinda effect.
| | 00:13 |
Or, alternatively, to achieve this kinda
effect.
| | 00:19 |
So what glowing edges does is make your
image dark, and as the name implies, the
| | 00:24 |
edges glow.
In this first iteration, I have used
| | 00:29 |
glowing edges in combination with surface
blur, smart sharpen, and the cutout filter.
| | 00:36 |
And in the second, I've left out the
cutout filter, but I have applied glowing
| | 00:40 |
edges with a different blend mode.
Let's begin with our starting file right
| | 00:46 |
here, and I'm gonna convert this to a
smart object.
| | 00:51 |
And the first thing I'll do is come up to
my stylized filters and choose glowing edges.
| | 00:59 |
And I want to increase the width of the
edges to four.
| | 01:02 |
And I want to make them a bit brighter,
I'm going to go to 11 as the edge
| | 01:07 |
brightness, and I'm going to take the
smoothness down to 3.
| | 01:13 |
Why those values?
I just thought they're the values that
| | 01:16 |
looked best for this image.
No other reason than that.
| | 01:20 |
So now when I apply that, that's most of
the effect.
| | 01:24 |
But when you apply that you do get some
undesirable results.
| | 01:28 |
If we look here in the foreground we've
now got what appears to be a lot of color
| | 01:31 |
noise that really wasn't there before.
So having applied glowing edges I'm now
| | 01:37 |
going to address that problem of color
noise with a surface blur filter.
| | 01:44 |
i'm going to use a radius of 10 and
threshold of 20 an you can see that that
| | 01:48 |
makes that color noise in the foreground
and the shadow areas of these gondolas disappear.
| | 01:55 |
I'll turn of the preview.
There is the before there's the after.
| | 01:59 |
I would also like to accentuate the edges
a bit more.
| | 02:03 |
So, I'm going to now apply a Smart
Sharpen filter.
| | 02:09 |
So, to my Sharpen filters, Smart Sharpen.
And, I'm gonna use an Amount of 200, a
| | 02:15 |
Radius of 2, and More Accurate checked.
If I click and hold down, there's my before.
| | 02:22 |
There's my after.
So all of these things are I think
| | 02:26 |
contributing to a more painterly effect,
and lastly, I'd like to simplify the
| | 02:32 |
whole thing.
And I'm gonna simplify with the
| | 02:37 |
application of the cutout filter, which
essentially is gonna limit the number of
| | 02:41 |
levels that are available.
I think it's a little overcomplicated by
| | 02:45 |
having too many colors, too many
different shapes.
| | 02:49 |
So I will come to the Artistic group,
Cutout.
| | 02:52 |
Fit that in my window.
I wanna use the maximum number of levels,
| | 02:56 |
which is 8.
I want the edges to be as detailed as
| | 03:00 |
they can be so I'm taking the Edge
Simplicity down to 0.
| | 03:04 |
And, I want them to be as true as
possible so I'm putting the Edge Fidelity
| | 03:07 |
up to 3.
And if I turn off the cutout filter
| | 03:11 |
there's the before and there's the after
so a slight simplyfying of the overall effect.
| | 03:18 |
If you want your edges to glow but you
don't want your image to trun dark the
| | 03:23 |
way mine has done here's an alternative
approach.
| | 03:27 |
I'm now going to duplicate that layer,
Cmd+J, and I'm going to turn off the cut
| | 03:31 |
out filter, because that is not going to
work with what I'm about to do.
| | 03:37 |
But with the Glowing Edges filter, I will
double click on its blending mode.
| | 03:41 |
And rather than applying it in the normal
blending mode, which as we can see
| | 03:46 |
results in a lot of black.
If I apply it in screen, or one of these
| | 03:51 |
other Blending modes that are similar to
screen like Lighten or Color Dodge,
| | 03:55 |
Linear Dodge etc.
then we get the glowing edges but we
| | 04:00 |
don't get the black background.
So there's an alternative version without
| | 04:06 |
the black background, but I think I'm
going to embrace the full on glowing
| | 04:10 |
edges effect with the black background.
| | 04:14 |
| | Collapse this transcript |
| Creating effective solarizations| 00:00 |
I'd like to thank my friend Tom Good on
Staton Island for showing me this technique.
| | 00:04 |
This technique of solarizing the image
does not use the solarize filter.
| | 00:10 |
The solarize filter, which is part of the
stylize group offers no options whatsoever.
| | 00:17 |
You get what you are given and you can
achieve a much better solarization effect
| | 00:22 |
by using adjustment layers A solarized
image is one where part, usually about
| | 00:27 |
half of the tonal range, is reversed or
made negative.
| | 00:33 |
If we wanna compare the result of our
custom solarization with applying the
| | 00:37 |
Solarize filter, to the same image, we
can turn on this layer group here where
| | 00:41 |
you can see, I have applied that filter.
And that's what it would look like.
| | 00:47 |
Rather flat and uninteresting, I think,
by comparison.
| | 00:51 |
I'm gonna switch now to the starting
state of the file.
| | 00:55 |
It begins its life as a color image.
You can apply Solarization to color images.
| | 01:00 |
But I think the effect is more dramatic
and overall more pleasing when applied to
| | 01:04 |
a monochromatic image.
So for that reason, first thing I'm going
| | 01:08 |
to do, is apply a black and white
adjustment layer.
| | 01:11 |
Next thing I'm going to do is apply a
levels adjustment layer, with which I'm
| | 01:15 |
going to boost the contrast.
So this is probably going to work best on
| | 01:21 |
a somewhat overexposed image.
So I'm bringing the white point towards
| | 01:27 |
the center, and also getting on the gray
point and moving that to the left.
| | 01:31 |
And then finally, and this really is the
punchline, I'm going to apply a curves adjustment.
| | 01:36 |
Down here I have my shadows and up here I
have my highlights.
| | 01:40 |
This now needs to become a bell shaped
curve.
| | 01:44 |
So I'm going to drag that all the way
down like so to flatten it out completely
| | 01:47 |
- results in a black image.
But now from the mid-point, I will add an
| | 01:52 |
anchor point.
and I will pull that up.
| | 01:55 |
Now, just how far I pull that up is
entirely up to me.
| | 01:59 |
And that's where we get to exercise our
creative control here.
| | 02:04 |
Control that we just do not have with the
solarized filter.
| | 02:07 |
So I can put it up as high or leave it
down as low as I want and I'm going to go
| | 02:10 |
to about there I can also since I've
applied these changes as adjustment
| | 02:14 |
layers come and dial in the exact amount
of contrast that I want.
| | 02:20 |
I decide that maybe I don't want to move
the gray point slider all the way to the
| | 02:24 |
left after all because it looks really
interesting, I think, with this
| | 02:28 |
particular image when I move it back a
little bit towards the right.
| | 02:34 |
So you have a lot of creative control,
creatove control that you just do not get
| | 02:38 |
using the solarized filter
| | 02:41 |
| | Collapse this transcript |
| Creative use of the Tiles and Offset filters| 00:00 |
Here I'm gonna talk about the tiles panel
which is part of the stylized filter
| | 00:04 |
group, but more broadly, I'm gonna talk
about the issue of tiling and offsets.
| | 00:10 |
As we will see, we can achieve more
effective tiling techniques using tools
| | 00:15 |
beyond the tiles filter So let's begin
with the Tiles filter which it has to be
| | 00:19 |
said is somewhat underwhelming.
It's an older filter, doesn't give us
| | 00:26 |
that many options.
Here I have my beginning layer.
| | 00:29 |
I've converted this to a Smart Object.
And then I'll come to the filter menu.
| | 00:35 |
Stylize Tiles.
No preview, but here are our options:
| | 00:40 |
number of tiles.
So when I say in this case as I am gonna
| | 00:45 |
say, 3.
I will get three squares from top to
| | 00:49 |
bottom in my image.
So vertically, my image will be divided
| | 00:53 |
into three, all of the tiles will be
square.
| | 00:56 |
So horizontally, you will have as many
tiles as are porportional to your
| | 01:01 |
vertical height.
Maximum offset the maximum amount they
| | 01:06 |
can overlap 25% I'm gonna leave it as
that and I'll start out with this option
| | 01:10 |
unaltered image to fill the empty area
and that's our result.
| | 01:16 |
I'll just quickly undo that and then
revisit the tiles filter, and Inverse
| | 01:20 |
Image would give us that result, and
foreground color in this case is white.
| | 01:27 |
And then well you don't need to see the
black, but that would be the background color.
| | 01:34 |
So far so good, I guess, but I think we
can go a lot further with it than that.
| | 01:41 |
So let's have a look at some other tiling
effects that I have here.
| | 01:44 |
This is using either the foreground or
the background color then masking that
| | 01:48 |
color and then applying a layer effect.
In this case, the layer effect is a bevel
| | 01:54 |
end box.
Same options apply, three is the number
| | 01:57 |
of tiles, twenty-five percent as the
overlap.
| | 02:02 |
Taking it a little further.
We can apply the filter with a different
| | 02:06 |
blending mode.
In this case I've applied the overlay
| | 02:10 |
blending mode.
Taking it further still.
| | 02:13 |
Branching out a little what if we were to
achieve an entirely effect not with the
| | 02:18 |
title filter but using a layer effect.
In this case a patent overlay.
| | 02:25 |
So I've clicked on to the pattern layer.
And if we look at pattern overlay, we can
| | 02:29 |
see that this is the pattern that is
applied.
| | 02:32 |
This is one of the predefined patterns
that ships with Photoshop.
| | 02:35 |
And to get this, if you come to your
available patterns, you won't see it
| | 02:39 |
there initially, but then if you click on
the cogwheel at the top right here- You
| | 02:44 |
can choose patents and I'm going to
append those.
| | 02:50 |
The one I used was this one.
Its the tiles they are 128 pixels square
| | 02:57 |
so then you can adjust their scale.
And I'm using in this case the multiply
| | 03:04 |
blend mode.
So that's another option.
| | 03:07 |
Now getting a little more interesting I
think, we could look at some other
| | 03:11 |
filters that also do tiling-like things.
One of which is called mosaic tiles, we
| | 03:18 |
have two filters that use the word
mosaic.
| | 03:22 |
There's mosaic and mosaic tiles and there
are quite distinctly different.
| | 03:29 |
Mosaic tiles we find as part of the
texture group.
| | 03:33 |
And this is really going to give your
image a sort of bathroom tiling effect
| | 03:37 |
which if that's what you want this is
absolutely the right place to be.
| | 03:44 |
I've never really found an effective use
of this filter, but you can change the
| | 03:48 |
tiling size, you can adjust the grout
width, and the lightness or darkness of
| | 03:53 |
the grout.
Mosaic, on the other hand, we find in the
| | 04:00 |
Pixellate group, and this will give a
very oversampled, pixelated look to your
| | 04:05 |
image, useful if you ever need to
pixelate an area of an image to protect
| | 04:09 |
someone's anonymity, or also useful and I
demonstrated this in my Photoshop color course.
| | 04:19 |
If you want to break down an image to
just it's essential colors and then
| | 04:23 |
sample those colors so that you can make
your own custom swatches panel from the image.
| | 04:32 |
In addition to those, we also have the
offset filter.
| | 04:35 |
Now the offset filter, I'm just going to
turn this one on, Offset you will find in
| | 04:40 |
the rather unpromisingly named Other
group.
| | 04:45 |
And most likely, Offset is used to divide
an image into four quadrants, so that you
| | 04:50 |
can retouch the edges to achieve a
seamless pattern.
| | 04:56 |
If we just take a look at how We can do
that offset.
| | 05:00 |
Now in this case, my image is 1536 pixels
wide, so I want the horizontal offset to
| | 05:05 |
be half of that.
And it is 1024 pixels high.
| | 05:12 |
So I wanthe vertical offset to be half of
that.
| | 05:15 |
And I've now divided my image into four
equal quadrants.
| | 05:19 |
I'm gonna cancel that because I'm
applying it in a slightly different way here.
| | 05:25 |
If we look at the first applcation of the
offset filter and you can see that I have two.
| | 05:30 |
I'm working with a different blending
mode.
| | 05:33 |
It's a little bit difficult to predict
the results that you are gonna get but I
| | 05:36 |
think the results are quite interesting.
Using soft light, we get this overlapping
| | 05:42 |
transparancy effect.
I believe I'm using those same values for
| | 05:47 |
the amount of offset 768 and 512
respectively, or more specifically half
| | 05:52 |
the image's width and half the image's
height.
| | 05:58 |
And then I do the same thing again but
halving those values.
| | 06:02 |
So with an additional application of the
offset filter, this time, I'm halving
| | 06:07 |
those values again.
So we now have 16 overlapping segments in
| | 06:11 |
addition to which, the blending mode, of
both of those applications of the filter,
| | 06:16 |
has been changed from normal to, one of
the blending modes that's gonna, in this
| | 06:21 |
case, the contrast group of blending
modes.
| | 06:26 |
I was using soft lay, and here I'm using
overlay to achieve this transparency effect.
| | 06:32 |
Something else you might want to consider
with the tiles filter, or an expectation
| | 06:37 |
that you might have of the tiles filter
is that you will be able to create
| | 06:41 |
different tiles and then move those tiles
around independently.
| | 06:47 |
Well I can tell you that you won't be
able to do that, but it is relatively
| | 06:52 |
easy to do that if I turn on my guides
now by pressing command, semi-colon.
| | 06:59 |
You can see I've divided my image using
guides into six equal segments.
| | 07:06 |
And then I did nothing more than start
out with the original image.
| | 07:13 |
Make a selection of each one of those
with the marquee selection tool And then
| | 07:17 |
use the layer via cut option to cut my
image into six equal segments which I can
| | 07:22 |
then using the move tool, move around to
achieve this puzzle like effect which I
| | 07:27 |
think is quite interesting.
Branching out from there, I'm just gonna
| | 07:36 |
turn off my guides now, command semi
colon.
| | 07:40 |
If in addition we also add some type into
that, then we dice it, simply by using
| | 07:46 |
layer vire cut, and end up with an effect
that looks like this.
| | 07:54 |
So there are some things to consider with
tiling and offsets.
| | 07:57 |
The Tiles filter is really just the
beginning.
| | 08:01 |
Explore using the Offset filter, explore
applying layer effects.
| | 08:06 |
And explore working with filter-blending
modes.
| | 08:10 |
| | Collapse this transcript |
| Creating a line drawing with the Trace Contour filter| 00:00 |
We've already seen some different
techniques for tracing the edges of your image.
| | 00:05 |
We've seen fine edges, we've seen the
fragment filter combined with the divide
| | 00:10 |
blending mode.
Here's another one, Trace Contour.
| | 00:14 |
Where I go with this, you could also
develop the same techniques in
| | 00:18 |
combination with those other methods as
well.
| | 00:22 |
Trace contour is gonna to give a
different quality to the edges in your image.
| | 00:25 |
A more granular kind of quality.
Let's take a look.
| | 00:29 |
So, I here have one layered group, where
I have Trace Contour applied to the
| | 00:34 |
image, and on top of that, a Dodge Burn
layer, which I'm using to just control
| | 00:38 |
how the contour is traced.
And then I'm converting that line to all
| | 00:45 |
black or all white.
Putting all of those things in a layer
| | 00:49 |
group, adding a layer effect to the layer
group and changing the color of the
| | 00:53 |
contour, so we don't have to settle with
black.
| | 00:58 |
And then I'm applying a layer mask to
that.
| | 01:02 |
So that we can see beneath the original
image, which itself has a canvas texture
| | 01:07 |
applied to it.
Now that may sound a little bit
| | 01:11 |
complicated but it's actually pretty
straightforward.
| | 01:14 |
Let's just take a look, first of all, at
the quality of the Trace Contour edge.
| | 01:19 |
I'll disable that layer mask, and then I
will also turn off that layer effect.
| | 01:24 |
And now we can look at the quality of
that edge.
| | 01:28 |
That's the kind of thing that we get with
Trace Contour.
| | 01:32 |
I'm now gonna switch over to the
beginning file (SOUND) where I will
| | 01:36 |
convert this to a Smart Object.
The first thing I did was create a
| | 01:41 |
background with a texture.
I am going to come to the Texture >
| | 01:46 |
Texturizer, and use Canvas as my texture.
Now, I'm going to duplicate that layer,
| | 01:54 |
delete the texture filter applied to it.
So I'm gonna come to Filter > Stylize >
| | 02:01 |
Trace Contour.
What we have with this filter that we
| | 02:05 |
don't have with find edges is the ability
to adjust the level of the contour being traced.
| | 02:10 |
If I go all the way to the left, we have
no line being traced, so you would assume
| | 02:13 |
perhaps that if you went all the way to
the right, you would have all lines being traced.
| | 02:19 |
Actually, that's not the case.
We want to place this somewhere in the
| | 02:23 |
middle, assuming that most of the
information that we wanna trace is in the
| | 02:27 |
midtone region to get a decent Contour
Trace.
| | 02:32 |
And I ended up using a level of about 90.
What I wanna end up with is tracing the
| | 02:36 |
outline of this ruined building.
So let's go with 97.
| | 02:42 |
And then I will click OK.
We get some very strange color shifts.
| | 02:46 |
And I'm going to ameliorate this somewhat
by changing the Blending mode of Trace
| | 02:51 |
Countour to Luminosity, which then gives
me this effect.
| | 02:57 |
So it's now bringing back some of the
original color from the image.
| | 03:02 |
But where we can tease out more detail is
by adding a Dodge Burn layer above image layer.
| | 03:09 |
So I'm gonna create a new empty layer
which I will apply the Overlay Blending
| | 03:14 |
mode to and fill with overlay neutral
color.
| | 03:19 |
I'll also name it while I'm here.
(SOUND).
| | 03:25 |
And now I can choose my Brush tool and I
just want a regular soft edged brush.
| | 03:30 |
Painting in white is gonna reduce the
amount of the image that gets turned into
| | 03:33 |
a contour, and painting in black will
increase the amount.
| | 03:37 |
Now before I really do this, though, I
need to put above my Dodge Burn layer a
| | 03:41 |
Threshold adjustment, which is going to
turn all of my contour lines to black or white.
| | 03:47 |
(SOUND).
And I'll adjust that to get as good a
| | 03:51 |
result as I can, which I think, in this
case, is somewhere around there.
| | 04:00 |
So I've gone up pretty high to, say, 220.
Now on the Dodge Burn layer.
| | 04:07 |
And I'm gonna use a higher opacity than
one would usually use for this technique.
| | 04:13 |
(SOUND).
Painting in white, I can now rub out
| | 04:16 |
those bits in the sky where I don't want
any contour traced, and then I can switch
| | 04:20 |
to black.
Might need to reduce my opacity, I just
| | 04:25 |
tapped 5 to go to a 50% Opacity.
In fact, that's a bit too subtle, so I'm
| | 04:31 |
gonna go back to 100%.
I can now add in some areas of detail
| | 04:35 |
that were formally left out.
And, of course, as I said, you can use
| | 04:40 |
this same Dodge Burn technique if you
choose to trace your edges with Find
| | 04:44 |
Edges or with the Fragment Filter,
combined with the Define Blending mode.
| | 04:54 |
So when I get a result like that I'm
gonna take these three layers, and I'm
| | 04:58 |
gonna put them into a group.
And then, I'm gonna add a layer mask to
| | 05:03 |
that group.
Now the reason I put them into a group is
| | 05:06 |
so that I can mask the whole group with a
single layer mask.
| | 05:10 |
And then I'm gonna paint on that layer
mask, with, how about this one?
| | 05:15 |
Oil Pastel Large.
And I'm gonna make it larger still by
| | 05:18 |
pressing my Right Bracket and just
swiping across some areas to reintroduce
| | 05:23 |
some color from the original.
The last thing I'm gonna do is change the
| | 05:28 |
color of that contour.
A possible limitation or seeming
| | 05:32 |
limitation of these tools that will
outline your edges is that you always end
| | 05:36 |
up with a black edge.
But what if you don't want a black edge?
| | 05:41 |
There are other ways of doing it, but
here's one way.
| | 05:43 |
And that is now that I've made a group of
all of those elements, I'm going to apply
| | 05:48 |
a color overlay layer effect to that
group.
| | 05:52 |
So we can see that using red in the
normal blending mode is obviously not
| | 05:55 |
going to work.
So I am going to change the blending mode
| | 05:59 |
to screen, first of all.
And there we can see that the color now
| | 06:03 |
sticks to that outline edge.
I do now want to change that color, and
| | 06:10 |
I'm going to use that.
(SOUND).
| | 06:16 |
So there we have Trace Contour, applied
to a Smart Object.
| | 06:20 |
The Dodge and Burn on top of that or
sandwiched between that layer and the
| | 06:24 |
Threshold layer.
And it's the Dodge and Burn that is
| | 06:29 |
allowing us to tease out extra
information, extra contour lines, or
| | 06:33 |
remove contour lines that we don't want
there.
| | 06:37 |
And then, we have used the color overlay
layer effect to change the color of that contour.
| | 06:43 |
And it's this layer mask applied to the
group that is allowing us to blend the
| | 06:48 |
result of that group with the original
image below.
| | 06:53 |
| | Collapse this transcript |
|
|
11. Using the Texture FiltersStraightening perspective with Adaptive Wide Angle| 00:00 |
The Adaptive Wide Angle Filter is
intended to be used to fix the kind of
| | 00:04 |
distortions that happen with wide angle
lenses, especially the bowing of horizons.
| | 00:09 |
But you can also use it to create
symmetrical compositions like this Pro
| | 00:14 |
Images that began like this.
Showing the typical kind of Keystone
| | 00:19 |
effect that you get, when you point your
camera upwards.
| | 00:23 |
And here I'm using it with two other
Photoshop tools.
| | 00:26 |
One of them a filter, that's the lens
correction filter, which is really doing
| | 00:30 |
half of the work here.
And adaptive wide angel is just finishing
| | 00:34 |
off, and also the content aware fill.
If we just break that down, we can see
| | 00:40 |
that applying lens correction straightens
out to a large degree those distorted edges.
| | 00:48 |
And then adaptive wide angle just takes
it that bit further.
| | 00:51 |
Inevitably, that is going to leave some
gaps around the edges and that's where
| | 00:55 |
the Content-Aware Fill comes in.
So, I'm going to switch to the beginning
| | 01:01 |
state, convert to a smart object, and
then come to lens correction first of all.
| | 01:07 |
And in terms of the auto correction,
let's turn it on.
| | 01:10 |
It's not going to make a whole lot of
difference here, but I don't think it's
| | 01:13 |
going to do any harm either.
I have a grid turned on, and I'm going to
| | 01:17 |
use that grid to just visually align the
edges that I want to be completely
| | 01:20 |
straight or completely horizontal.
Of course, I'm also losing some of the
| | 01:27 |
edges of the image so I can compensate
for that by changing the image scale, so
| | 01:33 |
I bring the image back and I'm also going
to use the straighten tool.
| | 01:42 |
There is a line that runs down the middle
and I'm going to straighten to that line
| | 01:46 |
or attempt to straighten to that line.
I'm dragging the straighten tool across
| | 01:52 |
that line, and then you can see, as
evidenced here in my angle, it's slightly
| | 01:57 |
shifted according to that line.
So, there's my starting point, I'll now
| | 02:03 |
click OK to that.
And then come up to adaptive wide angle.
| | 02:09 |
And there are two tools here that I'm
going to use.
| | 02:11 |
The first is the polygon constrain tool,
and this is going to do the macro work.
| | 02:18 |
And I'm going to, in this case, just draw
myself a polygon around the area I want straightened.
| | 02:25 |
And I'm holding down my Shift key to
constrain these lines to be perfectly
| | 02:30 |
horizontal or perfectly vertical.
So that there is a start and now, I'm
| | 02:37 |
going to switch to my Constraint tool,
and you can see on the top here, this
| | 02:42 |
Window that was outside of the polygon
has not been straightened, though, is
| | 02:47 |
slightly bowed.
I'm gonna draw myself a line running
| | 02:53 |
along the top of all those window ledges.
And that will straighten that line, and
| | 02:58 |
I'll add a few more of these in.
There is a limit to how far you can go
| | 03:02 |
with this, and if you go beyond that
limit, you are gonna do some damage to
| | 03:06 |
that image.
But, I'm gonna carry on while I'm still
| | 03:10 |
ahead, I think I'm still ahead.
And I've also added some vertical lines
| | 03:17 |
as well.
Okay, so now I am going to have to crop this.
| | 03:24 |
I'll tap C to go to my crop tool, and
I'll bring in my cropping rectangle.
| | 03:29 |
To about there and let's see how content
aware fill will do now trying to fill in
| | 03:31 |
these empty areas.
It's a big task for content aware fill,
| | 03:36 |
but I am often amazed at how much it can
do.
| | 03:43 |
I will duplicate that layer, and then I'm
going to restorize it.
| | 03:55 |
Tap W to choose my Wand, unchecked
contiguous and then click in an area of transparency.
| | 04:02 |
I'll now come to the select menu and
expand that selection and I'm going to
| | 04:07 |
expand it by 40 pixels and then press
Shift, and my Backspace + Delete key, and
| | 04:12 |
use content aware to fill that area.
Not such a great job here on the left,
| | 04:20 |
but a pretty good job over here on the
right.
| | 04:24 |
And I'm going to use the path of least
resistance to fix that problem, and that
| | 04:29 |
is I'm going to crop out any obviously
cloned areas.
| | 04:35 |
But there we see an interesting and
promising use of adaptive wide angle,
| | 04:39 |
whenever you want to create something
that looks symmetrical and grid-like.
| | 04:45 |
| | Collapse this transcript |
| Combining Lens Correction and Adaptive Wide Angle| 00:00 |
Here's another example of combining the
adaptive wide angle filter with the lens
| | 00:04 |
correction filter.
What we have on the left hand side is the
| | 00:08 |
uncorrected distorted building.
Keystoning happening, so you can see the
| | 00:13 |
sides of the building and converging
towards each other.
| | 00:17 |
As you get closer to the sky, and on the
right we have the corrected version, and
| | 00:21 |
if we just look at that we can see that
it has two filters - lens correction
| | 00:24 |
first, and that in this particular
example is doing most of the work, and
| | 00:28 |
then just to refine that, adaptive wide
angle.
| | 00:34 |
So I'm going to come to the starting
state, convert my background layer to a
| | 00:37 |
smart object, and then come to Lens
Correction, I'll use the straighten tool
| | 00:41 |
to straighten across this plain, and then
when I switch to Custom we can see that
| | 00:45 |
that has slightly changed the angle.
I will then use the vertical perspectious
| | 00:53 |
slider to try to straighten the lines of
the building.
| | 00:56 |
And so that I don't end up losing too
much of the image I'm also going to
| | 00:59 |
reduce the scale.
And that's about as close as I can get
| | 01:05 |
with lense corrections.
And now to complete the job, I'm gonna
| | 01:10 |
use the adaptive wide angle filter, and
I'm gonna start out with the polygon
| | 01:14 |
constraint tool.
I'm gonna draw myself A polygon, holding
| | 01:19 |
down the Shift key, to constrain the
sides of that polygon to perfect vertical
| | 01:24 |
or perfect horizontal planes.
And I need to click back at my starting point.
| | 01:31 |
And then, I'm going to come and move the
edges of this polygon to align with the
| | 01:35 |
edges of the building itself, and you can
see that as I do that, it's gonna
| | 01:38 |
straighten the sides.
In addition to that, I'm gonna get my
| | 01:47 |
Line Constraint tool and draw a few
horizontal lines.
| | 01:51 |
I'm holding down the Shift key just to
straighten out those windows.
| | 02:01 |
When I'm happy with the result I will
click Okay.
| | 02:03 |
Of course we can't make the omelette
without breaking eggs, and in this case
| | 02:07 |
we have introduced some transparency
around the image, and I'm going to use
| | 02:11 |
the path of least resistance there which
is to crop out those transparent areas.
| | 02:22 |
And there is our finished result with the
lines of the building completely vertical
| | 02:26 |
thanks to Lens Correction and Adaptive
Wide Angle
| | 02:30 |
| | Collapse this transcript |
| Suggestions for working with the Oil Paint filter| 00:00 |
The Oil paint Filter new in CS6 is so
easy to use and gives such good results
| | 00:04 |
that it almost feels like cheating.
You really can't go wrong.
| | 00:09 |
I'd like to give you some simple ideas
for working with the oil paint filter.
| | 00:14 |
Beginning with this image which sort of
already has a "paintily" feel about it.
| | 00:19 |
I'm going to apply the oil paint filter.
First of all I will convert to a smart
| | 00:23 |
object, then come to oil paint, one of my
big filters, one of the above the fold filters.
| | 00:30 |
And then it's really just a question of
adjusting the setting until you find
| | 00:35 |
something that you like.
If I want to go for a light application
| | 00:39 |
of the oil paint filter, I'm going to
increase my cleanliness all the way and
| | 00:44 |
I'm going to take down my styliliziation
see what happens when I pump that
| | 00:48 |
stylization up it becomes almost
abstract.
| | 00:53 |
And then I can also reduce the amount of
shine.
| | 00:56 |
Let's take a look at another example.
The oil paint filter is fantastic for
| | 01:03 |
breathing new life into images that
didn't quite make it.
| | 01:09 |
And this is such an image so I'm going to
convert this to smart object and then
| | 01:14 |
apply oil paint and in this instance I am
going to have a heavier application of
| | 01:19 |
oil paint so I'm going to increase the
amount of stylization.
| | 01:29 |
To give me a result like that.
But then I might want to go a little bit
| | 01:33 |
further with this.
I find that the blues in the image are a
| | 01:36 |
little bit distracting.
So I want to drop out those blues.
| | 01:40 |
I'm going to add a color lookup table,
and there is a pre-defined color lookup
| | 01:45 |
table called Drop Blues which does
exactly that.
| | 01:51 |
And I feel like that's definitely a step
in the right direction.
| | 01:54 |
There's the before and there's the after,
but there is something else I'd like to
| | 01:58 |
do and that is desaturate the greens.
So I'm going to also add a hue saturation
| | 02:04 |
adjustment layer.
And I'll come and use my targeted
| | 02:09 |
adjustment slider.
Now, since I want to adjust the
| | 02:13 |
saturation, I will just click on the
greens and then drag to the left and that
| | 02:17 |
will desaturate the greens.
So, let's see where we've arrived at there.
| | 02:24 |
There's my beginning file, there's the
oil paint filter applied to it.
| | 02:28 |
The Color Lookup adjustment layer which
is dropping the blues.
| | 02:32 |
And the Hue Saturation adjustment layer
which is desaturating the greens.
| | 02:38 |
Something else you might want to try, and
here's another of those images that.
| | 02:42 |
Without something done to it, would be
just a candidate for the reject bin.
| | 02:47 |
But, I want to try and breathe new life
into this image.
| | 02:50 |
I particularly do not like the color
palette of this image.
| | 02:55 |
So what I'm gonna do is, find a color
palette I do like, and I've gone to
| | 02:58 |
Wikipedia and I'm using this image of the
girl with the pearl earring by Vermeer.
| | 03:05 |
I have copied this.
And pasted it into photoshop then I'm
| | 03:10 |
going to choose save for web and I need
to save it as a...
| | 03:15 |
well actually i'm not going to save it
but I need to choose at this point .gif
| | 03:20 |
or .png as my file type.
Because what I want to do is export a
| | 03:25 |
color table so these are the colors that
are being extracted from this image.
| | 03:32 |
I'm gonna change that to No Dither.
And I'm gonna try and, this time, work
| | 03:35 |
with a limited range of these colors.
So, I'm gonna reduce that down to 64, and
| | 03:41 |
then I'm going to choose Save Color
Table.
| | 03:46 |
And I will come and save this in my
folder.
| | 03:50 |
I already have one that I created earlier
so I'm going to call this one vermeer1.
| | 03:53 |
I can now cancel out of there and switch
back to my less than masterful work in progress.
| | 04:01 |
And I'm going to convert this from an RGB
image into an indexed color image.
| | 04:08 |
So I'll come up to the image menu.
Mode, index color.
| | 04:12 |
Now the reason I'm doing this is so that
I can use that color look-up table that I
| | 04:17 |
just saved.
So where it says palette I'm going to
| | 04:22 |
choose custom, then click on load, and
then navigate to the place where I saved
| | 04:26 |
that look-up table.
And there is my palette.
| | 04:31 |
I wanna make sure that I have the
Dithering set to None.
| | 04:35 |
I can now click OK.
If I want to apply the Oil Paint filter,
| | 04:39 |
I now have to change my image back to an
RGB image.
| | 04:46 |
Convert the Background Layer to a Smart
Object.
| | 04:49 |
And then, come and choose Oil Paint from
my filters, adjust these sliders to my liking.
| | 04:55 |
But the important point here, is that I
now have a whole new color palette, which
| | 04:59 |
is definitely improving the look of this
image.
| | 05:03 |
And if we see where we began, we have
this very garish color palette and we're
| | 05:07 |
finishing up with this far more
sympathetic color palette derived from
| | 05:10 |
Vermeer's Girl with a Pearl Earring.
So there are just some ideas and they are
| | 05:17 |
just the tip of the iceberg for working
with the fantastic new oil paint filter.
| | 05:24 |
| | Collapse this transcript |
| A simple application of the Vanishing Point filter| 00:00 |
In this simple application of the
Vanishing Point filter we're going to see
| | 00:03 |
how we can give this car a paint job.
And we're going to start out with just
| | 00:09 |
the image of the car.
This is the artwork that we're going to
| | 00:13 |
use the Vanishing Point filter to apply
to the bodywork of the car, in the
| | 00:17 |
perspective of the car.
And in conjunction with that.
| | 00:22 |
Were also going to be using a layer mask
to limit the areas of the body work that
| | 00:27 |
the outwork goes to.
And a blending mode.
| | 00:31 |
So the first thing that we want to do is.
Create a new layout for the vanishing
| | 00:36 |
point effect to take place on.
Because you cannot apply the Vanishing
| | 00:41 |
point filter to a Smart object.
Nor can you apply a vanishing point to a
| | 00:46 |
CMYK image.
So this image is necessarily an RGB image.
| | 00:53 |
I want to copy this artwork.
So I'm going to hold down my command key
| | 00:57 |
and click on its thumbnail to load the
artwork as a section.
| | 01:01 |
Command C to copy it.
Turn off the visibility of that layer,
| | 01:05 |
Command D, to deselect the selection
outlines.
| | 01:09 |
Then create a new empty layer, which I
will call Vanishing Point.
| | 01:15 |
So, I'm going to come to the Vanishing
Point filter, and I need to establish my
| | 01:18 |
perspective plane using the Create Plane
tool.
| | 01:22 |
I'm going to zoom out a little bit to
make this easier, so I can see all of my
| | 01:25 |
image surrounded by a little bit of
pasteboard, and I'm going to create my
| | 01:29 |
four point Plane like so.
It does need to be blue in outline so if
| | 01:35 |
it's anything other than blue, red or it
may sometimes be yellow then you need to
| | 01:40 |
adjust it or start fresh so you have a
blue outline.
| | 01:47 |
Once you like the shape you can extend
it.
| | 01:50 |
In any direction by pulling on the
handles of the perspective grid.
| | 01:54 |
Okay I'm gonna go with it like that.
I'm then gonna paste my artwork Command V.
| | 02:06 |
I now have a floating selection which I'm
gonna drag into my perspective plane.
| | 02:12 |
I can tap the t key to go to my transform
tool and adjust the size, of the artwork.
| | 02:18 |
If I do need to scale it proportionally,
I can hold down the shift key.
| | 02:21 |
(SOUND)
| | 02:24 |
I'll pad up here.
Alright, that's looking good, so now I'll
| | 02:39 |
click Okay.
To make the white areas of the artwork
| | 02:43 |
disappear I'm gonna change the blend mode
to linear burn to mask the art work so
| | 02:48 |
that it does not appear.
Any areas of the car where it does not
| | 02:53 |
belong, for example, over the head
lights.
| | 02:56 |
I'm going to load a pre-made alpha
channel which looks like this.
| | 03:01 |
It was created using color range.
I will load it by command or control
| | 03:06 |
clicking on it's thumb nail.
Come into the Layers panel and then
| | 03:12 |
making that into a layer mask.
Optionally, I can also dial down the
| | 03:17 |
opacity of the layer to blend in the
artwork with the color of the car.
| | 03:26 |
So there we have a very simple
application of the vanishing point filter.
| | 03:30 |
Pasting artwork into a perspective plane,
onto a new layer and then changing the
| | 03:34 |
blend mode of that layer and applying a
layer mask to it.
| | 03:39 |
| | Collapse this transcript |
| Combining the Liquify and Vanishing Point filters| 00:00 |
Here's an example of combining the
Liquify filter with the Vanishing Point filter.
| | 00:04 |
Two powerhouse filters combined in this
simple, yet effective way to put some
| | 00:10 |
swirls in my coffee cup.
There's the before and there's the after.
| | 00:16 |
Let's now switch to the beginning state
of the file.
| | 00:19 |
And I have a predefined channel saved
with this file which I'm going to load.
| | 00:25 |
This was made using the quick selection
tool and refined with the Refined Edge tool.
| | 00:30 |
I'm now gonna copy that selection to a
new layer.
| | 00:33 |
Cmd or Ctrl+J and then I'm going to
convert that to a Smart Object.
| | 00:38 |
If you were working with a version of
Photoshop earlier than 13.1 and you can
| | 00:42 |
check by coming to About Photoshop, then,
you will not be able to apply Liquefy to
| | 00:46 |
a Smart Object.
You'll just have to work with the pixels
| | 00:51 |
of the layer itself, which, means that
you won't be able to go back and vary the
| | 00:55 |
amount of the liquefy filter that was
added.
| | 00:59 |
But, since I am, working with, what is,
at the time of recording, the most
| | 01:03 |
current version, 13.1, I do have that
option.
| | 01:09 |
Now when you first come to Liquefy, it
probably not look like this.
| | 01:13 |
So I'm going to set it back to its
default position by holding down the Cmd
| | 01:16 |
key and clicking on what becomes the
default button.
| | 01:21 |
So this is how Liquefy will look the
first time you arrive at the filter.
| | 01:25 |
I'm going to check Advanced Mode because
the tool that we wanna use is the Twirl tool.
| | 01:30 |
And that only shows up when in Advanced
Mode.
| | 01:33 |
I also want to use one of these mask
options.
| | 01:37 |
I want to mask the transparency.
So I'm gonna choose my Twirl tool and
| | 01:42 |
increase my brush size.
And then add some swirls to my coffee.
| | 01:48 |
I might wanna increase my brush rate.
So that happens a little bit faster,
| | 01:53 |
that's a bit fast.
Let's bring that down to 19 instead.
| | 02:00 |
(SOUND).
Okay.
| | 02:02 |
So there are some swirls in the coffee.
Now, in doing that, you are almost
| | 02:10 |
certainly going to end up pulling the
pixels away from the edge.
| | 02:15 |
In which case, you can then switch to
your Reconstruct tool and paint back in
| | 02:20 |
those edge pixels.
And I'll now click OK to commit the changes.
| | 02:27 |
So I'm now going to Cmd+click on Layer 3
to load the selection of that layer.
| | 02:34 |
And then copy it, Cmd or Ctrl+C.
And then I'm gonna create a new layer on
| | 02:40 |
which I will be changing the perspective
of the copy using the vanishing point
| | 02:44 |
filter and it might not be a bad idea if
I name that layer.
| | 02:51 |
Vanishing point filter can not be applied
to a Smart Object, so that's the reason
| | 02:54 |
I'm applying this to an empty layer.
I now need to deselect my currently
| | 03:00 |
active selection, and then come to
vanishing point.
| | 03:05 |
Since I was practicing earlier I already
have my perspective plane set up.
| | 03:09 |
But if you need to create this you just
choose the Create Plane tool and click
| | 03:13 |
four times to create your perspective
plane.
| | 03:16 |
Make sure that it's blue, not red or
yellow.
| | 03:20 |
You may need to just adjust its
positioning slightly to have it be blue,
| | 03:23 |
so that the perspective will work.
At this point, I can press Cmd or Ctrl+V
| | 03:28 |
to past the contents of my clipboard into
the vanishing point filter.
| | 03:35 |
Drag it over into my perspective plain
then tap my T key to transform that.
| | 03:42 |
I need to make sure that the edges
overlap the existing area of liquid.
| | 03:50 |
And I'm now gonna click OK.
Now I'll come to my Channels panel and
| | 03:55 |
reuse that pre-saved Alpha channel 3 as a
layer mask, right there.
| | 04:01 |
So that we have that as our finished
result.
| | 04:04 |
Let me just break that down for you.
We have that as the starting point.
| | 04:08 |
That's the result of the Liquefy filter,
almost there, but the perspective is
| | 04:13 |
slightly off.
And then there is the result of that
| | 04:16 |
Liquefied portion, also adjusted using
the vanishing point to the perspective of
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the coffee cup.
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12. Creative Use of the "Big" FiltersThird-party filters and beyond| 00:00 |
All the filters I've covered in this
course come in stored as standard with
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PhotoShop CS6.
But there's a whole wide world of filters
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beyond the standard installation.
One place you can find links to third
| | 00:12 |
party filters and filters suite is the
Adobe Marketplace.
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Type Adobe Marketplace to PhotoShop into
a search engine.
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A popular filter suite is Eyecandy by
Alien Skin software, which at the time of
| | 00:27 |
recording retiles for $199 and a free
trial is available.
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Another popular and extensible filter
suite is Filter Forge.
| | 00:40 |
You can edit Filter Forge filters and you
can also download additional filters from
| | 00:48 |
the Filter Forge website.
Like Alien Skins, Eye Candy, at the time
| | 00:55 |
of recording Filter Forge costs $199.00
and a pretrial of the product is available.
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If you're a techy person and feeling
intrepid you can download Adobe's Pixel
| | 01:06 |
Bender toolkit which let's you create
your own image processing algorthims.
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As you can see the world of filters is a
near infinite one.
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But no matter what filters you're using I
hope the techniques I've covered have
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inspired you to create your own unique
images.
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Using filters in combination, with other
filters, and other Photoshop tools and features.
| | 01:30 |
And I hope you'll be able to integrate
some of these techniques into your own
| | 01:33 |
work flow.
As always it's the approach that is more
| | 01:37 |
important than the specifics.
Work non-destructively and experiment to
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make Photoshop filters your own by coming
up with unique combinations and
| | 01:46 |
unexpected uses, and don't forget to have
fun along the way.
| | 01:52 |
I'm Nigel French, thanks for watching and
goodbye for now.
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