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Digital Painting: Architecture
Illustration by John Hersey

Using the Displacement filter to add imperfections


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Digital Painting: Architecture

with John Derry
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  1. 26m 4s
    1. Introduction
      1m 3s
    2. Using the exercise files
      32s
    3. Installing custom content
      2m 46s
    4. Setting up Wacom express keys
      13m 32s
    5. Setting Wacom touch ring preferences
      2m 14s
    6. Setting Wacom stylus preferences
      3m 24s
    7. Division of labor: Image prep and painting
      2m 33s
  2. 19m 9s
    1. Visual vocabularies
      3m 49s
    2. The vocabulary of photography
      7m 38s
    3. The vocabulary of painting
      4m 59s
    4. Looking at reality through a mental painting filter
      2m 43s
  3. 38m 57s
    1. Removing lens distortion with the Adaptive Wide Angle filter
      6m 47s
    2. Removing distractions
      8m 7s
    3. Don't be a slave to the original photograph
      10m 51s
    4. Correcting image adjustments
      2m 58s
    5. Telling a story with added image elements
      10m 14s
  4. 25m 2s
    1. The eye has a better sensor than a camera
      3m 2s
    2. Adding natural shadows with Field Blur
      8m 47s
    3. Using the Shadow/Highlight adjustment filter
      7m 48s
    4. Using the HDR Toning filter
      5m 25s
  5. 39m 56s
    1. Resolution is in the brushstrokes
      3m 26s
    2. Using the Surface Blur filter
      6m 17s
    3. Using the Displacement filter to add imperfections
      6m 22s
    4. Using the Oil Paint filter
      11m 51s
    5. Making tonal and color corrections
      12m 0s
  6. 22m 40s
    1. Nondestructive layer painting (NDLP): Your creative safety net
      5m 54s
    2. Setting up the Mixer Brush cloning action
      7m 29s
    3. Using cloning layers
      2m 58s
    4. Working with adjustment layers
      6m 19s
  7. 20m 7s
    1. Using tool presets and not brushes
      3m 41s
    2. Categorizing and organizing brushes
      6m 14s
    3. Adding canvas texture
      4m 51s
    4. Using Sample All Layers
      5m 21s
  8. 14m 48s
    1. You must destroy detail
      2m 9s
    2. Establishing compositional structure
      3m 46s
    3. Determining a style and sticking to it
      7m 30s
    4. Painting in progress: Finishing the underpainting layer
      1m 23s
  9. 26m 40s
    1. Understanding simplified indication
      9m 9s
    2. Understanding color: Warm advances, cool retreats
      4m 9s
    3. Painting in progress: Introducing texture to the intermediate layer
      13m 22s
  10. 40m 19s
    1. The play's the thing
      5m 18s
    2. Focusing on the subject through detail
      4m 40s
    3. Using a traditional paint color swatch set
      4m 37s
    4. Painting in progress: Completing the detail layer
      16m 25s
    5. Adding surface texture effects
      9m 19s
  11. 12m 47s
    1. It pays to wait a day
      1m 55s
    2. Adjusting your importance hierarchy
      4m 49s
    3. You'll never paint the same thing twice
      2m 7s
    4. Helpful resources and inspiration
      3m 56s

Video: Using the Displacement filter to add imperfections

A photograph is a record of reality. Other than lens artifacts, a camera records everything with precision. Artists, on the other hand, are capable of, and often do, introduce small imperfections when rendering a scene. Straight lines wobble a bit. Circles are somewhat elliptical. Perspective is skewed. These visual flaws are part of the language of painting. Take a look at any Van Gogh, and you'll see an extreme example of what I'm talking about. We can inject a bit, or a lot, of imprecision into our image with the displacement filter. Let's see how.

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Digital Painting: Architecture
4h 46m Intermediate Jan 03, 2013

Viewers: in countries Watching now:

Learn to think like a painter and render images that look like they were created with oils or acrylics, using the latest digital artist's tools. Author and artist John Derry introduces the process of interpreting a photograph into a painted work of art. He begins by explaining his system of visual vocabularies, which describe how to replace the visual characteristics of a photograph with that of expressive painting, and also shares the custom brush sets and actions he uses to achieve these results in Adobe Photoshop. The course also covers working with filters, layers, effects, and more to add further detail and texture.

Topics include:
  • Setting up a Wacom tablet
  • Removing lens distortions
  • Correcting distracting image elements
  • Making shadow and highlight adjustments
  • Simplifying details with filters and Smart Blur
  • Modifying color
  • Cloning layers
  • Using a traditional paint color swatch set
  • Using custom actions
  • Working with canvas texture
  • Creating physical surface texture effects
  • Painting with custom brushes
Subjects:
Design Design Techniques Digital Painting
Software:
Photoshop Wacom
Author:
John Derry

Using the Displacement filter to add imperfections

A photograph is a record of reality. Other than lens artifacts, a camera records everything with precision. Artists, on the other hand, are capable of, and often do, introduce small imperfections when rendering a scene. Straight lines wobble a bit. Circles are somewhat elliptical. Perspective is skewed. These visual flaws are part of the language of painting. Take a look at any Van Gogh, and you'll see an extreme example of what I'm talking about. We can inject a bit, or a lot, of imprecision into our image with the displacement filter. Let's see how.

What we're going to do here is almost make it as if we're looking through this image through some slightly imperfect glass. And it's going to make the image kind of have a little bit of a waviness in it. But you want to do it at a level that is very low, you don't want this to turn into a fun-house mirror. But the idea here is, is that we're just going to de-straighten, if that's a word, some of the lines within the image. And we want to do it at a low enough level that it's there, but it's not obvious. And so many of these effects kind of work that way.

When it's done right, you don't notice it, and yet if it's not there you'd see something or sense something different about the image. And that's what we're going to do here. We're just going to, and again, I'm making this word up, we're going to imperfectize our image, just a little bit. And we do that with the displacement filter. And what this is, is a map that this image is going to look at and use the texture in the displacement map almost as if it is that, that piece of glass with a pattern or a texture in it, and affect our image by using that as a way to make the pixels move about, and again, in a subtle manner.

I'll show you an extreme version of it while we're doing it, but I want to keep it pretty simple here. So we're going to now create a displacement map. So I'm going to create a new file. And its going to be 1000 by 1000. OK. Now, we are going to create a displacement map in this space. And to do that, we go to Filter > Render > Clouds. Now, you'll wonder, why Clouds? But really, what this is, it creates a seamless fractal pattern. There it is.

So, it's very quickly created. The thing about this that is interesting is that the way this is created, this is actually a tile, and anything that's on this edge actually picks up on the opposite edge, so we can use this as a tile, and it's not. Going to have obvious edges in it, because it is seamless. So we want to go ahead and save this. So lets save, and will save this in our Chapter four Video three area. So I'm just going to call this Displacement. OK, and we'll save that, and we can go ahead and close it.

Now we are going to apply our map to our image, and to do that, we have to go to Filter > Distort > Displace. And I know, from playing with this, we don't want this. Well, actually, I am going to go ahead. Let's try this rather large one point. Let's make it 50 pixels. Because you're probably going to be interested to see what you can do with this. And although this isn't as extreme as we want to go, it's valuable for you to see how this filter works, and you may find once you understand it that you would want to use it somewhere.

And I do want to set the Tile and Wrap Around Options, those are important for this to work. So let's go ahead and say okay. Now, it's going to ask us, what map do you want to use, and we just made this, so we select it, and we open it, and there we are. See? It's a bit extreme. That's more than I want. But it's very interesting that it actually can do this kind of thing. And, as I said, I don't want to use it this extreme for our particular exercise. But if you are looking for an interesting way to distort an image, the displacement filter is pretty unique.

And what's interesting about it is, depending on what that source displacement map is, you can get wildly different results. For example, what if it was an image full of text? You'd get something very different than what we're seeing here. But for our purposes, it's this waviness that we want. We just don't want it so extreme, so let's undo and we'll go back to this place again, Distort > Displace. And I know from experience that I want this to be more like three. And again, season the taste, you may find you want something different, but this is the, what I found works, and again you want Tile and Wrap Around, for, because our image is much larger than 1000 pixels, it's taking that 1000 pixel tile and just reapplying it throughout the image.

And because it's seamless, we don't see an obvious edge in the displacement. And let's go ahead and say okay. Choose our Displacement Map, and it just applied it. Did you see it change it? No, you didn't. Let's go ahead and zoom up. And I'll do, I'll undo and do-- no. Let just look, like, right along, right here. And I'll undo. See what's happening? It's almost imperceptible, but it is there. And that's what I want.

I want these little imperfections in the image. Imagine if I was drawing this by hand on my canvas prior to painting. Now, yes, there's a wide range of techniques artists will use and some may rigidly stick to using straight edges and T-squares and everything to get everything perfect, but a lot of artists are also going to just draw these lines as they're applying them to the canvas, and they are going to introduce these little imperfections, and that's what I want to show up in here.

Its not an obvious effect, but its cumulative. A person looks at the finished image and these little imperfections are scattered throughout. It just gives a sense of hand-wrought quality to the image. And that's what we want to do. Remember, we're trying to drain the photographic qualities out of this image so we can replace them with painterly activity, and painterly activity is going to have imperfections like this in it.

Find answers to the most frequently asked questions about Digital Painting: Architecture.


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Q: I'm unable to install the custom Wacom settings included with the exercise files. Any advice on how to load them?
A: After the course was recorded, we discovered that the Wacom preference files are not cross-platform and are specific to the machine that created them, which limits their use. However, in the exercise files you'll find a PDF labeled Intuos4 Mapping_PS_CS5.pdf; using this document, you can manually enter the settings in the Wacom control panel. Also, please note that the settings are not necessary to complete the course.
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