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The downside of independent filters

From: Photoshop Smart Objects

Video: The downside of independent filters

In this exercise, I want to build on this woodgrain pattern that I've basically sort of woven into the guy's flesh over the last couple of exercises. I want to build on it by adding something that's going to simulate some woodgrain texturing. I am going to do that using a combination of the Find Edges and Emboss Filters, here inside Photoshop. I've gone ahead and saved my progress as Luminance filter mask.psd found inside the 06_filter_masks folder. I just happened to know this works by the way, this combo of Find Edges and Emboss.

The downside of independent filters

In this exercise, I want to build on this woodgrain pattern that I've basically sort of woven into the guy's flesh over the last couple of exercises. I want to build on it by adding something that's going to simulate some woodgrain texturing. I am going to do that using a combination of the Find Edges and Emboss Filters, here inside Photoshop. I've gone ahead and saved my progress as Luminance filter mask.psd found inside the 06_filter_masks folder. I just happened to know this works by the way, this combo of Find Edges and Emboss.

But as I work through this exercise, you'll see that even I am mystified by the results and we have to sort of figure out a different approach. Anyway, let's go up for now to the Filter menu and choose Stylize and choose this command right there Find Edges, and what it does is it traces the edges inside of your artwork. You recall that as edge is an area of rapid luminance variation. So for example, between the bright sky and the dark jacket, these few pixels right here around the border would be an edge. When you choose Find Edges, you go ahead and trace those edges.

Now, this doesn't look like any Find Edges effect I have ever seen before and that's in part because I have this layer mask turned on. So just so I can get my bearings and figure out what in the world I am doing, I am going to Shift+Click on that layer mask to turn it off for a moment. Now this looks closer to what I was expecting. Problem is this woodgrain is getting into way. So for now, I am just going to turn off Mezzotint too and that's going to affect the behavior of Find Edges. So turn off Mezzotint and then it doesn't have to trace that woodgrain and we end up getting this effect here, which is exactly what I expected.

So these dark lines around the very defined edges. So you get very definite lines around the most definite edges and lesser lines around the less definite edges, inside the image. Now then what I can do is apply Emboss to this effect in order to get some texture around those edges. So we are turning edges into texture using this effect right here. So I'll go up to the Filter menu, I'll choose Stylize and I'll choose Emboss. Now by default, I believe you see these values here of 135 and 3 pixels of Height and an Amount of 100%.

By the way, remember I was telling you anytime you see pixels that's resolution dependent. So you want thicker edges with higher resolution images. In my case though because I am just trying to get these little bits of texture here, I am going to take that Height value down, which is going to produce thinner edges. So this Height value determines the thickness of the edges. Then I'll leave the Angle value to 135 degrees. All emboss is really doing is offsetting two images, whatever Height value you've given, away from each other and inverting one and burning it into the other.

So anyhow, you are going to get these weird edges going on. It's not really lighting the scene the way you think it is, the way it kind of looks like it is, but you can use this Angle value to specify the angle of the simulated light source. Anyway, I am going to change this back to 135, which is the default. Just because it happens to look at for this image, and then I am going to drop-down to Amount and I am going to crank that up to its highest value of 500%. So we've got 135, 2 and 500 and you click OK in order to accept that effect. Now that looks terrible once again, just like the High Pass filter that we saw in the previous chapter and you may recall I use the Overlay blend mode, actually I ended up using Linear Light, but any of them will do, your Soft Light, your Overlay your Hard Light, all of those will drop out the grays and leave the texturing in place.

The problem is I really want to apply Overlay to both Emboss and Find Edges together, because if I apply it just to Emboss, check this out. I'll double-click on little slider icon there and change the blend mode to Overlay, which drops out the grays, keeps the darks and the lights and we end up applying Emboss to the Find Edges effect. Click OK. All right, then we have to go to Find Edges, double-click on it, we get this warning that says you are not going to be able to see emboss anymore, because it's on the top of Find Edges. Gosh, it doesn't look much different.

Then I am going to choose Overlay again. Overlay is not going to work for Find Edges, because it gets rid of the grays. It doesn't get rid of all those brights. So we are going to end up with this weird effect here. You click OK and you get this. And then I add Mezzotint back into the mix and you get this and then I Shift+Click on the filter mask to bring it back and I get this. Holy moly, this isn't what I want at all. This is what I want. Let me show you. Excellent textures.psd. That's what I want is that effect right there. Look at all that wonderful texturing that's going on.

That is created using Emboss and Find Edges, but you'll see it's on the separate Smart Object, and that's the moral of the story, folks. I'll return to the image at hand here. If you want to merge the effects of two filters, normally every filter is treated independently, right? They are all on the same filter mask, which can be somewhat frustrating, but each one of them is treated to its own blend mode and Opacity settings. So they are all treated independently. If you want to merge them together, you have to create a separate Smart Object with its own Smart Filter set and I'll show you how that works in the next exercise.

Show transcript

This video is part of

Image for Photoshop Smart Objects
Photoshop Smart Objects

95 video lessons · 21576 viewers

Deke McClelland
Author

 
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  1. 17m 13s
    1. Welcome to Photoshop Smart Objects
      59s
    2. Installing the dekeKeys keyboard shortcuts
      4m 18s
    3. Installing the CS4 color settings
      4m 15s
    4. Loading the CS4 color settings in Photoshop and Bridge CS4
      7m 41s
  2. 1h 12m
    1. Nondestructive transformations
      1m 14s
    2. The purpose of Smart Objects
      5m 17s
    3. The trials of destructive transformations
      5m 1s
    4. Creating a Smart Object
      6m 36s
    5. The rewards of nondestructive transformations
      4m 29s
    6. Preparing a composition for masking
      4m 59s
    7. Establishing a base alpha channel
      6m 25s
    8. Masking a Smart Object
      7m 3s
    9. Refining the layer mask
      6m 50s
    10. Multiplying the edges
      4m 17s
    11. Manually adjusting the problem edges
      6m 3s
    12. Free Transform feedback
      5m 14s
    13. The ultimate nondestructive crop
      9m 8s
  3. 1h 19m
    1. Photoshop and its support applications
      1m 45s
    2. Creating a Camera Raw (ACR) Smart Object
      5m 8s
    3. Converting a JPEG image to DNG
      4m 47s
    4. Replacing pixels with Camera Raw data
      5m 27s
    5. Matching image and ACR resolution
      4m 25s
    6. Adjusting ACR Smart Objects
      5m 33s
    7. Importing Illustrator artwork
      6m 13s
    8. Opening placed art in Illustrator
      5m 51s
    9. Examining dynamic effects
      7m 9s
    10. Modifying Illustrator artwork
      5m 20s
    11. Updating an Illustrator Smart Object
      4m 20s
    12. Styling placed artwork in Photoshop
      3m 33s
    13. Combining layer effects and adjustment layers
      5m 14s
    14. Copying a layer from a clipping group
      5m 0s
    15. Scaling vector data beyond 100 percent
      3m 9s
    16. Blending vector data with pixels
      2m 10s
    17. Saving PDF-compatible Illustrator art
      4m 23s
  4. 1h 26m
    1. Many Smart Objects reference a single source
      1m 9s
    2. Smart Objects and file size
      5m 11s
    3. Placing images as Smart Objects
      4m 44s
    4. Creating a basic lens flare
      5m 43s
    5. Turning a flare into a black hole
      6m 2s
    6. Establishing a first true clone
      4m 9s
    7. Finding the exact center of an image
      2m 37s
    8. Reflecting additional clones
      4m 55s
    9. The art of upsampling
      7m 45s
    10. Editing the root image
      5m 37s
    11. Updating all true clones
      3m 29s
    12. Roughing in a polygonal mask
      7m 13s
    13. Parametric Feather and Glow
      7m 12s
    14. Smart sharpening Smart Filter
      5m 36s
    15. Adding highlights and vibrance
      7m 10s
    16. Luminance blending
      8m 18s
  5. 49m 7s
    1. Placing one Smart Object inside another
      1m 9s
    2. Creating a super-massive Smart Object
      7m 9s
    3. Styling a super-massive Smart Object
      4m 29s
    4. Recoloring background regions
      4m 42s
    5. Cloning a super-massive Smart Object
      5m 56s
    6. Finishing off the first draft
      5m 4s
    7. The plasma ball effect
      4m 45s
    8. Applying the Smart Clouds filters
      4m 57s
    9. Converting clouds to lightning
      5m 4s
    10. Updating nested Smart Objects
      5m 52s
  6. 1h 14m
    1. Editable, nondestructive filters
      1m 24s
    2. Applying and modifying creative effects
      6m 54s
    3. Blending filtered effects
      6m 24s
    4. Tweaking filters with adjustment layers
      4m 14s
    5. Restoring halftone highlights
      4m 25s
    6. The price of Smart Filters
      5m 56s
    7. The power of true clones
      7m 13s
    8. Sharing between Smart Objects and comps
      8m 45s
    9. Just click on it
      1m 50s
    10. Applying a corrective filter
      5m 24s
    11. Smart Filters and disk space
      3m 46s
    12. Picking the right blend mode
      6m 36s
    13. Combining multiple Smart Filters
      6m 13s
    14. Editing and previewing filter settings
      5m 27s
  7. 1h 44m
    1. Still more Smart Filters
      1m 3s
    2. Introducing the non-filters
      4m 15s
    3. Reducing luminance contrast
      5m 19s
    4. Faking an HDR portrait effect
      7m 20s
    5. Adding a filter mask
      3m 22s
    6. Editing filter masks and density
      4m 26s
    7. Applying Variations as a Smart Filter
      7m 24s
    8. Establishing independent filter masks
      4m 51s
    9. Painting away unwanted halos
      6m 28s
    10. Creating a wood grain effect
      6m 2s
    11. The luminance-style filter mask
      6m 23s
    12. The downside of independent filters
      5m 11s
    13. Merging the effects of two filters
      4m 38s
    14. Adjusting and merging masked effects
      6m 26s
    15. Introducing the Filter Gallery filters
      4m 39s
    16. Applying a Filter Gallery filter
      5m 57s
    17. Merging two Filter Gallery effects
      7m 16s
    18. Adjusting the colors of Sketch filters
      5m 2s
    19. Adding a third filter to a combo
      4m 58s
    20. The versatility of Smart Filters
      3m 2s
  8. 1m 31s
    1. Goodbye
      1m 31s

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