In this movie, I will introduce you to the Filter gallery, which houses most of the creative filters inside Photoshop. First let me show you what's going on inside this sample file. I have got this portrait on one layer. And then behind that I have this stone texture, and at the very bottom I have this lined paper. And all of these images come from the Fotolia image library about which you can learn more at folotia.com/deke. If you're working along with me make sure the lined paper layer is turned on, turn off stone, and then turn on portrait.
You want to also select that top layer, because we want to apply a filter, we want to convert the layer to a smart object. So go up to the Layers panel fly out menu and choose Convert to Smart object. The next step is to go up to the Filter menu and choose the Filter gallery, which brings up this enormous dialog box that takes up the entire screen. You've got this big preview over on the left hand side, and you can just drag it around in order to pan to a different location. If you want to zoom out you press Ctrl+Minus or Cmd+Minus on the Mac, Ctrl+Plus or Cmd+Plus will zoom in.
If you press the Alt key or the Option key on the Mac, you get the Zoom tool, which allows you to zoom out. And if you press the Ctrl key, or the Command key on the Mac, you get the Zoom tool that allows you to zoom in. Just so you know how to navigate around. Now, the Filter gallery houses all kinds of filters. And they're organized into these groups in the center section right here. If, for some reason, you don't want to see this section, then all you have to do is click this little icon right there, in order to make them disappear. And you can still access all of the filters from this big huge list, that instead of organizing the filters in groups, just lists every single one of the filters that's associated with the Filter gallery in alphabetical order.
So I could just choose Accented Edges, for example, in order to switch to it. I'm going to go ahead and click this icon again, to bring back the folders, so that I can see these tiny previews. And I'm going to switch back to cross hatch, just because it's one of the more interesting ones. Now every single one of these filters, has it's own unique set of options. For example, in this case I can increase the stroke length, in order to further obliterate the image here. Or I can back it off if I want to see more of the original image, so that I have a little bit of detail to work with.
You also have this Sharpness slider that you can crank up if you want to, it looks okay, you can get away with high values, when the Strength setting is very low. But notice if I increase the Strength setting at all here, then this high sharpness value is making a mess of things. So I'll go ahead and tone it down. All of the values have different ranges associated with them, so strength, for example, only goes from one to two to three and that's it. So my point is there is nearly 50 filters associated with the Filter gallery and they all behave differently.
But one of the more interesting ones resides in their Texture folder and it's this one right here, grain. And the reason I find it to be interesting, is because it's a kind of noise filter as you can see and it provides all kinds of different noise that you can choose from. So right now we're looking at Regular, but I can switched it out clumped noise as well. In this case we're just getting color noise and nothing more, but it's still worth knowing it's here. You've also got this Intensity slider that allows you to control the amount of noise that you're applying.
If I were to back off the Intensity to zero, I want you to see what’s going on with contrast here. If you crank it up, you’re actually cranking up the contrast of the image, along with the noise. And if you crank it down, you are reducing the contrast of the image along with the noise too. So, just bear that in mind. Anyway, I'm going to take this back to 50, which is generally where you want it. I'll show you a couple of other options that are available to you. We have horizontal and vertical. So for example, if I click on Horizontal noise, I've already got some interesting affect going on here, even when the intensity is set to zero.
But if I crank that intensity value upward, I start to get these Horizontal noise patterns, as you can see right there. Let's take that to something like, let's say about 25%. And I'll go ahead and click OK, in order to apply this filter to the image. Now all of these filters are liable to produce more interesting effects, if you adjust some blend modes. So in my case for example, I might just change the blend mode for the overall layer from normal to multiply, in order to multiply that effect against the line notebook paper.
And we end up with this result here. Let's say you don't like it, let's say you want to switch to a different filter. All you have to do is double click on this Filter gallery item. So notice, it's not telling me that I applied the grain filter. That's the kind of stuff you have to remember, or you have to double click on Filter gallery in order to find out exactly which filter you applied. I'm going to drag this guy up here and this time I'm going to switch over to another filter that's up here at the top. If I Twirl open artistic, it's the very first one, Colored Pencil.
I'll go ahead and select it and notice that, that creates a kind of Colored Pencil pattern. And I can increase the width of my pencil strokes, as you can see here, or I can reduce those strokes. I can also change the stroke pressure, what that's going to do is fill in more of these pencil lines. So if I reduce the value, I'm going to get more gray and the luminance of that gray is determined by this Paper Brightness value. We'll come back to that in a moment. But for now I'll just go ahead and crank this guy up to, say ten, these values should work out well and I'll click OK.
Now if I want to drop out the gray and keep the other luminance levels as well as the Colored Pencil lines. Then I need to change the blend mode to one of the contrast modes. Overlay ends up producing a pretty weak effect, so I might switch it out to Hard light or, even crank it all the way up to linear light. I'm just playing here, just trying to get a sense of what kind of effect I would like to achieve. Now, let's say it occurs to me while this high contrast effect looks pretty cool, it is a little bit hot. That only figures because we're setting these very bright highlights against a very bright background.
It's probably a better idea if we could set this guy against a white background, that is, where the filter effect is concerned. And then we can multiply him into place. So what I'll do is, double click on Filter gallery. And once again, drag this guy up so I can see what I'm doing. You can reduce the paper brightness value to zero, which gives you a black background. Or you can take it all the way up to 50 which gives you a white background. So, there's just all kinds of crazy logic going on inside this dialog box. As I say, 25 the default, is medium gray.
Anyway, I'm going to take it up to 50 because I want to be able to drop out the whites with say, multiply. And I might take the pencil width value down as well, to two. And I'll leave the Stroke Pressure set to ten. So here's my values two, ten and 50. Now I'll click OK, in order to accept that change. I'll change the blend mode, to multiply, in order to achieve this effect. Or I might think, gosh, I'd like to darken it up even more still. So I'll intensify the effect by stepping it up to Linear Burn.
Now I'm pretty fond of this effect, with one exception. We're losing some of our darkest shadows. In particular we've got this brightness inside of his mouth. And this luminescent nostril right here and so I'll show you how to take care of those problems in the very next movie.
- Creating professional-quality effects with expertly combined art filters
- Creating a dimensional watermark with lighting effects
- Correcting for camera shake with the Shake Reduction filter
- Removing distortion from a GoPro photo
- Correcting a panorama with the Adaptive Wide Angle filter
- Animating text with Puppet Warp
- Adding transitions, text, and sound to videos
- Creating an authentic HDR portrait shot
- Managing and leveraging advanced layer options
- Recording automatic actions and batch processing
Skill Level Advanced
Q: This course was updated on 10/1/2014. What changed?
A: Deke updated the course to reflect changes in the 2014 version of Illustrator CC, including changes to the art filters, the Puppet Warp tool, HDR, layers, and actions.