Using Pattern Overlay And Pattern Fill In Photoshop
and we'll move into our other example. So I'm gonna bop over to bridge. Maybe there were on the next one that we're gonna work with is the Swin of this gentleman right here. So this one is a lot of fun. We're gonna do some different things with this playing around with textures. So for this piece, before we get started, we should duplicate the background. That's a nice habit to get into. So you can do that quickly by pressing command or control J to jump a copy up in your layers panel. And like we did earlier with the glitter, we're going to de saturate this. So the keyboard shortcut for that is command or control shift you for unsaturated, I guess, of course, the longhand way you can come up to image adjustments and shoes de saturate. Okay, so we're going to be adding a lot of different texture and, um, fun elements to this photo for our 1st Let's come down and add a new layer. We'll start by painting similar to how we just did, and we're going to create a new blank layer, and we're ...
gonna add an effect to it. Just like we did with the glitter this time will click effects and we'll choose pattern overly so we should see our glitter here from last time. But this time we'll click the down arrow and we're not going to use any of these presets. People, I think, don't realize how much textures and cool things come with photo shop. So I always like when I'm teaching. I like to highlight that stuff because you don't have to have fancy plug ins and all this extra stuff like Photoshopped has some pretty cool stuff that just comes standard with it. So we're gonna click this little gear icon here, and we're going to choose from this list of all these different collections of patterns we're going to be choosing from the nature patterns. So we'll click that and then it's gonna ask if we want to replace or append. Um, upend means that it's just gonna add all these patterns to whatever is going on here. And this list gets really long and messy quickly. So I'm going to click OK, but that's why I already saved my preset, so we're not gonna lose it, so we'll click. OK, it's going to prompt us to save them. But we already did. So say, don't save. And now we see this collection of nature patterns. This one right here is there we go. There's the pop up. I was looking for earlier grass, So I'm gonna click to select grass and will change the blend mode from luminosity back to normal. And I forget what the scale should be. So we'll just pick a number to start with and will adjust that as we need to later. So I'm gonna go ahead and click. OK, so if we're painting this, we're going to use a default brush that just comes standard with photo shop. So it doesn't really matter what color we have here because, unlike the glitter that we used that special blend mode luminosity to blend the glitter with the paint in this case, we're not blending. The pattern is going to be applied. Just normally, it's just gonna cover whatever is there. So, um, it doesn't matter what color we have. We're gonna come up to our brushes and I'm gonna open the defaults. And if you scroll through your default brushes far enough, you should eventually find something called grass. So we're going to double click to select that and I'll zoom in here. I'm pressing Commander Control Plus two just scooch in so I can see a little bit better what I'm doing. I'm going to use the left bracket key to adjust the size of this brush. And I'm just going to let me make sure everything's set up, right? Got the brush. Normal blend mode. We don't care about our paint. In this case, we have a blank layer with a pattern overlay applied to it. And now I'm just gonna paint. And if we I think we'll have to adjust our pattern so we can see it. Let's go double click our pattern overlay and adjust our scale to find a good value for that. I think right about at 100% is what we want that scale to be you and drag that around too close to 100%. Or you could just type it right here and then click. OK, so now this is where the fun part comes in. Um, we are painting a grass beard for him, and we didn't have to make any selections. I'm just like painting and it's creating this texture. And if we zoom in, we can see that it's I mean, it has so much texture. So it really looks like he has a grassy beard. So I'm just gonna drag this around and just working my way around the image to fill in the beard. You could also have made a selection of his beard and then done this just filled it with a pattern like we're going to do for some other areas of this image. But what I like about doing it this way is painting it. With this brush, you get this really textured edge. And if you just made a selection and filled, it wouldn't who wouldn't work out the same way. So we'll go up and give him some sideburns, it with grass. And then I think we've got most of that. Of course, we cannot send him out into the world without grassy eyebrows. I I don't know why I love this like so much. They're very bushy eyebrows. Okay, quote. I love that. I think we could just call a good right there, but let's take care of the rest of image. So for the rest of this image, we're going to do some different techniques rather than just painting and having a pattern effect applied to that layer. We are going to make a selection and then use an adjustment layer to fill the selection with the pattern. So just to help you understand the difference in what's happening here, let's say that I want to hide this effects from the layer to. So let's click this little eyeball here to hide the effects. And then let's look at this. So basically this makes it easier to see any spots that I've missed. What I've done is I've used that brush that grass brush, and I've just like, painted him a beard. And his beard is a mix of purple and white. Because this brush by default, it uses a mix between your current foreground and your current background color. So just automatically it jitters back and forth between foreground and background color. So if you had like red and yellow here, his beard would be red and yellow and orange and, um, so if you care about the colors, you know that's your choice. But in this case, because we're applying the pattern on top of it, and we're using normal blend mode. This color just goes away so we can create that in whatever color we want. So when we turn the effect back on, that pattern gets applied on top of the paint that we've laid down. So what we're going to do next is different, though, so I'm gonna target the layer one. That's the black and white copy of the background, and I'm going to grab the selection the quick selection tool here. So the keyboard shortcut for this tool family is W. But just make sure the W family has to members the magic wand tool and the quick selection tool. So for this, we're going to use the quick selection tool, and it's it's a magical brush, really, that lets you select different parts of an image. So, for example, if I want to select his suit jacket here, I'm just going to click and drag and ah, hold down shift to add to that and click and drag again, and it just makes a pretty decent selection. It missed this spot up in the corner of his jacket, so I'm gonna press the left bracket key to make my brush a little smaller, and then I can just click up in here and kind of paint that and it will incorporate it. So we made just a quick selection of his jacket. I think I saved this to in the file for you. If you go to select and choose a load selection, I did create all of these selections ahead of time for his suit and his hair and his beard and the background. So if you have trouble for one reason or another, you can load the selection that I already made. So you would just choose me. Do that again. You just choose select load selection and then from here, where it says channel select in this case like suit, for example, and then you click, OK, and then it will give you the suit. But it's pretty easy to do with the quick selection brush. So we've got a selection this time instead of just painting, we're going to take our active selection and then will come down to the bottom of the layers panel again. And this time we're gonna create an adjustment layer and an adjustment layer. Is this little icon here that looks like 1/2 circle. And if you click on it, there's all different types of adjustment layers that you can create, and in this case, we want to make a pattern adjustment layer. So we'll select pattern, and now we can give him a fun pattern in his suit. So we'll stick to our current nature collection here. So again, I just click this little down arrow and we should still see our nature pattern. And I love this one. For whatever reason, these flowers, it goes so nicely with the green than the purple. So I'm gonna click to select that and just like before, we can scale it by adjusting the slider. I'm gonna stick to 100% for that for right now, and we'll go ahead and click. OK, so let's talk about what is happening. We selected his suit jacket and with that selection active, we added this adjustment layer that contains a pattern, Phil, and because we had a selected a selection active when we did that, it created a matching layer mask so that this pattern, instead of filling our whole document and the whole layer instead, it only shows up where we have the selection, so we're getting to work a little bit with layer masks as well. Okay, lets keep going. And let's do hiss hair, so we'll go back to layer one. We need to target layer 11 more time. And with that quick selection, Brash will just drag it around in his hair. And again, if you have any trouble making the's selections, you can just go to select load selection from this channel, drop down, choose the appropriate one and then click. OK, all right. So now we have his hair, and we're gonna fill that with another pattern using an adjustment layer. So again, from the bottom of the layers panel, we'll click this little adjustment layer icon shoes pattern and this time will change to a different collection of patterns. So again, click the little gear icon right here, and this time we want I think it's just called patterns, too. And again it's gonna asked, We wanna upend this or just replace it. And like I said before, it gets messy quickly if you don't just replace it. So I'm gonna click OK to replace it, and I want to use this blue wave pattern and maybe I boost the scale here a little bit. Normally, you wouldn't wanna, um, increase the scale really too much beyond 100% because it contend to get Gar Billy looking, but some of them will hold up. So I really like the look of this like he's got blue gel in his hair, blue waves so we'll go ahead and click. OK, now, if we don't like the way it's interacting with the beard over here, we could drag the beard layer below to change that if we want to. I think I'm gonna leave it on top like that. Maybe I want to go back to my beard layer and fill it in. So maybe I want to go press be to get my brush tool and make sure I have this grass. Still, I can just paint some more on top of this layer if I feel like I missed a spot or like this area could be but denser, so I'll just paint over it. You know, it's always important when you're working in this stuff to remember that you have to be flexible and you know, every time I create a project? Um, it always looks a little bit different, so that's why it's art. Okay, I'm finally let's select the background and then we'll fill that in with another pattern as well. So I'll click again. Layer one. Because this is the layer that contains the background information. I can't make a selection of the background if I'm on layer to which is the grass. Let me rename that double click to rename It Are Not the Grass. It's his beard made of grass. Um, I can't select the background if I'm on the beard layer, so I wanna select the appropriate layer. And then I'll grab my quick selection brush and click to select the background and click over here to get both sides of that and then another adjustment layer. So from the bottom of the layers panel click to select that adjustment layer, I come and again pattern. And this time we're gonna choose, uh, pattern to I believe so from this little carrot, click the down arrow and then we're going to switch back to a different category of patterns. So clicked the gear, and I think this is patterns to click. OK, again. So maybe. Sorry it is in this. We are in pattern to all right, so we already have it here. Perfect. So from this drop down, you don't even have to go get another pattern is right here. It's this one. I think it's called carpet. Um, but it's a stop left blue one, and I'll leave the scale set to 100%. This one does get a little gar Billy if you in large it. But maybe this is a look that you like, you know, it's up to you, but I'm gonna keep that at 100% and click. OK, so this is looking pretty awesome. I'd say that's ready for for its magazine spread. But let's add just to sort of recapture some of the dramatic lighting If I option, click on this layer one layer. I love this image like it's so dramatic. And he's so like George Clooney esque, and I just love it on. I like this vignette, but it has happening around it. So I want to recreate that, um, in our piece here a little bit, so I'm gonna target the top most layer in our layers panel and then we'll add one more adjustment layer. So I'm gonna click down here and we're going to choose Grady Int and actually, to make it easier. Let's cancel before we choose that great aunt, Let's reset our default colors. So I'm gonna press D on my Keith keyboard for default. The reason is that gives me black and white. So what I want for this vignette? And there's a lot of other ways to make vignettes, too. But we're working with adjustment layers, and they're just so much more flexible. So we're gonna creative and yet not with a filter anything like that, but with a adjustment layer. What makes the vigna effect is a Grady int that goes from black to transparent, so it's easier rather than having to edit the Grady in. It's just easiest if you set your default colors first, and then we come over here and add that adjustment layer with ingredient, not Grady int map. They're two different things, believe it or not, but just a straight up radiant. And here we want to choose instead of linear. We want to choose radial and up here from this drop down we want it might be there by default. But you probably if you've never messed with us before. You probably have this happening. So what we want is the second grade, Ian. So you want to click this little down arrow and select the second greedy in this one goes from whatever color you have here. This is why we reset it to black. It goes from black to transparency. So that's what we want. And we want the style to be radial so that it's not linear like this. I want it to be radio, but we want it to be clear in the middle and black on the edges. So we'll come down here and click reverse. And then what we can do is adjust the scale right here to sort of determine like, how big or not? Argh! Radiant ISS. So this is just personal taste. You know, maybe we'll do something like that and click OK, and we can play with this. We can change the blend mode to multiply or, uh, overlay changes. It has a bit of a different effect, kind of like them both. So personally, I was really torn between overlay and just multiply, which would kind of be a standard vignette kind of thing, but so take your pick. But that would add a nice little vignette to this, and I think it just finishes the piece off. So sort of recreates the lighting that we lost because we filled everything in with patterns.