Filters and Creative Effects in Photoshop

Lesson 6 of 8

Animations Loop in Photoshop

 

Filters and Creative Effects in Photoshop

Lesson 6 of 8

Animations Loop in Photoshop

 

Lesson Info

Animations Loop in Photoshop

I want to show you a feature that can allow us to bend images, he and just to show you a demonstration, I'll show you an image we're not actually going to make, but when we're done, I can show you how it was made so that if you wanted to go to this extreme, you could instead we'll do an image that might be something you would do more often, but here's an image I started with, and this has a flag on its own layer, and I'll show you what I ended up with, where it was completely done in photo shop and see that this entire document from scratch was made all in photo shop, and it doesn't use the three d features a feather shop it all uh, but what it does uses a feature and photoshopped this design for bending things, and this you can see it's bending the flag. This is actually using two features, one that ben's things in the other that adds lighting because if all you do is bend the flag but it doesn't produce shadows in highlights, too help define that shape, then it wouldn't quite look ri...

ght. It just looked bent, but not as if there's any light falling on it and be kind of weird s o this uses two features, though thing that ben's things is called a displacement map that's what's making the flag actually move and then the thing that's adding highlights and shadows to the flag is something called lighting effects. I primarily want to show you how to use the displacement map thing, the thing that bends it, but I thought this was a fun example, so I thought I'd show it to you, but since not bring he people need to make a flag flap, I'm going to show you it in different way. What I'm going to do is take this picture and I'm gonna bend something around my face. I wanted to look like have a tattoo covering my entire face. I'm like, you know, mike, mike tyson's got a big one there. Well, imagine I got it across my whole face, so I'm going to go choose something to bend around my face and to make it so it's easy to tell if it's bent or not, I'll use something that's got a regular pattern to it because then it's kind of easy to tell if it's spending, so I'm just going to take this layer and drag it over to the other file put it on top, it's a lot bigger, so I'm going to scale it down just type command t command team means free transform it's the same is going to the edit menu and choosing free transform this image is a lot bigger than the file that it's contained within, so when you do free transform usually get handles on the corners you could pull on, but right now they're way beyond the edge of my screen if I ted command zero little zoom out until I can see them and I'm just going to scale this down until it's appropriately sized before this image so it would cover up my skin then to make it so I can easily modifier end result I'm going to take this lyric that contains whatever it is I want to bend and I'm going to turn it into a smart object. There are two ways to turn things into a smart object. The first is to come up here to smart objects and say convert to smart object the second which I use more common leagues it's just faster to get to is to go to the filter menu and shoes that they do the exact same thing both of them just convert your layer into a smart object. When you convert something into a smart object, you'll find it's got this little icon in the corner to tell you that it's special now I'm going to turn off the eyeball for this layer and we need to prep the thing we're going toe bend this around, which means my face what we're going to need to do is get a copy of this document. I'll do that by going the image menu and choosing duplicate. He will ask you for a file name, we have a duplicate now we just want to simplify this image. I'm going to come in here and flatten the image, so if there's any layers in it, they're discarded, I went toe layer flatten, then I'm going to convert this image to gray scale to further simplify, and then finally, I'm going to blur it. The reason why I'm going to blur it is because it's going to use the brightness of the image and interpret that as kind of a three dimensional map of what the image looks like. What it's going to do is it's going to assume that bright things are closer to you and the dark things they're further away? And if that's the case it's going to think of all the pores of my skin is little drill holes, which I guess they are, but I don't want it to bend the pattern so precisely that it goes into my pores makes sense. I wanted to stay smooth, so in order to do that, I'm going to blur this until you can't see the fine detail, but you still have the overall tone ality that's there, so I'll just go to gaza and blur and I don't want it that high because there you can't recognize anything I want to just high enough to get rid of the fine detail said that the skin looks completely smooth maybe right around there so all the pores go away then I need to save this image the blurry black and white version and I'm going to say that in photoshopped file format just put it somewhere where I'll remember so I'm putting mine on my desktop so it's easy to get to photo shop filed for mountain then you can close that file now we're back to the original file we had and now we can work on the layer that contains our pattern in turn it's eyeball back on now what we're going to do is somehow feed photoshopped that gray scale picture that I saved my desktop and tell it to bend this layer based on and the way you do that is you choose filter, choose distort and she's displace this comes up and the two numbers that are in their determine how mountainous you're bending will be meaning that if it was similar to a sheet of paper are you gonna bend at the tiniest bit where you could barely see the change? Are you going to bend it where it's ticking up really high uh, you know, if it's how high should extend and you're kind of going to guess here and if you end up having too much in your end result, you'll just choose undue you'll come back in here and use a higher a lower number tried over again I'm just going to use fifty somewhere between thirty and fifty is just a good starting point, but it depends on how high resolution the picture is and how mountainous the subject matter is you know how much does it stick out toward you? The settings at the bottom mainly matter if the thing that saved on your hard drive that blurry grayscale picture is a different size, then this picture here since ours is a perfect duplicate of it the settings at the bottom don't really matter, so I'm going to click ok and when I do it'll ask me for a file and I'll give it that file now it just bent that layer I'll zoom up on it you can see little hints of where my eyes would be here my I would be there a little hint of my nose but it's really hard to tell if it's bent properly or anything and the reason for that is it has no shading you're used to scene like a seesaw sculpture of something that it's the highlights and the shadows that largely define its shape in this is lacking the highlights and shadows there is a filter we could use to add the highlights and shadows and it's called lighting effects enlighten effects can also be fed the same grayscale picture to tell it the three dimensional quality of this and it would use a tad shadows and highlights but I wanted this to look more like a tattoo ooh, which means I'm going to use my original face imprinted on it so let's print this on my face now I'm gonna change the blending mode from normal to multiply because multiply mode acts like ink if it acts like ink, then it's going to be a lot like a tattoo it's going to print on my face and let's see what happens now if we look closely at this look at the pattern can you see it bending there where my cheek would be? Can you see it coming around this part of my cheek? You see a kind of bending around my lip that's there, but it's got some bendy and it's not absolutely perfect, but it's usually good enough to give it the impression that it's been bent around and what I want to do now is just make it so we're not tattooing the background and to finesse the look of it, so what I'm going to do is out a mask to this some clicking on the layer mask icon and I'll paint with black toe hide this wherever I don't want to see it, so I'll get it off my hat and what I might do is just hide that later and work on what's underneath and use something like the quick selection tool to just select the sky selected find of part of my hat gets elected because I don't want that stuff in my hat I'll turn that layer back on and with the mask active painting with black and the mask is what tides things so I'll say fill this election that's here ah with black watch the mask you see see there that's the killing to me painting in all those areas to get rid of it I happen to use the quick selection tool to help me you know get it off my hacks I could see a little hints of it in there it might be nice I have yet to see anybody with their eyeballs tattooed so yeah I'm sure we'll see it eventually I'm sure eso I'll paint on the mask with black where my eyeballs are usually be a little bit more careful but that's just if you want to spend more time and then to get it to look a little better what I'll do is a lower the capacity so it's not so dark top of my layers panel and I usually like to if I wanted to look like a tattoo is I build it up by using different bloody modes to build it up what I can do is duplicate the layer that contains are pattern that we have all type command jaded, jump it to a new layer and then all experiment with different blending modes usually over layer soft light will also help here we go and there's a way to actually cycle through all those blending most to see which ones would be useful. If you're in the photo shops move tool, you can hold down the shift key on your keyboard and then hit plus or minus and you khun cycle through that menu all it's doing is changing the menu that's found at the top of my layers panel and if I find a look that I like, maybe I like this one called vivid light it's just little too strong a lower the opacity on it to get it down to the right amount, then I could duplicate the later again command jay and try another mode. We'll bring the opacity backup shift in hitting the plus sign ooh, that looks funky, it's like night ten what's that hugh but usually using a few different blending modes in varying they rapacity will be too much often times and so by lowering the opacity, weaken very it. Maybe if I like color dodge, it just I might like it down at like five or ten percent there I find that often looks better then having just one bloody mode like multiply mode building up communities now, my mask was in all that precise. I can see the pattern over here. Can you see a hint of it in the sky? Uh, I think what happened is I had a shade of gray when I is painting because I can see over here some grayness instead of all black. If you end up doing this, we have more than one layer like that. The problem is that mask that you have is going to be duplicated. So now making changes to it is difficult because you'd have to change all three of these masks. You can cheat, though. If you put all of these layers in a folder, just select them, click on the folder icon and then open that folder weaken, drag one of the masks to the folder to put it there and dragged the other ones um either to the trash or just actually right click on him and just they delete that mask right click delete that mask. So now what we actually have will simplify this by collapsing down. A few things is we have three copies of our texture there in a folder in the mask is there controlling all three of met once, but it all depends if you're comfortable using layer master or not as far as, um, be able to control that brooks I need to paint with black my foreground color was set to a shade of gray when I was painting, and that made it so that the, uh, when I was trying to hide things, it wasn't completely disappearing, but there we go so you can take anything I like. This looks interesting with wood grain because you can notice the wood grave unbending and all that, but you could get a good sense for it. If you need to make it where you're not tattoo in it or putting on top of another image on you want to get the three dimensional quality of that. You'd also have to apply the lighting effects filter to get shadows and highlights. Added, the lighting attempt effects filter has a feature called I think, the texture channel and that's, where you can feed it the black and white picture, and if you do, then when it adds highlights and shadows to the image it will think of, it is three dimensional and that's what I did with the flag. To get the shading questions about displacement maps, you need to create a simple black and white image. We got rid of layers, we got rid of color, we got rid of fine detail, saved it and photoshopped file format. The way we applied it is we went to filter, distort, displace it asked us for a number it actually asked us for two numbers he always type in the same number for both otherwise it will distort the image horizontally differently than vertically if you type in the same numbers than horizontal vertical is an equal amount so only fancy people gettinto putting in different numbers but the higher the number the more mountainous the more ben's things were sticking out in the lower the number the more subtle bending all right looking good good gonna save that just in case I want to get to it later and so with the flag I created in order to get it toe flap I created multiple images they looked like this the way displaced works is bright things or thought of is being close to you dark things are thought of as being far away fifty percent gray is not moving at all so this would push the flag towards us this would push the flag away from us and I had more than one of these all it did was moved like this so the flapping moved down the flag to keep the flag attached to the flagpole so it didn't break away from the flag pole I put fifty percent grey in these two spots where it would touch the flagpole so that their fifty percent crais means don't move me and therefore it stayed pinned to the pole but that's ah that's why these corners never really moved but it all depends how far you want to go when it comes to getting fancy. But you see how these corners didn't move that's, because in those files, I was feeding it. There was fifty percent gray. Put on the corners toe. Hold the flag there.

Class Description

Photoshop can do more than bring out the best in your photo-realistic images – it can be used to produce wildly imaginative images, as well. Let Ben Willmore show you how it is done in Filters and Creative Effects in Photoshop.

Ben will demonstrate how Photoshop filters can produce an unlimited number of creative effects including: painterly treatments, faux infra red, cross processing, antique treatments, double exposure effects, and more.


Software Used: Adobe Photoshop CC 2014.2.2

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