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Working with Frames and Textures

Lesson 29 from: Adobe Photoshop 101

Ben Willmore

Working with Frames and Textures

Lesson 29 from: Adobe Photoshop 101

Ben Willmore

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Lesson Info

29. Working with Frames and Textures


Class Trailer

Day 1


Adobe Bridge Basics


Sorting Images in Adobe Bridge


Processing Images in Adobe Camera Raw Part 1


Processing Images in Adobe Camera Raw Part 2


Image Processing Q&A


Contrast and Color


Adjustment Brush and Auto Mask


Lesson Info

Working with Frames and Textures

Also with the course I'm including two of these frames that are a little more natural and also three textures and so let's look at how can we use these frames and these textures before I get into how to do that? I should let you know where these came from, so if you want to get more of them everything else we can also talk about a little bit about if you capture him on your own what to do uh, but if you look at the names of these, you'll find that this one is called ben's grunge this one is called ben's linen and ben's weathered that's because I actually have packs of textures so you can shoot your own texas and I do it all the time any time you see an interesting texture just on a wall or something rusted or this table that I'm sitting out take a photo of it just trying to get the lighting to be relatively even so that you're getting just the texture and not too much of the lighting influencing it and start really capturing those because you can apply them to your pictures rather easi...

ly as you'll see in a minute, but if you don't have a chance to shoot them or you just want a set of them so you can do them on your own without having to shoot them, I do have texture packs available my website is digital mastery dot com that's my main website if you want to find out if my coming to creative live again soon on my list of dates it's usually showing where I'm speaking coming out that kind of stuff but we have texture packs in the idea with texture packs is you take one of our textures combine it with one of your photos and end up adding a different dimension where you can't texture your image and this just gives you a little slider bar to give you a an example of what it might be like and we have a how to guide twenty pages long and tells you how to apply them so the guy do you have for today's class will give you a general idea but this will go much more in depth just because on lee on that topic and then there are three different texture packs that if you'd like you could purchase but you capture these on your own instead of he would rather work with your your own but what I've done is I've included one texture from each one of these packs with purchase of the course also the one that is called fabric in paper pack happens to also include some photo edges and so I included two of those a swell so let's figure out how come we use those and then we'll talk about if you want to capture them yourself there anything we have to do to prep them to make the most useful and then if you don't feel like shooting yourself you can pick up some texture packs from my side if you want so uh let's see let's go and find a nice image to work with back when we were doing basic processing I think we had that one of the um iceberg let's put that in there open it up then let's go find our edge and let's start by using this edge it just looks like a burlap or something that's been nicely cut on the edge we'll open that up in the way this file is set up it's been pre prepped for you so that it's set up just like the hand drawn ones in that all they need to do is take my photograph drag it over on top of this and I'd usually have to scale it up or down if it happened to be a different size but this was shot with the same cameras is that I shoot mothers with so they happen to be the same size and then you remember how you could go to the layer menu in say create clipping mask to say make this only show up with layer is underneath well if I do that here now my photo is only going to show up within that I can always still use the move tool to reposition it within there but now we have somewhat of an interesting edge, but that interesting edge to me doesn't quite look appropriate without some sort of texture to go along with it. So let's, go grab some texture out of our textures. I think this one looks the most like what the edges kind of remind me of, which is more of a burlap er, er look, so open that up, I'll use the move tool, and I'm gonna drag it over to our file. I don't know which one of these two it isthe I'll dry that? Yeah, that one drag it down, it looks like it's just the tiniest bit too small, so I'll move it up a little bit type command tea for transform get it to cover that and then I want to make this also clipped to what's underneath because I don't want any of it to extend beyond the picture or where it's border is, so I'm going to say layer create clipping mask so now it only shows up for that is so you can have as many layers as you want above this with that thing turn on and then all of these air clipping to this one layer it's just they clip until you find the layer that's, not indented, I promise that's completely covering up my picture. So now what I'm going to do is with that layer with the texture active, I'm going to go to my layers and you see this little menu at the top that's called your blending mode. The blending mode controls how the layer you're currently working on interacts with what's under it. Once in normal mode, it just covers up what's under it. It obstructs your view of what's there. But if you change this, it can do other things and if you change this to a choice called overlay or soft light or in fact you can use any of the choices in this general section, watch what happens here is overlay you see that nice little textured look, if I change it too soft light, you'll find the image that's underneath is more prominent in the texture and you can try the other choice is there in that section, you'll get similar results for most of them. But overlay or soft light are the two that I find to be, uh the ones I used the most now for me right now, the textures distracting it's just too much. I think about the texture before I think about the contents of the image, so to make it so it's more subtle, what I'll do is at the top of my layers panel there is a choice called opacity and if a passing isn't one hundred percent, that means this layer affects the images that usually would one hundred percent of the way. But if I click on the word opacity and I dragged the left, I can lessen how much this layer shows up, make it show up less and less and less, and so I'm going to click on the word opacity and dragged hill goes to zero, and then I haven't let go yet. I'm going to start dragging back the other direction, not just bring it back until I think I got just the right amount for this image it's a subtle thing like that, but I also find that if I apply a texture evenly across than image, it feels like I slapped a texture on top of the image. Oftentimes I like the influence where I looks, and part of that is making the area where your eye looks, either being the brightest area, the most, um, colorful area, the most detailed area, or just the area where something varys the most in when you put a texture on top of an image like this it's consistent across the whole image. If I suddenly lesson it somewhere that's where my I usually looks because it gets used to the texture everywhere else, then it goes over here, there's something there print than the texture that's everywhere else and so I want to do that here's how I'm going to go about it with the top layer active I'm gonna add a layer mask so I just click on the layer mask icon then I'll grab the paintbrush tool and I'm gonna paint with black well the soft edge brush was not easy to see where I painted but before I paint up here at the top of my screen this opacity means how strong should the paint b and when you paint with black it means hide something completely if I bring this down to maybe fifty percent it means hide it halfway so now when I paint instead of completely removing the texture, we're going to still have a good amount of texture wherever it is I paint but it's going to be half a strong as it is everywhere else, so I have a layer mask I'm painting with black in the opacity of my brush his fifty percent so I'm gonna paint here goes hopefully the texture will still be strong enough to be noticeable that it's there, otherwise it'll be blatantly obvious as if I pasted on iceberg on top of another different picture you know, I think I got most of it just kind of what's that backslash yeah, I know she's undo s so you could see what it looked like before and then she was undo again sing see after and you see how it just kind of tone down the texture on lee where the iceberg is so there's not necessarily too much there if you look at my layers panel you can see where I've painted it's fifty percent gray in there because telling photoshopped to paint with black but only do it half the way half the way between black and white it is that so uh there's my unresolved so if you look at what we have in our layers panel you know we've ramped up a bit since the beginning of the day if you think about the beginning of the day we were doing really basic stuff don't wait I just had a white brush and I was painting on top of a picture tad and edge on it and then I maybe try to apply a filter to it wasn't really using too many features in there but here now we have things like these edges things clipped to it later mass blending modes all that kind of stuff it takes time to get used to all that stuff you're not going to push yourself to this level ifyou're very much just starting on the first day so practice the stuff we did before if you weren't already comfortable with what we were doing there and then you could move up to this uh any general questions about what have done? Yeah, pamela wants to know what would be the difference between opacity and and the field that's underneath we got a couple questions that's uh that's a that is a great question because most of the time the two seem to do the exact same thing and in fact, most of the time they do exactly the same thing. Her question is what's the difference between these two things most of the time those to do the exact same thing. Okay, let's look at when they do something different. What I'm gonna do is add some text in here nice pot for that. Now you know how when I typed in text before I was using the up and down arrow keys on the number that was there that was the size oftentimes I don't deal with that what I'll do is just type in the text and not care what size it is and then type command tea afterwards for transform and then just transform it down or up to the size I want because it seems just feels more interactive to me. So now I have some text I'm going to add to that text a drop shadow you remember at the bottom of my layers panel the letters fx that's where you find drop shadow and you can click and drag when you have that drop shadow to position it put it in there you know, click okay now that we have one of those layer effects which is also known as a layer style applied now you'll find that opacity and phil act differently and let's see what's different about them if I adjust the opacity of the layer that contains the text when I lower the opacity, you will see that text showing up less unless unless and once I get to zero, it doesn't show up at all and the same thing is happening to the shadow that's attached to the letter watch when I adjust the phil though, see if you can tell what's different it's now zero what happened? The affect stayed at full strength, but whatever the original contents of the layer got lessons in this case all the way to zero so where the text used to be there's nothing showing up because it's zero but the effect uh, is staying at full strength so I can also come in now and add let's say there's one called bevel in and boss, I'll add that to it just use default settings and now it could be nice because if I zoom up on this and take a look you can see right through that text can you see the texture if I were to move this tax down here so it overlaps the iceberg it's there you can see right through it, because the only thing that's there is the effects. The text itself is only defining where the effects show up. But the text itself isn't showing up, so most of the time filling opacity do the exact same thing. But if you have layer styles like devlin, boss, drop shadow or stroke on a layer, then they act differently. And the phil setting will keep the effects at full strength. While on lee, making the rial contents of that layer be lessons. And so computer, rather nice. Tohave it there, because now we can see right through that, and I can overlay it on whatever I want. So hopefully that answers your question about the difference between opacity and phil it's, a question most people run into at some point.

Class Materials

bonus material with purchase

Course Guide

Ratings and Reviews

a Creativelive Student

Ben, thanks again for this course. I have taken and purchased quite a few of your courses to date. I keep thinking I will only watch to make sure I am on the right track and you always bring more to the table than the last course. Your teaching methods are the best, sorry to all the other instructors from Creative Live, but you are very easy to understand and you speak in layman's terms so we all can understand. I am following your instructions and working along with your files and it is the best! It is hard to keep up with you even when I watch you on one computer and work with the same files on another computer, to do what you are doing...impossible but I gain so much by trying. You provide so much info on each topic, it is amazing. Thanks to Karen for the PDFs, she does a fantastic job and also, for her templates/layout documents. Thanks again and to anyone who thinks this is too much money for all the videos, the exercise files and the instruction PDF, I am sorry to say but you are mistaken.

John Taylor

Like all of the Creative Live courses, excellent training. Ben does a great job of explaining the entry part of Photoshop. A lot of things cleared up in my head and i like his easy pace into this complex program. Thanks Ben.

Dawn Butler

Ben, A note of thanks for a fabulous 3 day tutorial on Photoshop. I am new to CreativeLive site and just happen to stumble across your Photoshop 101 class online, wow I'm I glad I did. I've wanted to learn to navigate Photoshop for sometime but found myself becoming more and more confused and frustrated watching video instruction and reading various articles online. You have simplified the learning process by making the class material clear and concise; after 3 days I came away with a great foundation to build on in the future. Thank you!

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