Adobe® Photoshop® Deep Dive: Filters

Lesson 16 of 16

Sketch and Stylize Filters

 

Adobe® Photoshop® Deep Dive: Filters

Lesson 16 of 16

Sketch and Stylize Filters

 

Lesson Info

Sketch and Stylize Filters

So let's pop into the sketch category, which is very similar to what we saw in the artistic category brushstrokes category and the distort category of filters but there is one filter in sketch that is just perfect for adding fake snow so here is the original image here is our blizzard e snowy image so this is a fun little thing that can give you ideas of how to add a fix that looks like rain or that looked like snow, which is neat so I'll go ahead and turn off the layer that I made for you so we're gonna add a new layer so does click the new layer icon at the bottom of your layers panel and we're going to fill it with black so let's go to the edit menu and she's phil and from the eu's poppet menu let's cheese black as it's always going to be an option there so click ok mail what you want to do is change the blend mode of that layer to screen so let's come up to the blend may have been the at the top of the layers panel and let's change it to screen, which effectively hides it because i...

n that particular category black drops out but we need some kind of paint on that layer in order to run this filter now what you want to do is set your color chips to the default of black and white and you want black on tops let's press d museum emerald it so you want your color chips to look like this press d to step into the default of black and white and then press x if you need tio so that black hops on top now we're ready to run our filter so let's go up to the filter menu choose sketch graphic pin now we have a rainstorm, so just by changing the direction of the strokes that we're seeing here, we can create either rain we can create sweet we can create sheets of rain or if we change the direction it's a vertical we can create a beautiful light snow, so I usually go ahead and said the stroke direction first before I start messing with a stroke, lengthen the light dark balance because that just gives you a better idea of what you're going to create. So basically when we press okay to accept this filter everything that's black is going to drop out because we have that layer set to screen mode which has black as a neutral color so you're not going to see the black at all are you going to see is the white parts so let's go ahead and shorten our stroke length because we don't want rain we want snow for this particular one so I find that a value of five works about perfect for stroke length and let's go ahead and sit the light dark balance to ninety so those air just a couple of magic number so basically what we're saying is well, we want more dark than why because that's going to drop out only press ok get it quick okay, now we've got our snow but it looks too perfect what do you think for eternity filter blur get old gosse ambler for this particular technique if you're working on fairly low picks limited images about one point five works really well if you're working on big honking him is you're going to need higher radius but it's just a visual thing you've got a nice preview right here that's it in that need let's do that one more time so new layer fill it with black edit phil she's black from the eu's poppet menu now it's changed the blend mode of that layer to screen so that black drops completely out. Now we want to reset our colored ships to the default of black and white and you want to make sure black is on top so press x if you need to flip fought those colored ships so that black is on top if your color chips are set to anything else, this technique gets really weird which is also fun but not for this, so now we're ready to give up to the filter menu and choose sketch graphic pin first thing we're going to do to set the stroke direction to vertical because we want falling snow vertically but if you want rain you can leave it set at one of these diagonal settings then we're going to change the stroke length to five for kind of small snowflakes and we're going to introduce a lot of black by setting the light dark balance to ninety so five and ninety year kind of magic numbers but feel free to experiment with that on your own go ahead and click ok not everywhere you see black disappears because of the blend mode change that we made now our snow is too perfect it's too crisp so let's go back to the filter menu and choose blur gosse ambler and you want to enter value for low pixel dimension images around one point five higher for higher pixel dimension images and click ok if you need to you can drop the capacity of that later a little bit but I think that looks just fine but she didn't know you were going to learn how to add fake snow in this plan for rain what kind of color would use also black or black and white or some other combination I would be tempted to use white because rain does kind of look light and color when it's falling you could experiment with instead of white is your background colored ship you might have a light gray that might be a little bit more realistic, but the important part is that black needs to be your four around colored ships, so if you want experiment with the color of the flakes or the raindrops, then you want to experiment with that background colored ship instead of the foreground colored ship. Great question, thank you for that ok now let's draw really pencil sketch sketch, which is similar to a sketch but not ok, I've got these three images for you and every single one of these I used the technique groups the technique were about to use to create a pencil sketch, so we're going to look at all of these because they're critic, depending upon the colors and the amount of detail is in your image, you're going to get a little bit of a different look with this effect, but it is interesting and the more you do it, the more you will spot photos that would work really well for it. So let's turn off all the layers that I made for you and the exercise files on let's turn on thie original layer here. So this is the image that we're going to start out with. This one works really well because we've got some nice high contrast edges so because these columns and all the stone is light in color but the edges are kind of dark makes for really great sketch outline okay, so this one's gonna work incredibly well? Find the best one of all the three so the first thing we want to do is we want tio drop out the color we can do that in a couple of different ways we looked at using a grating it map adjustment layer earlier so if you want to do that, set your color chips to the default of black and white with black on top then she's grady it man but just for the sake of showing you extra things let's choose black and white adjustment layer instead, when you use a black and white adjustment layer, you get the ability to tweak the contrast with all of these sliders, which is kind of nice. So as you drag any of these color sliders to the left, that color wherever it appears in your document becomes darker as you drag any of these color sliders to the right that color wherever two pills in your document becomes lighter so you could play around with ease to get some really nice contrast going on but that's not the subject to this tutorial. So now that we've gotten, uh, the color dropped out of our image now we're going to activate all the layers that we want to put inside of our safe container, which is our smart objects, so we're going to choose filter convert for smart filters now we're gonna start making our pencil sketch so we're going to go back to the filter menu hips and we're going to style eyes find edge is what this is in the dea is gonna make photo shop, go in and hunt for areas of high contrast and accentuate them so it's click find edges and that particular filter doesn't have any setting, so just runs, so don't let that throw you now we're going to tweak the effects of this by opening the filters blending options so let's double click that little icon to the right of the field, her name and we're going to change the mode so that we get more of a pencil sketch effect and one of the mode that works well is hard micks so choose something in the overlay category that hard micks works really well for this one, so now we really start getting that pencil outline. Look, we're also going to drop the opacity of the filter itself to about eighty five percent you can experiment with that these are hard and fast rules, these numbers are just guidelines, so then we're going to click ok, now we're going to run another filter we're going to run a gaussian barks is a bit too perfect, so from the filter menu choose blur, gosse, ambler and for an image of this size and it's fairly small side of six mega by image I'm going to enter a value of about two so we just want to blur it a little bit not a whole lot and you might arguably could blur this one a little bit less will go down to one thing click ok now what we're going to do is change the blur filters options so we're going to double click the blending options next take calcium blur and we're going to change the mod toe lighten push just kind of lightens it up a little bit makes it look a little bit more authentic and that's about it if you wanted teo you could pop open this smart object and further refined the contrast on that black and white adjustment layer to try to produce a little bit different oven effect here so let's just pop that open real quick and do that doubleclick so now I can double clinton alum in that temporary document where I can see my expanded smart object to get back to the contrast sliders in the black and white adjustment layer just double click it slayer thumbnail to pop open the properties panel I'll just lifted up here so you can all see it and then I can tweak the contrast here to change the outcome of my pencil sketch so let's just see what that does and then we'll choose file saved not say there's but file save close this temporary document and it updates back in this document so we have a little bit of a different look just from tweaking the contrast on that black minor just the layer me but this properties panel back over here there we go so let's do that again on this image right here so here's our original now what we're going to do is create uh her ad the black and white adjustment layer actually so let's go ahead and do that you need to do that at first because you need to be able to see what effects those filters or having arguably you could say, well, why don't you just add the black and white adjustment later last? But you wouldn't be able to really see the filters effects, but you could have a go at it that way definitely so let's go ahead and use a grating it map for this one got our nice black and white there now let's activate both of those layers filter convert for smart filters choose filter style eyes find edges it just runs now we're going to double click to open the find edges of blending options and we're gonna change it too hard mix and lower the capacity to about eighty five percent or experiment with it different images they're going to call for different settings now we're gonna go back up to the filter menu choose blur gosse ambler and you're going to enter a radius of somewhere around one or two from medium to smaller size images, a higher number for larger pixel dimension images. Click ok, and now what we're going to do is double click to open the gaussian blurs, blending options. We were in the final edges blending options earlier, and we're going to change the blending options toe lytton her blend mode rather to lighten. And if we wanted, we could adjust the opacity of just the gaussian blur. But you can see how different images pretty is completely different. A pencil sketch effects. Now, this image over here, I'm not going to go through all those steps again, but I want to show you the original. It really lacks, in contrast, well, I think this is a nice image. I shot this in the coliseum museum and this. These heads are from the arches on the outside of the coliseum. Every one of those arches all the way around the coliseum on all five levels had statues in them. And these are some of the remaining pieces of those statues that were there for years and years and years and years, years, but it lacks it lacks contrast in the edges, so when we do the pencil sketch effect that's, really all we get so that's what I mean you're going to need tio kind of learn what image is this work for this experiment? But you do want some high contrast edges in there? That's why the first pencil sketch of st peter's works so well, because we had such high contrast in that to begin with so we can go back and see what our original image was here. So really the best kind of image for this pencil sketch effect? I know some folks that take pictures like this, and they do this effect, and they use them to make patterns for quilting one of my girlfriends and main does that. I know people who create coloring books for their kids using this technique so kids are bored quick pencil sketch here, color this so just a couple of other things that I want to show you before we take some questions here is the texture category this one super easy what we've done here is added texture to the background of the image really, really easy. I started out with a selection, so basically what we're going to do is convert the layer to smart odjick so filter convert for smart filters. Now we're going to create our selection, and I'll just make a real rough selection here. Using the quick selection tool of the area of the image that we do not want, tio apply the filter to, and I'll just make this one kind of rough. I take more time on it if I was doing it for a client, so we've got our selection tweak this election if you want now, let's, run our smart filter so let's, go ahead and trot up to the filter mini, actually, you know, I want to select the rays because that's, where I want the filter to run on, not on the dude, ok, so we're gonna have another go at that lets like the rays instead, so if you want to add, take sure to a background, select the background, remove that part from the selection by pressing and holding option, or all as I paint. Now we're ready to go up to the filter menu, choose texture crack euler, I think, is the one that I use any of these guys would work. This one lets you load a texture to be apply from another file, but we're going to use crack euler here and immediately, even in the filter gallery preview, because we have that active selection before we ran the filter, then it's being hidden from the area outside of our selection, so that's handy, so this depends on how you want to do that if you want a hand paint the mass to hide the effect, or if you want to start out with the selection and of course, you can tweet the's settings to your liking, but that's absolutely all we did on that one and again, we just created a selection of the background where we wanted the texture to be applied with the quick selection tool, and then we ran the filter you know, smart object first, make your selection, then run the filter and last, but not waste in the other folder. Any time you have created a layer mask and not to leave. Any time you have created a layer mask that you need tio contract or expand there's a filter that absolutely fabulous for it maximum and minimum, you'll find them in the other category, so I'm just going to go ahead and click the mask that I've already created go up to the filter menu, choose other, and I'm going to show you both filters so that you understand what they do so maximum see how when so this was our before, right? See how tied our mask is it's very close to our not to liberate you'd hear when I turn on the preview of maximum maximum is expanding the white area of the mask so if you created a layer mask it's a bit too tight onto your subject run this filter and the great thing about it in photo shops sisi is that we have this new poppet menu right here called preserve if you set this to roundness which is really telling photoshopped hey if they're details in my image that are kind of round in shape please don't make them look blocky when you run because these filters both warner were notorious for that so that's why we have this new preserve menu sisi but the best part about this preserve many is that once you change it to roundness you get the ability to add decimals in the radius so you talk about using these filters for fine tuning masks you can enter very precise amounts point eight one point two etcetera etcetera to fine tune a layer mask after you've created it so if you leave this set to squareness so you can't enter decimals photoshopped with schooi kit you but in cc if you choose round this than you do get the ability to use decimals so if you need tio x spanned the white part of your mask make it larger pop it out a little bit use maximum if you need to contract the white part of your mask maybe you've got some edge pixels still loitering around from the original background after you've added the mask that's when you want to reach for minimum so I used that one most so let's choose minimum here again she's roundness in cc and look what happens as I increase the settings so it keeps tightening tightening, tightening, tightening, tightening down that mask adding more black, more black less why so mohr is hidden so you can see how that would be great for just fine. Tune in a mask just a little bit. So minimum for tightening up your mask shrinking the white area maximum for x banding the wide area and expanding your mask just a little bit those air really great helpers for that weii do have some some great questions coming in from our online audience but let's see if we have any here in the studio before we go there. All right. Excellent. Well, that's the thing with lisa, you guys right that's the thing with you we're thinking of questions like go to raise your hand. You're right. All right you answered it alright alright mind reader you know this is this is kind of ah global question talking about filters in general near n from socal ask is there any reason why you would run a filter without converting it for a smart filter first there's several different reasons it really just depends upon what the different techniques or what the different steps in that technique our if if one point you're going tohave tio not use a smart obvious I can't think of a reason right off the top of my head smart objects do add a little bit of file size to your documents so to be honest with you when I'm sharpening with a high pass filter I use that stamping command most often let's say we wanted to sharpen I am taking control of the computer now let's say we want to sharpen this image ok, so I would just create a stand so I activate the layers and I'd use that awful keyboard shortcut shift option command e or shift all control e on a pc that creates a new layer that contains all of the content of the layers that you had active and then I would just do the sharpening their filter other high pass to look ok change blend mode to overlay and call it in so usually with high pass I do that but for no good reason other than it's a little bit more habitual for me so there are some situations when you would not want to create smart object like when you're running filters on masks you can't really get away with a smart object there because you're trying to run it on the mass now on the image content so there are situations but you'll know him when you run into because it will stop you dead in your tracks if you need to use some kind of tool that won't work in a smart object like any of the painting your healing tools or anything like that then you'll have to rest arise your layer so you'll know it when it happens I've got two questions the first one is along these lines can you slept two layers and turn that into a single smart object that we've been doing that all day long right so I know I've been noticing the filters and I wasn't sure if it's also multiple layers to write many layers as you want oh yeah so for this document we've only got two layers but let's say we had a oh a brightness and contrast up of the brightness little bit and we had vibrance which is a great way to add pop to your image color pop vibrant so we could we've got the first layer active in the stacks solicitous shift click to activate the last layer doesn't matter how many layers there are citizens choose filter convert for smart filters they all get combined down stuffed into the plastic wrap container like canadian thank you s o sam cox asked at least always paints on her layer mask with white or black is there ever a reason for painting with a shade of gray sometimes so for example on me back out of this we gotta layer mask here if I want the whole mask to be uniform and it's revealing or concealing, then it's faster to use the mask, a density control in the properties panel and the way you would open that is double click the mask itself and use this density slider right here. So that is going tio uniformly dropped the opacity of the mask, and you can see, as I do, that some of the original backgrounds coming through the only reason you'd want to paint with different shades of gray onto the mask is if you wanted to, uh, very the amount that you're revealing or concealing on the same mask. So there's, oodles and gobs of situations for that. But, you know, maybe in the maybe in portrait retouching and maybe if you had a like a levels or curves adjustment layer weaken, just try that one real quick, so we create a levels adjustment layer that lives at the top of this layer stack, and we'll make a pretty extreme change just for the sake of showing you what this will do. So I'm in the mask and I switched to the regular brush tool, and I'm painting with solid black. When I do that, I hide the effect of that layer one hundred percent well, if now I wantto hide the affected that layer at a different percentage over here, but on the same mask you cannot use that mass density because it's a global thing for the content on that layer. So now I could come down here. Either change my foreground colored ship or easier to stop the opacity of the brush in the options bar. So now when you paint, see how I'm not hiding all of it. And now I've got gray and black going on in my layer mask. So when you would want to do that, is when you want tio, reveal or conceal the content of that layer in different like it different capacities in different places within the same image. But if you want to do it globally, it's way easier just to paint the whole thing with black and dropped the mask intensity. But for this kind of thing, you would have to switch to great. But instead of these in the foreground colored ship and trying to guess what shade of gray, just use your opacity setting for the brush in the options bar to bury that.

Class Description

In this deep dive, Lesa takes you deep into the wide world of filters to create a multitude of special yet practical effects. She'll take you well beyond blurring and sharpening, and you'll learn handy uses for nearly every single filter in the menu. You'll also learn how to use filters non-destructively, how to access filter blending options, and more!


Software Used: Adobe Photoshop CC 14.0

Reviews

Michelle B
 

I have purchased all of Lesas Deep dive classes and have learned so much. She makes it easy to understand and she gives you examples and goes through them more than once so you understand. This is the class that not only shows you how to but what you can do. She gives you ideas and she is a joy to watch and listen to. I can say enough good things about Lesas classes and I am so glad to have them in my tool box to refer back to anytime I am stumped on how to fix problem in Photoshop. Thank you Lesa!!