Changing Opacity of Texture in Photoshop


Texturizing Images


Lesson Info

Changing Opacity of Texture in Photoshop

With any one of these choices, if you find the end result is too much for you, then you can always lower the opacity of the layer toe lessen the effect. So I go to the top of my layers panel, where I find the word opacity and in order to change the opacity setting, there are two ways that I usually change it. The first is, if I'm in the move tool, the number of keys on my keyboard will change the opacity. If I press five, I get fifty percent press three, I get thirty percent, or if he pressed to numbers quickly, you get a two digit number in there like five, five for fifty five or seven, five for seventy five. And if you type zero, it goes back one hundred. So if you want to change the opacity, you have to be in the move tool in order to be able to use the number keys on your keyboard to change it. The other way that I changed the capacity is I click on the word opacity at the top of my layers panel, click on it and then just dragged to the left or the right to change it. And oftentime...

s would all end up doing is all click on the word opacity I'll drag way to the left field goes to zero and then I'll just stare at my picture and I'll slowly bring it up and I can always shift to the left to bring it down and just try to figure out exactly what I think will be the best amount and therefore I don't have to think about a number just dragging back and forth, and so I visually see what I like, but you're not limited to the blending modes that are in this general section. They're just the ones they're the most universally usable for textures, meaning that if you have a texture, most likely one of those will make it look good. The others will give you a lot more unpredictable and results, but let me show you how you could experiment with them without having to manually go to this menu every time you wanted to try something different. As long as I have the texture layer active and I also have the move tool active, I can do the following the cycle through the entire bloody modes menu. What it is is I hold down the shift key, and then I pressed the plus or the minus keys on my keyboard. If I hit the plus key, I'm going to go down in my layers in that menu if I get the plus or the minus scale go the other direction I'll go up in the media so I could just do shift and then plus shift plus who shift plus shift plus and keep going to see if one of the other modes might create something interesting but you'll find and going through that you get all sorts of weird looking results and it's only once you get around to that section that starts with the choice called overlay does it start looking like just the texture applied dear image, but on occasion one of the others will give you a great looking in result but if you got less time to play, you know start in this section ah, that starts with over let now we have to be careful with our textures if we end up starting with the texture that is overly bright were overly dark then if you remember how those blending modes work to remember how I said fifty percent gray goes away but anything brighter than fifty percent gray brightens your image anything darker will darken your image well if you end up starting out with a texture that's overly dark, that means this is going to darken our image quite a bit if it's darker than fifty percent great to begin with so most of the time when I would go apply a texture before I start applying it, I'll think about adjusting the texture to get it so it's close to fifty percent greater began with one way of doing that is to go to the image menu, choose adjustments and choose levels in levels with the texture you will lost often end up with a very basic looking history graham which is what this area is called and if you notice that part of the history graham gets really tall and has a pretty well defined hump in it where it is at its tallest point that's usually the the base brightness of that texture and the way it works is if you find that hump and just go straight down below it and look at the bar that's below that has the shades of gray in it. It means that most of that textures about this bright because the way that bar chart works is it's simply telling you which of these brightness levels are contained within this image. If there's a bar in the bar chart above one of these brightness levels that it's found in there if there's not it's nowhere to be found so if you look at this particular hissed a gram I can tell there's no black and the image it all because you see there's nothing in the history ram over there and that's directly above the blacks and then the height of these lines indicate how prevalent those shades are just how common they are the picture. So the really tall part means the's air the most common shades well, here's what's cool about it. This little middle slider forces areas to fifty percent brightness, and if you just take that slider and put it in the center of the hump, you've just made whatever is the most common shade in your picture fifty percent in brightness equipment to fifty percent gray and therefore whatever is most common in that particular texture is going to disappear in over layer saw flight mode and it's on ly those areas that are little brighter, darker, that's going to be bringing the texture and and so if I ended up with a texture that I just capture with my camera, I'm going to open it and levels and I'm just going to move this slaughter totes in the middle of the hump that's there, and then it will usually be relatively good for using those blending modes. So if you look at images, simple images, images that have this kind of an area where there's not really much detail in it, those can handle really subtle textures where you can barely even tell there's a texture in the texture file, they can still control it things like this need a more aggressive texture because there's already enough texture in here that if you add a really subtle one, you're not going to notice it's in there. So that one that we have of the rusty metal, you could see it on this kind of picture. But if you put it on, this kind of picture is going to be too aggressive. It's goingto overtake the picture where it's more about texture than it is about the picture. Whereas if you applied it to this kind of thing, you might need something as a contrast and aggressive as thie rusty stuff. With this, the sky can accept really simple, very subtle textures so easily show where the sky is. But everywhere else, it's going to be a little harder to see that. So you have to decide. Where do you really want that texture to be noticed if you only needed it in the sky, not a settled sec story like the one we started with. It was like that painted wall that worked fine for the sky. But for the bottom of this photo, we need something more aggressive if we needed, that makes sense as far as just competing with how much we have.

Class Description

Texturizing images gives them a more unique and eye-catching look – join Ben Willmore and explore all the texturing features Photoshop has to offer.

In this session, you’ll see how to choose the most appropriate texture for many types of images, how to adjust textures to get them ready for application, and how to use textures to make an image appear to fade away. You’ll also learn how to create simple textures and how to capture them with your camera. The new texturizing skills you build will add a whole new dimension to your work!

Software Used: Adobe Photoshop CC 2014.2.2



I missed the opportunity to watch PS Week 2015 live. However, when I searched for "textures" and found this class, I was very happy. Ben is an amazing instructor. I learned more about textures than I thought possible, especially the Blend Options; great class!


What an excellent teacher Ben Willmore is! His teaching style is straightforward and serious and he doesn't waste time on banter while still remaining likable. He not only makes concepts easy to understand but simple to follow and learn. More Ben Willmore, please! :-)