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Posts tagged “Patterns

HOW TO CREATE AN IMPASTO TEXTURE LAYER STYLE

Statue of Boadicea in London, EnglandThis week I am just going to show you how easy it is to add an Impasto Layer to your image to get that added painterly effect. In the past many people were selling these layer styles but it seems to be out of vogue now and they are really easy to create once you understand the steps required. The above image of the Statue of Boadicea in London used three different layers and layer styles to create the unique texturing that appears on the horses and on the people riding in the chariot. First some major clean up was done and a visit to Topaz (see my Tidbits Blog sidebar for website link) Studio to get the wonderful AI Clear applied. I wanted to add an interesting story to the shot so one of my textures that had a lot of color and action in it was added on top and set to Linear Burn at 59% layer opacity . Next the Layer Style textures were added. I decided to create a video describing the steps so you can see how the layer style effect develops.

The basic workflow on creating an Impasto Effect Layer Style is as follows:

  1. Add a New Layer on top.
  2. Select a brush you think would work in your image. To start I used the Aploosa 2 brush from a Horse Pattern Pack by horsecrazy at 20 pixels for painting over the horses – you do not have to use this brush. With any brush set to 100% opacity, just dabbed over part of the image that would look good with some impasto effect applied.
  3. Double click on the layer in the Layers Panel to open up the Layer Style dialog and set the Fill Opacity to 0. Next click on the words Bevel & Emboss. Set the Reset to Default button at bottom and change these settings in the Bevel & Emboss Style: Depth 115, Size 4, Highlight Mode Linear Dodge (Add) and Opacity 20%, and Shadow Mode Linear Burn and Opacity 28%. Now check the Contour box and use the default. Now check the Texture box and open up the dialog – set the Pattern – a Washed Watercolor Paper texture (to load go to the drop-down by the pattern swatch, click on the wheel on the upper right for drop-down, and select Artist Surfaces set) was used for mine, but one you like is fine. Set the Scale to 100 and Depth to +100%.
  4. Click the New Style button on the right and name your style – mine was named SJ Basic Impasto Layer Style. Now if you click in the Style section at the top of the Layer Style dialog, the new layer style will be at the bottom of the list. I also saved mine to the my library.
  5. Your dabs on the layer should show some Impasto.

The Texture in the Bevel & Emboss style can be changed to get all kinds of patterns and lines – that is how the background got created in the flowers below. All the sliders in the Bevel & Emboss dialog can be changed to get very different results. Once you start playing with this, it is an amazing way to add texture to a whole image or just a little part of it. And like what was done in the image above, different layers can be used to add different textures in the image. The texture in the brush is usually different from the one in the layer style that creates an even more interesting result. I tried stacking two different impasto layers with different textures and got some very nice effects. And don’t forget that the Pattern can be scaled and dragged around on the image, and the Depth sliders can make a big difference. The actual layer opacity can be changed if the overall effect is too strong. Oh yes – try different kinds of brushes to paint the impasto onto the layer – those with lots of texture can look really great. Lots of fun here!

A couple things to Note:

  • If your brush has a different texture that is not in the pattern list, open up your Brush Panel and in the Texture section there is a little square icon with the corner creased – hover over it and it says “Create a new preset from the Current Pattern” – just click it and the texture will be added to the Pattern list at the bottom. Now you can set the Bevel & Emboss texture to the same pattern if you want.
  • Also, if you have textures that are not .pat files, just open them in PS and go to Edit -> Define Pattern, name it, and it is placed in your Pattern list with the .pat extension. Anything can become a pattern very easily.

Image of a plant with embossing treatmentHere is the finished version of the plant shown in the video. As promised the background pattern was created with Texture.com bronze copper texture (no longer free I think) it was converted to a pattern using the Edit -> Create Pattern command (see Note above). If you have a similar type texture, try converting it. The leaves used a PS patterned texture called Ant Farm that created this rather incredible pattern on the flowers when painted with Kyle’s Spatter Brush Supreme Spatter & Texture, a PS brush. The Ant Farm pattern is found in PS’s Patterns set (right click on the upper right cog to add). Just some spotlighting and vignette were added to this image.

Hope everyone sets up one of these layer styles and tries painting on the layer. Check out my Tidbits Blog for another example I will upload on Tuesday. It is quit an interesting look and can really perk up an image. In the meantime, get through these wintertime blues. Have a great week!…..Digital Lady Syd


PATTERNS, PATTERNS, PATTERNS

Image of Dive Boat and riders heading to ocean at Boynton Beach, FloridaI started to add this info into my How to Create My Favorite Brush post which used a Pattern in the Brush Panel and played a big role in the brush creation. There was so much to discuss about this topic, I decided to turn it into two blogs. Glad I did as I have recently learned a few new tricks on using Patterns that are discussed below.

Patterns..and How Crazy This Gets

When downloading Photoshop patterns from the Internet, the files must have a PAT extension (not JPG which most texture file extension use) to load them into your Pattern list. With Photoshop open, just double-click on the downloaded .PAT file and they load right into PS. Where are these patterns used? In the Pattern Fill Adjustment and Adjustment Layer where the Dialog obviously contains a Pattern drop-down menu. Click the little cog in upper right of the Pattern drop-down to add in other Patterns (another way to add them in – see below for more on this). The Content Aware Fill (Edit -> Fill) has a choice for Contents Pattern. Also are used in Layer Styles – Pattern Overlay section, Bevel and Emboss Texture section, and Stroke section (Fill Type) all contain the use of Patterns. When creating a brush using the Texture section of the Brush Panel, you are really adding a Pattern that carries a .PAT file extension, not a JPG. The following Brush Tools allow the use of a Texture section which uses Patterns: the Mixer Brush Tool, Pencil Tool, Eraser Tool, History Brush Tool, Art History Brush Tool, Clone Stamp Tool, Dodge Tool, Burn Tool, and  Sponge Tool . The Pattern Stamp Tool uses Patterns in both the brush settings and Options Bar. Several Tools have Patterns as a choice in the Options Bar: Bucket Tool (check out the Foreground drop-down. You can actually pour a Pattern onto a layer – who knew?), the Healing Brush (this is strange too!), all the Shape Tools set to Shape and clicking on Fill swatch and then clicking on the Pattern swatch, there is the pattern list. I may have missed a couple uses, but overall, I was amazed that Patterns are in all these places in Photoshop. And unfortunately, sometimes the Patterns are in Texture areas and sometimes not labeled at all – it can be a little confusing!

Loading and Creating a Pattern

If you want to convert one of your favorite textures or images into a Pattern, open the texture (which can be a JPG or PSD file) and go to Edit -> Define as a Pattern, name it and the pattern now appears at the bottom of your Pattern list. To see all your Patterns and to add more, go to Edit -> Presets -> Preset Manager and open Preset Type drop-down and select Patterns. The Patterns can be dragged around in the Preset Manager to put them in a better order. Click Load to add new ones or click the the little cog at top and see all the Photoshop canned presets available. (In case you wondered, the sets are: Artist Surfaces, Artists Brushes Canvas, Color Paper, Erodible Textures, Grayscale Paper, Legacy Patterns, Nature Patterns, Patterns 2, Patterns, Rock Patterns, Texture Fill 2, Texture Fill, Watercolour Patterns and Web Patterns – I had no idea all these were here!) Go to next section to see how to create a new pattern. It is useful to have colored and grayscale Patterns loaded. Even though the brush panel only uses the Patterns as grayscale color, the other Tools and commands will use the color. It is fun to try out watercolor blobs and brightly colored textures that you liked. And remember if you download Patterns, by double-clicking on the .PAT file will add them to the bottom of your Pattern List.

Creating a Noise Pattern for Your Library Panel

For some reason, it had not occurred to me that an Adjustment Layer could be saved and reused in the Library Panel. I do not use this panel much, but after watching Lisa Carney’s Color Techniques for Retouching classes on Creative Live this week, I am reconsidering. This noise tip came from her class on Portrait Retouching and involves creating a Pattern Adjustment Layer to add the final grain effect at the end of your workflow. She feels that adding a slight noise will pull an image together, especially when compositing. The image above of the Dive Boat going out to sea used this Noise Adjustment Layer – it looks really good with the vintage feel. (This results in a very similar look as the first tip in my 10 Not So Well Known Photoshop Tips blog where the Lens Blur Filter was used.)

Here is the workflow for this useful Adjustment Layer:

  1. Create a New Layer by clicking SHIFT + CTRL +N. In the Dialog name the layer Noise at this point, set it to Overlay blend mode, and check the Fill with overlay-neutral color (50% Gray). Note the blend mode must be set to Overlay before check box shows up.
  2. Go to Filter -> Noise -> Add Noise and set to 3, 5 or 8. Turn on Gaussian radio button and uncheck Monochromatic (do not want black and white grain on faces and skin especially).
  3. Go to Filter -> Blur -> Gaussian Blur and set to a Radius of .3 or .5 to lightly smooth.
  4. Desaturate the layer by going to Image -> Adjustments -> Hue/Saturation and set Saturation to -50.
  5. Go to Edit -> Define Pattern and name the pattern Add Noise 5-Gaus .3 Desat -50 so you know the settings used to create this Noise layer.
  6. In the Adjustment Layer icon at the bottom of the Layers Panel, select the Pattern Adjustment Layer – go to the bottom of the Patterns list and click on the new Pattern created in Step 5. The Scale can be adjusted if needed. Now would be a good time to rename the layer the same as the Pattern name if saving to the Library Panel in next step.
  7. Open Library Panel and drag the Pattern Adjustment Layer into panel. Anytime you want to add some noise at the end of your workflow, just right click on the Noise Pattern icon and select “Place Layers” – it appears in your image as a Pattern Adjustment Layer. Note: if you just select it, it will appear to be a rasterized version of the adjustment layer – this may be okay if that is what you want.
  8. Set the adjustment layer to Overlay blend mode and tweak the layer opacity if it needs it.

Image of New Plymouth on Green Turtle Cay in the Bahamas

Using a Pattern Fill Adjustment Layer to Add Texture to an Object

This image of New Plymouth on Green Turtle Cay in the Bahamas used a little trick I use all the time to give the little birds on the sand some texture. Birds are from a 7 bird brushes for You set by justadistrict12 girl on DeviantArt (could not find a link). They were added using black color at 100% Brush Opacity and Flow. Then a Pattern Fill Adjustment Layer was added on top. It was then clipped to the bird layer (ALT+click between the layers) so that the Pattern is only applied to the birds and not the whole image. The Pattern used was a brown colored texture with beige lines going through it from a set redheadstock at DeviantArt called Lace Photoshop Patterns. It gives some detail to the birds making them look like they have a little definition where the wing would go. See Screenshot below. When dialog is open, the Scale can be changed and the Pattern moved by dragging it around in the image. This way the Pattern can be adjusted to give a nice effect. Now in this image, it may not look necessary to do this, but it makes the difference between making an image look finished or not. This is really nice on images where flying birds are added. Solid color birds will look like they are pasted into the image.

Screenshot of Pattern Adjustment Layer dialog
What is really nice about using the Pattern Adjustment Layer is that different noise patterns can be made using different settings in the Noise Filter, Gaussian Blur Filter, and the Saturation slider in the Hue/Saturation Adjustment Layer. Each one can be saved in the Library Panel so different effects can be tried out quickly to decide which one looks best. Just be sure they are named so the difference between them is obvious. The one used above I named SJ Add Noise 5-Gaus .3-Desat -50 (same as pattern name) to remind me what is applied. And favorite Patterns can also saved as adjustment layers in the Library for using just on bird brushes or anything that needs this type of effect applied.

Hope you enjoyed the Pattern post – it can get a little confusing! Try out the Noise Adjustment Layer – I think I will be using mine a lot….Digital Lady Syd

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Creating a Healing Brush Background Texture

This simple Amerilius flower image was taken at the grocery store with my Point and Shoot Kodak EasyShare Camera. Not quite sure how I came up with this technique but I loved the result. And it was easy to do.

1. Open image and duplicate the background layer (CTRL+J).
2. Use Quick Selection Brush (or any selection tool you like) to select the Background (or select flower and CTRL+SHIFT+I to invert selection so the background is selected).
3. With selection still active, click on New Layer icon and your selection will appear on the new layer.
4. Create New Layer underneath your object layer.
5. Select the Healing Brush Tool and in the Options Bar click on the Pattern radio button and find a pattern you like. This image used French Kiss Watercolor Expression Set texture called Vivacity – I turned it into a pattern by opening the jpg in a separate document, and going to Edit -> Save as a Pattern. (Note: the size of the texture you are converting will determine how large your repeating pattern will be so try a couple different sizes to see what you like. Also whether you have Sample field set to Current Layer or Current & Below will make a huge difference.) Now when the Source is changed to Pattern, the pattern you just created is at the bottom of the list in the drop down menu on the right of the pattern field. A 235 pixel brush was used which does take a while to paint in – just paint over your selection and the pattern is laid down.

After that you can add plug-ins – this one used Topaz (see sidebar for website link at my Tidbits Blog) Simplify 4’s BuzSim Split Toned I preset with the overall transparency set to .90. I also created an Overlay from 2 Lil’ Owls Bonus Texture 4 (see my Tidbits Blog sidebar for website link) (created a PNG file of just the frame by following the steps in my blog How To Make Frames or Borders – scroll down to the section called “To save the frame you created as an overlay to use again.”) and changed to pink using a Color Fill Adjustment Layer clipped (ALT+click between the layers). A Curves Adjustment Layer brought out more contrast and a Selective Color Adjustment Layer brought more color in the background.
…..This image used My Smudge Texture four times. The hardest part with this image was selecting the feathers from my original image to get a nice clean layer mask – Refine Edge was used to really get the clean edges. Next I put a New Layer underneath and painted in my Digital Lady Syd’s Smudge Texture as a pattern for the background. The first pattern I used followed the technique in Step 5 above and was a very large texture pattern as it was a larger size in Photoshop – the Healing Brush default settings for the brush were used and it created a really clean soft color texture for the background. For all the layers in this image, the Sample was set to Current Layer in the Options Bar. (If you set Current & Below, you will blend the layers together.) Next I created another New Layer above it and used my texture at a smaller size which resulted in a repeat pattern look. Using a 100 px brush set to Multiply Mode, several random lines were created down the layer by clicking with the Healing Brush at the top of the layer and Shift clicking at the bottom to get a straight line. Next a Free Transform was done (CTRL+T) to put the lines on a diagonal going somewhat with the feathers. By double clicking on the thumbnail, the Layers Style can be opened. In Pattern Overlay I selected my smaller sized texture again and set the scale to 37 and the Divide Blend Mode at 56% – this pretty much covered the straight line patterns but still kept the straight lines. A Stroke effect was added with the Size set to 35 and the Fill Type set to Pattern using my smaller sized pattern. The Scale was set to 31%. That was it for the background. The layer mask was applied to feathers by right clicking on the mask and selecting Apply Layer Mask. This layer was taken into Topaz (see website link in sidebar at my Tidbits Blog) Adjust 5 and the Spicify preset applied to bring out the feathering more clearly. A black layer mask was applied and then just the areas where the effect should be was painted back in. Topaz Detail 3 was added next with the Overlay Light Detail II preset was applied on a duplicate layer and set to 67% opacity. Jess Warriors 1  pottery brush was painted on its own layer at 30% opacity. Finished up with a Curves Adjustment Layer to lighten up some of the white feathers. OnOne’s Grunge 04 Frame was added in a yellow and French Kiss’s Glorious Grunge Edging PNG file (a free download) was added using a dark burnt orange Color Adjustment Layer for the border effect.
…..
Healing Brush vs Pattern Stamp – what are the differences?

After playing around with the Healing Brush technique, I will say it can give similar results as the Stamp Pattern Brush, but actually has fewer choices available. The Healing brush blends the pattern in with the underlying color and texture – the Pattern Stamp lays down the pattern exactly as it appears in the Options Bar. To get the softest edges on the Healing Brush’s pattern, use a soft brush by clicking on the drop-down menu by pressing the arrow by the Brush Size and setting the Hardness to 0% (default setting is 3%). The Pattern Stamp Brush lets you choose many of the Photoshop brushes that come with the program so you can get some interesting effects doing that where you have to use the settings in the Brush drop-down for the Healing Brush, and there is a really neat Impressionistic effect in the Options Bar that gives you some really neat looks for your background. Also, the Healing Brush has no brush opacity setting and only 8 blend mode options, including one, the Replace blend mode, that I have never seen before.  To quote Julianne Kost’s blog (she knows everything there is to know about Photoshop and Lightroom and gives great Photoshop World classes), “Using the Healing brush with the blending mode set to Replace makes it behave like the Clone Stamp tool (in that it doesn’t automatically try to blend color or tonality of the source and destination), with one advantage: if you’re trying to clone high frequency image information, the edges of the cloned area will not appear soft as they do with the Clone Stamp tool.” The Stamp Pattern Tool has an opacity brush slider and lets you use all the regular blend modes for your brush and also has a Behind mode. Try out different blend modes on your brushes – it can give really interesting results.
…..This is a female Palamedes Swallowtail Butterfly (the males are smaller and blacker in color) that was so much fun to photograph – she would wait for me to take the picture before moving just like a model! Totally adorable! The trick to getting the shots since her wings are flapping like crazy was to set your ISO to 1600 and shot at F11 or higher. Got some great pictures of her. After selecting her and placing her on the top layer, Kim Klassen‘s Cherish Set-Cherishscript texture (sign up for her newsletter to get lots of beautiful textures) was placed right underneath the butterfly layer. A New Layer was placed above the texture and the Healing Brush was selected. The brush was set to Multiply Mode and one of my patterns that had a rough painted texture to it was selected in the Options Bar. Current and Below was set so the colors from Kim’s texture were blended with my pattern. When finished filling in the layer, the Source was changed to Sampled (and brush set back to Normal mode) and the hard edges between the two tiling were blended by ALT+clicking in an area to sample from. Using the Pattern Stamp Tool, French Kiss’s Spatter Brush4-01 was set to 1008 pixels and one stroke was applied. The layer was set to 77% opacity. French Kiss’s French Script No1 1876d overlay was added above that layer and set to 64% opacity with a brown Color Fill Adjustment Layer clipped to it. (The color in the splatter brush was picked up from the pattern shown in the Pattern Stamp Tool, which was the same one I was using.) The butterfly layer is still on top through all this. The last step is to add a Curves Adjustment Layer.

It was a lot of fun to try this out and you can use any pattern you want to get a different look. I am enjoying experimenting with some tools I do not use much to get a different look to my textures. Give it a try and see what you think…..Digital Lady Syd

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