How To Add Starburst In Photoshop

By | 22/08/2022

10 tips for amend Photoshop textures

While 3D painting applications such every bit The Foundry’south Mari are gradually replacing 2D software for texture painting, Photoshop nevertheless remains a stalwart for many, with its flexibility and advanced blending, painting and masking tools however offering a robust package for texture painters who accept either not invested in a 3D painting package nonetheless, or continue to utilize it aslope a 3D package.

Photoshop however has a few tricks up its sleeve that the 3D options don’t nonetheless offer, peculiarly when it comes to blending and adjusting layers in a texture. Additionally, the user-friendliness and familiarity of the application make it a good solution for things that demand to exist done quickly and with minimal fuss.

This is a drove of essential techniques and tips for texture painters using Photoshop.

These represent some of its greatest strengths with regards to our detail discipline, and will help to improve your efficiency and texturing approach if you comprise them into your workflow. Many of these are particularly notable for their not-destructive approach.

In other words, they utilize tools and techniques such as aligning layers and layer masking, which offer a slap-up way to alter your document in a not-permanent fashion, so yous can change or even completely undo your work at a afterward phase without excessive reworking.

This non-subversive workflow has ever been i of Photoshop’s greatest flexibilities when it comes to painting textures, and is a core reason why it remains an essential function of most texture painters’ toolsets.

01. Customising your brushes

Using Angle Jitter set to Direction with a custom brush is great for painting hair and fur

Using Bending Jitter set to Direction with a custom brush is great for painting hair and fur

Photoshop’s brush engine is an extremely robust and highly customisable ane, offering a wide assortment of custom features that y’all can tailor to your item style of painting, or to attain a specific result.

Creating brushes from any bitmap shape is as simple equally selecting the shape and then selecting Edit > Ascertain Brush Preset, which creates a new castor in your current Brush palette from the pick.

Yous can then open up the Brush Tool palette and add boosted enhancements to it. Among the most useful of these are Angle Jitter, which causes the brush’s shape to follow the direction yous’re painting in – which is great for painting things similar fur or stitching details on clothing.

02. Practiced cloning techniques

Anybody loves Photoshop’s Clone Stamp tool, mostly commonly simply referred to as the Clone tool. However, there’south a fob to using it in such a way as to prevent areas from condign soft and blurred, and that’s to use difficult-edged, custom-shaped brushes.

Using Photoshop’s default round brushes with soft edges, which is what many beginners apply (and what yous would apply in many other circumstances), tends to consequence in soft patches in the texture, due to the soft edges of the cloned patch of pixels. Using a custom shaped, grungy blazon brush with hard edges will reduce this soft effect. Employ custom-shaped brushes – round brushes don’t wait adept when cloning with hard edges.

03. Utilise layer alloy modes

Using Photoshop’due south layer blend modes generally produces more natural-looking results than only lowering the opacity slider on a normal blended layer.

Modes such equally Overlay, Multiply and Soft Lite in detail are very useful for layering dissimilar photographic textures or painted layers with pleasing and organic-looking results, with each mode using the tonal values of the layer differently to produce the final result.

While these blending modes can be useful for all kinds of textures, they’re peculiarly efficient at creating organic textures, considering blending multiple layers on top of 1 some other produces a sense of substantial depth. This impression of depth is peculiarly good for creating the await of living organic tissue.

04. Advanced blending

Hidden away in the Layer Fashion dialog, nether Blending Options, are the incredibly useful Blend If sliders. You lot’ll observe them under the Avant-garde Blending header.

You utilise these to alloy the layer co-ordinate to either its ain grayness or RGB values, or the values of the layer beneath it, or both. They enable you to define value ranges that become transparent.

The sliders are specially useful for dropping a photographic texture onto the 1 beneath it, such equally a photograph of some rust onto an underlying metallic layer. Property down [Alt] while adjusting a indicate on the slider splits it to allow a effectively transition.

The dialog also offers a number of other options for expanding and fine-tuning layer blending.

05. Adjustment layers

Adjustment layers non-destructively alter underlying tones and colours

Adjustment layers not-destructively modify underlying tones and colours

Adjustment layers accept long been i of Photoshop’s greatest features, allowing you lot to modify the values of colours or tones of the layers beneath them without permanently applying the change to them.

Levels, Hue/Saturation and Color Balance are all of item apply to the texture painter, and when used in combination with the Blend If sliders (encounter tip 4), they’re a powerful way to selectively change tones and colours without having to utilise layer masks.

For example, you can employ the Alloy If sliders to brand the adjustment layer affect only the light pixels, or just the dark ones, or whatever of the cherry-red, green or bluish tones of the underlying layers.

06. Layer clipping

Clipping an adjustment layer to the layer below protects the layers beneath the clipped layer

Clipping an adjustment layer to the layer below protects the layers beneath the clipped layer

Another somewhat subconscious characteristic of layer usage is the ability to clip layers to others. Clipping an adjustment layer to another layer will have the adjustment affect only that single layer, while clipping a regular layer to some other volition have the original layer’s visibility controlled by the layer to which information technology is clipped.

In other words, the visibility of the clipped layer will depend upon the opacity of the pixels of the layer to which it is clipped. To prune a layer to another, simply position one above the other, hold downwardly [Alt], position your cursor between the two layers in the Layers panel to get the prune option, then click.

07. Layer masks

Layer masks are the most effective way to control a layer’s visibility non-destructively

Layer masks are the almost effective way to control a layer’s visibility non-destructively

Masks are a great way to control the visibility of any layer. Due to their nature they are totally non-destructive, equally you tin utilise them to only ‘hide’ portions of a layer instead of permanently erasing those pixels.

They’re particularly useful in texturing when combined with grunge maps, which are substantially loftier-contrast images created from detailed photos. This allows you to blend layers together using highly detailed, organic masks that retain natural-looking shapes in their details.

Right-clicking a mask too allows you to open the Refine Mask dialog, which has numerous options for further refining the results. These are also all non-destructive, considering the pixels of the mask aren’t permanently altered by adjusting them.

08. Masked adjustments for removing lighting

Masking adjustment layers is the best way of non-destructively removing lighting from an image

Masking adjustment layers is the all-time manner of non-destructively removing lighting from an epitome

Using layer masks in conjunction with aligning layers provides a highly flexible and effective way of painting light out of photos and evening their tones, specially when using them to mask Levels and Hue/Saturation layers.

Again, this is a non-destructive technique, which allows for constant refinement or amending at a later on stage, and because you’re not painting onto the actual pixels of the layer that’s having its lighting removed, you end up with a cleaner, more than controlled consequence.

We use this technique a lot when dealing with reference photos of actors, or set pieces that need to be projected onto their equivalent digital doubles in film work.

09. The Loftier Pass filter

The High Pass filter can be used to create a quick base for bump maps from a texture

The High Laissez passer filter tin can be used to create a quick base for bump maps from a texture

The Loftier Pass filter, plant under Filter > Other, is useful for two things in texturing: sharpening photograph textures that are a little soft or need more item enhancement, and for creating quick bump maps.

For the sometime, simply duplicate the layer, desaturate information technology, and apply the High Laissez passer filter with a relatively low radius (below five pixels), and and so blend it using Overlay above the original layer.

For bump maps, desaturating and applying High Pass at a relatively loftier pixel value is a quick fashion to get a good base of operations epitome, because the filter’s consequence is based on an average of 50 per cent greyness; this is proficient for bump maps because 3D renderers use l per cent grey as the median betoken for greyscale maps such as bump and specular.

10. Using opacity effectively

Carefully build up tones by using low opacity brushes for a more natural look

Carefully build up tones by using low opacity brushes for a more than natural expect

Perhaps one of the most crucial pieces of advice I tin can requite about painting textures in Photoshop is to use a build-upwards approach – in other words, painting (whether information technology’s actual painting on layers or on layer masks) is often all-time achieved by using low-opacity brushes to build upwards the tones slowly, as opposed to simply slapping opaque pigment details onto a layer and trying to blend them down.

Painting with a gentle approach is likely to yield the best results in well-nigh cases, especially when information technology comes to organic textures, just as well when dealing with hard surfaces.

Leigh van der Byl is a VFX texture painter in London. Her recent credits include 10-Men Starting time Form and the upcoming sci-fi thriller Gravity. She also scours the globe shooting landscape photography in cold, bleak environments

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