First, duplicate the silk by image > duplicate. Press Ctrl + Shift + U (desaturate) and press Ctrl + Shift + L (Auto Level), then save as PSD, close it.
Second, Duplicate the background layer by pressing Ctrl + J, Press Ctrl + Shift + U (desaturate) and press Ctrl + Shift + L (Auto Level).
Third. Open the 'flat pattern', press Ctrl + A and Ctrl + C, open the Silk then hit Ctrl + V. Press Ctrl + T for free transform then change the blending mode to Multiply.
Last, with the pattern layer selected, go to Filter > distort > displace. ignore the setting on first showed up window and simply click OK, then choose the displacement map that we already made, Click Ok.
Monday, September 8, 2008
Displacement Map - Filter
Sunday, September 7, 2008
Color Range - Selection
Next we will learn about the selection technique using 'Color Range' . Let's change the sky of this picture.
Open the file we're going to use as a new sky. Press Ctrl + A, Ctrl + C then go back to the first picture, with top most layer still selected, go to edit > paste into. if its correct there will be created a new masked layer. set the position by hit Ctrl + T, click OK when you're done.
go to Select > Color Range. choose eyedropper with plus sign (+) which mean adding selection. Click in the sky area , on the map you'll see black and white, where the white side is the sky we have been selected. Slide the Fuziness to the right or left untill the color in the map becoming black and white solid, minimize grey area and then click OK.
Next, we'll inverse the selection by Shift + Ctrl + i or you may go to select > inverse, Press Ctrl + J to duplicate with selected area. if its correct then you'll have a new duplicated layer with sky erased, youl see the squares which indicates the transparent area.
On the top most layer, point the cursor to thumbnail and press Ctrl, wait until the tiny square show up then left - click it (Ctrl + click), we use it to load the selection the layer. We're going to change the existing sky with a new one, so we have to inverse the selection by pressing Shift + Ctrl + i.
Open the file we're going to use as a new sky. Press Ctrl + A, Ctrl + C then go back to the first picture, with top most layer still selected, go to edit > paste into. if its correct there will be created a new masked layer. set the position by hit Ctrl + T, click OK when you're done.
Last, take a look at the trees, we'll see the white 'halo', how to reduce them? click the mask of the top most layer then go to filter>blur>gaussian blur, set the value to 2 px. then go to Filter > Other > Maximum and set the value to 2 px.
Read More ..
Paris Van Java
This time we'll learn how to mix two different pictures which having a similarity in time - taking and position. Both picture s were taken at night from below.
First, Open the Eiffel tower, hit Ctrl + A (select > All), then Ctrl + C (Edit>Copy).
Second, Open the other one and paste it by Ctrl + V (Edit > paste). if its correct then the tower will be placed on a top most layer. press Ctrl + T for free Transform so you can change the positon and resize it, Hit Enter when you're done.
Third, we're gonna add some mask on Layer1, click Layer1 then click the 'add mask' icon which located at the bottom of Layer's pallet next to 'f' icon. if its correct then a white box will be added on the right side Layer's thumbnail.
Next, fill that mask with a black color, click the white box then press Shift + F5 (Edit>Fill), choose black. if its correct the tower will be disappeared.
Last, to bring the tower back we must paint the mask with a white color, click the mask on the first layer then pick the brush tool , dont forget to set the opacity and hardness to 100%, set the foreground color to white. we will paint it white starts from the top of this picture to the space between their heads. we can also take a look at the mask which showing the map of the selection that we have made.
Read More ..
Change the Eye's Color
In this tutorial we will learn how to use 'Hue / Saturation' Adjustment Layer to change the Eye's color.
First, open the picture, the eye (you can get it from Google). double click the background layer and rename it. Then add the adjustment layer by clicking the icon on the bottom of Layer's pallet. When the window show up, set the value of Hue and saturation to +99 and +25, we are looking for the light green, click OK when you're done.
Now we're having a totally green picture, but we just want to change the middle part of the Eye ball. 
Second, lets take a look at the top most layer, look at white box, we'll fill it with black color. Click the white box and hit Shift + F5 or you can try Edit > Fill and choose Black.
Last. we will show the green color back but only in a pupil, the middle part. Click the mask (the white box we just filled with black), use the brush tool ( shortcut : B ), set the foreground color to white and you can start to paint that part.
Note : when you're done, and you still wanna change the eye's color, simply double click the thumbnail of Hue / Saturation layer and set the both value of hue and saturation.
Read More ..
Tuesday, July 29, 2008
The Blending Mode
Normal
The default mode, this option displays every pixel in the active layer normally, regardless of the colors in the underlying layers. When you use opacity values (whether Opacity or Fill) of less than 100 percent, the color of each pixel in the active layer is averaged with the composite pixel in the layers behind it. Normal mode is called Threshold when you're working with a bitmapped or indexed-color image.
Dissolve
This option specifically affects feathered or softened edges. If the active layer is entirely opaque with hard edges, Dissolve has no effect. But when the edges of the layer is fade the result color is a random replacement of the pixels with the base color or the blend color, depending on the opacity at any pixel location. However, when you drop the Opacity value below 100 percent, Dissolve will dithers all pixels.
Note: Dissolve does not dither pixels in the drop shadow layer effects. Layer effects are governed by their own independent blend modes.
Darken Mode
Contain 4 modes in this group, all will darker image by using different methods. White Color will make no change with in this group of blending mode and lighter color will produce less effect than darker color.
Darken
Darken applies colors in the active layer only if they are darker than the corresponding pixels below for each channel and pixel-by-pixel. Pixels in underlying layer that lighter than the blend color are replaced, and pixels darker than the blend color do not change.
For example in one corresponding pixels, in blue channel in the active layer darker than the blue pixel of underlying composite pixel and the red and green components lighter. In this case, Photoshop assigns the blue component but not the red or green.
Multiply
Looks at the color information in each channel and multiplies the base color by the blend color. The result color is always a darker color. Multiplying any color with black produces black. Multiplying any color with white leaves the color unchanged. When you're painting with a color other than black or white, successive strokes with a painting tool produce progressively darker colors. The effect is similar to drawing on the image with multiple magic markers.
Color Burn
Looks at the color information in each channel and darkens the base color to reflect the blend color by increasing the contrast. Blending with white produces no change. Color Burn results in crisp, often colorful, toasted edges.
Linear Burn
Looks at the color information in each channel and darkens the base color to reflect the blend color by decreasing the brightness. Blending with white produces no change. Linear Burn creates a smoother, less vibrant effect than Color Burn.
Lighten Mode
Contain 4 modes in this group, all will lighten image by using different methods. Black Color will make no change with in this group of blending mode and lighter color will produce more effect than darker color.
Lighten
Opposite with Darken mode, Lighten applies colors in the active layer only if they are lighter than the corresponding pixels in the underlying image. As with Darken, Photoshop compares the brightness levels of all channels in a full-color image. Pixels of underlying layer that darker than active layer are replaced, and pixels lighter than the blend color do not change.
Screen
Screen is the opposite of Multiply. Rather than creating a darker image, you create a lighter image. Photoshop looks at each channel's color information and multiplies the inverse of the blend and base colors. The result color is always a lighter color. Screening with black leaves the color unchanged. Screening with white produces white.
Screen is useful for creating glows, retaining just the light colors in a gradient, and creating light noise effects such as snow and stars.
Color Dodge
Looks at the color information in each channel and brightens the base color to reflect the blend color by decreasing the contrast. Blending with black produces no change. When you apply the Color Dodge modes, each color in the layer becomes a brightness-value multiplier. Light colors such as white produce the greatest effect, and black drops away.
Linear Dodge
Create similar effect with Color Dodge. Looks at the color information in each channel and brightens the base color to reflect the blend color by increasing the brightness. Blending with black produces no change. Linear Dodge creates similar but smoother effect than Color Dodge.
Light Mode
Photoshop Light modes darken the darkest colors and lighten the lightest colors, thereby allowing the mid-tone to intermix, so that foreground and background remain independently identifiable.
Overlay, Soft Light and Hard Light alternatively multiplies the blacks and screens the whites, but in different degrees. Overlay favors the background layers, Hard Light emphasizes the active layer. In fact, the two are direct opposites. For example, if Layer A set to Overlay in front of Layer B produces the same effect as Layer B set to Hard Light in front of Layer A. Soft Light is a modified version of Hard Light that results in a more subtle effect than either Hard Light or Overlay.
Vivid Light and Linear Light combine Dodge and Burn instead of Multiply or Screen in Overlay family.
Overlay
Multiplies or screens the colors, depending on the base color (underlying layer). Patterns or colors overlay the existing pixels while preserving the highlights and shadows of the base color. The base color is not replaced but is mixed with the blend color to reflect the lightness or darkness of the original color.
Soft Light
Darkens or lightens the colors, depending on the blend color. The effect is similar to shining a diffused spotlight on the image.
If the blend color (light source) is lighter than 50% gray, the image is lightened as if it were dodged. If the blend color is darker than 50% gray, the image is darkened as if it were burned in. Painting with pure black or white produces a distinctly darker or lighter area but does not result in pure black or white.
Hard Light
Multiplies or screens the colors, depending on the blend color. The effect is similar to shining a harsh spotlight on the image.
If the blend color (light source) is lighter than 50% gray, the image is lightened, as if it were screened. This is useful for adding highlights to an image. If the blend color is darker than 50% gray, the image is darkened, as if it were multiplied. This is useful for adding shadows to an image. Painting with pure black or white results in pure black or white.
Vivid Light
Burns or dodges the colors by increasing or decreasing the contrast, depending on the blend color. If the blend color (light source) is lighter than 50% gray, the image is lightened by decreasing the contrast. If the blend color is darker than 50% gray, the image is darkened by increasing the contrast.
Linear Light
Burns or dodges the colors by decreasing or increasing the brightness, depending on the blend color. If the blend color (light source) is lighter than 50% gray, the image is lightened by increasing the brightness. If the blend color is darker than 50% gray, the image is darkened by decreasing the brightness.
Pin Light
Replaces the colors, depending on the blend color. If the blend color (light source) is lighter than 50% gray, pixels darker than the blend color are replaced, and pixels lighter than the blend color do not change. If the blend color is darker than 50% gray, pixels lighter than the blend color are replaced, and pixels darker than the blend color do not change. This is useful for adding special effects to an image.
Hard Mix
The Hard Mix blend mode combines the pixels in your layers using the Vivid Light blend mode and then performs a color threshold operation on them. Hard Mix mixes two layers and pushes the colors to their absolute extreme. All in all, Hard Mixed pixels come in only eight colors: black, white, red, green, blue, cyan, magenta, and yellow, the end result being quite similar to the Posterize command (Image » Adjustments » Posterize).
Invert Mode
This 2 mode will invert color of underlying layer depend on brightness of active layer.
Move cursor over sample picture to toggle to Normal Mode to see effect
Difference
Difference inverts lower layers according to the brightness values in the active layer. White inverts the composite pixels absolutely, black inverts them not at all, and the other brightness values invert them to some degree in between. Blending with white inverts the base color values; blending with black produces no change.
Exclusion
Creates an effect similar to Difference Mode but lower in contrast often smoother effect. Blending with white inverts the base color values. Blending with black produces no change. Exclusion sends mid-tone to gray, much as Pin Light sends mid-tone to transparent.
Color Mode
This group of blending mode play with color(hue), saturation and brightness - HSB color model - of active layer or paint tool to calculate its effects.
Move cursor over sample picture to toggle to Normal Mode to see effect
Hue
Creates a result color with the luminance and saturation of the underlying layer color with the hue of the blend color in active layer or painted color.
Saturation
Creates a result color with the luminance and hue of the base color and the saturation of the blend color. Painting with this mode in an area with no saturation (gray) causes no change.
Color
Creates a result color with the luminance of the base color and the hue and saturation of the blend color. This preserves the gray levels in the image and is useful for coloring monochrome images and for tinting color images.
Luminosity
Creates a result color with the hue and saturation of the base color and the luminance of the blend color. This mode creates an inverse effect from that of the Color mode.
Special Blending Mode for Tools only
There're two blending mode that available for tool only.
Behind
Edits or paints only on the transparent part of a layer. This mode works only in layers with Lock Transparency deselected and is analogous to painting on the back of transparent areas in a sheet of acetate.
Clear
When working on a layer other than Background, the Clear mode turns selected tool into an erasing tool, clearing away pixels. You can edits or paints each pixel and makes it transparent. Given that the eraser already emulates the behavior of both the Brush and Pencil tools, there's not a lot of reason to use Clear with either of these tools. However, it creates a unique effect when combined with the Paint Bucket Tool , thus permitting you to fill areas of colors with transparency. You must be in a layer with Lock Transparency deselected to use this mode.
This mode is available for Line tool (when fill region Fill is selected), Paint Bucket tool , Brush Tool , Pencil tool , the Fill command, and the Stroke command.
Dodge Tool and Burn Tool Blending Mode
Following 3 blending modes are for Dodge Tool and Burn Tool
Midtones
Selected by default, the Midtones mode applies the Dodge or Burn tool equally to all but the very lightest or darkest pixels in an image. Midtones enables you to adjust the brightness of colors without blowing out highlights or filling in shadows.
Shadows
When you select this mode, the Dodge or Burn tool affects dark pixels in an image more dramatically than light pixels. Medium values are likewise affected, so the Shadows option modifies a wider range of colors than Midtones.
Highlights
This option lets you lighten or darken the midtones and lightest colors in an image.
Note: Selecting Shadows when using the Dodge tool or Highlights when using the Burn tool has an equalizing effect on an image.
Sponge Tool Blending Mode
Desaturate:
When set to Desaturate, the tool reduces the saturation of the colors over which you drag. When you're editing a grayscale image, the tool reduces contrast.
Saturate
If you select Saturate, the Sponge tool increases the saturation of the colors over which you drag, or increases contrast in a grayscale image.
The default mode, this option displays every pixel in the active layer normally, regardless of the colors in the underlying layers. When you use opacity values (whether Opacity or Fill) of less than 100 percent, the color of each pixel in the active layer is averaged with the composite pixel in the layers behind it. Normal mode is called Threshold when you're working with a bitmapped or indexed-color image.
Dissolve
This option specifically affects feathered or softened edges. If the active layer is entirely opaque with hard edges, Dissolve has no effect. But when the edges of the layer is fade the result color is a random replacement of the pixels with the base color or the blend color, depending on the opacity at any pixel location. However, when you drop the Opacity value below 100 percent, Dissolve will dithers all pixels.
Note: Dissolve does not dither pixels in the drop shadow layer effects. Layer effects are governed by their own independent blend modes.
Darken Mode
Contain 4 modes in this group, all will darker image by using different methods. White Color will make no change with in this group of blending mode and lighter color will produce less effect than darker color.
Darken
Darken applies colors in the active layer only if they are darker than the corresponding pixels below for each channel and pixel-by-pixel. Pixels in underlying layer that lighter than the blend color are replaced, and pixels darker than the blend color do not change.
For example in one corresponding pixels, in blue channel in the active layer darker than the blue pixel of underlying composite pixel and the red and green components lighter. In this case, Photoshop assigns the blue component but not the red or green.
Multiply
Looks at the color information in each channel and multiplies the base color by the blend color. The result color is always a darker color. Multiplying any color with black produces black. Multiplying any color with white leaves the color unchanged. When you're painting with a color other than black or white, successive strokes with a painting tool produce progressively darker colors. The effect is similar to drawing on the image with multiple magic markers.
Color Burn
Looks at the color information in each channel and darkens the base color to reflect the blend color by increasing the contrast. Blending with white produces no change. Color Burn results in crisp, often colorful, toasted edges.
Linear Burn
Looks at the color information in each channel and darkens the base color to reflect the blend color by decreasing the brightness. Blending with white produces no change. Linear Burn creates a smoother, less vibrant effect than Color Burn.
Lighten Mode
Contain 4 modes in this group, all will lighten image by using different methods. Black Color will make no change with in this group of blending mode and lighter color will produce more effect than darker color.
Lighten
Opposite with Darken mode, Lighten applies colors in the active layer only if they are lighter than the corresponding pixels in the underlying image. As with Darken, Photoshop compares the brightness levels of all channels in a full-color image. Pixels of underlying layer that darker than active layer are replaced, and pixels lighter than the blend color do not change.
Screen
Screen is the opposite of Multiply. Rather than creating a darker image, you create a lighter image. Photoshop looks at each channel's color information and multiplies the inverse of the blend and base colors. The result color is always a lighter color. Screening with black leaves the color unchanged. Screening with white produces white.
Screen is useful for creating glows, retaining just the light colors in a gradient, and creating light noise effects such as snow and stars.
Color Dodge
Looks at the color information in each channel and brightens the base color to reflect the blend color by decreasing the contrast. Blending with black produces no change. When you apply the Color Dodge modes, each color in the layer becomes a brightness-value multiplier. Light colors such as white produce the greatest effect, and black drops away.
Linear Dodge
Create similar effect with Color Dodge. Looks at the color information in each channel and brightens the base color to reflect the blend color by increasing the brightness. Blending with black produces no change. Linear Dodge creates similar but smoother effect than Color Dodge.
Light Mode
Photoshop Light modes darken the darkest colors and lighten the lightest colors, thereby allowing the mid-tone to intermix, so that foreground and background remain independently identifiable.
Overlay, Soft Light and Hard Light alternatively multiplies the blacks and screens the whites, but in different degrees. Overlay favors the background layers, Hard Light emphasizes the active layer. In fact, the two are direct opposites. For example, if Layer A set to Overlay in front of Layer B produces the same effect as Layer B set to Hard Light in front of Layer A. Soft Light is a modified version of Hard Light that results in a more subtle effect than either Hard Light or Overlay.
Vivid Light and Linear Light combine Dodge and Burn instead of Multiply or Screen in Overlay family.
Overlay
Multiplies or screens the colors, depending on the base color (underlying layer). Patterns or colors overlay the existing pixels while preserving the highlights and shadows of the base color. The base color is not replaced but is mixed with the blend color to reflect the lightness or darkness of the original color.
Soft Light
Darkens or lightens the colors, depending on the blend color. The effect is similar to shining a diffused spotlight on the image.
If the blend color (light source) is lighter than 50% gray, the image is lightened as if it were dodged. If the blend color is darker than 50% gray, the image is darkened as if it were burned in. Painting with pure black or white produces a distinctly darker or lighter area but does not result in pure black or white.
Hard Light
Multiplies or screens the colors, depending on the blend color. The effect is similar to shining a harsh spotlight on the image.
If the blend color (light source) is lighter than 50% gray, the image is lightened, as if it were screened. This is useful for adding highlights to an image. If the blend color is darker than 50% gray, the image is darkened, as if it were multiplied. This is useful for adding shadows to an image. Painting with pure black or white results in pure black or white.
Vivid Light
Burns or dodges the colors by increasing or decreasing the contrast, depending on the blend color. If the blend color (light source) is lighter than 50% gray, the image is lightened by decreasing the contrast. If the blend color is darker than 50% gray, the image is darkened by increasing the contrast.
Linear Light
Burns or dodges the colors by decreasing or increasing the brightness, depending on the blend color. If the blend color (light source) is lighter than 50% gray, the image is lightened by increasing the brightness. If the blend color is darker than 50% gray, the image is darkened by decreasing the brightness.
Pin Light
Replaces the colors, depending on the blend color. If the blend color (light source) is lighter than 50% gray, pixels darker than the blend color are replaced, and pixels lighter than the blend color do not change. If the blend color is darker than 50% gray, pixels lighter than the blend color are replaced, and pixels darker than the blend color do not change. This is useful for adding special effects to an image.
Hard Mix
The Hard Mix blend mode combines the pixels in your layers using the Vivid Light blend mode and then performs a color threshold operation on them. Hard Mix mixes two layers and pushes the colors to their absolute extreme. All in all, Hard Mixed pixels come in only eight colors: black, white, red, green, blue, cyan, magenta, and yellow, the end result being quite similar to the Posterize command (Image » Adjustments » Posterize).
Invert Mode
This 2 mode will invert color of underlying layer depend on brightness of active layer.
Move cursor over sample picture to toggle to Normal Mode to see effect
Difference
Difference inverts lower layers according to the brightness values in the active layer. White inverts the composite pixels absolutely, black inverts them not at all, and the other brightness values invert them to some degree in between. Blending with white inverts the base color values; blending with black produces no change.
Exclusion
Creates an effect similar to Difference Mode but lower in contrast often smoother effect. Blending with white inverts the base color values. Blending with black produces no change. Exclusion sends mid-tone to gray, much as Pin Light sends mid-tone to transparent.
Color Mode
This group of blending mode play with color(hue), saturation and brightness - HSB color model - of active layer or paint tool to calculate its effects.
Move cursor over sample picture to toggle to Normal Mode to see effect
Hue
Creates a result color with the luminance and saturation of the underlying layer color with the hue of the blend color in active layer or painted color.
Saturation
Creates a result color with the luminance and hue of the base color and the saturation of the blend color. Painting with this mode in an area with no saturation (gray) causes no change.
Color
Creates a result color with the luminance of the base color and the hue and saturation of the blend color. This preserves the gray levels in the image and is useful for coloring monochrome images and for tinting color images.
Luminosity
Creates a result color with the hue and saturation of the base color and the luminance of the blend color. This mode creates an inverse effect from that of the Color mode.
Special Blending Mode for Tools only
There're two blending mode that available for tool only.
Behind
Edits or paints only on the transparent part of a layer. This mode works only in layers with Lock Transparency deselected and is analogous to painting on the back of transparent areas in a sheet of acetate.
Clear
When working on a layer other than Background, the Clear mode turns selected tool into an erasing tool, clearing away pixels. You can edits or paints each pixel and makes it transparent. Given that the eraser already emulates the behavior of both the Brush and Pencil tools, there's not a lot of reason to use Clear with either of these tools. However, it creates a unique effect when combined with the Paint Bucket Tool , thus permitting you to fill areas of colors with transparency. You must be in a layer with Lock Transparency deselected to use this mode.
This mode is available for Line tool (when fill region Fill is selected), Paint Bucket tool , Brush Tool , Pencil tool , the Fill command, and the Stroke command.
Dodge Tool and Burn Tool Blending Mode
Following 3 blending modes are for Dodge Tool and Burn Tool
Midtones
Selected by default, the Midtones mode applies the Dodge or Burn tool equally to all but the very lightest or darkest pixels in an image. Midtones enables you to adjust the brightness of colors without blowing out highlights or filling in shadows.
Shadows
When you select this mode, the Dodge or Burn tool affects dark pixels in an image more dramatically than light pixels. Medium values are likewise affected, so the Shadows option modifies a wider range of colors than Midtones.
Highlights
This option lets you lighten or darken the midtones and lightest colors in an image.
Note: Selecting Shadows when using the Dodge tool or Highlights when using the Burn tool has an equalizing effect on an image.
Sponge Tool Blending Mode
Desaturate:
When set to Desaturate, the tool reduces the saturation of the colors over which you drag. When you're editing a grayscale image, the tool reduces contrast.
Saturate
If you select Saturate, the Sponge tool increases the saturation of the colors over which you drag, or increases contrast in a grayscale image.
Read More ..
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