Tài iệu Photoshop cs5 by Dayley part 94 ppsx

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Render
The Render filters range from the simple Clouds filter that creates clouds from the foreground and
background colors without any input from the user, to creating a Lighting Effects filter that can
require detailed input. These filters are not in the Filter Gallery.
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Clouds: This filter uses the foreground and background colors in a blend that resembles
blotches more than clouds. You want to create a new layer on which to create the clouds,
because the effect replaces anything that was on the layer before the clouds were rendered.
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Difference Clouds: This filter creates clouds using the foreground and background colors
just like the Clouds filter and then blends them with the existing pixels using the Difference
Blend mode. This filter can be applied multiple times for a different effect each time.
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Fibers: This filter creates streaks of color from the foreground and background colors that
intermix to resemble fibers. This filter also replaces the pixels on the selected layer.
Tip
Not only can filters be added on top of one another to create unique effects, filters such as clouds and fibers,
which can be placed on their own layer, can be used with the Blend modes to create unique effects on the lay-
ers beneath them.
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Lens Flare: This filter does a pretty good job of creating a realistic lens flare in your
image. You can choose one of several flares and place it anywhere in your image.
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Lighting Effects: This filter adds unlimited lighting effects to your image to create dra-
matic results. You can create several lights, place them anywhere in your image, and
change their properties so they resemble different types of light from spotlights to gel
lights. Several presets are previewed for you in Figure 20.6. You also can create your own
lighting effects and save them as additional presets.

FIGURE 20.6
These presets, among others, can be used to create light in your image.
Five lights upSoft omniCircle of light (modified)
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Sketch
The Sketch filters use the edges in an image to create texture, giving the image a rough, hand-
drawn look in many instances. Many of these filters reduce your image to two or three colors, so
simple images with a few distinct lines look better than images that have more detail. Keep an eye
on your foreground and background colors (found in the Toolbox), because they are used to create
most of the effects found in this menu. All of these filters are applied using the Filter Gallery:
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Bas Relief: This filter creates a low-relief carving of your image using the foreground and
background colors.
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Chalk & Charcoal: This filter changes the background to a basic gray and roughly draws
the highlights and midtone areas of your image in chalk that is the same color as the back-
ground. Using the foreground color as charcoal, the shadows are filled in. The right fore-
ground and background colors are vital to achieving an aesthetically pleasing result.
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Charcoal: This filter is made up of basically two colors with very little variance between
them; the foreground color becomes rough charcoal strokes that trace major edges and fill
in the midtones. The background color becomes the color of the paper.
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Chrome: This filter gives your image a liquid metal look, as if it had been embossed in
chrome, but with very smooth edges. Figure 20.7 gives an example of an image of a rose
rendered in chrome.
FIGURE 20.7
The Chrome filter produces a liquid metal look, especially in images with simple lines

like this photo of a rosebud.
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Conté Crayon: Conté crayons are made from a mix of clay and natural coloring agents
such as iron oxide and charcoal; they are square and used to create rough, boldly lined
sketches on rough paper. The Conté Crayon filter uses the foreground color to fill in the
darker areas of your image and the background color for lighter areas. Because Conté
crayons are usually black, sepia, or sanguine-colored, using these colors for your fore-
ground and background creates a truer effect.
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Graphic Pen: This filter reduces your image to two colors: the pen, which uses the fore-
ground color to create fine, linear strokes to bring out the detail of an image, and the
background color, which is used for the paper.
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Halftone Pattern: This filter simulates the effect of using a halftone screen, adding a
specified texture to your image and again reducing it to a blend of your foreground and
background colors. It can have a subtle texture or a very marked one, depending on the
settings.
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Note Paper: Similar to the Cutout filter, this filter creates an image that looks like it was
constructed of handmade paper. Unlike the Cutout filter, it uses the foreground and
background colors to determine the color of paper used, again creating an image from
two colors.
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Photocopy: This filter simulates a rough photocopy of your image, using the foreground
and background colors as the paper color and toner.
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Plaster: This filter simulates a plaster cast, smoothing the edges of your image and using

the foreground and background color to give the image a 3D effect.
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Reticulation: This filter creates a grain over your image after reducing it to the foreground
and background colors. This adds more texture and dimension.
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Stamp: This filter gives the impression that your image has been applied with a rubber or
wooden stamp, with the foreground color as the paper and the background color as the
ink that the stamp has been dipped in. Images with simple lines make the best stamps.
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Torn Edges: This filter is similar to the Note Paper filter, but it doesn’t contain the texture
that simulates the handmade paper in the Note Paper filter. Instead, the effect of this filter
is very smooth.
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Water Paper: This filter uses the colors in your image and “waters them down” to make
your image look softer.
Stylize
The Stylize filters work primarily by using the edges in your images to create interesting 3D effects
from embossing to using the Extrude filter to make your image look like it was created with build-
ing blocks. Other Stylize filters mix up the pixels in your image to look like they’ve been diffused
or hit by a high wind. Here’s what you can expect:
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Diffuse: This filter softens the focus of your image by scattering pixels in a miniscule style.
This effect is hardly noticeable on high-resolution photos, because no setting allows you
to increase the amount of diffusion. Instead, you get a different kind of blurring filter.
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Emboss: This filter gives your image the look of having been pressed or embossed onto a
gray sheet of paper. This filter uses the image colors for the raised outlines, giving this
effect the look of a unique piece of art.
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Extrude: This filter makes your image look as if it were constructed of building blocks and

you are looking down at it from the top. Using pyramids for your extrusion method gives
your image a more impressionistic feel than using blocks, as you can see in Figure 20.8.
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FIGURE 20.8
The first image uses blocks to create an extrusion from this image; the second uses
pyramids.
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Find Edges: This simple filter doesn’t use a dialog box; it simply finds the edges of your
image and places them on a white background. It is not only useful for finding edges in
your image, but because it uses the image colors for the edges, it is a beautiful effect all on
its own.
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Glowing Edges: This is the only Stylize filter found in the Filter Gallery. It finds the edges
of your image and applies a neon glow to them on a black background. You can increase
the effects of this filter by applying it more than once.
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Solarize: This filter blends a negative image and a positive image to create an interesting
dreamlike image made up of the correct colors blended with the eerie negative colors.
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Tiles: This filter makes an image look like it was made of large, square tiles.
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Trace Contour: This filter creates a contour map effect by tracing a brightness transition
in each of the color channels.
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Wind: This filter simulates your image being hit by wind while the paint was still wet.
Several settings allow you to customize the wind-blown look.
Texture
The Texture filters create heavy, very obvious, texture effects. Most of these filters are self-

explanatory. They can all be previewed in the Filter Gallery:
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Craquelure: This filter simulates an image painted on cracking plaster.
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Grain: Ten different types of grain can be added to your image to create texture. Some of
these grain types, such as Soft, create a muted look. Others, such as Vertical, change the
look of your image dramatically.
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Mosaic Tiles: This filter creates an image that looks as if it were created with irregular-
shaped tiles with grout between them.
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Patchwork: This filter simulates a patchwork quilt by creating squares that are solid col-
ors and giving them the illusion of depth.
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Stained Glass: This filter breaks an image into glass cells, with a lead border between
them made up of the foreground color and a light source to give it the illusion that it is
backlit. It can create a beautiful effect, as seen in Figure 20.9.
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Texturizer: This filter applies one of four basic textures to your image: brick, burlap, can-
vas, or sandstone. You can choose several settings for each, customizing the size and depth.
FIGURE 20.9
The Stained Glass filter
Other
These filters do all sorts of different things, which is why they got lumped into the catchall
“Other” category:
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Custom: You can create your own custom filter. I show you how to do this later in this

chapter.
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High Pass: This filter removes low-frequency detail in an image, retaining the edges and
smoothing the other areas into a medium gray color. It is commonly used in conjunction
with other filters or adjustments to apply sharpness to an image or to delineate the edges
for a continuous-tone filter or image. For instance, many of the Sketch filters use only two
colors. Figure 20.10 is an example of an image with the Note Paper filter applied to it
both before and after applying the High Pass filter.
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Maximum and Minimum: These filters affect black and white areas in your image.
The Maximum filter spreads the white areas and reduces the black areas in an image;
Minimum does the opposite. Although these filters are used mainly to modify masks,
they can have a unique effect on images as well, giving them either a bright or dark
impressionistic look.
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Offset: This filter is used with an image that has a selection created over it. It has the
effect of moving the selection a specified amount within the image and replacing the
moved pixels with transparent pixels, repeating edge pixels, or wraparound pixels. If no
selection is created in the image, the entire image is offset.
FIGURE 20.10
Using the High Pass filter first made the Note Paper filter more effective.
High Pass + Note Paper filterNote Paper filterHigh Pass filter
Using the Filter Gallery
The Filter Gallery contains many of the artistic filters that are available in Photoshop. It is an
incredibly useful tool because it provides the capability to preview the filters, change their settings,
and add multiple filters to the same image before closing it.
To open the Filter Gallery, as shown in Figure 20.11, choose Filter ➪ Filter Gallery. The Filter

Gallery also opens anytime you apply one of the filters found in it. If you choose
Filter ➪ Artistic ➪ Fresco, for instance, the Filter Gallery opens with the Fresco filter selected so you
may make changes to it.
The Filter Gallery contains three panes: the preview pane, the filter thumbnail pane, and the
options pane.
The preview pane
The left pane contains a preview of your image, showing you what it will look like after the filter or
filters added to it are applied. You can move your image around inside the preview pane by using
the hand (displayed whenever you hover over your image) to drag it around.
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FIGURE 20.11
The Filter Gallery is like the filter fun house for images, containing a good portion of the artistic filters
available in Photoshop.
Filter options
Options pane
Open/close thumbnails
Filter thumbnail panePreview pane
Filter menu Effect layersZoom options
Add or delete effect layer
You can zoom in or out of your image using the + or – buttons at the bottom left of the preview
pane or use the drop-down menu to choose a zoom percentage. If you choose Fit in View from the
zoom options, your document is resized to fit into the preview pane. If you choose Fit on Screen,
the Filter Gallery is resized to fit your entire screen and the image is then resized to fit into the pre-
view pane, giving you the largest possible view of your entire image.
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The filter thumbnail pane

The central window of the Filter Gallery contains the folders for the filter. Click the triangle next to
each folder to display thumbnails of the effects contained in the Filter Gallery. These folders corre-
spond with the Filter menu, but they are not comprehensive; they leave out the corrective filters as
well as some of the artistic filters that either require no input or require more specialized input
than is available in the Filter Gallery.
Each of the thumbnails of the individual filters found in the filter thumbnail pane demonstrates a
basic preview of what the filter does. As you click each, the image in the preview pane also takes
on the characteristics of the selected filter.
Note
Most of the filters in the Filter Gallery are memory-intensive and take a few seconds to preview, especially if
you have more than one applied.
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You can close and reopen the filter thumbnail pane by clicking the double-arrow icon in the
options pane. Closing the filter thumbnail pane makes your preview pane larger and gives you a
better view of your image. You can still choose filters from the drop-down filter selection menu in
the options pane.
The options pane
The last window in the Filter Gallery contains the settings for the selected filter. Beneath the OK
and Cancel buttons is a drop-down list that contains all the filters in the Filter Gallery. Whether
you use this list or click the filter thumbnails, the options for the selected filter are displayed, and
you can make changes to the way the filter is applied to your image, sometimes with dramatic
results.
Back in Figure 20.11, three filters are applied to my image preview. Each is listed in the order it is
applied, the most recent filter on top. You can create a new filter effect layer by clicking the icon at
the bottom of the third window labeled New Effect layer. When you have more than one, you can
change the order in which they are applied by dragging and dropping them in a different order, as
seen in Figure 20.12. To see what the preview would look like without one of the filters, just tog-
gle the eye off, and the visibility of that filter is turned off.
Note
If you opened the Filter Gallery using Filter ➪ Filter Gallery (rather than choosing an individual filter) and then

added more than one filter to your image, the Filter Gallery opens with the same filters applied using the same
number of layers the next time you open it, no matter how long it’s been or what document you opened last.
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FIGURE 20.12
Moving the Accented Edges effect below the Splatter effect can change the end result on the image
dramatically.
Using Smart Objects to Make Non-
Destructive Filter Adjustments
Applying filters directly to your images changes the actual pixel values and modifies the original
data. Although you can use the History option to get back to the original state, after you save your
file, those pixels have been altered beyond recovery. Additionally, you may need to try several filter
methods and sometimes combinations of filters to get the adjustment you are looking for, which is
hard to do when you are trying to apply more than one filter, especially if some of your filters are
not found in the Filter Gallery.
That is where Smart Objects can make a huge difference. When you apply a filter to a Smart
Object, it is applied as a Smart Filter that can be turned on and off, adjusted, reordered, and easily
removed without destroying the underlying pixel data.
The best way to apply filters to images in a non-destructive way is to create a duplicate layer of the
background and then turn that layer into a Smart Object. You also can simply turn the background
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