A Photoshop filter menu includes the following options, 3 D, blur, distort, noise, pixelate, liquify, vanishing point, and sharpen, among others.
Photoshop Filter menu
You can find the projects for this chapter in the Chapter 8 folder.
Long-term Photoshop users know that this application has many filters that have been added to the program over the years. Some have remained a constant of Photoshop. However, others have been removed. And then there are some that have been improved upon over time, such as Oil Paint , which we’ll look at in this chapter, and the Liquify filter , which we will look at as an advanced filter in Chapter 9. More recently, Adobe has added new filters called Neural Filters , some of which are experimental or in beta format, as well as the options of third-party plugins from other companies. We’ll look at them in Chapter 10.
A Layers panel has a duplicate layer linked to a layer mask. A background layer is also included.
Layers panel with a duplicate layer with a layer mask added
A Layers panel has a background layer copy, smart filters which include the filter gallery and puppet warp, and a background layer.
Smart object layer with a various smart filters applied and a filter mask
We’ll try that first with the Filter Gallery and then look at some basic filters outside the Filter Gallery. So, let’s take a look at some of my basic filter favorites.
An Image menu includes the highlighted option, mode, and on its right is a submenu with a highlighted option, R G B color. Below is a dialog box with the question, Flatten image before mode change, with the flatten button highlighted, and below is a menu with the highlighted option, flatten image.
When you want to use all the filters, you should be in Image ➤ Mode> RGB Color. If you choose CMYK, you have to decide whether to flatten the layers in the image
A Filter menu includes the option, convert for smart filters, and below is a dialog box with the text, To enable re-editable smart filters, the selected layer will be converted into a smart object, here, the O K button is highlighted. At the bottom is a menu with a highlighted option, convert to smart object.
Convert a layer to a smart object using either the filter menu with the information message or use the Layers panel menu
Lastly, in this chapter you’ll take what you have learned about filters and discover how this can be applied to a GIF animation.
Basic Filters
A basic filter , in my opinion, is meant to have very few settings that you must alter to achieve an effect.
A Filter menu includes the options convert for smart filters, neural filters, and filter gallery, among others.
Use the Filter menu to access the Filter Gallery
Project: Working with Various Backgrounds and Filters
An image on the left is of marbles of different sizes inside and outside a boat-shaped figure on the water. On the right is a Layers panel with background copy and background layers.
Work on a smart object layer when using the Filter Gallery
A window has an image on the left pane of marbles inside a boat-shaped figure, and next to it, the artistic folder is open, indicating various filters. On the right pane are the O K and cancel buttons and a selection panel.
Filter Gallery dialog box workspace
Working in the Filter Gallery
The Filter Gallery is divided into six folders or categories : Artistic, Brush Strokes, Distort, Sketch, Stylize, and Texture. You can look at each of the filters in these areas by opening the folder and clicking one of the filters to see how it previews on the image left of the workspace. In Figure 8-8, I am looking at the Artistic folder and I’ve selected Pallet Knife, which I’ll discuss in a moment.
A Zoom menu indicates different percentage values for zooming in and out. It also includes the options, actual pixels, fit in view, and fit on screen.
Setting your zoom size and navigating in the Filter Gallery
A segment of the Filter gallery panel indicates the O K and cancel buttons.
Show and hide your Filter Gallery options
A Filter Gallery panel includes the following folders, artistic, brush strokes, distort, sketch, stylize, and texture.
Filters are stored in the six folders in the Filter Gallery
A filter gallery panel has the negative and positive symbols on the left, the value 100% next to them, and the progress bar on the right.
Check the progress of the chosen filter in the gallery as it renders in the preview
Artistic Folder
An artistic panel folder on the left includes the highlighted filter labeled, plastic wrap, and next to it is the plastic wrap panel with the highlight strength set to 15, detail to 9, and smoothness to 8. Below is an illustration of various marbles inside and outside a boat-shaped figure on water.
Apply a Plastic Wrap filter from the Artistic folder in the Filter Gallery and preview the result
By adjusting the sliders for Highlight Strength (0-20), Detail (1-15), and Smoothness (1-15), this can give the impression of a distorted contour and a type of bevel and embossing that you would see on the edges to make the object appear more three-dimensional as if wrapped in shiny clear plastic. Refer to Figure 8-13.
Three illustrations of a set of marbles in which artistic filters are used. From the top left, clockwise, the filters used are pencil, cutout, and neon glow.
Examples of Artistic filters: Colored Pencil, Cutout, and Neon Glow
Four illustrations of a set of marbles in which artistic filters are used. The filters used are dry brush, paint daubs, palette knife, and smudge stick.
Examples of Artistic filters: Dry Brush, Paint Daubs, Palette Knife, and Smudge Stick
Three illustrations of a set of marbles in which artistic filters are used. From the top left, clockwise, the filters used are fresco, poster edges, and watercolor.
Examples of Artistic filters: Fresco, Poster Edges, and Watercolor
Four illustrations of a set of marbles using in which artistic filters are used. The filters used are film grain, rough pastels, sponge, and under painting.
Examples of Artistic filters: Film Grain, Rough Pastels, Sponge, and Under Painting
Two tools panels indicate the foreground and background selection for two illustrations of a set of marbles next to them.
Set your foreground and background colors in the Tools panel to affect how certain filters interact
Take a moment to explore each filter and adjust sliders, checkboxes, and drop-down menus. Neon Glow is the only option that lets you access the Color Picker for the glow color.
Brush Strokes Folder
A Brush Strokes panel folder includes the following filters, accented edges, angled strokes, crosshatch, dark strokes, ink outlines, spatter, sprayed strokes, and Sumi-e.
Brush Strokes filters
Four illustrations of a set of marbles in which brush strokes filters are used. The filters used are angled strokes, crosshatch, spatter, and sprayed strokes.
Examples of Brush Stroke filters: Angled Strokes, Crosshatch, Spatter, and Sprayed Strokes
Two illustrations of a set of marbles in which brush strokes filters are used. The filters used are accented edges and ink outlines.
Examples of Brush Stroke filters: Accented Edges and Ink Outlines
Two illustrations of a set of marbles in which brush strokes filters are used. The filters used are dark strokes and Sumi-e.
Examples of Brush Stroke filters: Dark Strokes and Sumi-e
Take a moment to explore each filter and make adjustments to sliders and drop-down menus.
Distort Folder
A Distort panel folder includes the following filters, diffuse glow, glass, and ocean ripple.
Distort filters
A Diffuse Glow panel includes the following settings, graininess at 6, glow amount at 10, and clear amount at 15. Next to it is an illustration of a set of marbles in which the settings are used.
Diffuse Glow options are also affected by current background color in Tools panel
A Diffuse Glow panel includes the following settings, graininess at 6, glow amount at 3, and clear amount at 14. Next to it is an illustration of a set of marbles in which the settings are used.
Diffuse Glow options altered to make it appear less black
A segment of the Filter gallery panel indicates the O K and cancel buttons. Next to it is a segment of a Tools panel indicating background selection.
Click Cancel to exit without committing changes and make the background in the Tools panel white by pressing X
A Diffuse Glow panel includes the following settings, graininess at 6, glow amount at 3, and clear amount at 14. Next to it is an illustration of a set of marbles with a lighter background in which the settings are used.
Diffuse Glow options also affected by current background color in Tools panel upon entering the Gallery again
However, if you already applied the filter earlier in the Layers panel, then select the older, lower Diffuse Glow (Filter Gallery) smart filter and drag it to the trash icon , so only the new smart filter is applied.
A Layers panel has a background layer copy and smart filters which include the filter gallery. Below is a panel that includes the f x, gradient, and trash icons, among others.
You can remove your older smart filter by dragging it over the trash icon
An illustration of a set of marbles in which the frosted glass filter is used.
Glass option set as Frosted Glass
A Glass panel indicates the following settings, distortion at 5, smoothness at 3, texture set to frosted, and scaling at 100%.
Glass options set to a texture of frosted glass
A Texture panel includes a Frosted menu with the highlighted option, frosted. Next to it are 3 illustrations of a set of marbles in which the following textures are used, blocks, canvas, and tiny lens.
Textures for Blocks, Canvas, and Tiny Lens
A Load Texture menu has the highlighted option, load texture.
Option to load a custom texture
A Texture panel has a Canvas menu with the highlighted option, canvas. Other options included are brick, burlap, and sandstone.
Other filters in the Filter Gallery allow you to use defaults or add custom textures
A section of the Glass panel indicates scaling at 100%. The tick box next to the invert option is unchecked.
Options to Scale and Invert
Two Ocean Ripple panels above and below include the following settings, ripple size at 9, and ripple magnitude at 9 and ripple size at 1, and ripple magnitude at 20, respectively. Next to both are illustrations of a set of marbles in which the settings are used.
Ocean Ripple options and examples
Other filters outside of the Filter Gallery, which you’ll see later, can achieve similar effects including Wave and Crystalize.
Sketch Folder
A Sketch panel folder includes the following filters, bas relief, chalk and charcoal, charcoal, chrome, Conte crayon, graphic pen, halftone pattern, note paper, photocopy, plaster, reticulation, stamp, torn edges, and water paper.
Filter Gallery Sketch filters. Most are affected by the current foreground and background colors in the Tools panel
Three illustrations of a set of marbles in which sketch filters are used. The filters used are bas relief, photocopy, and plaster.
Examples of Sketch filters: Bas Relief, Photocopy, and Plaster
Two illustrations of a set of marbles in which sketch filters are used. The filters used are chalk and charcoal, and charcoal.
Examples of Sketch filters: Chalk and Charcoal and Charcoal
Four illustrations of a set of marbles in which sketch filters are used. The filters used are graphic pen, halftone pattern, note paper, and reticulation.
Examples of Sketch filters: Graphic Pen, Halftone Pattern, Note Paper, and Reticulation
A Conte crayon panel includes the following settings, foreground level at 11, background level at 7, the texture used is canvas, and the light used is top. Next to it is an illustration of a set of marbles in which the settings are used.
Examples of Sketch filters: Conté Crayon and filter settings
A Chrome panel includes the following settings, detail at 4, and smoothness at 7. Next to it is an illustration of a set of marbles in which the settings are used.
Examples of Sketch filters: Chrome with filter settings
Two illustrations of a set of marbles in which sketch filters are used. The filters used are stamp and torn edges.
Examples of Sketch filters: Stamp and Torn Edges
An illustration of a set of marbles in which a water paper sketch filter is used.
Example of Sketch filters: Water Paper
A two-toned illustration of a set of marbles in which a stamp sketch filter is used. Next to it is a foreground and background color panel.
The foreground and background colors currently in the Tools panel effect the Stamp filter
See notes on Artistic folder and Diffuse Glow in the Distort folder and how background and foreground colors affect them.
Stylize Folder
A Glowing edges panel includes the following settings, edge width at 2, edge brightness at 6, and smoothness at 5. Above it is an illustration of a set of marbles in which the settings are used, including the foreground and background colors from the tools panel.
Example of Stylize filter: Glowing Edges and its settings, and the current foreground and background colors in the Tools panel
Texture Folder
A Texture panel folder includes the following filters, craquelure, grain, mosaic tiles, patchwork, stained glass, and texturizer.
Texture filters. Some are affected by the current foreground and background colors in the Tools panel
Six illustrations of a set of marbles in which texture filters are used. The filters used are craquelure, grain, mosaic tiles, patchwork, stained glass, and texturizer.
Examples of Texture filters: Craquelure, Grain, Mosaic Tiles, Patchwork, Stained Glass, and Texturizer
A Stained Glass panel indicates the following settings, cell size at 10, border thickness at 4, and light intensity at 3.
Stained Glass options are affected by the current foreground color
Adjusting Textures
A Texturizers panel indicates the following settings, the texture is canvas, scaling at 109%, relief at 6, and light is set at top. A texturizer menu is next to it.
Texturizer allows you to alter its settings and set a default texture
An image of a monochromatic pattern design.
We can use a grayscale texture that was created in Chapter 3
Project: Loading a Custom Texture to Create Another Distortion
A Texture panel has a menu with a highlighted option, load texture.
Load a custom texture for the Texturizer filter
A dialog box has the following, file name, in which an entry reads as pattern 4, underscore, texture, dot, p s d, and the other entry reads as, texture, open parenthesis, asterisk symbol, dot, p s d, close parenthesis. The open button is selected.
Locate the texture .psd file and then click open in the dialog box and apply it
Select the file and click Open. This overlays that repeating pattern.
Take a moment to scale the pattern (50-200%) and adjust the relief (0-50). I set the Scaling to 55% and the Relief to 31. Refer to Figure 8-53.
Set the Light to Top . There are several options to choose from to set your lighting angle, either to the bottom, left, right, top, or somewhere in between.
A Texturizers panel indicates the following settings, the texture is pattern 4 texture, scaling at 55%, relief at 31, light is set to top, and the invert option is checked. A Light menu is next to it with the highlighted option, top.
Texturizer options and Light settings
An illustration of a set of marbles indicates a stitched quality effect. A dark horizontal line is observed in the middle.
An extra line is appearing in the texture that should not be there
However, if you zoom in close, you may notice an issue that does not seem to go away no matter what settings you use.
An image of a set of four, square monochromatic pattern designs.
The texture file looks OK as a .psd, but not when it’s a texture in the Filter Gallery
A segment of the Filter gallery panel indicates the O K and cancel buttons.
Click Cancel to exit the Filter Gallery to correct the texture file
A dialog box indicates the following settings, horizontal pixels right at +418, vertical pixels down at +359, and wrap-around option is checked. Next to it is an image of a monochromatic pattern design in which the settings are used.
Use the Offset filter on a copy of the texture to correct the seam
A Layers panel has layer 1, and a background layer which is the monochromatic pattern design. At the bottom is the text, create a new layer.
In the Layers panel, create a new layer
A Clone stamp panel includes the options, mode, opacity, flow, and sample, among others. Below are images of a layer with perpendicular lines that form a cross, and next to it is the monochromatic pattern design.
Use your Clone Stamp and Eraser tools on a new layer to cover the seam
You can use your Eraser tool with a soft brush if you need to clean up any fibers.
A Layers panel has a background layer which is a monochromatic pattern design. On the right is a menu with the highlighted option, flatten image.
Once complete, use your Layers panel menu to flatten the image again
File ➤ Save this copy file as a .psd file. I saved mine as Pattern4_Texture_r2.psd so that I could compare. Close the file.
Return to your copy of your file water_feature_start copy. Make sure you are still on the smart object layer.
A Texturizer panel includes the following settings, texture uses is pattern 4 texture, scaling is at 55%, relief at 31, light is set at top, and the invert option is checked. Next to it is an illustration of a set of marbles in which the settings are used.
Apply the new texture to the Texturizer filter
This may not be an issue for all texture patterns that you build. However, this is why you must test your custom textures in the Filter Gallery after creating them and zoom in close to preview any issues if they arise. In this case, the Offset filter and Clone Stamp were the best way to correct the issue on a copy of the original file.
Try this same texture on the Glass, Rough Pastels, Underpainting, or Conté Crayon filters.
You can see how a custom texture adds interest to a background.
More information about filters in the smart gallery can be found here: https://helpx.adobe.com/photoshop/using/filter-basics.html and https://helpx.adobe.com/photoshop/using/filter-effects-reference.html .
Combining Gallery Filters
A segment of the Layers panel indicates a texturizer layer, and below it is a plus sign with the text, new effect layer.
Currently only one filter is applied in the Filter Gallery, but you can add more with the New effect layer button
A segment of the Layers panel on top indicates 2 texturizer layers, and a menu next to it has the highlighted option, crosshatch. A segment of the Layers panel below indicates texturizer and crosshatch layers, and a crosshatch panel next to it has the settings, stroke length, 22, sharpness, 8, and strength, 1.
Once a filter is duplicated, you can then select another filter to change it and then alter its options
Two illustrations of a set of marbles in which different filters are used. The one on the left is blurry and smudged, and the one on the right is more clear and sharp.
Applying more than one filter can affect how the preview image appears
A segment of the Layers panel indicates a texturizer layer and highlighted crosshatch layer, and below it is a plus sign and a trash icon with the text, delete effect layer.
You can change the filter order or delete a filter effect layer
If you don’t like a filter effect, you can select it and use the trash can icon to delete a filter or effect layer.
A segment of the filter gallery panel on top indicates the O K and cancel buttons. A Layers panel below has a background, background copy, and smart filter layers.
Click OK and your smart filter is added to the layer
As you did in Chapters 6 and 7, you can double-click the Filter name to enter the Filter Gallery to alter your settings or to reset and create a new Filter Gallery. Choose Filter ➤ Filter Gallery, as mentioned earlier, when you need to correct your background and foreground colors. See Diffused Glow.
Adjusting Filter Masks
A Layers panel has a smart filters layer, and a highlighted background layer copy.
Turn off the visibility for both the filter and the filter mask when you don’t want to see them
Two Properties panels include filter masks, density set at 100%, feather at 0.0 pixels, and color range and invert buttons. Next to the filter masks are icons for layers and vector masks.
Use the Properties panel to alter the filter mask as well as the layer and vector masks applied to a layer
Isolating a Selection on a Smart Filter Mask
An image on top is of marbles of different colors and sizes inside and outside a boat-shaped figure, a portion of the image is boxed in. Below is a Layers panel with background copy and smart filter layers, and an image of the boxed portion of the image on top.
You can create an isolated area or selection on your smart filter that hides part of the filter
A Properties panel on the left includes a filter mask, color range, and invert buttons, among others, and next to it is another Properties panel filter mask inverted. Below is an image of marbles of different sizes inside and outside a boat-shaped figure.
Use your Properties panel to invert part of the mask
A menu on the left includes, filter mask options, and add filter mask to selection, among others, and next to it is a filter mask display options panel with a filter mask set at 50% opacity.
Your Properties panel menu has additional filter mask options when that mask is selected
A Layers panel is on the left with a highlighted background layer copy, and next to it is a Channels panel with a highlighted background copy filter mask. Below is a masked image of marbles of different sizes inside and outside a boat-shaped figure.
The mask, when selected, appears in the Channels panel and can be used to create a selection or view in mask mode
Here you can see I earlier used the Rectangular Marquee tool on my smart filter mask and made a selection. That same selection appears in the Channels panel. Turn off the visibility eye of that channel if you do not what to see the red mask. Refer to Figure 8-72.
A smart filter mask only covers over parts of the filter on a smart object layer and does not target one specific area of the image. If you want to apply a filter to a targeted selection area on the layer, you need to work on a normal layer rather than a smart object layer, although doing so, as mentioned, permanently effects the layer, so work on a layer copy if you need to keep the original.
Smart Filter Blending Modes
One other feature of smart filters is that they can have a separate blending mode applied and this can be altered when you click the filter-blending mode options icon and then when you double-click it to enter the dialog box. This dialog box is for the Filter Gallery. You can set a Blend mode and Opacity (0-100%) options. They are separate from the layer bending mode. In this case, I changed my blend mode from Normal to Difference. See Chapter 2 for more details on Blending Modes. You can also go to this link: https://helpx.adobe.com/photoshop/using/blending-modes.html .
A Blending options filter gallery panel has the following settings indicated. mode set at difference, and opacity at 100%. Below is a Layers panel with the following settings, normal, opacity at 100%, and fill at 100%.
Most filters can have their own separate blending modes and opacity options
An image of marbles of different sizes inside and outside a boat-shaped figure. The image has a monochromatic pattern design border.
An altered blending mode of a filter could be used as a type of a border on an image
A dialog box titled Fade indicates opacity at 100%, and the mode is set to normal.
When working on normal layers, you can use the Edit ➤ Fade option to effect a blending mode after applying a filter
A Layers panel on the left has a background copy layer, smart filters, and 2 filter galleries. The one on the right has a background copy layer, smart filters, a puppet warp, and a filter gallery.
You can apply some filters more than once, and some filters will not have the blending mode option
A dialog box has text that begins, Smart filters stacked on top of this filter will not preview while this filter is being edited, and below, the O K button below is highlighted. Below is a smart filter panel with the option, disable filter mask, and next to it is a smart filter with an X mark on it, and a highlighted enable filter mask option.
Some filters will be disabled when entering another smart filter, and you can disable and enable the smart filter mask
You can also temporarily disable a filter mask by right-clicking it. Right-click it again to enable it. Refer to Figure 8-77.
A History panel on top has the option, edit filter blending options, highlighted, and next to it is a trash icon with the text, delete layer. Belo is A Layers panel with a menu with the highlighted option, add filter mask, and next to it is another panel with a filter mask added.
If a smart filter mask is deleted, you can restore it using your History panel or the Layers panel pop-up menu
File ➤ Save your .psd document at this point. We will use other images for demonstrations of the filter mask. See my water_feature_final.psd file
Basic Filters Continued
Now we will look at filters that are not part of the Filter Gallery but still can be added as smart filters for smart object layers.
A Filter gallery menu includes the following options, convert for smart filters, neural filters, distort, noise, pixelate, vanishing point, and sharpen, among others.
Filter Gallery menu
Blur (Radial Blur and Shape Blur)
Average (no dialog box): Finds the average color
Blur (no dialog box): Removes noise where major color transition occurs
Blur More (no dialog box): Like blur, but 3-4 times stronger
Box Blur: Creates a box-like blur based on colors of neighboring pixels radius (1-2000), based on an adjustable amount
Gaussian Blur: An overall blur and smoothing of the image based on an adjustable amount of radius (0.1-1000 px)
Lens Blur: Cannot work with smart objects and is a workspace to create more complex blurs using a depth map (none, transparency, layer mask, channel) to create a narrow-field depth. Additional options of Iris, Specular Highlights, Noise, and Distribution are used enhance the blur. For settings to work with smart object layers with a similar blur, refer to the Filter ➤ Blur Gallery. See the “Blur Gallery Workspace” section of this chapter for more details.
Motion Blur: Used to create an angled blur in motion, based on an adjustable amount of distance (1-2000 px) and angle (-180, 0, 180)
Radial Blur: The blur radiates out from the center, based on a set method. See the “Radial Blur” section of this chapter for more details.
Shape Blur: Custom shapes create blur, based on an adjustable amount of radius. See the “Shape Blur” section of this chapter for more details.
Smart Blur: Dialog allows for more options to blur so that the blur is more accurate, based on an adjustable amount of radius (0.1-100), threshold (0.1-100), quality (low, medium, high), and mode options (Normal, Edge Only, Overlay Edge).
Surface Blur: Assists in blurring the surface of areas of the image, but attempts to preserve edges , based on an adjustable amount of radius in pixels (1-100) and threshold levels (2-255)
A Blurs menu has the highlighted option, average. Other options included are, blur, box blur, Gaussian blur, motion blur, and smart blur, among others.
Blur filters
Radial Blur
This filter does not come with a preview, but if you are working with a smart object layer, you can enter the smart filters as many times as you need to get it to the settings you need.
Set the Amount (1-100) and observe how the blur center preview changes. Higher numbers create a greater blur.
Set the blur method using the radio buttons to either spin to blur along the concentric lines or zoom (like motion blur out from the center).
Then adjust the amount and then set the Quality to Draft, Good, or Best for a smoother blur. Draft will add a bit of noise or graininess to the blur. Best may take longer to render so I left it on the default setting of Good, which looks the same as best. The point of blur origin can be move by dragging around the blur center pattern.
A Radial blur panel on the left has the following settings, the amount at 23, the blur method is set to spin, and quality set at good. The panel on the right has the settings, the amount at 89, the blur method is set to zoom, and the quality is set to good.
Radial Blur options
5 illustrations of paper stars on a plate in which different radial blur effects are used. The first image is the original and has no blur, while the other 4 have blur filters.
Effects of the Radial Blur on a plate of paper stars
Three illustrations in which quality settings for radial blur filters are used. The settings used are, draft, good, and best.
Quality settings of the Radial Blur of Draft, Good, and Best
A History panel on the left has a highlighted edit filter effect radial blur option. Next to it is a Layers panel with a highlighted background copy layer, a smart filters layer, and a background layer.
Reset your Radial Blur using the History panel if you have entered the dialog box several times
Shape Blur
Shape Blur is a newer blur that you may not have tried before. It creates a blur based on shapes called kernels, found in the Shapes panel. See Chapter 3. Shapes can be selected from the folders or imported using the gear dropdown menu.
Not all shapes work well for Shape Blur. The simpler and more basic the shape, the better the blur. With others you may see no difference between a complex shape and a regular blur, depending on the radius settings chosen 5-1000px.
For example, a blur with the legacy default shapes of diagonal lines, grid lines, or circles and a blur radius of 300-500 pixels will make the blur more distinct while other blurs will show no distinct visible result other than a blur.
A Shape blur panel has a square-shaped image on top with a radius set at 400 pixels, a selection menu of different shapes, and a menu with the option small thumbnail, checked. Below is a panel with different labeled folders.
Shape Blur dialog box and its settings and shapes from the Shapes panel
Two illustrations of paper stars on a plate in which different blur features are used. In the illustration on the left, diagonal lines are observed, and in the image on the right, a bright circular shape is observed in the center.
Examples of the plate of stars affected by blurs of diagonal lines and circles
Blur Gallery Workspace (Spin Blur, Path Blur)
A menu on the left has a highlighted blur gallery option, and in the submenu on the right is a highlighted field blur option.
Blur Gallery filters in the submenu
Field Blur: Blurs out the whole image from the center field. This can be set multiple times in different locations. The blur range is 0-500 px.
Iris Blur: Keeps the elliptical inner center field clear, but everything else around is blurred. This sets a shallow depth field and can be set multiple times in different locations. The blur range is 0-500 px.
Tilt-Shift: A straight plain or angled area remains clear but then blurs outward. It is like a tilt-shift lens and is used in the simulation of miniature items. It can be set multiple times in different locations. The blur range is 0-500 px, distortion is (-100, 0, 100%) and you can enable or disable symmetric distortion for both directions of the blur.
Path Blur: Like Motion Blur , this directs the angle of the blur along a path. See the section on Path Blur for more details.
Spin Blur: Like radial blur, but more accurate and you can preview while you work. See the section on Spin Blur for more details.
All five blurs are found together in the Blur Gallery workspace, and you can use them together on a single image. In this case, we will use Spin Blur and later look at Path Blur.
An options panel on top includes selection bleed, focus, and save mask to channels, among others. Below are 2 blur tools panels, and effects and noise panels that indicate different types of settings.
Options panel and other panels found in the Blur Gallery
First, to create any blur, make sure to enable the check box in the Blur Tool panel that you want to work with. Then you need to set a pin somewhere on the preview and adjust the setting for that blur. By default, one pin will be set for you. Uncheck any blur types you don’t want to use or hide. In this case, let’s check the Spin Blur first. Refer to Figure 8-88.
Spin Blur
A Spin Blur panel has the blur angle option set to 62%. A tick box on the upper right-hand corner is checked.
Spin Blur options
An illustration on the left is of paper stars on a plate in which a spin blur is used in the center. On the right is a close-up image of the area with a spin blur, and here, the handle points around the circular shape are observed.
A spin blur is applied to the center of the star plate and the blur ring altered
An illustration of paper stars on a plate in which a spin blur is used in the center. The spin blur here is flat, and in the center, a value of 69.0 degrees is indicated.
Modifying the blur ring
An illustration of a pin icon and a plus sign is on the left. Next to it is an image of paper stars on a plate with a flat spin blur filter used, and in the center of the blur is a point handle.
Adding more spin blurs to the image when the cursor changes to a pin with a plus symbol
Two illustrations in which spin blur filters are used. In the image on the left, a spin blur has a rotation point in the center, and in the image on the right, the rotation point is on the lower right.
Use the blur ring to alter the spin or drag it off center
Alt/Option+Drag will move a rotation point off center. Refer to Figure 8-93. Hold down the H key to hide the controls and pins.
Use Ctrl/CMD+Z to undo steps, and as with other workspaces, you can use your key combinations of Ctrl/CMD+-, Ctrl/CMD++, and the Hand tool (spacebar) to get closer, farther away, and control navigation in the preview.
A Spin Blur panel on the left has the blur angle option disabled, and on the panel on the right, the blur angle is set to 81%.
Spin Blur enabled and Spin Blur disabled
There are several panels that are available as well.
Effects Panel
An Effects panel on the left has the text, available only for field blur, iris blur, and tilt-shift blur. An Effects panel on the right has Bokeh settings at, light bokeh, 0%, bokeh color, 0%, and light range at 191 and 255.
The Spin Blur Effects panel is disabled here but is available for other filters using Bokeh
When rendering out-of-focus points of light using Bokeh options, you must consider what is pleasing or displeasing to the eye. Some tips about Bokeh can be found here: www.adobe.com/creativecloud/photography/discover/bokeh-effect.html .
Noise Panel
The Noise panel lets you, from the Dropdown menu, restore the noise/grain type of the blur for Spin Gaussian, Uniform, or Grain. You can disable this setting with the check box.
With the sliders, you can set the following options:
Amount: Of noise added to blurred areas (0-100%) to match the noise in non-blurred areas
Size: Of noise grain (0-100%)
Roughness: Or coarseness of noise grain texture (0-100%). Less than 50% the grain is more uniform and more than 50% the grain is less even.
Color: Variation added to the blurred area (0-100%) controls how the noise is colored. 0% is considered the least amount of color.
A Noise panel on the left has the following grain settings, amount, 0.00%, sizes, 25%, roughness, 50%, color, 0%, and highlights, 100%. On the right is a grain menu with the highlighted grain option.
Spin Blur Noise panel and it options
Motion Effects Panel
A Motion Effects panel on the left has the following settings, strobe strength, 0%, strobe flashes, 4, and strobe flash duration, 1 degree. On the right are two images with circular blurs in the middle.
The Blur Motion Effects Panel and its options can affect the blur based on slider settings
Strobe Strength (0-100%): Controls the ratio of ambient light to strobe (flash) light, so 0% means no strobe and 100% means full strobe.
Strobe Flashes (1-100): Controls the number of strobe flash instances and alters the blur slightly.
Strobe Flash Duration (0-20 degrees): Adjusts the finite duration of each strobe flash for Spin Blur. The value is represented in amount of angle on the circumference of the blur circle.
A Blur Tools panel has the Path blur selected, and the following settings indicated below for basic blur, speed, 50%, taper, 0%, and centered blur is checked.
Disabled Spin Blur and enabled Path Blur
Path Blur
A menu on the left includes the option rear sync flash, and the highlighted option, basic blur. On the right are two blurred illustrations in the middle.
Path Blur settings of Basic Blur and Rear Sync Flash
An illustration of paper stars on a plate with an area in the center bordered by a twisted path blur with point handles. On the right are a pin icon and a plus sign.
Click with the pin cursor to add and then edit paths
Notice how the blur warp now follows a path.
A Path Blur panel on the left has the following settings for basic blur, speed, 159%, taper, 0%, and centered blur. On the right is a blurred image of paper stars on a plate with an area in the center bordered by a twisted path blur with point handles.
The Path Blur setting can alter the preview of the blur
A Path Blur panel on the left has the following settings, speed, 159%, and taper, 100%. On the right is an illustration of paper stars on a plate with an area in the center bordered by a twisted path blur with point handles.
Path Blur setting adjusted for Speed and Taper
Centered Blur: When enabled, it samples from both sides of pixel; when disabled, it’s from one side of pixel. Refer to Figure 8-103.
A blurred image of paper stars on a plate has an area bordered by a twisted path blur with point handles and arrowheads. A Path Blur panel on the right has the following settings for custom, speed, 100%, taper, 20%, centered blur is checked, endpoint speed, 147 pixels, and edit blur shapes checked.
Red arrowheads for Blur shape editing, based on the setting for the Path Blur
Edit Blur Shapes: Shows and controls the editable blur shape at each end point. This must be enabled for End Point Speed to be adjusted. Refer to Figure 8-103.
Drag part of a path and end point, the blue or red arrow, if you want to lengthen part of the blur path. Alt/Option+Click on a point to change it from curved to corner point and back. Refer to Figure 8-104.
Two blurred images on the left have curved paths with round-shaped point handles. On the right are images of arrowheads with an inverted v shape, and an arc, and an oblique arrow with a plus sign.
Alter the points on the path from square to curved or add points
A blurred image has a path with red arrows on the tips. The path has circular-shaped point handles.
Alter the red blur arrow by dragging on it
Ctrl/CMD+Clicking on a point will set the end point speed of the blur back to 0%. Ctrl/CMD+Click again to return it back to your settings . Refer to Figure 8-106.
A blurred image on the top left has a path with a red arrow and point handles, next to it is an arrowhead with a circle with a diagonal slash. Two menus on the right have settings for endpoint speed at 0 and 205 pixels, respectively.
Alter the end point speed of each side of the blur
Ctrl/CMD+Drag to move the blur path. To duplicate, use Ctrl/CMD+Alt/Option+Drag.
A Noise panel on the left has the following settings for grain, amount, 0.00%, size, 25%, roughness, 50%, color, 0%, and highlights, 100%. A Motion Effects panel on the right has the following settings, strobe strength, 20%, and strobe flashes, 1.
Noise Panel setting for Path Blur
A Blur gallery panel has the following types of blurs, field, iris, tilt-shift, path, and spin. Here, the path blur is checked.
You can enable or disabled other blurs as you work in the Blur Gallery
Spin and Path Blur Options
A Blur gallery options panel includes the following, selection bleed, focus, and save mask to channels, among others.
Blur Gallery Options panel
The image above is of a blur mask with 2 circular shapes on top and 1 below, and a disk in the middle. Below is a Channel panel with different layers saved, including the spin blur mask.
Enable the option to save your Blur Gallery mask to the Channels panel
This channel can later be turned into a layer mask that you can use to enhance the area of your image, using adjustment layers. I will uncheck the box for now as I don’t need the selection.
A Blur gallery options panel includes the following, high-quality, preview, a reset icon, and O K and cancel buttons.
The Blur Gallery Options panel lets you adjust quality, preview, and reset pins. Click OK or Cancel to exit the gallery
The next button, resembling a counterclockwise arrow, is the Remove all pins button. It allows you to reset the blurs back to 0. Click OK to commit the blur or blurs or Cancel to exit.
A panel on top has the tick boxes beside path blur and spin blur checked. The blurred image below is of paper stars on a plate with a disk-shaped spin blur in the center, and next to it is a Layers panel with the blur gallery indicated below the smart filters layer.
Make sure your Path and Spin Blur are enabled if you want to see both as you exit the Blur Gallery
An image on the left is of paper stars with an area in the middle bordered by dashed lines, and next to it is a Layers panel with a background copy layer, smart filters layer, and a blur gallery. Below is an image of the paper stars with a blur in the middle.
Areas of the Blur Gallery are covered by the smart filter mask
Distort Filters
Not to be confused with the Distort folder in the Filter Gallery, this area contains nine separate filters that you can use on your smart object layers.
A circular image of multiple pieces of broken glass is on the left. On the right is a Layers panel with a background copy layer and a background layer of the image on the left.
Use your smart object layer of broken glass to try different distorts
A Distort filters menu has a highlighted option, duplicate. Other options include pinch, polar coordinates, ripple, shear, and waves, among others.
Distort filters
If you choose one after another on the same smart object layer, they will be added collectively.
Displace
A dialog box has the following, horizontal and vertical scales are both set at 10, in displacement map, stretch to fit is selected, and in undefined areas, repeat edge pixels option is selected, and below, embed file data in smart object is checked. A monochromatic image is below with the file name, displacement file, p s d.
Displace Dialog box and example of a grayscale displacement map and how to load the map
An image of broken pieces of glass on the left is before adding the displacement map, and next to it is the image after adding the displacement map, with the jagged edges of the glass pieces observable. Below is a Layer panel with a background copy layer, a smart filters layer, and displace indicated below.
Before the displacement map and after adding the displacement map to the smart object layer example
For the smart object, the file data is embedded. Refer to Figure 8-116.
Pinch
A dialog box on the left has an image of the broken glass pieces where the amount of pinch is set to negative 100%, and the pinch is circular in scope. The dialog box on the right has the same image and the amount of pinch is set to 100% and is concentrated in the middle.
Pinch filter dialog box options with a preview of a Pinch
Polar Coordinates
A dialog box on the left has an image of broken glass pieces where the option, rectangular to polar is selected and in which the image is shaped like a crescent. The dialog box on the right has the same image where the option polar to rectangular is selected.
Polar Coordinates filter dialog box options with a preview
Ripple
A dialog box on the left has the amount of ripple set to 836%, and the size set to large. On the right is an image of distorted multiple pieces of broken glass.
Ripple filter dialog box options with a preview
Shear
A dialog box on the left has a gridded surface with a leftward curve, wrap around selected under undefined areas, and an image of the broken glass pieces shaped like a curve. A dialog box on the right has the same gridded surface, and under undefined areas, repeat edge pixels are selected, and the image is also shaped like a curve.
Shear filter dialog box options with a preview
Spherize
A dialog box on the left has an image of the broken glass pieces where the amount is set to negative 98% at normal mode, and the image has round corners. The dialog box on the right has the same image and the amount is set at 98% in horizontal-only mode, and here, the image is square-shaped.
Spherize filter dialog box options with Preview
Twirl
A dialog box on the left has the angle of twirl set to 510 degrees. On the right is an image of twirled multiple pieces of broken glass.
Twirl filter dialog box options with a preview of clockwise and counterclockwise
Wave
A dialog box has the following settings, the number of generations, 1, wavelength 93 min and 841 max, amplitude, 305 min, and 999 max, horizontal scale, 100%, vertical scale, 41%, type is sine, and wrap-around option for undefined areas. An image in the dialog box has zigzag shapes.
Wave filter dialog box options with a preview
Number of Generators: (1-999)
Wavelength: Min (1-998) and Max (2-999)
Amplitude: Min (1-998) and Max (2-999)
Scale: Horizontal (1-100%) and Vertical (1-100%)
Three images of broken glass pieces depict three wave types used, namely, sine triangle, and square. Below is a Layers panel with a background copy layer of the image of broken glass pieces, and a smart filters layer.
Wave types of Sine, Triangle, and Square and a filter applied to the smart object layer
You can then click the Randomize button as many times as you want to see the pattern change. There are many possibilities. Refer to Figure 8-124.
Then you can set the Undefined Areas to either Warp Around or Repeat Edge Pixels.
Then click OK to commit the changes.
ZigZag
Two dialog boxes on top have the following settings, amount at negative 100% each, ridges at 7 and 20, and style set at pond ripples and around the center, respectively. A dialog box below has ridges set at 20 and the style used is out from the center, and an image on the right has distorted zigzag shapes.
ZigZag filter dialog box options with a preview
Noise Filters
A menu on the left has a highlighted option, add noise. On the right is an image of abstract shapes.
Noise filters and an example of Add Noise
The Add Noise Filter was used in Chapter 5 for the clown poster and gave the cloth on the tent a textured effect.
Pixelate (Crystalize, Mosaic, and Pointillize)
Color Halftone: Creates a halftone dot effect with a Max radius (4-127 px), similar to a printed image with four channels screen angles for (CMYK) from an offset press. The dots are larger, more exaggerated, and create a screened effect or each print plate. This is sometimes used to simulate the feel of an image in a comic book. This filter has no preview so it’s best to work with a smart object layer to make adjustments.
Crystalize: Creates a blurry patterned effect, with detail based on cell size. See the Crystalize section of this chapter for more details.
Facet (no dialog box): Turns the pixels into a mottled effect as seen in some paintings, but in high-resolution images the filter is not that noticeable.
Fragment (no dialog box): Creates a more broken, blurry effect, like a mosaic, but in high-resolution images the filter is not that noticeable.
Mezzotint: Turns the image into a random pattern of black, white, and highly saturated dots, lines, or strokes depending on the type chosen in the dialog box.
Mosaic: Creates blur of square blocks. the detail is based on cell size. See the Mosaic section of this chapter for more details.
- Pointilllize: Randomly places dots. The detail is based on cell size. See the Pontilllize section of this chapter for more details. Refer to Figure 8-128.
A Pixelate menu has a highlighted option, color halftone. Other options included are, crystallize, facet, fragment, mezzotint, mosaic, and pointillize.
Figure 8-128Pixelate filters
Here are details on a few that I like to use for my distortions.
Crystalize
A dialog box has an abstract image composed of multiple uneven shapes. The cell size setting is 45.
Crystalize dialog box options and preview
Mosaic
A dialog box has an abstract image composed of multiple square shapes. The cell size setting is 26 square.
Mosaic dialog box options and preview
Pointillize
A dialog box has an abstract image composed of circles and half-circle shapes. The cell size setting is 24.
Pointillize dialog box options and preview. The color is affected by the background color in the Tools panel
Render Filters
A menu on the left has the options flame, picture frame, and tree, disabled, and next to it is a Layers panel with layer 2. On the right, a menu has the option, flame, highlighted.
Render filters cannot be used on smart object layers, only normal layers
Flame
The Flame filter is very useful for creating fire-like effects for rockets and various burning effects where you want a lot of fire.
A dialog box indicates the error, A selected path is required to use this filter. Below is an image of the word Flames in large fonts and a question mark, and below is a Tools panel with the option, rectangle tool, highlighted.
When you don’t have an active path, Photoshop will not let you use the Flame Filter, so you must create one with your Pen or Shape tools
Project: Ring of Fire for Clown to Jump Through
An image above of a clown jumping through a ring includes the text, Can he jump through the flames. Below is a Layers panel which includes layers for the text, the ring, and the background.
An image of a clown jumping through a ring and the blank ring layer selected in the Layers panel
Select the blank normal layer named Ring to start.
A panel on top depicts the Ellipse tool in Path mode, and below is a Layers panel with the work path layer indicated. Below is a dialog box to save the file named ring, and next to it is a layer labeled ring.
Use the Ellipse tool in Path mode in the Options panel to create a work path in the Paths panel and then save the path with a new name
An illustration on top is of an upright ring that a clown jumped through, and here, the ring is boxed. Below is a panel for the path selection tool.
Use the Path Selection tool to move or scale the path if required
A Paths panel has the ring path layer highlighted. A layer labeled flames text is also included.
The Ring Path is selected in the Paths panel
While the path is selected, make sure you are still on the Ring layer in your Layers panel. Now go to Filter ➤ Render ➤ Flame.
A dialog box includes an image of a ring in flames on the left pane. On the right pane are settings for the flame type, length, width, angle, interval, and quality.
Flame dialog box
A menu has a highlighted option named, multiple flames, one direction. Other options included are one flame along the path, and candlelight, among others.
Flame Type options
Flame Length (20-1000). I set mine to 187.
Randomize Length, when enabled makes the flame appear more random on the path. I disabled this setting.
Width (5-1000). I set it to 70.
Angle (0-360). I set it to 7 to make it appear the flame was blowing a bit.
Interval (10-200) controls spacing of flame. I want the flames fairly close, so I set it to 44.
Adjust interval for loops , when enabled, controls how the flame sits on the ring. I enabled the checkbox.
Use Custom Colors for Flames. In this case I went with the default flame color and kept this option disabled. But maybe you want blue or red flames. In that case, you would enable the check box and then click Use Custom Color for Flames from the computer system’s Color Picker. Click OK to commit the new color . Refer to Figure 8-140 and Figure 8-141.
Two panels on top are titled, use custom color for flames, in which the one on the left is enabled, and the other one is disabled. A dialog box includes color palettes and settings for hue and saturation, among others, and here the O K button is selected.
Choose a new color flame using you computer’s Color Picker
- Flame Quality: Draft (Fast), Low, Medium (Default), High (Slow), Fine (Very Slow). The higher the quality, the longer it takes to render. So just leave at the default of Medium. Refer to Figure 8-141.
A dialog box under a custom preset has the following settings, flame type, length at 187, width at 70, angle at 7, interval at 44, and quality set to medium. The tick box next to adjust interval loops is checked.
Figure 8-141Flame dialog box Basic tab settings
A dialog box under an advanced type has the following settings, turbulent at 16, jag at 10, opacity at 25, flame lines complexity at 12, flame bottom alignment at 25, flame style is normal, the flame shape is parallel, and arrangement is 1.
Flame dialog box Advanced tab settings
Turbulent (0-100) controls turbulence. I left it at 16 so I could still see the flame shape.
Jag (0-100) movement and jaggedness of flame edges. I left it at 10 to maintain the flame shape.
Opacity (0-100) for overall opacity and brightness of flame. I set it to 25 so that you could see through the flame in some areas.
Flame Lines Complexity (2-30) for details for flame. I set it to 12.
Flame Bottom Alignment (0-100) for how the flame aligns to the bottom of a path or spreads out. I set it to 25 so that it gives the flame some movement on the ring.
Flame Style (Normal, Violent, Flat). Flat is blurrier in appearance, so I kept it at the default of Normal. Refer to Figure 8-143.
A Flame dialog box has a menu for flame style with the options, normal, violent, and flat. The normal option is highlighted.
Flame dialog flame style options
Flame Shape : Parallel, To the center, Spread, Oval, and Pointing. It gives the flame different widths and sizes. I left at the default of Parallel. Refer to Figure 8-144.
A Flame dialog box has a menu for flame shapes with the options, parallel, to the center, spread, oval, and pointing. The parallel option is highlighted.
Flame dialog flame shape options
A Flame dialog box has a menu for preset with the following, preset custom, default, load preset, save preset, and custom. Preset custom is highlighted.
A preset can be reset (default), loaded, saved, deleted, and made into a custom option
If you need to reset your flames while working, you can press Reset or choose the Default option to return back to Photoshop’s original Flame settings. Refer to Figure 8-145.
An illustration on top is of a flaming ring with a circular-shaped path on it, next to it is a paths panel with the layers, flame text, and ring. Below is an illustration of a flaming ring without a path.
You can deselect your path by clicking in the black area in the Paths panel below the paths
2 illustrations, on the top left, is a flaming ring, and next to it is the same illustration but more vivid, and with a circular path on it. Below is a Layers panel with layers for the text, and the ring.
Use the Move tool if you need to move the path over the flame and alter its layer blending mode
A panel includes the highlighted option, path selection tool, and direct selection tool option.
Use your Path Selection or Direct Selection tools when you need to move or alter a path
A panel for the pen tool includes the options for path and make, among others.
Use the Pen tool when you want to create custom paths
A Paths panel includes layers for the flame text, ring, and work path. The image next to it is of a flaming line with a path at the bottom and square-shaped handle points.
Paths can be close like an ellipse or open like a line
An illustration has the question, Can he jump through the Flames? The word Flames has a different border than the others.
You can apply a flame to text paths
A panel includes a folder labeled flame type. It has two layers for the text, can he jump through the, and flames.
Select the text that you want to turn into a path
A menu includes the following options, rasterize type, rasterize layer style, create work path, and convert to shape. Create work path is highlighted.
Select Create Work Path from the menu options
A panel on the left has a work path layer. A paths panel on the right includes layers for the flames text and the ring.
There is now a work path created in the Paths panel that you can rename and save
An image on top is of the word Flames, with a question mark at the end. A Layers panel below has the text and ring layers, and a dialog box at the bottom has a warning that reads, Could not render because the pixels in a type layer cannot be edited without first rasterizing the layer.
While the path is selected, make sure that you select your blank layer first before you try to use the Flame Filter. If the type layer is still selected, you will get a warning message
Now go to Filter➤Render ➤ Flame
A dialog box on top has a warning that begins, The path is longer than 3000 pixels. The image below is of uneven shapes in flames.
For paths longer than 3000 pixels, you will get a warning message that the flame may take longer to render, but click OK anyway
The image on the left is of the letters, F l, and a, in flames. A panel on the right includes the flame type, length at 111, width at 39, angle at 7, interval at 44, and quality set to medium.
Due to the length of the word, only part of it will render in the preview, but this allows you to set your settings in the Basic or Advanced tabs
An image of the word Flames, with a question mark at the end. The word Flame and the question mark are aflame.
The flames are applied to the created text path
A Paths panel on top has the Flames text and Ring layers. Below is an image of a clown jumping through a ring on fire and the text, Can he jump through the flames, and at the bottom is the word Flames spelled out and in flames.
Deselect your path so that you can see how the flame letters appear without the path blocking them
Afterwards, if you need to scale or transform the flame down or slightly up in size, make sure to convert a copy of this layer to a smart object layer. Refer to Chapter 4, as well as Chapters 6 and 7, for additional warp ideas that you could apply to this text.
File ➤ Save your example at this point. You can view an example of mine in flame_jump_final.psd.
Picture Frame
Picture Frame is a useful render filter to use when you need to create a custom frame for one of your projects. For this filter you do not need to create a path to have detail added around a square or rectangle frame or a background or normal layer. Just make sure to set your page size so that you get the frame size that you need. Later, you can also scale the layer if you turn it into a smart object.
An illustration of a single rose with a rectangular border.
An image of a rose that you can apply the Frame filter to
A Layers panel has the following layers, frame, hue, saturation 1, the rose image and border layer, color fill, and background.
Select your blank layer so that you can apply the Picture Frame filter
A dialog box has an image of a rectangular frame composed of vines. On the right pane are the frame, vine color, margin, size, arrangement, flower, flower color, flower size, leaf, leaf color, and leaf size.
Frame filter dialog box and basic tab settings
Vine color or basic frame color. I set to R: 64 G: 84 B:35.
Margin (1-100). How far the frame is away from the edge of the canvas. I set to 14.
Size (1-100). Thickness of frame. I set it to 44.
Arrangement (1-200). Shadows and highlights on frame or the way the vine flower and leaf elements appear on frame. I set to 41.
Flower None and 22 options. I set to 5: Orbit. Flower Color (R: 145 G: 200 B:255) and Flower Size (1-100): I set to 20.
Leaf None and 23 options. I set to 4: Leaf 1, Leaf Color (R: 57 G: 172 B:45), Leaf Size (1-100): I set to 20. Refer to Figure 8-162.
Number of Lines (1-30). In this case, it is disabled and only works for frame options 36-47.
Thickness (1-200) sets frame thickness. I set to 5.
Angle (0-360) twists the frame and, depending upon frame type and the angle chosen, you can achieve a more rounded or unusual frame. I choose an angle of 10.
Fade (0-100) alters the opacity. I set to 0 to keep the pattern solid.
Invert the shapes, lines, or shadows when enabled. In this example, it is disabled. Refer to Figure 8-163.
A dialog box on the left has the setting for the number of lines disabled. Next to it is a menu with the highlighted option, preset, column.
Frame filter dialog box and Advanced tab settings. You can also reset the preset to default and use the same preset options as the Flame filter. Press OK or Cancel to exit
As you make alterations, the preset of the frame becomes custom. And you have the options of loading or saving these presets for other users as an .xml file, or resetting to the default, or clicking the Reset button while working in the dialog box. Refer to Figure 8-163.
A Layers panel has a layer labeled Frame. It contains an image of a rectangular vine frame.
The Frame filter is applied to the layer
The image on top is of a single rose with a border and a frame made of vines. Below is a Layers panel with the Frame layer, and the effects and drop shadow filters.
Add a layer style effect of Drop Shadow to enhance the Frame layer
File ➤ Save your example at this point. You can view an example of mine named frame_example_final.psd.
If you need rounded frames with brush strokes or even patterns on an open path, I recommend using Illustrator to create a custom path and border and then copying it into Photoshop as a smart object. After reading this book, if you would like to know more about pattern creation in Illustrator, check out Volume 2.
Tree
An illustration of a tree on the left has a vertical path in the middle with handle points. Next to it is a Paths panel with a work path layer.
A tree created with the Tree filter and a work path in the paths panel to control the shape of the tree
As with the Flame filter, it is best to start with a path if you want to create a warped or straight-looking tree. You can use the Pen tool to do that. Tip: Click point 1 at the base and then Shift+Click the next point for the top. Note that while a straight vertical tree can be created without an open path, the path acts a guide to how tall or what shape the tree should be. Make sure to create your path from bottom to top or the tree may be upside down.
Project: Wreath
File ➤ Open tree_wreath_example_start.psd. Make an Image ➤ Duplicate for practice.
A Layers panel on top has layers labeled, wood text, branch, wreath, pattern fill, and background, and folders labeled, text, pine cones and berries, and bow. Next to it is a Paths panel with a circle layer, and below is an image of a circle with a wooden background.
The Layers panel with the wreath layer selected and a path in the Paths panel
Select the created circle path that was created using the Ellipse tool.
A dialog box has an illustration of a wreath on the left pane. On the right are settings for base tree type, light direction, leaves amount and size, and branches height and thickness, and here, default leaves and randomize shapes are checked.
Tree dialog box and Basic tab options
Light Direction (0-180). I set mine to 85.
Leaves Amount (0-100). I set mine to 95.
Leaves Size (0-200). I set to 200.
Branches Height (70-300). I set to 70.
Branches Thickness (0-200). I set to 135.
Default Leaves, when disabled, lets you choose 16 different leaf types and can give a bushier appearance. I left this checkbox enabled.
Randomize Shapes , when disabled, lets you set the arrangement. I kept this checkbox enabled.
Arrangement (1-100). Currently disabled. Refer to Figure 8-168.
Camera Tilt (0-24) can be used to alter the direction and spread the branches apart.
Use Custom Color for Leaves, when enabled, lets you set custom colors from the system’s Color Picker.
Use Custom Color for Branches, when enabled, lets you set custom colors from the system’s Colors Picker.
Flat Shading – Leaves
Enhance Contrast - Leaves
Flat Shading - Branches
Leaves Rotation Lock means they do not rotate with the camera tilt.
A panel includes six filters with unchecked tick boxes next to each. Indicated above is the camera tilt set at 0.
Tree dialog box and Advanced tab options
I left these settings at 0 and all checkboxes disabled.
A menu has the highlighted option, preset, column. Next to it are the o k, reset, and cancel buttons.
Tree dialog box and Preset options, which you can use to reset the filter, and the same preset options as the Flame filter, and you can click OK or Cancel to exit
An illustration on top is of a wreath made up of a warped tree with a wooden background and a circular path on it. Below is a Paths column with a layer labeled, circle.
The tree is applied to the selected path and then you can deselect the path to view the layer
An illustration of a wreath made up of a warped tree on a wooden background.
Warped tree without path
Like the Flame and Frame examples, it is best to render your tree on a normal blank layer as you can then use your Move tool to move it around. In this case, the wreath is not very full and needs more branches. Refer to Figure 8-172.
A Layers panel has layers labeled, branch, wreath copy 2, wreath copy, wreath, and pattern 1. At the bottom is the text, create a new layer.
Create copies of the wreath layer so that you can create a fuller wreath
A Layers panel on the left indicates the wreath copy layer. On the right is an image of a wreath on a wooden background.
Rotate the wreath copy layer
An illustration of the move symbol is on the left. Next to it is an illustration of a wreath on a wooden background.
Move the wreath copy layer into place with the Move tool
A Layers panel on the left indicates the wreath copy 2 layer. On the right is an illustration of a wreath on a wooden background.
Rotate the wreath copy 2 layer
If you feel the branches are full on one side but not on the other, add a few more branches to the top or where you think you need them.
A Layers panel on the left indicates a branch layer and a branch path layer. On the right is an illustration of a segment of a wreath indicating the branch with a diagonal path on it.
On the blank layer with the branch path selected, use it to create new branches
A panel has the filter tab highlighted. Below, the tree option is highlighted as well.
Render part of a tree with the recently used filter options
2 images on top are of wreath segments where on the left image, a diagonal path is indicated, and next to them is a Layers panel with a branch copy layer. Below is an image of a wreath with a small separate segment on the upper left.
Move and create multiple branches to fill in the gaps
An illustration of the upper half of a wreath depicts a boxed area on the left with square-shaped point handles. Next to it are the cancel and commit icons.
Use your Free Transform options to rotate or scale branches and commit the change using the Options panel
An illustration of a wreath with a wooden background is on the left. Next to it is a Layers panel indicating 8 layers in which a layer labeled branch copy 4 is highlighted.
Drag the copies of your completed branches up or down on in the Layers panel to arrange them on the wreath
Likewise, for your own projects, as with the flames, you can use your Path Selection tool to move the path and then render in the same or a different location. Or use your Direct Selection tool to alter the path as you create new branches.
Two illustrations on top are of wreaths with berries and pine cones, and here, one has a bow at the bottom. Below is a Layers panel with 3 folders indicated and in which the folder labeled pine cones and berries is highlighted.
Add your own decorations to the wreath like pine cones, berries, and a bow
Lastly, make the Bow group folder visible and you can see how this adds interest and completes the wreath. Note that part of the bow is using a Perspective Warp as part of the distortion, which you can review on your own and refer to in Chapter 7.
Tree Type
A Layers panel on the left has a layer labeled, wood text. Next to it is the Paths panel with 6 layers labeled, circle, branch, w, o, o 2, and d.
Create words with the tree filter on a blank layer and path added to the Paths panel
A Magic Wand options panel on top includes sample size, tolerance, anti-alias, and contiguous, among others. Below is a panel with a text folder, and a layer labeled wood.
Use your type layer and Magic Wand tool to create a type selection
An image of the word Wood is on top with the fonts made of a wooden design, and here, the outline of the letter W has dashed lines. Below is a Paths panel with the text, make work path from selection.
Add your selection to the Paths panel as a work path
A Paths panel has a layer labeled, work path. The layer has an uppercase letter W on the upper left-hand side.
A work path of the letter is created
A paths panel has a layer labeled W. The layer has an uppercase letter W on the upper left-hand side.
Rename the work path to save it
An image of the word Wood is on top with the fonts made of a wooden design, and here, the outline of the first letter o has dashed lines. Below is a Paths panel with layers labeled, o, o 2, and d.
Create a work path for each of the letters in the word Wood in the Paths panel
Because the trees have so much detail, generally for my tree letter paths I like to use a large font that I can easily read, like Arial Black or Helvetica Bold, and keep the word fairly short.
Then I create a new blank layer renamed wood text and deselect the type layer and any active selection. Use Select ➤ Deselect.
A Layers panel has a layer labeled wood text, and next to it is a Paths panel with layers labeled, W, o, o 2, and d. An image of the word Wood is below, and here, the outline of the letter W has a W path.
Select the W path while on the blank layer so that you can use the Tree filter
A dialog box includes settings for the base tree type, light direction, leaves size, and branch height, among others. Next to it on the right is an image of branches of leaves.
Tree dialog box and Basic tab settings
An image of the word Wood depicts a path on the outline of the letter W. Branches with leaves are on the letter W.
Branches are now growing out of the w
A Paths panel on the left has a layer labeled, o, and next to it is a Layers panel with a layer labeled, wood text. On the right is a panel with the filter tab highlighted, and the tree option on the menu is highlighted as well.
Now select the o path and on the same alter apply the Filter ➤ Tree settings again
A Paths panel on top layers labeled, W, o, o 2, and d. An image of the word Wood is below, with branches of leaves on each letter.
Select the next path and apply the Tree filter again until each letter has branches and then deselect the paths in the Paths panel to see the word
A panel includes a layer labeled Wood, and the effect filters, bevel and emboss, pattern overlay, and drop shadow.
Adding layer styles to your text can make the text appear more tree-like
File ➤ Save your document at this point. You can view the files so far in tree_wreath_example_final.psd.
Other Render Filters
A menu has a highlighted filter option, flame. Other filter options included are, picture frame, tree, clouds, and fibers, among others.
Render filters
Lighting Effects is being removed from Photoshop due to association with 3D features, which are being moved to the Substance Collection. Using this filter in the current Photoshop version may cause errors or a crash. You can still use it in versions of Photoshop 22.5 and older. However, after you have read this book, you can explore 3D options with basic lighting in Illustrator in Volume 2.
Sharpen Filters
A menu includes the following filter options, sharpen, sharpen edges, sharpen more, smart sharpen, and unsharp mask.
Sharpen filters
If you are trying to correct blurry images, I prefer using Smart Sharpen and Unsharp Mask, in which you can alter and preview the settings in either the dialog box or workspace. The other Sharpen filters do not have dialog boxes .
Stylize Filters (Extrude and Oil Paint)
Diffuse: Blurs and moves pixels around, creating a softened yet grainy quality mode of either Normal, Darken Only, Lighten Only, or Anisotropic
Emboss: Creates an embossed relief, based on the angle (-180, 0, 180), pixel height (1-100) and amount (1-500%)
Extrude: Makes shapes out of the image into either blocks or pyramids based on size and depth. See the Extrude selection for more details.
Find Edges (no dialog box): Creates an inverse effect of emboss
Oil Paint: An oil painting bush effect, which can also emulate embroidery thread-like effects. See the Oil Paint section for more details.
Solarize (no dialog box): A negative film effect
Tiles: Like the filter gallery patchwork, allows you to set tile number, maximum offset tiles (1-99%), and fill in empty areas based on either background color, foreground color, inverse image, or unaltered image. This creates a broken block effect.
Trace Contour: Creates a colorful edge along the boundaries of brightness in the image, based on level (0-255) and edge settings of lower or upper
Wind: A motion blur effect with settings like Wind, Blast, or Stagger and a direction from the right or the left of the image. Refer to Figure 8-197.
A menu has a highlighted filter option, diffuse. Other filter options included are, emboss, extrude, find edges, solarize, and wind, among others.
Stylize filters
Let’s look at two of my favorites, Extrude and Oil Paint.
Extrude
An illustration on top is of multiple marbles in a bowl. A dialog box below includes the settings for type, which is set to blocks, size at 30, depth at 30, and random.
On a sample image, use the Extrude Filter dialog box and its settings
I used an Image ➤ Duplicate of marbles_start.psd and worked in the smart object layer. Click OK.
Three illustrations of multiple marbles in a bowl depict different types of extrude filters used.
Samples of using the Extrude filter to alter the image on a smart object layer
Oil Paint
The Oil Paint filter can be used to create a paint texture that appears like oil paint or embroidery thread. I am going to show you how to turn a landscape photo into a painting.
A photograph of sand cliffs by the beach. A line of trees is observed on the cliff.
Sand cliffs by the beach
In the Layers panel, select the smart object layer and then go to Filter ➤ Stylize ➤ Oil Paint.
A dialog box has an image of a segment of a sand cliff with the oil painting filter used. Included below are settings for brush and lighting.
Oil Paint filter dialog box options and preview
Brush options:
Lighting:
Angle(-180, 0, 180): Alters lighting angle incidence and how highlights would position onto the painted surface , but not the brushstroke angle Shine (0.0-10): The brightness of light source and how it bounces or reflects off the painted surface.
I set the angle to -60 and the shine to 1.3.
An image of sand cliffs by the beach in which the oil painting filter is applied.
Finished image with Oil Filter applied
Updates about the filter can be found here: https://helpx.adobe.com/photoshop/using/oil-paint-filter.html .
You can use the same Oil Paint filter on a logo. Based on similar settings, oil paint can resemble embroidery threads on cloth when applied to an Illustrator smart object layer.
A panel on the left indicates the Fresco filter, and next to it is a panel with settings for brush size, brush detail, and texture. Below is a Layers panel with layers labeled background copy, and smart filters, and the filter, oil paint.
Add a filter from the Filter Gallery to the Oil Paint filter on the smart object layer
An image of sand cliffs by the beach in which the oil painting and fresco filters are applied.
Finished image with Oil Filter and Filter Gallery Fresco applied
Video and Other Filters (Maximum, Minimum)
A menu on top has the options, de-interface, and N T S C colors, and next to it is a menu with a highlighted option, custom. Below is an image of multiple marbles in a bowl, and next to it is a dialog box with an image of the marbles in which a High Pass filter is used.
Video and Other Filters, the High Pass dialog box used on sample image and preview
A dialog box on top has an image of marbles in which a maximum filter is used with a preserve set at squareness, and the one below has a minimum filter used with a radius set at 14. Beside each is an image in which the filters are used.
Dialog boxes for Maximum and Minimum filters and preview
Combining Smart Filters and Using Masks
A Layers panel has a background layer copy linked to a layer mask, a smart filters layer, and a background layer. Also included are the filter gallery and oil paint filter.
Use your masks layer, vector, or filter when you want to hide parts of the image or filter
A filtered image of a set of marbles and a Layers panel with a background layer copy linked to a layer mask, and a smart filters layer is on top. Below is an image of a set of marbles, and a Layers panel with a background layer copy unlinked from a layer mask.
Drag filters above or below others when you want to see alternative results
A panel on the left includes icons for f x, gradient, and trash, among others. On the right is a menu with the highlighted option, delete smart filter.
Delete smart filters that you do not want
A Layers panel includes layers labeled, background copy 2, and background copy. Smart filter layers are also indicated.
Use a smart filter on separate layers for different results to compare or alter
A Layers panel on the left has the background copy layer highlighted, and below it is a smart filter layer for oil paint. On the right is a Layers panel with the background copy layer highlighted.
Copy or move a smart filter from one smart object to another
To clear all smart filters from a Layer, Choose Layer ➤ Smart Filter ➤ Clear Smart Filters.
Smart Filters for Shapes and Type Layers
An image on top is of the word Water, and next to it is an illustration of a water droplet. Below are two Layers panels, where on the left is a layer labeled water, and on the right panel is a layer labeled ellipse 1.
Apply smart filters to your text or shapes after you have converted the layers to smart object layers
Project: Create a Simple GIF Animation Using Filter Distortions, The Swirling Tree Painting
As a final project for this chapter, I’ll show you briefly how you can take some images that you have distorted with your filters and apply that knowledge to a GIF animation.
I will not be going into every detail of the Timeline panel and the Save for Web dialog box, only the basic steps. However, if you would like to learn more about these topics, you can check out my book Graphics and Multimedia for the Web with Adobe Creative Cloud as well as the following links: https://helpx.adobe.com/photoshop/how-to/make-animated-gif.html and https://helpx.adobe.com/photoshop/using/creating-frame-animations.html .
To create a GIF animation requires planning and preparatory work, so before creating an animation you need to decide what you want your animation to do. In my case, I wanted to animate the Distort ➤ Twirl filter in some creative way so I decided to spin the branches on the tree and create a swirl of bright red leaves.
File ➤ Open the file animation_tree_highres.psd. This file is complete, so I will describe how I used filters to create the parts of the file.
An image of a single tree in a field of grass with clusters of trees in the background.
Creating a GIF animation using filters
A photograph of a field of grass. In the background, clusters of trees are observed.
Start with a background and then turn it into a smart object layer
A Layers panel on top has a folder labeled, sky replacement group, and a layer labeled, layer 1. Below is a photograph of a field of grass with clusters of trees in the background.
Inside the smart object (.psb) I altered with Edit ➤ Sky replacement
A Layers panel has a layer labeled, landscape. The layer is a photograph of a field of grass with trees in the background.
Select the smart object layer
A panel on the left depicts the palette knife filter. On the right is a dialog box with the settings, stroke size, stroke detail, and softness.
Add a filter from the Filter Gallery and click OK to commit
A layers panel includes a layer labeled landscape and a smart filters layer with the filter gallery below. At the bottom is the text, filter effects, all.
The filter applied to the smart object in the Layers panel
A menu on the left has the highlighted option levels, and next to it is a Layers panel with layers labeled, level 2, landscape, and smart filters. Below is the Properties panel preset to custom, and R G B setting used, and below is a filtered image of a field of grass.
Add a layer adjustment above the smart object Layer of Levels, as seen in the Properties Panel
A layers panel on the left has layer 1, and next to it is a pen tool panel with the path option selected. On the right is a section of a filtered image of a field of grass, with a vertical path drawn on it.
Blank layer created and selected, and path created using the Pen tool in Path mode
A paths panel has a layer labeled, Tree. On the layer is a vertical line.
Work path in the Paths panel saved and renamed as Tree
A dialog box has an image of a tree on the left. On the right are the basic settings, base tree type, light direction, leaves amount, and branches thickness, among others.
Tree filter with the Basic tab settings
I only altered the Basic tab as follows: Base Tree Type: 17: Sakura Cherry Blossom, Light Direction: 0, Leaves Amount: 95, Leaves Size: 131, Branches Height: 88, Branches Thickness :141. Default Leaves enabled, Random Shapes disabled, and Arrangement:1. Then I clicked OK. Refer to Figure 8-222.
Then I deselected the tree path for the moment by clicking in a blank area in the Paths panel. Refer to Figure 8-221.
Two Layers panels on top have layers labeled full tree, and layer 1 copy. Below is a filtered image of a tree on a field of grass.
Tree layers created and renamed and then a copy turned into a smart object layer
A Layers panel on the left has layers labeled leaves, and branches. On the right is a panel with the plus sun highlighted, and the text, create a new layer.
New layers created using the Layers panel: Leaves and Branches
A paths panel has a layer labeled, Tree. On the layer is a vertical line.
Select the tree path in the Paths panel
A panel on top has the leaves amount set to 0, and next to it is an o k button. Below is an image of a tree without leaves.
Tree filter dialog box . A tree with no leaves is created when we reduce the Leaves Amount to 0
Two panels on top have the leaves amount set to 95, and branches thickness at 0, and next to them is an o k button. Below is an image of a tree with leaves and without branches.
Tree filter dialog box. A tree with only leaves is created when we add the Leaves Amount and reduce the Branches Thickness to 0
A Layers panel on top has layers labeled, leaves, full tree, branches, and layer 1 copy.
Reorder the layers for the animation
I then deselected my tree path in the Paths panel.
A Layer panel has a layer labeled, Leaves copy.
Create a copy of your Leaves layer and convert it to a smart object
A dialog box has an image of filtered tree leaves, and an angle setting of negative 99 degrees. Below is a Layers panel with a layer labeled leaves copy, and a smart filters layer with the twirl filter.
Twirl dialog box and distort options
A Layers panel on the left has a layer labeled, Leaves copy 2. On the right is a menu with a highlighted option, rasterize layer.
Make a copy of your smart object layer and rasterize it
A Layers panel has a layer labeled that reads, Leaves, minus sign, 99.
Rename the layer to keep track of your settings
I repeated these steps with the smart object layer Leaves Copy by first double-clicking the smart filter name in the layer and then, one at a time, changing the setting and clicking OK.
A Layers panel has eleven labeled layers, one of which is the Leaves copy, and a smart filters layer. The layer labeled, Leaves negative 99 is highlighted.
Layer order in the Layers panel of the Twirl
Some layers I kept hidden for now. I turned off the eye visibility.
A Layers panel on top has eleven labeled layers. Below is a move icon and options panels with the text, align horizontals centers, and align vertical centers.
Use the Move tool and its align options to align the layers
A Layers panel on top has a tress folder with 11 layers and a smart filters layer with 4 filter layers. Below is a panel with the folder icon highlighted and the text, create a new group.
Create a new froup folder to keep your your tree layer organized
I collapsed that folder for now.
A menu on the left has a highlighted option, hue, saturation, and next to it is a Properties panel which includes settings for hue, saturation, and lightness. Below is a Layers panel with a layer labeled, hue, saturation 1.
Add an adjustment layer of Hue/Saturation and alter the settings using the Properties panel
An image on top is of a tree in a field, and on its right is a menu with a highlighted option, create clipping mask. Below is a Layers panel with the hue, saturation layer, and below is a filtered image of the tree in a field.
Create a clipping path to isolate the adjustment layer to the Trees layer only
A Layer panel on top has layers labeled base, and hue, saturation 1. A layers panel below has layers labeled, shadow, and landscape, and a smart filters layer, and below is an illustration of the base of a tree on a field.
Add a blank layer that can be pained and or cloned on and adjust layer blending modes and opacity for shadows
A dialog box has a duplicate image saved as an animation tree high-res copy.
Create an Image ➤ Duplicate of the files to create the animation
A dialog box has an image of a tree on the left pane, and on the right pane are different settings which include, dimensions in pixels, and resolution, among others.
Image Size dialog box to lower the resolution of the file
Two Layers panels on the left and right have layers labeled, landscape. Between them is a menu with the highlighted filter, rasterize layer.
Rasterize the smart object layer to apply the filter and lower the file size
Then I File ➤ Saved the document as a .psd file. You can see this example in my file animation_tree_lowres.psd, which you can open to see the next steps that I did to create the animation.
Create GIF Animation with the Timeline Panel
A Timeline panel has 16 frames labeled 1 to 16. At the bottom is a panel with the rewind, play, and forward, buttons, among others.
Timeline panel with frames
I will briefly explain how this was done.
A Timeline panel without frames added includes the rewind, play, and forward buttons. In the frame below, a text reads, create frame animation.
Timeline panel before frames are added
A Timeline panel on top has a frame labeled 1. Below is a Layers panel with the base layer, hue, saturation layer, and 11 other labeled layers, and on the right is another panel with 8 labeled layers.
Timeline panel with one frame added. Some layers in the Layers panel are visible
A Timeline panel has a frame labeled 1. At the bottom, the plus sign is highlighted, and the text next to it reads, duplicates selected frames.
Duplicating the selected Frame 1
A Timeline panel on the left has 2 frames labeled 1 and 2. On the right is a layers panel with layers labeled, leaves copy, leaves, full tree, branches, layer 1 copy, and levels 2.
Frame 2 is created and a new layer is made visible
A Timeline panel on the left has 3 frames labeled 1 to 3, in which frame 3 is highlighted. Below is a Layers panel with a layer labeled, leaves, 99.
Frame 3 is created and another layer is made visible in the Layers panel
For your own project, if you need to delete a frame, use the trash can icon in the timeline panel when the frame is selected.
A Timeline panel on the left has 2 frames labeled 18 and 19. On the right are enlarged images of the two frames on the left, where the first image has a swirl figure covering a tree, and the other image is without a swirl.
Frames are created but a transition needs to happen between the two
A Layers panel on the left has 11 layers, with the layer labeled, leaves 999, highlighted. On the right is another panel with 5 layers, and one smart filters layer.
Layers panel currently at Frame 19, later frame 24
A Timeline panel on the left has 2 frames labeled 18 and 19. On the right is a panel with the tweens animation frames icon highlighted.
Create tween animations from frames
A dialog box includes settings for, tween with, frames to add, layers, and parameters, among others. It also includes o k and cancel buttons.
Tween dialog box options
I made a tween with the Selection (Frames 18 and 19) Frames to Add 5 with the All Layers option. And in this case, I enabled all the Parameters of Position, Opacity, and Effects, and clicked OK to exit the dialog box.
A Timeline panel has 7 frames labeled 18 to 24 in which frame 18 is highlighted. Indicated at the bottom of each frame is 0 seconds.
Five tween frames are added between frame 18 and 24
A Timeline panel on the left has 8 frames labeled 1 to 8 in which frame 18 is highlighted, and at the bottom is the text, duplicates selected frames. A timeline panel on the left has 2 frames labeled 1 and 2, in which 2 is highlighted.
Make a duplicated of Frame 1, now Frame 2
A timeline panel has 2 frames labeled 24 and 25, in which frame 25 is highlighted. Indicated below each frame is 0 seconds.
Drag the frame to the end of the timeline
A timeline panel on the left has 2 frames labeled 24 and 25, in which frame 24 is highlighted. In the panel on the right is the text, tweens animation frames.
With frames 24 and 25, selected you can create another tween
A Timeline panel has 7 frames labeled 24 to 30 in which frame 24 is highlighted. Indicated at the bottom of each frame is 0 seconds.
A tween is added between Frames 24 and 30
A Timeline controls panel on top has the rewind, play, and forward buttons, among others. Below is a menu with a highlighted option, once.
Set the duration of the GIF animation play in the Timeline panel
A Timeline control panel has the rewind, play, forward, and stop buttons, among others. Here, only the stop button is enabled.
Preview the animation using the Timeline panel
Lastly, to export your .psd animation file as a .gif, go to File ➤ Export ➤ Save for Web (Legacy). Refer to Figure 8-259.
A menu on the left has the highlighted option, export. A submenu on the right has the highlighted option, save for web, legacy.
Use the File ➤ Export ➤ Save for Web (Legacy) to save your GIF animation
A web dialog box has two images of a tree in a field, the left one is the original, and the other one is a G I F. On the right pane are different settings like transparency, image size, and animation, among others.
Save for Web dialog box
For more details in this area, refer to my book that I mentioned earlier. Here I will just let you know the settings I used. You can alter the settings if you want; however, some settings may degrade the quality of the animation so make sure to compare the original with the GIF file you are optimizing.
Preset: Is [Unnamed] as it is Custom. I selected the GIF format from the dropdown menu for the file type as it is the only option capable in this list for animation.
Color reduction algorithm: Selective and Colors are 256 at the highest level.
Dither algorithm: Diffusion, Dither: 100%
Transparency is enabled. This is useful when creating transparent GIFs. Matte Swatch is white if transparency is present. Refer to Figure 8-261.
A panel for Preset options includes settings for colors, dither, matte, transparency, and convert to s R G B, among others. Here, the tick boxes beside transparency and convert to s R G B are checked.
Preset options in Save for Web dialog box
No Transparency Dither Algorithm: No Transparency Dither as there is currently no transparency and the amount is disabled. Refer to Figure 8-261.
Interlaced check box is disabled and Web Snap for color is set to 0% and Lossy compression is set to 0.
Leave the Convert to sRGB options enabled to the default of Preview: Monitor Color and Metadata: Copyright and Contact Info.
Leave the Color Table as it is as well as the default setting.
Leave Image size for the current Width (W: 792 px), Height (H: 612 px), Percentage: 100%, and Quality: Bicubic. However, for your own projects, you may want to make smaller copies of your animation so you can adjust this as required.
Set the Animation Looping Options to Once as I did in the Timeline panel or choose another option. You can preview the animation again from here as well with the Play buttons.
A panel has the save, cancel, and done buttons.
Click Save in the Save for Web dialog box
A window has a panel on top labeled, save in, and below is the file of the animation tree. Below are the entry bars after the file name, format, settings, and slices, and next to these, the save button is highlighted.
Enter the Save Optimized As dialog box, set the options, and save your file
A panel has the save, cancel, and done buttons in which the save button is highlighted.
Click Done to exit the Save for Web dialog box
In your own projects, if you have made changes to your .psd animation, make sure to File ➤ Save the document to save the settings for the timeline panel.
You can close any open projects at this point as we have completed the filter projects.
Advanced Tip: While not relevant to this chapter, if you are working with smart objects from a file from a client who may have been working with stacked photos or video frames and some parts of the image are not appearing with the filter or on the smart object itself as you work with the file, familiarize yourself with the advanced menu feature Layer ➤ Smart Objects ➤ Stack Mode. Go to https://helpx.adobe.com/photoshop/using/image-stacks.html .
A menu on the left has the highlighted option, stack mode. A submenu on the right has the option, none, disabled, and the option, entropy, enabled.
Check your Stack Mode if you are experiencing image issues with client’s smart objects in a file
Summary
In this chapter, you looked at a number of basic filters and smart filter options that are available in Photoshop. The Filter Gallery has many filters that can be used to create unique distorts as well as others outside the gallery that create a distort such as Spherize, Twirl, and Wave, which can be edited at any time. The Filter Gallery also lets you reuse custom textures that were originally patterns in Chapter 3.
Some of the most unusual filters for warping lettering or shapes are the render filters of Flame and Tree when converted to a path. Likewise, you can later combine some filters to create a GIF animation to show how the warp and distort happens. In the next chapter, you will look at advanced filters that are for correction and distortion.