Select the RGB channel, load the channel A7 selection, adjust the image color, in the Hue/Saturation dialog box brightness set to-78, cancel the selection, so that the details of the screen more rich. (Figure 11b)
Figure 11b
12. Back to the channel A7, use the displacement filter to move the channel image to the right 78 pixels, moving down 128 pixels, undefined area for retrace. Then adjust the levels to highlight the gray pixels in the image to make it white (figure 12a);
Figure 12a
Select any of the channels A4, A5, A6, such as channel A4, Using a Gaussian blur filter with a radius of 14.7 pixels to blur the channel, and then adjust the color order, in this case, the input level is set to 0, 66, the grayscale coefficient is 0.19, the majority of gray pixels are converted to white, and then the Adjust > Threshold command is set to 128 to eliminate all gray pixels in the image, leaving only black and white. (Figure 12b)
Figure 12b
13. In the channel A4, hold down CTRL and click on the A7 in the channel panel, load the selection of the channel A7, press the Ctrl+alt click Channel A4 (the channel you just transformed), subtract the A7 from the A4 constituency, and return to the RGB channel.
(If you hold down the ctrl+alt+ channel representation number in the integrated channel, it is loaded into the channel selection instead of subtracted from the existing selection.) Incidentally, at any time, press CTRL + Digital 1~9 into the corresponding monochrome channel, and ctrl+~ will return to the integrated channel. This technique is useful when you need to frequently switch between layers and channels, and the only thing that is not enough is that this method can only switch between 10 channels. However, for the general image, 10 channels are basically enough, of course, our image is an exception.
In the layer "8", first adjust the selection brightness/contrast, set brightness to 21, contrast +74, and then open the Hue/Saturation dialog box, the hue, brightness are set to 0, saturation set to-82, then deselect. Some white areas appear in the image. (Figure 13)
Figure 13
<评论文章列表> <评论点id> 7277 <数量> 0 <主题> photoshop to make real brick <主题地址> Http://www.pconline.com.cn/pcedu/sj/pm/photos hop/10310/227922_2.html 14. Back to the channel A7, use the other > displacement filter to move the channel image to the right 78 pixel, move down 32 pixels, undefined area for retrace, and then flip the current image horizontally (or vertically), in short, to make it and the original channel image pixel position. (Figure 14a)
Figure 14a
Load the current channel selection, return to the RGB channel, in the current layer, with the brightness/contrast command to the selection of the image contrast increased by 73, and then use hue/saturation command to reduce the saturation of 79, deselect. (Figure 14b)
Figure 14b
15. Create a new layer 1, reset the color board, and render with a cloud filter. Then add the noise with the noise filter, this time we add more noise, set the number to 320%, still Gaussian distribution, monochrome, open pixel, grid filter, set cell size to 4, and then twist the glass filter, set the twist to 2, smoothness is 3, texture type is frosting, zoom to 100% Open the sketch > Chrome yellow filter, set the details to 8, and smoothness to 3. (Figure 15a)
Figure 15a
Select channel A7, use the displacement filter to move the channel image to the right by 78 pixels, move down 32 pixels, undefined area to retrace, load the current channel selection, return to the RGB channel, deselect, delete after the selection. Set the current layer's blending mode to "exclude", reduce the opacity to 40%, and adjust the brightness and contrast slightly to reduce the brightness by 2 and increase the contrast by 30. Merge the "8" below layer 1 with the link. (Figure 15b)
Figure 15b
<评论文章列表> <评论点id> 7277 <数量> 0 <主题> photoshop to make real brick <主题地址> Http://www.pconline.com.cn/pcedu/sj/pm/photos hop/10310/227922_2.html 16. Now you should only layer 1 and layer 0 in the Layers Panel, select layer 0, move it above Layer 1, set the layer blending mode to overlay, and opacity to 40%. Now link Layer 1, flatten, the image is only 0 of the layer left.
Turn on the Hue/Saturation Command dialog box, adjust the color of the image, set the hue to +5, saturation to 29, lightness to 0, and darken the image. Until now, the entire brick wall's texture has been completed. (Figure 16)
Figure 16
17. The work below is much more interesting and it is easy to see the effect. Load the channel A1 selection, delete and deselect. The shape of the bricks has come out, and underneath we are going to plaster the bricks between the seams.
Create a new layer 1, place it under Layer 0, set the foreground color to RGB (152,154,126), and fill layer 1. At this point, you may have some white noise (or maybe none) on your image, so use the Clone Stamp tool to sample in layer 0, and choose a smaller brush and opacity to cover the discordant clutter. (Figure 17a)
Figure 17a
Next, we'll add a stereo effect to the bricks through the layer effect. In the Layer Style dialog box, select the Bevel and Emboss, select the bevel style as an outer bevel, smoothing, depth 100%, orientation, size, and softening all 0 (this is special, specially designed for this very small brick), in the shaded section, the angle is 113 degrees, the height is 6 degrees, Set the opacity of the highlight to 0%, and the opacity of the dimming increases to 84%. (Figure 17b)
Figure 17b
<评论文章列表> <评论点id> 7277 <数量> 0 <主题> photoshop to make real brick <主题地址> Http://www.pconline.com.cn/pcedu/sj/pm/photos hop/10310/227922_2.html 18. Although the bevel effect is added, the effect of layer 1 is not obvious. Now we're going to process layer 1 to better foil the bricks.
Select Layer 1, first with the Add Noise filter, set the noise number to 11%, Gaussian, monochrome, note, do not hide layer 0 above, it can help you determine whether the following operation is appropriate, and then use the grid filter to set the cell size to 3; add noise again, this time set the noise quantity to 3%;
Select channel A7, use fuzzy > motion blur filter, set angle to 85 degrees, distance to 12 pixels; Use the displacement filter to change the position of the white pixels in the image, where I set the horizontal and vertical movements to 86, 32 pixels respectively. Regardless of how you move, undefined areas are defined as retrace. Adjust the levels to eliminate gray pixels. (Figure 18)
Figure 18
19. Load the current channel selection, back to the RGB channel, adjust the brightness and contrast in the selection, the brightness set to-87, the contrast is set to-48, and then slightly add some noise to the selection, the number does not need to be very large, 3.5% can be, and then cancel the selection.
Obviously, the brightness of Layer 1 and layer 0 are too high, so we're going to tweak it, open the Brightness/Contrast dialog, set the brightness to-24, contrast to 35, and it looks a lot more harmonious; finally add noise again and set the noise quantity to 5%. Merge visible layers. If you want the position of the bricks to change, just load the channel A2 the selection and adjust with the displacement command. (Figure brick Wall)
Figure Brick Wall
At the beginning of the article, we explained the relationship between the foreground color and the final image used to make the first fill pattern. If you want the bricks to be more prominent and the gaps less obvious, you can use a lighter color to make the fill pattern. For example, we make the first fill pattern out of gray green as a plaster color, and the gap between the last image bricks and the bricks will look smaller. (Figure 19)
Figure 19
Write in the last words: First of all, I hope you can see this passage, it will prove that you have finished reading this article. I dare not say that it is worthwhile to make a texture with such a complex process. My personal opinion is that everything needs to be decided. If you have a ready-made texture that you can use, that's the best thing to do, but in the absence of it, it's necessary to take some time to create the quality of the image. The production process of the image itself, summed up is the Channel + a large number of filter effects + color adjustment. The channel is simply to determine the scope of the constituency, there is no deeper technology; the filter effect is more flexible because in this case most of the filter effects are in the channel, so as long as you get a satisfactory channel image and what filters are allowed, you can experiment with the filter effect, The filters in this article just play a role. Outside of the image, is the patient and sober mind, do not be these channels, constituencies and so dizzy, clear creative ideas, as long as the clarity, this article looks much shorter.
One more thing to remind you about is the endless layer name problem. In this article, I set the layer names 1, 2, 3, 4, and so on, although there are many times to flatten the link layer, but the new layer is still in order. The goal is to remind yourself where the image is, because many processes are similar and easily confusing. In fact, you see, in the creation process will only appear at the same time 4 layers, and most of the time is only 1, 2 layers Independent, it is easy to understand the target. So, you can ignore the Arabic numerals, as long as you know, you can also "layer 1, Layer 2, layer 1, Layer 2" all the way to the end.
