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Note Paper Creates an image that appears to be constructed of handmade paper. The
filter simplifies an image and combines the effects of the Stylize > Emboss and Texture >
Grain filters. Dark areas of the image appear as holes in the top layer of paper, revealing
the background color.
Photocopy Simulates the effect of photocopying an image. Large areas of darkness tend
to copy only around their edges, and midtones fall away to either solid black or white.
Plaster Molds an image from 3D plaster, and then colorizes the result using the
foreground and background color. Dark areas are raised, light areas are sunken (or reverse
the effect by choosing the Invert option).
Reticulation Simulates the controlled shrinking and distorting of film emulsion to create
an image that appears clumped in the shadow areas and lightly grained in the highlights.
Stamp Is best used with black-and-white images. The filter simplifies the image to appear
stamped with a rubber or wood stamp.
Torn Edges Is particularly useful for images consisting of text or high-contrast objects.
The filter reconstructs the image as ragged, torn pieces of paper, and then colorizes the
image using the foreground and background colors.
Water Paper Uses blotchy daubs that appear painted onto fibrous, damp paper, causing
the colors to flow and blend.
Stylize filters
The Stylize filters produce a painted or impressionistic effect on a selection by displacing
pixels and by finding and heightening contrast in an image. After using filters like Find
Edges and Trace Contour that highlight edges, you can apply the Invert command to
outline the edges of a color image with colored lines or to outline the edges of a grayscale
image with white lines. (See “
U
sing the In
v
er
t c
ommand
”
on page
153
.)
Diffuse (Photoshop) Shuffles pixels in a selection to make the selection look less focused
according to the selected option: Normal moves pixels randomly, ignoring color values;
Darken Only replaces light pixels with darker pixels; and Lighten Only replaces dark pixels
with lighter pixels. Anisotropic shuffles pixels in the direction of the least change in color.
Emboss (Photoshop) Makes a selection appear raised or stamped by converting its fill
color to gray and tracing the edges with the original fill color. Options include an
embossing angle (from –360˚ to lower (stamp) the surface, to +360˚ to raise the surface),
height, and a percentage (1% to 500%) for the amount of color within the selection.
To retain color and detail when embossing, use the Fade command after applying the
Emboss filter.
Extrude Gives a 3D texture to a selection or layer.
To use the Extrude filter:
1 Choose Filter > Stylize > Extrude.
2 Choose a 3D type:
•
Blocks creates objects with a square front face and four side faces. To fill the front face of
each block with the average color of the block, select Solid Front Faces. To fill the front
face with the image, deselect Solid Front Faces.
•
Pyramids creates objects with four triangular sides that meet at a point.
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3 Enter a value in the Size text box to determine the length of any side of the object’s
base, from 2 to 255 pixels.
4 Enter a value in the Depth text box to indicate how far the tallest object appears to
protrude from the screen, from 0 to 255.
5 Choose a depth option:
•
Random to give each block or pyramid an arbitrary depth.
•
Level-based to make each object’s depth correspond to its brightness—bright
protrudes more than dark.
6 Select Mask Incomplete Blocks to hide any object extending beyond the selection.
Find Edges (Photoshop) Identifies the areas of the image with significant transitions and
emphasizes the edges. Like the Trace Counter filter, Find Edges outlines the edges of an
image with dark lines against a white background and is useful for creating a border
around an image.
Glowing Edges Identifies the edges of color and adds a neon-like glow to them.
Solarize Blends a negative and a positive image—similar to exposing a photographic
print briefly to light during development.
Tiles Breaks up an image into a series of tiles, off-setting the selection from its original
position. You can choose one of the following to fill the area between the tiles: the
background color, the foreground color, a reverse version of the image, or an unaltered
version of the image, which puts the tiled version on top of the original and reveals part of
the original image underneath the tiled edges.
Trace Contour (Photoshop) Finds the transitions of major brightness areas and thinly
outlines them for each color channel for an effect similar to the lines in a contour map.
To use the Trace Contour filter:
1 Choose Filter > Stylize > Trace Contour.
2 Choose an Edge option to outline areas in the selection: Lower outlines where the color
values of pixels fall below the specified level, and Upper outlines where the color values
fall above.
3 Enter a threshold (Level) for evaluating color values (tonal level), from 0 to 255.
Experiment to see what values bring out the best detail in the image.
Use the Info palette in Grayscale mode to identify a color value that you want traced.
Then enter the value in the Level text box. (See “
U
sing the Inf
o palett
e (P
hot
oshop)
”
on
page
32
.)
Wind Creates tiny horizontal lines in the image to simulate a wind effect. Methods
include Wind; Blast, for a more dramatic wind effect; and Stagger, which offsets the wind
lines in the image.
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Texture filters
Use the Texture filters to give an image the appearance of depth or substance, or to add an
organic look.
Craquelure Paints an image onto a high-relief plaster surface, producing a fine network
of cracks that follow the contours of the image. Use this filter to create an embossing
effect with images that contain a broad range of color or grayscale values.
Grain Adds texture to an image by simulating different kinds of grain—regular, soft,
sprinkles, clumped, contrasty, enlarged, stippled, horizontal, vertical, and speckle.
Mosaic Tiles Draws the image as if it were made up of small chips or tiles and adds grout
between the tiles. (In contrast, the Pixelate > Mosaic filter breaks up an image into blocks
of different colored pixels.)
Patchwork Breaks up an image into squares filled with the predominant color in that area
of the image. The filter randomly reduces or increases the tile depth to replicate the
highlights and shadows.
Stained Glass Repaints an image as single-colored adjacent cells outlined in the
foreground color.
Texturizer Applies a texture you select or create to an image. (See “
U
sing t
e
x
tur
e and
glass sur
fac
e c
on
tr
ols
”
on page
323
.)
Video filters
The Video submenu contains the De-Interlace and NTSC Colors filters.
De-Interlace Smooths moving images captured on video by removing either the odd or
even interlaced lines in a video image. You can choose to replace the discarded lines by
duplication or interpolation.
NTSC Colors Restricts the gamut of colors to those acceptable for television repro-
duction to prevent oversaturated colors from bleeding across television scan lines.
Other filters
Filters in the Other submenu let you create your own filters, use filters to modify masks,
offset a selection within an image, and make quick color adjustments.
Custom (Photoshop) Lets you design your own filter effect. With the Custom filter, you
can change the brightness values of each pixel in the image according to a predefined
mathematical operation known as convolution. Each pixel is reassigned a value based on
the values of surrounding pixels. This operation is similar to the Add and Subtract calcula-
tions for channels.
You can save the custom filters you create and use them with other Photoshop images.
To create a Custom filter:
1 Choose Filter > Other > Custom.
2 Select the center text box, which represents the pixel being evaluated. Enter the value
by which you want to multiply that pixel’s brightness value, from –999 to +999.
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3 Select a text box representing an adjacent pixel. Enter the value by which you want the
pixel in this position multiplied.
For example, to multiply the brightness value of the pixel to the immediate right of the
current pixel by 2, enter 2 in the text box to the immediate right of the center text box.
4 Repeat steps 2 and 3 for all pixels to include in the operation. You don’t have to enter
values in all the text boxes.
5 For Scale, enter the value by which to divide the sum of the brightness values of the
pixels included in the calculation.
6 For Offset, enter the value to be added to the result of the scale calculation.
7 Click OK. The custom filter is applied to each pixel in the image, one at a time.
Use the Save and Load buttons to save and reuse custom filters.
High Pass (Photoshop) Retains edge details in the specified radius where sharp color
transitions occur and suppresses the rest of the image. (A radius of 0.1 pixel keeps only
edge pixels.) The filter removes low-frequency detail in an image and has an effect
opposite to that of the Gaussian Blur filter.
It is helpful to apply the High Pass filter to a continuous-tone image before using the
Threshold command or converting the image to Bitmap mode. The filter is useful for
extracting line art and large black-and-white areas from scanned images.
Minimum and Maximum (Photoshop) Are useful for modifying masks. The Minimum
filter has the effect of applying a spread—spreading out black areas and shrinking white
areas. The Maximum filter has the effect of applying a choke—spreading out white areas
and choking in black areas. As does the Median filter, the Maximum and Minimum filters
look at individual pixels in a selection. Within a specified radius, the Maximum and
Minimum filters replace the current pixel’s brightness value with the greatest or least
brightness value of the surrounding pixels.
Offset Moves a selection a specified horizontal or vertical amount, leaving an empty
space at the selection’s original location. You can fill the empty area with the current
background color, with another part of the image, or with your choice of fill if the selection
is near the edge of an image. (See “
D
efi
ning undist
or
t
ed ar
eas
”
on page
323
.)
Tile Maker (ImageReady) Enables you to prepare an image for use as a tiled
background. You can blend the edges of an image to create a seamless background.
You can also create a kaleidoscopic background in which an image is flipped horizontally
and vertically to create an abstract design.
Digimarc filters
The Digimarc filters embed a digital watermark into an image to store copyright infor-
mation. For more information, see “
A
dding digital c
op
yr
igh
t inf
or
ma
tion
”
on page
460
.
Lighting Effects filter
The Lighting Effects filter lets you produce myriad lighting effects on RGB images. You can
also use textures from grayscale files (called bump maps) to produce 3D-like effects and
save your own styles for use in other images.
Note: The Lighting Effects filter works only on RGB images.
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Using the Lighting Effects filter
The Lighting Effects filter allows adjustment of light styles, light types, light properties,
and a texture channel.
To use the Lighting Effects filter:
1 Choose Filter > Render > Lighting Effects.
2 For Style, choose a style. (See “
C
ho
osing a Ligh
ting E
ff
ec
ts st
yle
”
on page
339
.)
3 For Light Type, choose a type. If you’re using multiple lights, select and deselect On to
turn individual lights on and off. (See “
C
ho
osing a Ligh
ting E
ff
ec
ts t
yp
e
”
on page
338
.)
4 To change the color of the light, click the color box in the Light Type section of the
dialog box.
The color picker chosen in the General Preferences dialog box opens. For information on
choosing a color picker, see “
U
sing the A
dob
e C
olor P
ick
er
”
on page
261
, or “
U
sing other
c
olor pick
ers
”
on page
265
.
5 To set light properties, drag the corresponding slider for the following options:
•
Gloss determines how much the surface reflects light (as on the surface of a piece of
photographic paper) from Matte (low reflectance) to Glossy (high reflectance).
•
Material determines whether the light or the object on which the light is cast reflects
more light. Plastic reflects the light’s color, Metallic reflects the object’s color.
•
Exposure increases the light (positive values) or decreases the light (negative values).
A value of 0 has no effect.
•
Ambience diffuses the light as if it were combined with other light in a room, such as
sunlight or fluorescent light. Choose a value of 100 to use only the light source, or a
value of –100 to remove the light source. To change the color of the ambient light,
click the color box and use the color picker that appears.
To duplicate a light, Alt-drag (Windows) or Option-drag (Mac OS) the light within the
preview window.
6 To use a texture fill, choose a channel for Texture Channel. (See “
U
sing a Ligh
ting E
ff
ec
ts
t
e
x
tur
e
”
on page
340
.)
Choosing a Lighting Effects type
You can choose from several light types:
•
Omni shines light in all directions from directly above the image—like a lightbulb over
a piece of paper.
•
Directional shines light from far away so that the light angle doesn’t change—like
the sun.
•
Spotlight casts an elliptical beam of light. The line in the preview window defines the
light direction and angle, and the handles define the edges of the ellipse.
To adjust an Omni light:
1 Choose Filter > Render > Lighting Effects.
2 For Light Type, choose Omni.
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3 Adjust the light:
•
To move the light, drag the center circle.
•
To increase or decrease the size of the light (like a light moving closer or farther away),
drag one of the handles defining the edges of the effect.
To adjust the angle and height of the directional light using the preview window:
1 Choose Filter > Render > Lighting Effects.
2 For Light Type, choose Directional.
3 Adjust the light:
•
To move the light, drag the center circle.
•
To change the direction of the light, drag the handle at the end of the line to rotate the
light’s angle. Ctrl-drag (Windows) or Command-drag (Mac OS) to keep the light’s height
(line length) constant.
•
To change the light’s height, drag the handle at the end of the line. Shorten the line for
a bright light, lengthen it for a less intense one. A very short line produces pure white
light, a very long one no light. Shift-drag to keep the angle constant and change the
light’s height (line length).
To adjust the angle and height of the spotlight using the preview window:
1 Choose Filter > Render > Lighting Effects.
2 For Light Type, choose Spotlight.
3 Adjust the light:
•
To move the light, drag the center circle.
•
To increase the light angle, drag the handle to shorten the line. To decrease the light
angle, drag to lengthen the line.
•
To stretch the ellipse or rotate the light, drag one of the handles. Shift-drag to keep the
angle constant and change only the size of the ellipse. Ctrl-drag (Windows) or
Command-drag (Mac OS) to keep the size constant and change the angle or direction
of the spotlight.
•
To set the light focus (or spotlight intensity) and control how much of an ellipse is filled
with light, drag the Intensity slider: full intensity (a value of 100) is brightest; normal
intensity is about 50; negative intensity takes away light; and –100 intensity produces
no light. Use the Focus slider to control how much of the ellipse is filled with light.
Choosing a Lighting Effects style
Use the Style menu in the Lighting Effects dialog box to choose from 17 light styles. You
can also create your own lighting style by adding lights to the Default setting. The Lighting
Effects filter requires at least one light source. Only one light can be edited at a time, but all
added lights will be used to create the effect.
2 o’clock Spotlight A yellow spotlight with medium (17) intensity and wide (91) focus.
Blue Omni A blue overhead omni light with full (85) intensity and no focus.
Circle of Light Four spotlights. White has full (100) intensity and a concentrated (8) focus.
Yellow has strong intensity (88) and a concentrated focus (3). Red has medium (50)
intensity and a concentrated (0) focus. Blue has full (100) intensity and medium (25) focus.
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Crossing A white spotlight with medium (35) intensity and a wide (69) focus.
Crossing Down Two white spotlights with medium (35) intensity and wide (100) focus.
Default A white spotlight with a medium intensity and a wide focus.
Five Lights Down/Five Lights Up Five white spotlights down or up with full (100)
intensity and wide (60) focus.
Flashlight An omni yellow light with medium (46) intensity.
Flood Light A white spotlight with medium (35) intensity and wide (69) focus.
Parallel Directional A directional blue light with full (98) intensity and no focus.
RGB Lights Red, blue, and green lights that produce a light of medium (60) intensity and
wide (96) focus.
Soft Direct Lights Two unfocused white and blue directional lights. White has a soft (20)
intensity. Blue has a medium (67) intensity.
Soft Omni A soft omni light of medium (50) intensity.
Soft Spotlight A white spotlight with full (98) intensity and wide (100) focus.
Three Down Three white spotlights with soft (35) intensity and wide (96) focus.
Triple Spotlight Three spotlights with slight (35) intensity and wide (100) focus.
To add a light:
In the Lighting Effects dialog box, drag the light icon at the bottom of the dialog box into
the preview area. Repeat as desired for a maximum of 16 lights.
To delete a light:
In the Lighting Effects dialog box, drag the light by its center circle to the Trash button at
the bottom right of the preview window.
To create a new style:
1 In the Lighting Effects dialog box, choose Default for Style.
2 Drag the light icon at the bottom of the dialog box into the preview area. Repeat as
desired for a maximum of 16 lights.
To save a style:
1 In the Lighting Effects dialog box, click Save.
2 Name the style, and click OK.
Saved styles include all of the settings for each light and appear in the Style menu
whenever you open the image.
To delete a style:
In the Lighting Effects dialog box, choose a style, and then click Delete.
Using a Lighting Effects texture
The Texture Channel in the Lighting Effects dialog box lets you use a grayscale texture
such as paper or water to control how light reflects off an image. You can use any channel
in your image (including a channel copied from a different image) as a texture, or you can
create your own texture. For an embossed text effect, use a channel with white text on a
black background, or vice versa.
Documents you may be interested
Documents you may be interested
