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Apply filters to individual channels You can apply a filter to an individual channel,
apply a different effect to each color channel, or apply the same filter but with different
settings.
Create backgrounds By applying effects to solid-color or grayscale shapes, you can
generate a variety of backgrounds and textures. You might then blur these textures.
Although some filters have little or no visible effect when applied to solid colors (for
example, Glass), others produce interesting effects. You might try Add Noise, Chalk &
Charcoal, Clouds, Conté Crayon, Craquelure, Difference Clouds, Glass, Grain, Graphic Pen,
Halftone Pattern, Mezzotint, Mosaic Tiles, Note Paper, Patchwork, Pointillize, Reticulation,
Rough Pastels, Sponge, Stained Glass, Texture Fill, Texturizer, and Underpainting.
Combine multiple effects with masks or with duplicate images Using masks to create
selection areas gives you more control over transitions from one effect to another. For
example, you can filter the selection created with a mask.
You can also use the history brush tool to paint a filter effect onto part of the image.
First, apply the filter to an entire image. Next, step back in the History palette to the image
state before the filter was applied, and set the history brush source to the filtered state.
Then, paint the image. (See “
R
e
v
er
ting t
o a pr
e
vious v
ersion of an image
”
on page
38
.)
Improve image quality and consistency You can disguise faults, alter or enhance, or
make a series of images look related by applying the same effect to each. Use the Actions
palette to record the process of modifying one image, and then use this action on the
other images. (See “
U
sing the A
c
tions palett
e
”
on page
484
.)
Improving performance with filters
Some filter effects can be memory intensive, especially when applied to a high-resolution
image. You can use these techniques to improve performance:
•
Try out filters and settings on a small portion of an image.
•
Apply the effect to individual channels—for example, to each RGB channel—if the
image is large and you’re having problems with insufficient memory. (With some filters,
effects vary if applied to the individual channel rather than the composite channel,
especially if the filter randomly modifies pixels.)
•
Free up memory before running the filter by using the Purge command.
(See “
C
or
r
ec
ting mistak
es
”
on page
37
.)
•
Allocate more RAM to Photoshop. If necessary, exit from other applications to make
more memory available to Photoshop.
•
Try changing settings to improve the speed of memory-intensive filters, such as
Lighting Effects, Cutout, Stained Glass, Chrome, Ripple, Spatter, Sprayed Strokes, and
Glass filters. (For example, with the Stained Glass filter, increase cell size. With the
Cutout filter, increase Edge Simplicity, or decrease Edge Fidelity, or both.)
•
If you plan to print to a grayscale printer, convert a copy of the image to grayscale
before applying filters. However, applying a filter to a color image and then converting
to grayscale may not have the same effect as applying the filter to a grayscale version of
the image.
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Applying Filters for Special Effects
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Choosing a filter effect
The built-in filters are grouped into 14 submenus. In addition, any third-party filters
installed appear at the bottom of the Filter menu.
Artistic filters Achieve a painterly or special effect for a fine arts or commercial project.
For example, use the Cutout filter for collages or type treatment. These filters replicate
natural or traditional media effects. For more information about Artistic filters, see “
A
r
tistic
fi
lt
ers
”
on page
326
. For more on the Rough Pastels and Underpainting filters, see “
U
sing
t
e
x
tur
e and glass sur
fac
e c
on
tr
ols
”
on page
323
.
Blur filters Soften a selection or an image. Blur filters are useful for retouching. They
smooth transitions by averaging the pixels next to the hard edges of defined lines and
shaded areas in an image. For more information about Blur filters, see “
B
lur fi
lt
ers
”
on
page
327
.
Note: To apply a Blur filter to the edges of a layer, be sure to deselect the Preserve Trans-
parency option in the Layers palette.
Brush Stroke filters Like the Artistic filters, the Brush Stroke filters give a painterly or
fine-arts look using different brush and ink stroke effects. Some of the filters add grain,
paint, noise, edge detail, or texture to an image for a pointillist effect. For more infor-
mation about Brush Stroke filters, see “
B
r
ush S
tr
ok
e fi
lt
ers
”
on page
328
.
Distort filters Geometrically distort an image, creating 3D or other reshaping effects.
Note that these filters can be very memory intensive. For more information about Distort
filters, see “
D
ist
or
t fi
lt
ers
”
on page
329
. For more about the Displace filter, see “
D
efi
ning
undist
or
t
ed ar
eas
”
on page
323
. For more on Glass filter controls, see “
U
sing t
e
x
tur
e and
glass sur
fac
e c
on
tr
ols
”
on page
323
.
Noise filters (Photoshop) Add or remove noise, or pixels with randomly distributed color
levels. This helps to blend a selection into the surrounding pixels. Noise filters can create
unusual textures or remove problem areas, such as dust and scratches, from an image.
The Add Noise filter can be used to reduce banding in feathered selections or graduated
fills or to give a more realistic look to heavily retouched areas. For more information on
Noise filters, see “
N
oise fi
lt
ers (P
hot
oshop)
”
on page
330
.
Pixelate filters Sharply define a selection by clumping pixels of similar color values in
cells. For more information on Pixelate filters, see “
P
ix
ela
t
e fi
lt
ers
”
on page
331
.
Render filters Create 3D shapes, cloud patterns, refraction patterns, and simulated light
reflections in an image. You can also manipulate objects in 3D space, create 3D objects
(cubes, spheres, and cylinders), and create texture fills from grayscale files to produce
3D-like effects for lighting. For more information on the Render filters, see “
R
ender fi
lt
ers
”
on page
332
. For information on the 3D Transform filter, see “
T
r
ansf
or
ming objec
ts in
thr
ee dimensions
”
on page
186
.
When using the Clouds filter, generate a more stark cloud pattern by holding down
Alt (Windows) or Option (Mac OS) as you choose Filter> Render > Clouds.
Sharpen filters Focus blurry images by increasing the contrast of adjacent pixels. They
include the Sharpen Edges (Photoshop) and Unsharp Mask filters, which find and sharpen
areas where significant color changes occur (such as the edges). The Unsharp Mask filter is
commonly used for high-end color correction. (See “
S
har
p
ening images
”
on page
155
.)
For more information on the Sharpen filters, see “
S
har
p
en fi
lt
ers
”
on page
333
.
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Sketch filters Add texture to images, often for a 3D effect. The filters also are useful for
creating a fine-arts or hand-drawn look. Many of the Sketch filters use the foreground and
background color as they redraw the image. For more information on Sketch filters, see
“
S
k
et
ch fi
lt
ers
”
on page
333
. For information on the Conté Crayon filter, see “
U
sing t
e
x
tur
e
and glass sur
fac
e c
on
tr
ols
”
on page
323
.
For a truer effect, change the foreground color to one of the common Conté Crayon
colors (black, sepia, sanguine) before applying the filter.
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 such as
Find Edges and Trace Contour (Photoshop) 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
.)
For more information on Stylize filters, see “
S
t
yliz
e fi
lt
ers
”
on page
334
.
Texture filters Give images the appearance of depth or substance, or add an organic
look. (See “
U
sing t
e
x
tur
e and glass sur
fac
e c
on
tr
ols
”
on page
323
.) For more information
on Texture filters, see “
T
e
x
tur
e fi
lt
ers
”
on page
336
.
Video filters Include the NTSC (National Television Standards Committee) Color filter,
which restricts the gamut of colors to those acceptable for television reproduction, and
the De-Interlace filter, which smooths moving images captured on video. For more infor-
mation on Video filters, see “
V
ideo fi
lt
ers
”
on page
336
.
Other filters Let you create your own filters, use filters to modify masks, offset a selection
within an image, and make quick color adjustments. For more information about Other
filters, see “
O
ther fi
lt
ers
”
on page
336
. For more on the Offset filter, see “
D
efi
ning undis-
t
or
t
ed ar
eas
”
on page
323
.
Digimarc filters Embed a digital watermark into an image to store copyright information.
For more information about Digimarc filters, see “
D
igimar
c fi
lt
ers
”
on page
337
.
Artistic filters
Choose a filter from the Artistic submenu to achieve a painterly or special effect for a fine
arts or commercial project. For example, use the Cutout filter for collages or type
treatment. These filters replicate natural or traditional media effects.
Colored Pencil Draws an image using colored pencils on a solid background. Important
edges are retained and given a rough crosshatch appearance; the solid background color
shows through the smoother areas.
For a parchment effect, change the background color just before applying the Colored
Pencil filter to a selected area.
Cutout Portrays an image as though it were made from roughly cut-out pieces of colored
paper. High-contrast images appear as if in silhouette, while colored images are built up
from several layers of colored paper.
Dry Brush Paints the edges of the image using a dry brush technique (between oil and
watercolor). The filter simplifies an image by reducing its range of colors to areas of
common color.
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Film Grain Applies an even pattern to the shadow tones and midtones of an image.
A smoother, more saturated pattern is added to the image’s lighter areas. This filter is
useful for eliminating banding in blends and visually unifying elements from various
sources.
Fresco Paints an image in a coarse style using short, rounded, and hastily applied dabs.
Neon Glow Adds various types of glows to the objects in an image and is useful for
colorizing an image while softening its look. To select a glow color, click the glow box and
select a color from the color picker.
Paint Daubs Lets you choose from various brush sizes (from 1 to 50) and types for a
painterly effect. Brush types include simple, light rough, light dark, wide sharp, wide
blurry, and sparkle.
Palette Knife Reduces detail in an image to give the effect of a thinly painted canvas that
reveals the texture underneath.
Plastic Wrap Coats the image in shiny plastic, accentuating the surface detail.
Poster Edges Reduces the number of colors in an image (posterizes) according to the
posterization option you set, and finds the edges of the image and draws black lines on
them. Large broad areas of the image have simple shading, while fine dark detail is
distributed throughout the image.
Rough Pastels Makes an image appear as if stroked with colored pastel chalk on a
textured background. In areas of bright color, the chalk appears thick with little texture;
in darker areas, the chalk appears scraped off to reveal the texture. For more on the filter
options, see “
U
sing t
e
x
tur
e and glass sur
fac
e c
on
tr
ols
”
on page
323
.
Smudge Stick Softens an image using short diagonal strokes to smudge or smear the
darker areas of the images. Lighter areas become brighter and lose detail.
Sponge Creates images with highly textured areas of contrasting color, appearing to
have been painted with a sponge.
Underpainting Paints the image on a textured background, and then paints the final
image over it. For more on the filter options, see “
U
sing t
e
x
tur
e and glass sur
fac
e c
on
tr
ols
”
on page
323
.
Watercolor Paints the image in a watercolor style, simplifying details in an image, using a
medium brush loaded with water and color. Where significant tonal changes occur at
edges, the filter saturates the color.
Blur filters
The blur filters soften a selection or an image, and are useful for retouching. They smooth
transitions by averaging the pixels next to the hard edges of defined lines and shaded
areas in an image.
Note: To apply a Blur filter to the edges of a layer, be sure to deselect the Preserve Trans-
parency option in the Layers palette.
Blur and Blur More (Photoshop) Eliminate noise where significant color transitions
occur in an image. Blur filters smooth transitions by averaging the pixels next to the hard
edges of defined lines and shaded areas. The Blur More filter produces an effect three or
four times stronger than that of the Blur filter.
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Gaussian Blur Quickly blurs a selection by an adjustable amount. Gaussian refers to the
bell-shaped curve that is generated when Adobe Photo-shop applies a weighted average
to the pixels. The Gaussian Blur filter adds low-frequency detail and can produce a hazy
effect.
Motion Blur (Photoshop) Blurs in a particular direction (from –360º to +360º) and at a
specific intensity (from 1 to 999). The filter’s effect is analogous to taking a picture of a
moving object with a fixed exposure time.
Radial Blur Simulates the blur of a zooming or rotating camera to produce a soft blur.
Choose Spin, to blur along concentric circular lines, and then specify a degree of rotation;
or Zoom, to blur along radial lines, as if zooming in or out of the image, and specify an
amount from 1 to 100. Blur quality ranges from Draft for the fastest but grainy results;
or Good and Best for smoother results, which are indistinguishable except on a large
selection. Specify the origin of the blur by dragging the pattern in the Blur Center box.
Smart Blur Precisely blurs an image. You can specify a radius, to determine how far the
filter searches for dissimilar pixels to blur; a threshold, to determine how different the
pixels’ values should be before they are eliminated; and a blur quality. You also can set a
mode for the entire selection (Normal), or for the edges of color transitions (Edge Only and
Overlay). Where significant contrast occurs, Edge Only applies black-and-white edges, and
Overlay Edge applies white.
Brush Stroke filters
Like the Artistic filters, the Brush Stroke filters give a painterly or fine-arts look using
different brush and ink stroke effects. Some of the filters add grain, paint, noise, edge
detail, or texture to an image for a pointillist effect.
Accented Edges Accentuates the edges of an image. When the edge brightness control
is set to a high value, the accents resemble white chalk; when set to a low value, the
accents resemble black ink.
Angled Strokes Repaints an image using diagonal strokes. The lighter areas of the image
are painted in strokes going in one direction, while the darker areas are painted in strokes
going the opposite direction.
Crosshatch Preserves the details and features of the original image while adding texture
and roughening the edges of the colored areas in the image with simulated pencil
hatching. The Strength option controls the number of hatching passes, from 1 to 3.
Dark Strokes Paints dark areas of an image closer to black with short, tight strokes, and
paints lighter areas of the image with long, white strokes.
Ink Outlines Redraws an image with fine narrow lines over the original details, in
pen-and-ink style.
Spatter Replicates the effect of a spatter airbrush. Increasing the options simplifies the
overall effect.
Sprayed Strokes Repaints an image, using its dominant colors with angled, sprayed
strokes of color.
Sumi-e Paints an image in Japanese style, as if with a wet brush full of black ink on rice
paper. The effect is soft blurry edges with rich blacks.
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Distort filters
The Distort filters geometrically distort an image, creating 3D or other reshaping effects.
Note that these filters can be very memory intensive.
Diffuse Glow Renders an image as though it were viewed through a soft diffusion filter.
The filter adds see-through white noise to an image, with the glow fading from the center
of a selection.
Displace filter Uses an image, called a displacement map, to determine how to distort a
selection. For example, using a parabola-shaped displacement map, you can create an
image that appears to be printed on a cloth held at its corners.
This filter creates displacement maps, using a flattened file saved in Adobe Photoshop
format (except Bitmap mode images). You can also use the files in the Plug-Ins/
Displacement Maps folder in the Photoshop program folder.
To use the Displace filter:
1 Choose Filter > Distort > Displace.
2 Enter the scale for the magnitude of the displacement.
When the horizontal and vertical scale are set to 100%, the greatest displacement is
128 pixels (because middle gray produces no displacement).
3 If the displacement map is not the same size as the selection, choose how the map will
fit the image—Stretch to Fit to resize the map, or Tile to fill the selection by repeating the
map in a pattern.
4 Choose Wrap Around or Repeat Edge Pixels to determine how undistorted areas of the
image will be treated. (See “
D
efi
ning undist
or
t
ed ar
eas
”
on page
323
.)
5 Click OK.
6 Select and open the displacement map. The distortion is applied to the image.
The Displace filter shifts a selection using a color value from the displacement map—
0 is the maximum negative shift, 255 the maximum positive shift, and a gray value of 128
produces no displacement. If a map has one channel, the image shifts along a diagonal
defined by the horizontal and vertical scale ratios. If the map has more than one channel,
the first channel controls the horizontal displacement and the second channel controls
the vertical displacement.
Glass Makes an image appear as if it is being viewed through different types of glass.You
can choose a glass effect or create your own glass surface as a Photoshop file and apply it.
You can adjust scaling, distortion, and smoothness settings. When using surface controls
with a file, follow the instructions for the Displace filter. For more information about Glass
filter controls, see “
U
sing t
e
x
tur
e and glass sur
fac
e c
on
tr
ols
”
on page
323
.
Ocean Ripple Adds randomly spaced ripples to the image’s surface, making the image
look as if it were under water.
Pinch Squeezes a selection. A positive value up to 100% shifts a selection toward its
center; a negative value up to –100% shifts a selection outward.
Polar Coordinates Converts a selection from its rectangular to polar coordinates, and
vice versa, according to a selected option. You can use this filter to create a cylinder
anamorphosis—art popular in the 18th century—in which the distorted image appears
normal when viewed in a mirrored cylinder.
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Ripple Creates an undulating pattern on a selection, like ripples on the surface of a pond.
For greater control, use the Wave filter. Options include the amount and size of ripples.
Shear Distorts an image along a curve. Specify the curve by dragging the line in the box
to form a curve for the distortion. You can adjust any point along the curve. Click Default
to return the curve to a straight line. In addition, you choose how to treat undistorted
areas. (See “
D
efi
ning undist
or
t
ed ar
eas
”
on page
323
.)
Spherize Gives objects a 3D effect by wrapping a selection around a spherical shape,
distorting the image and stretching it to fit the selected curve.
Twirl Rotates a selection more sharply in the center than at the edges. Specifying an
angle produces a twirl pattern.
Wave Works in a similar way to the Ripple filter, but with greater control. Options include
the number of wave generators, the wavelength (distance from one wave crest to the
next), the height of the wave, and the wave type: Sine (rolling), Triangle, or Square. The
Randomize option applies random values. You can also define undistorted areas. (See
“
D
efi
ning undist
or
t
ed ar
eas
”
on page
323
.)
To replicate wave results on other selections, click Randomize, set the Number of
Generators to 1, and set the minimum and maximum Wavelength and Amplitude
parameters to the same value.
ZigZag Distorts a selection radially, depending on the radius of the pixels in your
selection. The Ridges option sets the number of direction reversals of the zigzag from the
center of the selection to its edge. You also choose how to displace the pixels: Pond
Ripples displaces pixels to the upper left or lower right, Out From Center displaces pixels
toward or away from the center of the selection, and Around Center rotates pixels around
the center.
Noise filters (Photoshop)
The Noise filters add or remove noise, or pixels with randomly distributed color levels.
This helps to blend a selection into the surrounding pixels. Noise filters can create unusual
textures or remove problem areas, such as dust and scratches, from an image.
Add Noise Applies random pixels to an image, simulating the effect of shooting pictures
on high-speed film. The Add Noise filter can also be used to reduce banding in feathered
selections or graduated fills or to give a more realistic look to heavily retouched areas.
Options include noise distribution: Uniform distributes color values of noise using random
numbers between 0 and plus or minus the specified value for a subtle effect; Gaussian
distributes color values of noise along a bell-shaped curve for a speckled effect. The
Monochromatic option applies the filter to only the tonal elements in the image without
changing the colors.
Despeckle Detects the edges in an image (areas where significant color changes occur)
and blurs all of the selection except those edges. This blur-ring removes noise while
preserving detail.
Dust & Scratches Reduces noise by changing dissimilar pixels. To achieve a balance
between sharpening the image and hiding defects, try various combinations of radius and
threshold settings. Or apply the filter on selected areas in the image.
Documents you may be interested
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