Creating a Stylized Wood Texture and Bump Effect

Creating a Stylized Wood Texture and Bump Effect Photoshop CS3 TutorialsCreating a Stylized Wood Texture and Bump Effect Using Adobe Photoshop CS3 In this tutorial, we will go over the basics of creating a simple wood texture using Adobe Photoshop CS3 using filters and other various tools. We will then use Photoshop to “bake” in a bump effect, making the texture look like it is using a bump map even though it is only a diffuse map.
Setting Up
Create a new image file, 512x512 pixels. (NOT inches!) I prefer to work on a white surface, so I choose White for the Background Contents. Also, be sure the Color Mode is set to RGB, or the filters will not work! Here is a reference image with all of the appropriate settings: I work at a resolution of 72 pixels per inch, since it is the standard resolution for most monitors. I also make it a habit to name the file right away. Click OK when finished.
Laying out the base
First off, we need to choose foreground and background color. Using the Color Picker, set the foreground color to R: 40 G: 25 B: 8. Next, set the background color to R: 60 G: 42 B: 20.
You should have an image now that looks like this:
Tiling the Base Image
Nothing all too fancy yet, but at least now it resembles wood somewhat. One thing to keep in mind is that the Fibers filter makes the image so that tiles horizontally automatically. However, it does not tile vertically. For this, we will need to do a few touch ups. First, use the Marquee Selection Tool to grab a portion of the bottom of the image. About a quarter of the image from the bottom(128 pixels) is enough.
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2D to 3D Effects Using the Displace Filter in PhotoShop

2D to 3D Effects Displace Filter in PhotoShop Tutorial2D to 3D Effects Using the Displace Filter in PhotoShop
A "displacement image" refers to a grayscale image that is used with the Displace Filter in PhotoShop to shift the pixels of a layer in another image. When correctly applied to the layers in both the right and left eye images of a stereo pair, a depth effect results that is often more realistic than converting an image into layers alone. An added benefit of the
technique is that fewer layers are required to achieve depth effects.
The Displace filter technique does not totally preclude creating layers, in fact, layers are still required in most circumstances. Ideally, a good stereo conversion would still consist of an image with layers to define the primary 'planes' of depth; areas where distinct overlap between elements occur. The Displacement filter is applied to the layers to create
'rounding' and enhance the depth effects. The key to successful use of the Displace filter lies in the image used for the displacement image. The displacement image is a grayscale image created with traditional PhotoShop tools (airbrush, burning, dodging, gradients etc.), and saved out as a .PSD. The Displace filter then utilizes this image when applied to the left and right images of a stereo pair. The gray values in the displacement image control the amount of pixel distortion, or shift, in the final image layers. In effect, the displacement image is a painted representation of the depth values; where black is the furthest point and white is the closest. Intermediate gray values define the ‘distance’ in-between. To better understand this principle, let's look at displacement images for some basic geometric objects created in a 3D program:
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Tutorial for Lighting Touch Ups in Photoshop

Lighting Touch Ups in Photoshop TutorialsTutorial for Lighting Touch Ups in Photoshop
It is a little dark and flat, so to balance it out and bring about a more dramatic effect with the light I will adjust the levels in Photoshop. But before I do that I’ll need to copy the sky part of the image into another layer. If I don’t the sky will end up looking burned out: So, copy the top part of the sky and put it into another layer. I used the lasso tool for this step: This won’t get complicated, but it’s still good practice to name layers so I just named this Now back to the background layer. I adjusted the right input level from 255 to about 183. After this I usually add some contrast and adjust the color balance to add a warmer feel to the scene. It’s subtle, but makes a difference. For this image I added, +12 to the contrast and -5 to the yellow midtones.
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Create Films Sets In Photoshop

Photoshop Tutorial Create Films SetsCreate Films Sets In Photoshop
1.Getting started
I started with a sketch that I painted over a photo. I began by
replacing the sky, doing my sketch over several layers so I could place my new sky on top of my sketch and have the foreground elements overlap it. I like to work from back to front, dealing with one element of a sketch at a time.
2. Sky replacement
Using several photos, I extracted the sky from the image using Channels. In the Channels palette I selected the Blue Channel, which had the greatest contrast between the sky and the rest of the image. I duplicated this Channel by clicking and dragging it on top of the Create New Channel icon. With the duplicate channel selected, I typed Ctrl+M (PC) or Command+M
(Mac) to bring up the Curves palette and boost the lights and darks to create a strong silhouette. I cleaned up any stray specs using a hard edge brush, then held down Ctrl (PC) or Command (Mac) and right-clicked on the channel to create a selection. Next, by clicking Ctrl+J (PC) or Command+J (Mac) I extracted the sky from the photo. After combining several sky pieces, I dropped the resulting work into the scene, over my sketch.
3 Distant mountains
Using ‘distantMountains.psd’ on the DVD, I selected the Red Channel and duplicated it like I did in the last step. Using curves, I boosted the contrast, but not as much as I did for the sky extraction. By clicking and holding on the channel and then dragging it into my matte painting I had this new channel to use as a mask. On a new layer above my mountain sketch I added a light colour, sampled from the sky with the Eyedropper tool, and a soft brush. I painted in the highlights of the mountain. The Channel wasn’t exactly the same size as the mountains so I moved the mask around to work on different parts of the mountain.
4.Ground plane
I used the Lasso tool to extract some trees from a photo, for the area beyond the ridge. I used the Layer Mask again to soften the edges. To add the river, I sampled a light colour from the sky and with a standard chalk brush painted it in, on a new layer. Finally,on a new layer with a soft airbrush and the same light sky colour, I painted a soft haze along the base of my mountains to blend the ground plane and the mountains.
5.Rocky mountains
For the larger mountains I began by gathering bits and pieces of tree cover from several photos. I looked for similarland shapes to my sketch. I used my ground plane as a scale reference. Using the Eraser tool I cleaned up my edges to fit over the sketched mountain. For the rocky portions I used the same process but was careful to watch the scale of the rock texture so it was appropriate for the size and distance of the mountain.
6. Re-lighting
The mountains looked flat, so I needed to re-light them. First I duplicated my tree layer: one layer for shadows and the other for light. The shadow layer went underneath. Starting with the shadow layer I applied a colour overlay that was accessed by double-clicking the layer. I chose a dark colour from the sky and brought the transparency of the overlay down until it matched the colour of the shadowy parts of my ground plane. I used curves to reduce the contrast.
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How to Use the Elliptical Marquee Tool

Elliptical Marquee Tool Photoshop TutorialHow to Use the Elliptical Marquee Tool
Select the "Eliptical Marquee Tool"
Click and hold on the icon and then select the "Elliptical Marquee Tool"
Click and drag until the selection is the desired size
Moving the selection
Making a Perfect Circle
How to make the selection grow from the center.
How to make your selection grow from the center as a perfect circle.
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How to Use the Rectangular Marquee Tool

Rectangular Marquee Tool Photoshop CS3 TutorialsHow to Use the Rectangular Marquee Tool
Subject Descriptors: Rectangular Marquee Tool, Transform, Free Transform, Warp, Selection tool.
Application (Version): Adobe Photoshop CS3
Task Description: How do you use the rectangular marquee tool?
Tutorial Date: 19 May 2009, by Arnousone Chanthalyxay
Select the "Rectangle Marque Tool"
Click and drag until the selection is the size that you desire.
- To subtract from the selection hold down "Alt" on your keyboard and then click and drag your mouse
over the selection that you want to deselect.
- To add to the selection hold down "Ctrl" on your keyboard and then click and drag your mouse over
the part of the image that you want selected.
- To rotate the selection move your mouse to the corner of the selection until it turns into a curved
- Click and rotate the selection until the selection matches the angle of your image.
- Shrinking your image will let you see the selection that is outside your image borders.
- To shrink your image press Ctrl + 0 on your keyboard.
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Adobe Photoshop CS3 Extendeds 3D Tools

Photoshop 3D TutorialAdobe Photoshop CS3 Extended’s 3D Tools
We will begin our adventure into the wonderful world of combining our 2D and 3D work in Photoshop CS3 Extended. To begin, open Photoshop Extended and select File – Automate – DAZ Studio Bridge. This will initialize DAZ Studio and open the bridge between Photoshop and DAZ Studio.
Once DAZ Studio is initialized, a new window showing the DAZ Studio 3D Bridge Options will also be visible. This is what you will use to transport your 3D objects between the applications. From this window you can also Close DAZ Studio, Preview Your Image, Render to a New Layer, Import your Current Scene into Photoshop, Import and Export Image Maps, or Close the window. If you would like more information on what these options do, please read the 3D Bridge Help PDF for more information.
Once inside DAZ Studio, you set a scene as you normally would with whatever models, textures, lights, and cameras you would like. Keep in mind that you will be taking the scene into Photoshop once done so the more items in your scene, the more memory intensive the process is. If higher polygon counts are troublesome in DAZ Studio or Poser on your current system, you should try using singular items or items with lower polygon counts to see how your system handles.
Once you have everything posed and setup in your scene the way you want it, go back to your Photoshop CS3 Extended window and select Import Scene to CS3 from the DAZ Studio 3D Bridge Menu Window.
A dialog box will appear in DAZ Studio asking you whether you want the maps for the items resampled and if so what Max size you want them to be as well as whether you want to Export your Lights and Cameras. Resampling the textures to lower resolution may help those with less RAM and those on slower systems so keep that in mind if you are having issues.
Once you have selected the options you want, simply press Accept and your 3D scene will be transported into Photoshop. Adobe Photoshop CS3 Extended’s 3D Tools Ebook pdf Download