With Photoshop, you can simulate almost any organic texture that you can imagine. The hard part is choosing from the many possible routes for generating textural variations in tone and color.
It has been hard for me to think of a way to teach you all of the possible texturing methods in an orderly fashion. As you will see in a moment, there are multiple choices at every step in the process. What I’ve ended up doing is generating one rather overdone texture that uses all of the major methods. As I am demonstrating the steps, I will point out the many, many other possible choices that you will have when making your own textures.
This abundance of possibilities is both the best and worst thing about making textures in Photoshop. You are swamped with options. Even worse, most of the available choices generate equally terrific (though different) results—which means you will shortly be drowning in extraordinary textures. Decisions, decisions, decisions. If you think I am exaggerating, sit down and follow me through this lesson. At the end you will admit that I am right.
Please note that this tutorial is for more advanced users of Photoshop. While beginners should be able to follow my instructions, the how and why of what is going on will be very confusing. You may want to save this lesson as the last one you do from my Web site.
Base layer after Clouds and Grain
| Start by making a new document (File > New), eight inches by eight inches, resolution 72 ppi, mode RGB, content white. When making your own textures, be aware that document resolution affects filter results so settings must be adjusted accordingly. Click on the New Layer button at the bottom of the Layers palette to make a new layer.Open the Swatches palette and scroll down to find the Light Warm Brown swatch. Click on that to make it your foreground color and then use Alt-backspace to fill the new layer with that color.  Go back to the Swatches palette and click on the Pale Cool Brown swatch to make that your foreground color. Press the Ctrl key and click on the Dark Warm Brown swatch to make that your background color. Then choose Filter > Render > Clouds (the Clouds filter uses the current fore and background colors). Immediately after you have applied the Clouds filter, choose Edit > Fade Clouds. You must not make any edits or changes to your document between the time that you apply the filter and when you choose Fade Clouds. The Fade command is only available immediately after you have completed the process that will be faded (you can fade filters, fill, adjustments, and brush strokes).  One of the especially nice things about the Fade command is that it has Preview. This means you can see the effect of the different blend modes or opacities before you apply them. This is a very handy option when building textures since the blending affects how the filter is applied to the colors on the current layer. Please note that the layer blend mode in the Layers palette affect how the colors on the current layer mix with the other layers below. Organic coloring needs to be irregular. By applying a random filter such as Clouds (followed by other roughening filters, as you’ll see in a moment) using a blend mode to allow mixing and discoloration rather than replacement is a fast way to get a good base layer. In the Fade Clouds dialog, change the blend mode to Overlay, and the Opacity to 50 %.  Next, choose Filter > Texture > Grain. In the Grain dialog, set Intensity to 10, Contrast to 50 and Grain Type to Contrasty.  If you are trying to make skin textures, this filter can be useful for adding the subtle variations in coloring. Use either the Contrasty, Clumped, or Enlarged settings under Grain Type, and use Intensity settings of 5-15. Set Contrast to whatever looks good after you have set the type and intensity. Unlike the current texture, you would start with either no Clouds, or a lower opacity in the Fade Clouds command to minimize the large tonal variations. You saw the results of what has been done so far in the large illustration at the start of this section (above). That is my base layer. It sets up the main coloring along with some random tonal variation. Press and hold the Alt key as you click the Add New Adjustment or Fill Layer button at the bottom of the Layers palette (the black and white circle). From the menu, choose Pattern. In the New Layer dialog that appears, change the Mode to Overlay. One of the more annoying things about using a Pattern Fill layer is that you can’t change the blend mode from within the Pattern Fill dialog. You can do it before or after you have added the pattern. But then, when you can change the mode, you can’t change the pattern. You have to double-click the pattern thumb in the Layers palette, change the pattern, exit, and then try more blend modes. Tiresome. If you don’t know what Mode you are going to want to use (I rarely do), try starting with Overlay or Soft Light. Those are fairly moderate blends that will let the pattern mix with the existing document coloring enough to give you can idea of which pattern you want.  After clicking OK to get out of the New Layer dialog, you will get the Pattern Fill dialog. The most important part of this dialog is the Scale feature. I can’t stress this enough. A pattern seen at 100 % scale is totally different in appearance, effect, and possible uses from the same pattern at 500 % scale. Be sure to play with the scale setting whenever you apply a pattern fill to see exactly what scale gets the effect you want. First, you need to pick a pattern. Click on the pattern thumbnail to get the pattern pop-up palette. Click on the little right-pointing arrow in the upper right corner of the palette to get the palette menu. From the menu, choose Artist Surfaces. In the alert that appears next click on the Append button.  As soon as that palette has loaded, go back to the menu and choose Texture Fill. Again, choose Append in the alert dialog. Go back to the menu a third time and load the Texture Fill 2 palette, also choosing Append. These are your texture patterns. Go back to the palette menu one last time and choose either Small List or Large List to show the pattern thumb with its name. Now click on the thumb that is showing to open the palette and click on the topmost pattern. This puts focus into the palette. Press the down arrow key on your keyboard to cycle through all of the patterns, one after the other until you see one that you like. I used the Weave 3 pattern and set Scale to 200 %.  Click OK to exit the Pattern Fill dialog. In the Layers palette, change the Fill Opacity for that layer to 50 %. If you want to check and see if another blend mode might be better, click in the blend mode menu in the Layers palette (upper left corner) to get focus there, and then use the down and up arrow keys on your keyboard to cycle through the modes. With the Pattern Fill layer still selected in the Layers palette, make sure black and white (or white and black) are your fore/back colors (and not shades of gray), then choose Filter > Render > Clouds. Follow that with Filter > Artistic > Watercolor. Use the settings shown below.  Both of these filters have been applied to the Pattern Fill’s layer mask. The black, white and gray tones on the mask cause uneven, random application of the pattern fill to the base layer. If you want the mask to be either more or less in effect (darker or lighter), or to have harsher transitions (more contrast), you can use Image > Adjustments > Levels to work on the brightness and contrast of the mask (I did not use it here). The Layers palette at this point should look like this.  Below you can see what the filtered mask on the Pattern Fill layer looks like by itself (Alt-click on the mask to see it without the image). Following the mask illustration, you can see what the texture looks like at this point. | ||
 Mask (shown alone) on Pattern Fill layer |
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Image so far with Pattern Fill layer over base layer
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