Mastering Photoshop Techniques: Layer Styles

Layer Styles are nothing new. They’ve been used and abused again and again. Despite their ubiquity, or perhaps because of it, many designers do not yet realize the full potential of this handy menu. Its beauty lies in our ability to create an effect and then copy, modify, export, hide or trash it, without degrading the content of the layer.

Below we present, step by step, several practical techniques to help you refine your designs, increase productivity and reduce layer clutter. You will find more useful Photoshop techniques and tutorials in our hand-picked selection, Best of Photoshop on Smashing Magazine.

Download the source files (.zip, 1.6 Mb).

The Bump Map Effect

“Wait, what?” you exclaim, “There’s no bump map effect in the Layer Styles menu!” That’s true, but by combining Pattern Overlay and Bevel and Emboss, we can achieve a textured, bump-mapped surface with a controllable light source.

This technique requires two images: one for texture and color, and the other to serve as a depth map. The depth map needn’t have any hue because it determines depth based on a composite value, black being the lowest, white the highest. In some cases, you may be able to use the same image for both, but in our example we’ll use completely different ones.

STEP BY STEP

1. We’ll start by creating our bump map pattern. Open the diamond-plate.psd file.
2. Inside you’ll find a number of white shapes on a black background. Create a pattern from this document: Select All (Cmd/Ctrl + A), then “Edit” → “Define Pattern.” Name it “diamond plate bump map” and click okay.
   
   Creating the diamond plate pattern.
3. Now, open the start.psd file.
4. Repeat step 2 to create a pattern from the “patchy gray” layer. This will be used later to add texture to our background.
   
   Defining the texture pattern.
5. After creating the pattern, delete the “patchy gray” layer. It’s no longer needed.
6. Use the Rectangular Shape tool to create a shape layer about 20 pixels wider and 20 pixels higher than the canvas. Change the color of this layer to a dark, brownish, chromatic gray.
   
   Creating the shape layer for our background.
7. Be sure that the shape layer doesn’t have any Layer Styles already applied to it (Photoshop will often apply the most recent Layer Style automatically). Then, begin the new Layer Style by adding a Pattern Overlay.
   
   Adding a Pattern Overlay effect.
8. Choose the “patchy gray” pattern from the pattern picker, and change the Blend Mode to Soft Light. This will add the texture to our background layer.
   
   
   Adding a pattern overlay effect.
9. Next, add a Bevel and Emboss, along with the Texture effect. This time, change the Texture effect’s Pattern to the “diamond plate bump map” pattern created in step 2. We now have a grungy diamond plate background.
   
   
   Applying the Bevel and Emboss texture effect.
10. As with most Layer Style effects, the default values are rarely ideal. By tweaking the Bevel Type and Size, Gloss Contour, Highlights, Shadows and Light settings you can achieve some dramatic results.
    
    
    Tweaking the Bevel and Emboss settings.
11. With a few extra effects, you can shape the background layer even more. The example has a Gradient Overlay to simulate reflected light by darkening certain regions of the image.
    
    
    Using the Gradient Overlay to darken some regions.
12. You may notice that the highlights from the Bevel and Emboss filter all seem to have the same value. This is because the Bevel and Emboss effects are very high on the Layer Style’s stacking order. To darken the highlights that lie outside our main light source, simply paint a Layer Mask using the Brush tool.
    
    Painting a mask to increase the appearance of light in the background.

We now have a textured, bump-mapped background that is completely dynamic; everything about it can be modified easily from within the Layer Styles menu. Consolidating complex imagery into one dynamic layer like this can reduce layer clutter dramatically and allows you (and whoever else may be using the file) to easily find and modify things. Now, let’s move on to creating our icon.

3-D Modeling

By combining some interior effects, we can use the Layer Styles menu to create simulated 3-D objects: great for icons, buttons and other interface objects. We’ll now model the base of the round icon in the example image using a single layer.

STEP BY STEP

1. Begin by creating a circular shape layer with a rich red fill.
   
   Creating the shape layer for the icon’s base.
2. As is often the case when modeling a 3-D shape, let’s begin by adding a Gradient Overlay to our Layer Style. A white-to-black Radial-styled gradient set to Linear Burn works best for our implementation. Be sure the white area of the gradient is at the origin.
   
   Adding Gradient Overlay set to Linear Burn.
3. We now have a dramatically shaded sphere with a head-on light source. By decreasing the opacity of the gradient, we can flatten the shape to a more concave button.
   
   Reducing the Opacity for a subtler effect.
4. Let’s also move the direction of the light to the upper-left. While leaving the Layer Style menu open, move the mouse over the image itself (the Move Tool icon should appear). Simply click and drag the epicenter of the gradient to the upper-left of the shape layer.
   
   Repositioning the gradient within the Layer Styles menu.
5. While Bevel and Emboss may seem like more logical tools, you can often get a cleaner, more customizable beveled look by using a combination of other effects. First, add a black Inner Glow, set to Multiply. Adjust the Choke, Size, Opacity and Contour until you have a softened edge inside the shape.
   
   
   Adding a Glow to darken the edge of the base.
6. Like for any well-rendered spherical surface, we have to add some reflected light in our shadow region. This is easily achieved with the Inner Shadow effect. Change the color to white and the Blend Mode to Linear Dodge. Adjust the angle so that it appears in the lower-right of our shape. Tweak the Contour, Distance, Size and Opacity to create a subtler effect.
   
   
   Adding subtle reflected light using Inner Shadow.
7. To enhance the feeling that the shape is part of the document’s “environment,” we can add some effects to interact with the background. Drop Shadow is usually the easiest tool to use for this. Massage the settings until everything feels right.
   
   
   A simple Drop Shadow goes a long way.
8. Using the Outer Glow effect, we can simulate the reflected red light that our background image would absorb if this were an actual setting. Change the glow’s color to a darker red, and change the Blend Mode to darken. Again, work with the Size and Opacity settings to create the desired effect. This is one of those effects that, when used correctly, no one should notice because it just looks natural.
   
   
   A red Glow to add more “environment.”

Please notice that Layer Style gradients can’t be dithered, which can make them lower quality than their Gradient Layer and Gradient Tool counterparts (— Marc Edwards).

Diffuse vs. Specular Light

Now, our icon reflects a simulated diffuse light, which gives it the look of a matte-finished surface. If you prefer a glossier appearance, you can easily create a specular highlight using (what else?) Layer Styles.

STEP BY STEP

1. Duplicate the current shape layer (Cmd/Ctrl + J).
2. Clear the new layer’s Layer Styles: right-click the layer in the Layers palette and select “Clear Layer Style.”
3. We also need to modify the shape of the layer to give the reflected light a sharper edge. Using the Direct Selection Tool (A), select the shape path in the layer’s vector mask. Copy it (Cmd/Ctrl + C) and paste it (Cmd/Ctrl + V) above the current path. Change this path’s mode to Subtract from shape area (-). Then move the shape down and to the right to create a crescent shape. You may also want to make the negative shape larger to create a more natural inside curve: simply Free Transform (Cmd/Ctrl + T) and then scale the shape up.
   
   Modifying the shape of the specular highlight.
4. Because we need this layer only for its Layer Styles, we can set its Fill Opacity to 0%.
   
   Dropping the layer’s fill to 0%.
5. We also want this layer to inherit the Layer Styles of the underlying layer, so create a Clipping Mask on the new layer (Cmd/Ctrl + Option + G).
   
   Creating a Clipping Mask to inherit effects.
6. Now, begin the Layer Style with a Gradient Overlay. Use the default black-to-white gradient, and set the Blend Mode to Screen. Knock the Opacity down to about 50%, and change the angle to about 115°. You may need to change the positioning of the gradient, which you can do by clicking and dragging inside the document window, just as you did in the 3-D modeling section.
   
   
   Setting the Gradient Overlay to Screen.
7. This is a good start for the highlight, but it still looks somewhat unnatural. Using a transparent inside stroke, we can shrink the perimeter of the interior effects. Add a Stroke effect to the layer and drop its opacity to 0%. Change the position to Inside, and work with the size slider until the highlight begins about where the darker inner glow ends on the underlying layer (the example image uses 5 pixels).
   
   
   Using a 0% Inside Stroke to shrink the perimeter of interior effects.
8. To add a more dynamic look to your highlight, you can add a white Inner Shadow set to Screen with a custom contour. Tweak the distance and size settings to finish off the effect.
   
   
   The Inner Shadow creates a more dynamic specular reflection.

X-Ray Vision

STEP BY STEP

To create the die-cut type inside our icon, we could turn the text layer into a shape layer and use the paths to mask away areas from the base. However, this would result in degenerated content; we would no longer be able to modify the type. Instead, we’ll simulate a mask using the Knockout Blending Option. This will also allow us to apply custom effects to the cut-out area.

1. Create a new Type Layer with the text “fx”, and position it within the circular base. The example uses 120 point Garamond Bold Italic.
2. Drop the Fill Opacity to 100%.
3. Begin your Layer Style by adding an Inner Shadow. Increase the size, and increase the opacity to about 90%. You may also want to modify the distance and contour to your liking.
   
   The beginnings of the die-cut effect.
4. We now have the beginnings of a die-cut effect, except that the text still shows the base below it. To fix this, go to the Blending Options section in the Layer Styles menu. Change the Knockout from None to Shallow (this setting samples pixels from the layer directly beneath the current layer’s group). Because our text layer doesn’t belong to a layer group, it samples instead from the Background layer. (Using a Deep Knockout would always sample from the Background layer, regardless of the layer’s group.)
   
   
   Shallow Knockout samples pixels from the layer directly beneath the current layer’s group.
5. To get the text layer to sample from our diamond plate layer, start by clicking “Okay” to close the Layer Style menu. Select the text layer and both of the buttons that make up the base, and group the layers (Cmd/Ctrl + G). As you can see, the “fx” shapes are now drawing pixels from the textured layer directly below the new layer group.
   
   Grouping the icon so that the Knockout samples from the diamond plate layer.
6. The knockout effect is very convincing, but the type still feels detached from the base. Let’s add a beveled effect to simulate the surface quality of the base. Start by adding an outside Stroke with a size of 2; then drop the opacity to 0%. This doesn’t achieve anything but is necessary for the next step.
7. Now add a Bevel and Emboss effect. Change the Style to Stroke Emboss and Technique to Chisel Hard. This will apply the bevel’s lighting effects within the stroke area created in the step above. Modify the settings to achieve a subtle and smooth edge.
   
   
   Adding a Stroke Emboss.
8. Let’s take the bevel one step further by adding a thin specular highlight to the bottom-right edges of the shape. We can use a white Drop Shadow effect, set to Screen, to add a bright highlight just at the edge of the bevel. You’ll want to modify the distance and size to give the highlight a sharp edge.
   
   
   Adding a thin specular highlight using a Drop Shadow.
9. Finish off the Layer Style with more shading within the die-cut letters by adding a simple black-to-white Gradient Overlay, set to Multiply.
   
   Finishing off the die-cut.

Quick Tips

Despite frequent misuse, the Layer Styles menu really is a powerful tool that every designer should learn to work with. Not only does it provide a level of speed and control not easily found through other means, but it provides invaluable flexibility. Our example shows how a multi-dimensional icon and a completely dynamic background can be consolidated within four simple Shape layers, allowing them to be easily modified, reused and repurposed throughout your designs. Below are a few extra tips to remember when working on your next project.

EFFECTS STACKING ORDER

You may have noticed sometimes that an effect isn’t visible when another effect is being used. For example, a Color Overlay seems to override a Gradient Overlay. This is because of the Layer Styles Stacking Order. Just as with the Layer’s Palette, one layer will cover another that is lower down in the stacking order. Unfortunately, the Layer Styles menu doesn’t allow you to rearrange the order of effects. One way around this (even if you sacrifice the ability to edit) is to use Create Layers, which turns all of your Layer Style effects into actual layers that you can move.

Interior Effects Stacking Order:

• Stroke
• Bevel and Emboss
• Inner Shadow
• Innger Glow
• Satin
• Color Overlay
• Gradient Overlay
• Pattern Overlay

Exterior Effects Stacking Order:

• Stroke
• Outer Glow
• Drop Shadow

NON-COLOR-SPECIFIC STYLES

Though not always possible, you may want to use black, white and grays for your effects. Using monochromatic colors in conjunction with the proper Blend Mode allows you to create styles that are non-color-specific, meaning you can modify the color of the actual layer, and your Layer Style will update appropriately.

SCALING EFFECTS

There may be times when you’ve created a Layer Style that looks great at the original size, but when the shape is increased or decreased, your beautiful style is destroyed. Fortunately, Photoshop provides a method to adjust styles that are out of whack. Simply choose Layer → Layer Style → Scale Effects, and then input the percentage you need.

INCONSPICUOUS MENU OPTIONS

A number of hidden commands are available to you from within the Layer Styles menu. Depending on the effect, you will have access to either the Hand tool or the Move tool by simply mousing over the document window. The Hand tool allows you to move the document around just as you would outside the Layer Styles menu, and the Move tool repositions the current effect and updates the settings automatically. When using the Move tool, you can still access the Hand tool by holding the space bar. While using either of the tools, you can zoom in and out by holdingSpace + Cmd or Space + Option respectively. Don’t forget, as with most other menus in Photoshop, holding “Option” will change the “Cancel” button to a “Reset” button, allowing you to undo any changes.

Techniques For Creating Custom Textures In Photoshop

Textures are everywhere — the concrete of a sidewalk, the fabric on your chair, even the glass (or plastic) surface of the screen you’re staring at right now. It’s natural that textures appeal to us because we see and feel them every day. And it’s no surprise why textures have become such an important element in design — so important, in fact, that I want to share with you the tricks and tools to create your own textures using Photoshop.

Photoshop isn’t just for retouching images or manipulating photos. It can be used for so much more, such as creating your own textures — as long as you know where to look. In this article, I will present a foundation of techniques to help you build custom textures. I’ll go over three Photoshop features that I rely on to do most of my texturing — filters, layer styles and brushes. Before we jump in, I want to demonstrate the importance of textures. Consider the image below:

A comparison of textures. (View large version)

In the image above, we see a scene with no textures. (OK, there is one texture, flat gray. Without at least one texture, the image would not exist.) The second image (right) shows a scene fully textured (the wood on the frame, the dusty table top, the fabric on the chair, etc.). In fact, this entire image was created in Photoshop (without the use of external images), using many of the techniques outlined in this article. Note that this article explores how to create textures, but if you’re interested in learning more about using texture as an element in design, some additional reading is included at the end of this article.

Texturing With Filters

Filters are still viewed by many as cheap gimmicks that have no real applicable function in Photoshop. (I know, I used to be on that side of the fence.) On the contrary, Photoshop filters are extremely powerful effects that, when used properly, can produce some amazing results. If filters are not a part of your normal Photoshop workflow, I encourage you to take another look at these underappreciated effects and use the tips below to get started.

APPLY A FILTER TO A FILTER

No one ever said that you can apply only one filter. Instead, try adding a second or third or more. Experiment with multiple filters and see how they interact with each other to create new effects. The Filter Gallery panel (Filter → Filter Gallery) even has a filter stack where you can preview how multiple filters work together. The image below demonstrates how the Craquelure filter becomes much more interesting simply by applying it to the Reticulation filter via the Filter Gallery.

The Craquelure filter applied to the Reticulation filter in the Filter Gallery panel. (View large version)

Let’s take another look at how some filters work together to create custom textures. The image below shows a basic example of this.

A coarse texture created with multiple filters. (View large version)

The image below depicts the steps necessary to recreate this texture. The texture begins with a blank canvas (left). Adding the Noise filter (Filter → Noise → Add Noise) (middle) introduces randomness to the scene and sets up a good foundation for the next filter. Because filters work by manipulating the pixels on a layer, the order in which you apply filters is important. So, by applying the Emboss filter (Filter → Stylize → Emboss) on top of the Noise filter, a new texture is created (right).

Three steps to create a simple texture. (View large version)

Furthermore, some filters just produce better results when applied more than once. Consider the image below of the circled grid. Applying the Spherize filter (Filter → Distort → Spherize) produces only a mild result (middle). However, applying it a second time creates a more believable sphere (right).

Some filters work better when applied more than once. (View large version)

Tip: Convert a layer to a Smart Object before applying a filter to enable Smart Filters. Smart Filters are non-destructive and can be edited on the fly.

Experiment with different combinations of filters to see how they interact with each other. Soon, you’ll be able to predict how a filter might work with another filter to create a particular effect. Lets move on to the next tip.

SOME FILTERS NATURALLY TILE

Tiling textures, while desirable, often takes a lot of time and effort — why not let Photoshop do most of the work for you? Some filters (such as Clouds and Noise) will naturally tile when the document is sized in powers of 2 (for example, 256 × 256, 512 × 512, even 512 × 1024). If you start with one of these textures as a base and build on top of it, you’ll find that you can quickly create some complex textures that tile with little or no additional effort. The image below shows an example of a texture that was created by using the Clouds filter as a starting point.

Wood texture created with the Clouds filter as a base. (View large version)

As stated, this texture starts with the Clouds filter (Filter → Render → Clouds) applied to a document that’s sized to 1024 × 1024 pixels. Similar to Noise, the Clouds filter provides some randomness that works nicely with other filters.

Clouds filter applied to a blank document. (View large version)

At this point, we are free to adjust the dimensions of the image without harming its ability to tile. Therefore, by adjusting the size via Image → Image Size, we can squish the texture while keeping it tileable (left). Now, if we add the Posterize effect (Image → Adjustment → Posterize), we can break up the texture into a number of gray shades with more defined edges (middle). The Find Edges filter (Filter → Stylize → Find Edges) will isolate just those edges, producing the start of a wood grain pattern (right).

A stretched Clouds filter becomes wood grain. (View large version)

To learn the entire process of how this texture was created, check out my “Custom Wood Texture in Adobe Photoshop” tutorial.

Texturing With Layer Styles

Layer styles are another way to introduce texture into a scene. They offer additional options to embellish the contents of a layer. Experimenting with each setting in the Layer Styles panel in order to learn how they work is always a good practice. Below are some tricks I use when working with layer styles.

BLENDING MODES

When building textures in Photoshop, blending modes do exactly what they say: blend. Multiple layers of textures can seamlessly blend into a single, complex texture, as seen below:

The texture on the tabletop was created by blending multiple textures. (View large version)

Tip: Working with grayscale textures when using blending modes makes blending much easier to control (color can always be added later).

When you’re trying to build complex textures, knocking it out in one attempt can be difficult. Instead, try to break down a complex texture into a set of simpler sub-textures. Consider the texture of the tabletop in the four images below. Each image represents a simple texture that was blended together with the others to create a more complex final texture.

The texture on the tabletop was created by blending multiple textures. (View large version)

ADVANCED BLENDING AND “BLEND IF” OPTIONS

Using layer styles might be an obvious choice, but many people often ignore the “Advanced Blending” section in the default Layer Styles panel. Hidden in plain sight are some of the more powerful blending options. Here, you can decide how a layer mask will affect a style: Will it hide a layer style or just confine it to the visible portion of the layer? Towards the bottom of the menu are the “Blend If” sliders. These sliders can easily produce complex blending effects.

The Layers Style panel contains the often overlooked “Advanced Blending” and “Blend If” options. (View large version)

Take the image below. The glossy texture on the paint was created with minimal effort using the “Blend If” sliders.

An image of a paintbrush created using various techniques in Photoshop. (View large version)

The “Blend If” sliders control how a layer is blended into the layers beneath it, as illustrated in the images below. The initial layer of paint (left) appears too flat but has just enough variation to allow the “Blend If” sliders to work. Next, broad areas of white are painted onto a new layer (right) to define where the blending will take place. Adjusting the “Blend If” sliders of the white layer will produce that glossy effect in the image above.

Steps in creating a glossy texture. (View large version)

Tip: When using the “Blend If” sliders, hold Option or Alt while adjusting the sliders to separate them, making for a smoother blend.

The “Blend If” sliders separated.

To learn more about how this image was created, check out my “Create a Paint Brush in Photoshop” tutorial.

DUPLICATE LAYER STYLES

Sometimes a layer will benefit from having two of the same layer styles with different settings. In past versions of Photoshop, accomplishing this without using destructive techniques was difficult. With the introduction of Smart Objects in CS2 — and now with the ability to add layer styles to layer groups in CS6 — Photoshop makes it easy to use and reuse multiple layer styles on the same layer. This technique was used to create the liquid and the glass bottle in the scene below.

Wine bottles and wine glasses created with the aid of duplicate layer styles. (View large version)

Examining just the liquid from the scene, it starts with a generic shape on its own layer (left). The Inner Shadow and Gradient Overlay layer styles were assigned to the layer (middle). The layer was converted to a Smart Object, which allows you to edit the layer styles in future. Next, the same two layer styles (Inner Shadow and Gradient Overlay) were reapplied to the Smart Object (right) using different settings to achieve a more complex effect.

The liquid shape with duplicate layer styles. (View large version)

Examining the image above, you can see how creative we can get with layer styles. For example, in the middle image, the Gradient Overlay layer style was applied as a large, soft gradient that acts almost as a vignette around the top and bottom of the shape. In the last panel, the Gradient Overlay was treated much differently. It’s applied as a small, tight gradient that becomes the traditional bulb shape on the bottom of a wine bottle.

To learn more about how this was created, check out my “Create a Wine Bottle and Glass With Smart Objects” tutorial.

Texturing With Brushes

Using brushes is a great way to apply textures manually. If you’re into digital painting, then you probably know of several techniques using the Brush tool. However, being talented at digital painting is not required to effectively use the Brush tool. The following tips will reveal some more advanced methods of using this tool.

LEARN THE BRUSHES PANEL

This might sound pretty basic, but many people only stick to the “Hardness” and “Size” settings. Adjusting the settings in the Brushes panel (Window → Brush) can quickly extend the use of any brush. It gives you the options to fine-tune the behavior of a brush, making it more random and, thus, more natural. This is how I created some of the elements in the image below (such as the pencil’s highlights).

A pencil and paper scene created in Photoshop. (View large version)

To create the realistic highlights, I adjusted the “Shape Dynamics” and the “Scattering” settings in the Brushes panel (left). By changing the settings and size, I was able to produce a number of brush strokes that look more fragmented and more natural (right). Each brush stroke represents a different highlight that went into the pencil.

Different brush strokes produced with the Brushes panel. (View large version)

Tip: Another great feature of the Brushes panel is that it allows you to test the brush while editing it, which makes quick work of setting up the right brush for the job.

To learn more about how this scene was created, check out my “Create a Realistic Pencil Illustration in Adobe Photoshop” tutorial.

CONSIDER CUSTOM BRUSH SHAPES

Sometimes, just tweaking the settings of an existing brush isn’t enough. Creating a new brush shape (via Edit → Define Brush Preset) opens up more possibilities for achieving natural-looking textures. Brush shapes don’t have to be complex to be effective — I typically work with simple shapes and adjust the settings to fit my needs. A good example of this is the scratches that appear on the paintbrush’s wooden handle in the image below.

The distressed handle of a paintbrush. (View large version)

The scratches were created by drawing a simple shape, just like the one in the image below (left). Selecting Edit → Define Brush Preset will add the brush shape to your brushes library. Using the technique from the previous step and adjusting the “Shape Dynamics” and “Scattering” settings in the Brushes panel, we can create a brush that shows scratches (middle). The image on the right shows the brush in use.

A custom brush shape used to add texture. (View large version)

USE THE BRUSH TOOL TO PAINT WITH LAYER STYLES

This next technique allows you to literally paint with texture. It combines the Brush tool and layer styles to easily create some complex texturing effects. The trick is to set the layer’s “Fill” setting to 0% in order to hide the brush strokes and focus on the layer style. The image below demonstrates the technique. In this case, I used the technique to paint dents onto the metal frame.

Worn-out sign with dented metal frame. ( View large version)

The technique works best when you use a brush shape that already has some variation. This could be a custom brush or one of Photoshop’s several preset brushes, such as the “Charcoal 59 px” brush seen in the image below.

The Charcoal preset brush. (View large version)

Following one of the previous techniques, I’ve used the Brushes panel to adjust the “Shape Dynamics” and “Scattering” settings to produce more variation in the brush’s actual stroke, as seen in the image below (left). Before using the brush, just create a new layer with a Bevel and Emboss layer style, and then set the “Fill” setting to 0% (which will hide the stroke color but keep the layer style visible). Now, when painting on this layer, you can literally paint with texture (right).

Using a custom paintbrush to paint with texture. (View large version)

To learn more about how the metal sign was created, check out my “Create a Retro Sign from Scratch Using Advanced Techniques in Photoshop” tutorial.

Texturing With Images

While these textures technically weren’t created from scratch, I thought this was important enough to address. Using textures from existing photos or scans can be a quick and effective way to work. However, the most common pitfalls are using the textures in the wrong perspective, using them with incorrect lighting or making them appear flat. Fortunately, these are easy to avoid and some great articles address this.

Conclusion

As we have seen, creating high-quality textures for art or design doesn’t require the talent of an artisan painter. All it takes is a little understanding of Photoshop and knowledge of the tools and how to manipulate them to get the effect you desire. Hopefully, you’ve learned some new tricks and techniques that will help you in your next project.