Photoshop for Lunch™ - Create Backgrounds for Projects - Halftones, Sunburst, Patterns | Helen Bradley | Skillshare

Photoshop for Lunch™ - Create Backgrounds for Projects - Halftones, Sunburst, Patterns

Helen Bradley, Illustrator for Lunch™ & Photoshop for Lunch™

Photoshop for Lunch™ - Create Backgrounds for Projects - Halftones, Sunburst, Patterns

Helen Bradley, Illustrator for Lunch™ & Photoshop for Lunch™

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4 Lessons (21m)
    • 1. Photoshop for Lunch™ - Make Project Backgrounds - Introduction

    • 2. Photoshop for Lunch™ - Make Project Backgrounds - Part 1

    • 3. Photoshop for Lunch™ - Make Project Backgrounds - Part 2

    • 4. Photoshop for Lunch™ - Make Project Backgrounds - 3

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About This Class

Photoshop for Lunch™ is a series of short video courses you can study in bite size pieces such as at lunchtime. In this course you'll learn how to make backgrounds to use for logos and elements you create in Photoshop. You will see how to make a sunburst, a halftone gradient and a custom colored and lit pattern background.This is one of the backgrounds we will make::


More in the Photoshop for Lunch™ series:

Photoshop for Lunch™ - Create a Color Scheme Graphic

Photoshop for Lunch™ - More Patterns - Diagonal Stripes, Chevrons, Plaid, Colorful Polkadots 

Photoshop for Lunch™ - Create Text on a Path - Paths, Type, Pen tool

Photoshop for Lunch™ - Create an Award Badge and Ribbon - Shapes, Warp, Rotate  

Photoshop for Lunch™ - Color a Sketch with a Texture - Masks, Dodge/Burn, Hue/Saturation 

Photoshop for Lunch™ - Create Mockups to Use and Sell - Blends, Smart Objects, Effects

Photoshop for Lunch™ - Create the Droste Effect with Photoshop and an Online Tool 

Photoshop for Lunch™ - Layered Paper Collage Effect - Layers, Layer Styles, Gradients,

Photoshop for Lunch™ - Cutout & Frame Photos - Clipping Mask, Layer Mask, Rotation, Shapes

Photoshop for Lunch™ - Get Your File Size Right Every Time - Size Images for Web & Print 

Photoshop for Lunch™ - Seamlessly Blend Two Images - Masks, Content Aware Fill

Photoshop for Lunch™ - Set up Colors, Tints and Shades for Working Smarter in Photoshop

Photoshop for Lunch™ - Folded Photo Effect - Gradients, Guides, Stroke, Drop Shadow 

Photoshop for Lunch™ - Surreal Collage Effect - Paths, Cloning, Warp, Blend 

Photoshop for Lunch™ - Make Custom Shapes - Combine, Exclude, Intersect & Subtract

Photoshop for Lunch™ - Pattern Bombing Effect - Patterns, Selections, Mask, Warp, Vanishing Point

Photoshop for Lunch™ - 10 in 10 - 10 Brush Tips in 10 Minutes or Less 

Photoshop for Lunch™ - 10 Blend Tips in 10 minutes 

Photoshop for Lunch™ - Patterns as Photo Overlays for Social Media 

Photoshop for Lunch™ - Whimsical Rotated Patterns 

Photoshop for Lunch™ - From Ho Hum to WOW - Everyday Photo-editing Made Easy

Photoshop for Lunch™ - Pattern Making - Seamless Repeating Patterns

Photoshop for Lunch™ - Draw a Fantasy Map - Brushes, Patterns, Strokes & Masks

Photoshop for Lunch™ - Clean & Color Scanned Line Art

Photoshop for Lunch™ - Create HiTech HUD Rings - Repeat transform, Filters & Textures

Photoshop for Lunch™ - Text Over Image Effects - Type, Glyphs & Layers

Photoshop for Lunch™ - Hi-tech Mosaic Effect - Brushes, Patterns & Pixelization 

Photoshop for Lunch™ - Make a Photo Collage for Social Media - Masks, Selections & Patterns

Photoshop for Lunch™ - Making Kaleidoscopes - Rotation, Reflection & Smart Objects

Photoshop for Lunch™ - B&W, Tints & Isolated Color Effects - Adjustment Layers, Masks & Opacity

Photoshop for Lunch™ - Pattern Bombing Effect - Patterns, Selections, Mask, Warp, Vanishing Point

Photoshop for Lunch™ - Photo Texture Collage - Gradient Map, Blending & Textures

Photoshop for Lunch™ - Grid Collage for Social Media - Clipping masks, Shapes & Layer Styles

Photoshop for Lunch™ - Vintage Image Cutout Effect - Selections, Drop Shadows, Transparency

Photoshop for Lunch™ - Snapshot to Art - 3 Photo Effects - Faux Orton, Gradient Map, Tritone

Photoshop for Lunch™ - Paint a Photo in Photoshop - Art History, Color, Texture

Photoshop for Lunch™ - 4 Most Important File Formats - Choose & Save As: jpg, png, pdf, psd

Photoshop for Lunch™ - Turn a Photo into a Pattern - Selection, Filter, Pattern Swatch

Photoshop for Lunch™ - 3 Exotic Patterns - Shapes, Paths, Patterns

Photoshop for Lunch™ - Complex Pattern Swatches

Photoshop for Lunch™ - Using Illustrator Objects in Photoshop - Files, Smart Objects, Shapes

Photoshop for Lunch™ - Make & Use Photo Brushes - Brushes, Masks, Watercolors

Photoshop for Lunch™ - Make and Sell Geometric Overlays for Social Media - Shape, Transform, Fills

Photoshop for Lunch™ - Create Backgrounds for Projects - Halftones, Sunburst, Patterns

Photoshop for Lunch™ - Upside Down Image Effect - Masks, Selections, Flip Images

Photoshop for Lunch™ - Color a Scanned Sketch - Blends, Brushes, Layer Styles

Photoshop for Lunch™ - Curly Bracket Frames - Shapes, Paths, Strokes

Photoshop for Lunch™ - Grab Bag of Fun Text Effects - Fonts, Clipping Masks, Actions & More

Photoshop for Lunch™ - Double Exposure Effect - Masks, Blends, Styles

Photoshop for Lunch™ - Glitter Text, Shapes and Scrapbook Papers

Photoshop for Lunch™ - Make & Sell Photoshop Brushes - Brushes, Templates, Preset

Photoshop for Lunch™ - Recolor Objects without Making Selections - Master Color Change Tools

Photoshop for Lunch™ - 10 in 10 - 10 Brush Tips in 10 Minutes or Less

Photoshop for Lunch™ - Create a Mandala - Template, Rotation, Texture, Gradients, Pen, and Shapes

Photoshop for Lunch™ - Create Organic Patterns - Pen, Offset Filter, Free Transform and More

Photoshop for Lunch™ - Reusable Video Glitch Effect - Use Channels, Shear, Displacement Map & Noise

Photoshop for Lunch™ - Overlapping and Random Circles Patterns

Photoshop for Lunch™ - Metaball Patterns - Structured and Organic

Photoshop for Lunch™ - Isometric Cube Patterns - Shapes, Repeat patterns, Smart Objects

Photoshop for Lunch™ - Create Plaid (Tartan) Repeat Patterns

Photoshop for Lunch™ - Recolor Pattern Techniques

Photoshop for Lunch™ - Intro to Photoshop Actions

Photoshop for Lunch™ - Photoshop Inking Techniques

Photoshop for Lunch™ - Valentine's Day Inspired Hearts

Photoshop for Lunch™ - Layers and Layer Masks 101 for photographs and photographers

Photoshop for Lunch™ - Abstract Glowing Backgrounds

Photoshop for Lunch™ - Whimsical Textures for Drawings

Photoshop for Lunch™ - Sketches & Brushes to Whimsical Patterns

Photoshop for Lunch™ - Critters with Character - Pen Free, One Color Designs

Photoshop for Lunch™ - Create a Custom Character Font

Photoshop for Lunch™ - 10 Selection tips in 10 minutes (or less)

Photoshop for Lunch™ - Complex Selections Made Easy - Master Refine Edge & Select and Mask

Photoshop for Lunch™ - Demystifying the Histogram - Understand & Correct images with it

Photoshop for Lunch™ - Bend Objects with Puppet Warp

Photoshop for Lunch™ - Emboss and Deboss Text and Shapes

Photoshop for Lunch™ - Remove Unwanted Objects & Tourists from Photos

Photoshop for Lunch™ - Using the Scripted Patterns Tool in Photoshop

Photoshop for Lunch™ - In the Footsteps of Warhol - Create Awesome Animal Images

Photoshop for Lunch™ - Make & Sell a Shapes Collection

Photoshop for Lunch™ - Whimsical Scrapbook Paper Designs using Displacement Maps

Meet Your Teacher

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Helen Bradley

Illustrator for Lunch™ & Photoshop for Lunch™

Top Teacher

Helen teaches the popular Illustrator for Lunch™, Photoshop for Lunch™, Procreate for Lunch™ and ACR & Lightroom for Lunch™ series of courses. Each course is just the right length to take over a lunch break and is packed with useful and fun techniques. The projects are designed to reinforce what is taught so they too can be easily completed over a lunch hour or two.

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1. Photoshop for Lunch™ - Make Project Backgrounds - Introduction: Hello, I'm Helen Bradley. Welcome to this episode of Photoshop for Lunch - Create Backgrounds in Photoshop. Photoshop for Lunch is a series of Photoshop classes, each of which teaches a small number of Photoshop techniques. You'll get plenty of opportunity to practice your new skills in the projects you'll create. Today, we're creating backgrounds in Photoshop, and we're going to create three backgrounds, each using a very, very different approach to give you some ideas as to the sorts of images that you can create as backgrounds for other elements in Photoshop. As you're working through these videos, you might see a prompt which lets you recommend this class to others. Please, if you're enjoying the class, give it a thumbs up. These recommendations help me get my classes in front of more people who just like you want to learn more about Photoshop. If You'd like to leave a comment, please do so. I read and respond to all of your comments and I look at and respond to all of your class projects. So if you're ready now let's get started making backgrounds in Photoshop. 2. Photoshop for Lunch™ - Make Project Backgrounds - Part 1: When you're creating background images in Photoshop, you want to start with a document that is as least as big as the purpose for which you're going to put it. Now I'm going to create something that's going to be able to be used on high definition video. I'm choosing 1920 by 1080 as my document dimensions, but you would select the document dimensions that make sense to you. RGB color mode, transparent background, click Okay. Now I already have selected a ready brown color over here, and that's the color I'm going to be using. I'm going to open up the last pallet here, this is my foreground color, so I'll press Alt backspace, option Delete on the Mac to fill that layer with this color. I'm going to add another layer and I'm going to fill this with the background color and I can do that by pressing Control, Backspace command, Delete on the Mac. Then I'm going to add a third layer, this third layer is going to be a gradient from the foreground to the background color. I'm going to click on the Gradient Tool, First up in the gradient palette is always a gradient that is foreground to background, it's always going to be there, so you select your foreground and background colors, and then you're going to get a gradient that is a mix of those two colors. I'm going to click on it and I'm going to drag down to fill the layer with that gradient, I'm holding Shift as I do so, so it's going in perfectly vertically and I'm using a linear gradient. Now, this has gone in the wrong way round, I wanted my darker color to be on the bottom, so I'm just going to do it again and drag from the bottom up. Now I have a gradient fill layer, a white layer, and a dark ready brown layer. I'm going to turn off the gradient fill layer and I'm going to use the white layer just so I can show you what's happening because it's a little bit easier to see what's happening on a white filled layer. What we're going to do is we're going to work in what's called Quick Mask Mode. There's an icon here, a foot with a tool palette, click it and you're editing in Quick Mask Mode. Now, like masks in Photoshop, this means that you can only work on the document now in black, white, or shades of gray. Gradient has switched over to be black to white. Well, it's exactly what we want and we want a linear gradient. I'm going to fill this mask with my gradient. I want the mask to be darker at the top than it is at the bottom. Now this ruby overlay is indicative of the mask, this shows you the masked area of the document, so right now we've got a mask that is a gradient. Well, what we're going to do now is to turn this mask, this ruby linked mask into a halftone dot pattern. We're going to choose Filter, Pixelate, Color Halftone. Now there is another halftone tool, another halftone filter in Photoshop, but this one gives us a lot more control over what we get, so let me select it. The control we get here is that we can control the radius of our dots. The largest dot at the moment is going to be 20 pixels in size, I can make that smaller by typing 15, I can make it larger by typing 30 or whatever, but I'm going to settle for 20 here. Then our screen angles for this project are going to be all the same and I've just set them to 45, that just gives me a nice dot pattern. I think you'll be happy with that dot pattern, if you set everything, all your four channels to 45 and just click Okay. Now what we've got is our mask has turned into a pattern of halftone dots, but this is just the mask, it's allowing us to make a selection that is a pattern of dots. I'm going to now click back on this icon, which takes me back to editing in standard mode. Let's go back into Quick Mask Mode for a minute. What's happening is that the white areas of this document, the areas where we're seeing through the mask, are going to be selected, so they have matching ants around them. The areas that are this ruby pink color are not selected. Let's go back to editing the document regularly and what we've got is a selection based on that halftone mask, so we've got a selection that is halftone dots, we can use it to punch holes in things. I'm going back to my gradient filled layer, I'm turning its visibility on, I'm clicking on the layer, I've got my selection over the top, I'm just going to press Delete and that's going to punch holes in this layer. You can see that what were the darker areas of the gradient have been deleted more heavily than the areas that were lighter on the gradient and that's because the mask that we created when we created it was heavier with lighter pixels at the bottom and more of the ruby at the top and that's the way the mask works. If you just want to go back and have a look at, I'm just going to the History Panel. Let's go back to just before we exited Quick Mask Mode. This is our color halftone on a Quick Mask, and it's these whiter areas that are going to be removed more heavily than the darker areas of this ruby mask later on. From here, of course, we went back to regular Edit mode and then we just punched the holes out of our document. I'm just going to close down the History Panel, and this is back to where we were. I'm now going to press Control, Alt command, D to deselect my selection. We've got this partially gradient filled layer with the punched out dots over the top of a white background and that's giving us a really interesting background effect. We could even dial down the opacity of this top layer if we wanted to, to get as more subtle effect. You could also use this darker layer, so this is going to give you a darker pattern of dots that you could use for your background, so you get to choose a couple of options here. Let's just say it finished off, I'm going to just drop a shape on top of it, I got a bicycle shape, which is one of the shapes that comes shipped with Photoshop, I'm just going to reuse my red brown color, I'm just going to drag out the bike. This the very first of our background effects created in Photoshop. This one using a halftone filter on a gradient filled mask. 3. Photoshop for Lunch™ - Make Project Backgrounds - Part 2: The next pattern we're going to create, we're going to put behind this element and this is from another one of my classes on creating banners and ribbons and also text on a path in Photoshop. This entire banner is in this group here so I can turn it on or off as I wish. We're going to build our background effect behind it. I've got a layer here underneath it. Again, I'm working on an HD video, the document size 1920 by 1080. I'm going to start by filling this bottom layer here with my current background color, which is white. I will press control backspace, command delete. Now I want to add a new fill layer on top of that, but again, underneath this banner, I want to fill it with a pattern. The pattern is from one of my other classes, but you could fill your document with any pattern of your choosing. I'm going to choose Layer, New Fill Layer, and then Pattern. The reason why I'm using this tool and not edit fill is that I can control my pattern scaling through this tool here. I'm just going to click "Okay". The pattern I'm going to use is one of my Chevron patterns. I'm going to use the one, no, it's not that one. I'm going to use the one that has a lot of Chevron. This is this the maroon, light maroon Chevron pattern. Between the zigzag lines is transparency. That's what we're seeing, we're seeing this white layer through it. It's quite a big pattern. It's too big for me here because it's taking over the image, so I want it to be a lot smaller. Just going to dial it down to 20 percent and see what it looks like. Well, 20 is pretty good, but I think probably 15 is going to be better. I just want this to texture the background, I don't want it to take over the image, so this is a good size. I'll click "Okay". The problem with this is that it's maroon and it doesn't really suit this piece of artwork, so what I'm going to do is re-color it. With my pattern layer currently selected, I'm going to choose Layer, New Adjustment Layer, Hue Saturation, and click "Okay". Hue saturation allows me to change the hue or the color of the layers beneath this adjustment layer. All I need to do is to go somewhere across here in the hue slider until I start to pick up a blue that matches or goes well with the blue that I have here, or I'll want to choose some other color that again is going to work well with my blue shape here, but I'm going for blue. I'm going to come up here, this is not going to be indicative. That color on the hue slider is not going to tell you the color you are choosing because you're interacting with some maroon color here. It's a little bit of guesswork to work out exactly where you want to be, but I do want the saturation to be dialed up a little bit and then I'm going to again see if I can find a better match for this blue. Now that I've got that, I'm going back to my layer's palette. At the bottom of the last deck, I've got a white fill black, I've got a pattern with some transparency on top of that, and then my hue saturation adjustment layer that's making the color change from maroon through to this blue. Now this would be a perfectly good background, but I'm going to add one more layer just to show you an interesting effect here. I'm going to click to add the layer immediately above the hue saturation adjustment layer. I'm going to set white as my foreground color. I'm going to open up my gradient tool and select here on my foreground to transparent gradient. By setting white as my foreground color, the second gradient in your gradient panel is always going to be a foreground to transparent gradient. We're going to dump down white in our gradient and when the white runs out, it's just going to be transparent. It's not going to add color in the transparency areas. I'm just going to click on this "Gradient" and I'm going to click on "Radial". I'm going to make sure that I have my empty layer targeted about the middle of my image and I'm just going to drag out. What that does, and you can see it in the last pallet and you'll see it even better when I turn the banner image off, is it's dumping a radial fuzzy white gradient into the document and it's white in the middle and then it phases out to nothing at all at the edges, so it's giving us a glow effect. The glow effect is immediately behind our banner image. This is it without the glow effect, and this is with the glow effect. I just think it finishes off the background for this particular element. 4. Photoshop for Lunch™ - Make Project Backgrounds - 3: The last pattern we're going to make for our background is a sunburst design. I'm going to choose file and then new. Now the file size this time is going to be a little bit critical. I'm going to tell you what you need. First of all, what you need is a document that has dimensions that are divisible by 200 because we're going to make our pattern pace 200. So I'm going to start with 2000 pixels wide and 2000 tall. Even though I want an ultimate document that's 1920 by 1080, I can crop that from my final document. So I'm going for a document whose width and height are divisible by 200. So I'll click okay. Now I'm going to create a document that's 200 by 200. File, new, and we're going to choose 200 pixels by 200 pixels, because this is our pattern pace and we want our pattern pace to evenly fill the document that we created. I'm going to create a guide down the middle of this document, view new guide, vertical. I'll type 50 percent, and then click okay. I'm going to select either one-half of this document using the guide to make my selection. I have a blue color already set as my foreground color. So I'll press Alt backspace, option delete on the Mac, to fill this side of the document with my dark blue. I'll choose, select inverse to flip the selection, so now this side of the document is selected. I'm going to click my color palette. I'm going to choose a lighter version of this color. Alt backspace, option delete. This is now going to be my pattern pace, so I'll choose, select all, and then edit define pattern. Now it doesn't matter that our document was square and our pattern looks very thin. This is perfect. So I'm just going to call it Stripe and I'll click okay, and I'm going to close this document and I don't need to save it because the pattern's already saved. Now our pattern pace is 200 pixels wide, so it's going to evenly fill this document. So I am going to choose layer, new fill layer, pattern. I'll click okay. Now Photoshop defaults to the last pattern that I created. So that's what I've got here, and it's going in at a 100 percent, which means that this bar here is exactly same width as this bar here. That's really important because we're going to do a rotation next and so this bar is going to end up alongside this one. If I wanted to make it smaller, I would need to do it proportionally. So I could, for example, make it 50 percent of this size. That would give me more bars, but you'll see I've still got different colors on either end and the bars at either end are exactly the same width. I'm actually going to make mine 100 percent. So click okay. I'm going to open up the last palette here, and we just have a single layer with a mask on it. So I'm going to convert this for smart filters. So I'm going to choose filter, convert for smart filters and click okay. This will allow me to adjust that pattern fill later on, if I want to. Now I'm going to choose filter, and then distort polar coordinates. Now there are only two options in polar coordinates, and one of them works and one of them doesn't work. So we're going for the one that works, this one here. I'll click okay and we've now got out starburst effect. If there are not enough bars in the starburst effect, you can come back in and edit this smart object. We're going to double-click to open it and this opens up the striped pattern that's embedded inside the other file. Now we can double click on this fill layer, and change the scale. So I could take this back down to 50 and click okay. To see how that's going to work, I'm going to the pattern fill layer and it's a PSB file and all I'm going to do is close it, and I'm going to click, yes when I'm prompted to save it, and now this pattern fill layer in the original document has been updated. So it's got twice as many rays around it so it's a slightly different effect. I think I actually like this better. So to texturize it, I'm now going to add a new layer, and I'm going to fill this layer with a mid gray. I have got gray already selected here. What I'll do is I open the color picker, and I'm just looking for a color down the side here. So on the moment, I've got this hue picker on, I were to choose saturation or brightness, as you can see each of these changes, the look of the color picker. I've got this hue 1 selected. So that allows me to isolate pale gray here. I'm going to click okay and I'm going to fill this layer with it by pressing alt backspace option delete. Now, I'm going to put some noise on this layer. Now, I could also make this a smart object if I wanted to, because that would allow me to change the amount of the noise later on. Filter, convert for smart filters, click okay, and now filter noise, add noise. In the noise dialogue, we're going to have monochromatic selected because if you use non-monochromatic, it's color-noise and it's not particularly pretty. So we're just going to use monochromatic noise, and we're going to put a fair amount of noise in. So I've got quite a high value here. For the noise that we're adding, changing it from uniform to gaussian is not going to have a big effect in this particular document, so you can use either. I'll click okay. Now we want to blend our noise layer into our pattern layer. So we're going to just look at the possibilities in the blend modes. So making sure that we've got the noise layer selected, drop down the blend modes list, select dissolve, and then on a PC you can just press the down arrow to work through the various blend modes. On a Mac, provided you don't have a brush tool selected here, so something like the Marquee tool is a good choice. On the Mac, you can press shift plus and shift minus to progress down the blend modes. We're just looking for a blend mode that's having a nice effect on our shape. I'm thinking that probably soft light or overlay is a nice effect here. If we like what we've got there, we can just adjust down the opacity to blend this in to the layer below and then if I want to take a 1920 by 1080 slice out of my image, I can do so. I'm going to the crop tool. I'm going to select ratio. I'm going to type 1920 by 1080. So this now gives me the possibility of getting a 1920 by 1080 slice out of this document. I can position the crop overlay wherever I want it to be and just click the check mark. So this is a background that I could use for an element in Photoshop. So let's go now and put a shape over the top of this. I'm going to go back and get my bike. Here it is, here. I'm going to select a color for it. Choose shape as the method for placing it in the document. I'm just going to add this to the document. So there's our third and final background effect in Photoshop. This time we've created a sunburst pattern using the polar coordinates filter. Your project for this class is going to be to create your own background pattern, and then just put an element over the top of it, may be something you've designed in my class or another class, or just a shape from the Photoshop shapes collection. Post an image of your final background in the class project area. I hope that you've enjoyed this course and that you've learned some techniques for creating backgrounds for your projects in Photoshop. If you did enjoy this course and if you see a prompt to recommend it to others, please give it a thumbs up. This helps others to identify this as a class that they may want to take and If you'd like to leave a comment, please do so. I read and respond to all of your comments, and I look at and respond to all of your class projects. I'm Helen Bradley. Thank you for joining me for this episode of Photoshop for Lunch - Create Backgrounds in Photoshop. I look forward to seeing you in another episode of Photoshop for Lunch soon.