Quick & Dirty Photocopy Effects in Adobe Photoshop

1. Introduction & Class Overview: Hey guys, I'm Dominic from Attitude Creative. In this class I'm going to share with you our special technique for distressing graphics by imitating a retro photocopy look, creating gritty toner of textures in Adobe Photoshop. This technique is based on Photoshop smart filters combination, which we have developed to be able to easily distress any type of graphics without any additional materials. This class is not about using the pre-existing photocopy filter in Photoshop. Instead, you'll be learning how to use a few different non-destructive filters to create a range of looks and textures which can be adjusted and customized to suit any purpose. Using this technique, you'll be able to easily and quickly distress type, graphics, illustrations, and photographs and add a Lo-Fi aesthetic to your work. This technique is super handy when designing posters, t-shirt prints, working on editorial projects, and creating zines, or when you just want your work to look a little less digital. I cannot wait to see how you use this technique in your own work. Join in now and let's make something awesome. 2. Getting Started: The technique which I'm going to share with you in this class can be used with any graphics. I will show you how to build and the just the effect to distress type, graphics, and photographs, to create textures and put graphics and textures in more complex composites. For your class project you can create and share a range of experiments using a number of different types of graphics, or you can distress just one thing, it's completely up to you. But regardless of what graphics you'll be distressing or what texture you'll be creating, the look will heavily depend on image size. The bigger the image, the smaller details you will have. To be able to have smaller grain, I'll be creating all of the effects within a 3,000 by 2,000 pixel document. I suggest you do the same to begin with, to have predictable results and understand how everything works. Towards the end of the class, we'll have a further look at different scaling options. When you set up a new document, make sure that you select RGB color mode, and set the resolution to 300 dots per inch. Set the background contents to transparent. Create a new document, and save it right away under a descriptive name. Make sure you select PSD file format here, and click save. 3. Smart Object Setup: The first thing we need to do in this document is create and setup a Smart Object which will contain the graphics which are going to be distressed. Using Smart Objects allows us to add smart filters to any graphics in a nondestructive manner and makes it possible to easily replace the graphics or to edit text while skipping all the effects intact. Go to the layers panel, right click on the transparent layer and in then the pop-up menu select "Convert to Smart Object." We'll be starting by stressing the most straightforward thing that is, which is type. Rename the Smart Object to type. Double-click on the layer thumbnail to open the contents of the Smart Object in a separate document. This is where we're going to be creating or placing a type composition. Inside the Smart Object document, you should have one empty layer. Before you do anything else go to the "Add new fill" or adjustment layer button on the bottom of the layers panel and add a new solid color fill layer. In the color picker window, set the color to white. Make sure that it shows all f's in the hex value here and then click "Okay." This fill color will act as a background. Just think about it as a white sheet of paper containing the design which you're photocopying. In real life, regardless of what your photocopying, you'll always have some physical background. This is just something to keep it realistic and make all of the effects work as they're supposed to. I'll quickly type something using the type tool and type set it using the character panel." If you're going to do the same, make sure that the color is set to black. It should show all zeros in the color picker window here. I'll also quickly change the alignment to "Center" using the paragraph panel and then you use the move tool to position my type composition centrally within the Canvas. If you already have a typographic composition ready in a separate file, in your library or an illustrator you can simply place or copy and paste it into this document. Make sure it is black on a white background. When you're done creating or placing your composition, press "Command S" or "Control S" in windows to save the changes to your Smart Object document. Then close it and go back to your main document. Here is the updated Smart Object. 4. Effect #01: Distressing Type: Now we can start creating a graphic effect. Press "D" on your keyboard to reset the foreground, and background colors on the tools panel to black and white. Then select the smart object layer in the layers panel, and go to the filter menu and select filter gallery. In the filter gallery window, we will need three different effects. Let's add a couple more by clicking on this button. Make sure all free effects are visible, and set the bottom effect to grain from the texture section. The middle one to graphic pen from the sketch section. The top one to torn edges also from the sketch section. Now let's set these effects up, starting with the torn edges effect. Here, set the image balance to 25, smoothness to 14, and contrast to about 16. Then let's go to the graphic pen effect, and set the stroke length to one. Light-dark balance to 20, and the stroke direction to either horizontal or vertical. Because we have set the stroke length to one, it does not really matter what stroke direction we use here. Finally, let's set up the grain effect. The grain type options select vertical, and then set the intensity to 75, and contrast to 20. Here we have a nice distressed type, with subtle vesicle toner stripes. If your typographic composition looks faded, or different from what you see here in my example. Go to the graphic pen and play around with the light-dark balance, until you get the look you're after. If you want to adjust any other aspect of this look, there are a few things you can experiment with. For example, you can set the grain type to horizontal instead of vertical, to have horizontal toner stripes in your design, or you can use stippled grain to create a sort of grainy, evenly speckled texture throughout. Or contrast the grain to have solid type with distressed edges, and a tiny amounts of grain which is a bit lighter. Or you can try the enlarged grain, which creates an effect which is somewhere in-between the looks created by the stippled and contrast the grain in terms of the amounts of grain overall. Just these few options allow you to create a number of awesome different looks. To control the amount of grain in new design, use the grain intensity setting. The higher the intensity, the more granule you have your design. Use the grain contrast setting to adjust the amount of contrast that is between the darker, and lighter shades created by the grain. Another thing you can consider playing around with, is a contrast in the torn edges effect. When reduced, it can make the grain on the white background more pronounced. Also, if you'd like a rougher and more bitmap look, you can increase the smoothness to its maximum value of 15. This looks great too. But for a more authentic photocopy look, I'm going to stick with smoothness set to 14. Here is how you can distress a typographic composition, and create a number of different looks just by adjusting these effects here. I'm going to quickly go back to the original settings I've used. But you can play around with them as much as you want. Just make sure you note down, or take screenshots of any cool effects you create whilst experimenting, so you can easily replicate them in future. When you are done here, click okay to apply these effects to the smart object. Here's a distressed type composition, and the filter gallery effects are now shown like this in the last panel. Double-clicking on them here, we'll launch the filter gallery window so you can adjust the applied effects anytime. 5. Swapping Designs: You can use the same effect if you want to distress any other type, or lettering compositions, or any other graphics which are, or can easily be converted into black and white. To swap the graphics this effect is applied to, double-click on the "Smart Object" layers thumbnail, and hide or delete the previous design, but keep the white background. Then, replace the Smart Objects contents with another design or illustration you want to distress. Try using other typographic, or lettering compositions, illustrations, or graphics created in Illustrator or Photoshop, and make sure that you keep the contents of this Smart Object in black and white to effectively replicate the look in your main document. When you are all set off your new graphics, save the changes to this document and go back to the master file. Here is another design distressed. Now, if necessary, you can open the Filter Gallery by double-clicking on it here and adjust the effects to better work with this design the same way as shown in the previous part. That's how you can distress black and white type and graphics, and swap out the designs to be distressed. 6. Effect #02: Distressing Graphics: So far we have distressed type and solid color, black and white graphics. Now, let's have a look at how you can apply and adjust these effects to work with other types of graphics and illustrations which have some tonal range in them. In this part will start with distressing illustrations against a white background. In the following two parts, we'll have a look at distressing photographs and more complex raster graphics, which don't have a white background. Since this time will be adjusting the filters quite a bit, let's create a separate smart object, so it can have its own stack of filters which can be reused to similar graphics in future. If you want, you can create a new smart object layer from scratch or simply right-click on this Smart Object in the Layers Panel and select New Smart object via copy in the menu. This will create a new independent copy of the smart object with the same effects applied to it. By creating a copy of the smart object this way, and not by simply duplicating it, you'll be able to edit the contents of both smart objects independently of each other, so if you change one of them, the other will be kept unchanged. In this case, it is very important if you don't want to mess everything up. Let's rename the second smart object layer to graphics, so we can easily distinguish between the two layers and the effects applied to them. Double-click on this New Smart object less phenomenal to open its contents, and delete previous designs. The following effect will work with contrast D graphics with distinctive and different shades against a white background. For example, this illustration here, so find and open a graphic or illustration with similar properties. Select the whole image by pressing Command A or Control A Windows, and then copy and paste it into the smart objects contents here. If your image is smaller or larger than the Canvas, press "Command T or Control T in windows" to select the Free Transform tool and holding down the Shift key to constrain the proportions, scale your image to cover the whole Canvas. Press "Enter" to apply changes, and then if necessary, reposition your image within the Canvas using the Move tool. When ready, save the smart object document, and go back to the main file. Now we need to adjust the filters to better work of this graphics, open up filter gallery effects for the smart object layer, and stop by going to the grain and filter. Keep the grain type set to vertical or horizontal depending on which direction you prefer. Change the grain intensity and contrast to bring out the details. I will set the intensity to 54, and the contrast to 20, but feel free to explore other close values. Next, go to the graphic Pen filter and change the light-dark balance to work with your image. This one works fine with the same values as used before. Leave the stroke length set to one and stroke direction set to either horizontal or vertical. We do not need to change much in the torn edges filter, so leave the image balance set to 25, smoothness to 14, and play around with the contrast to get your desired results. I will set it to 10 to bring out more details. When ready apply changes. Here's a different type of effect, ready to be reused with other graphics with a similar tonal range. 7. Effect #03: Creating a Striped Image Effect: Apart from distressing type and graphics, these effects can also be used to distress photographs and other multicolor or multitonal images. There are a couple of different effects which you can create, including the look you get from an old photocopier, which creates uneven stripes and a very contrasty blitz look. Open a photograph or any complex raster illustration in Photoshop. Let's start by creating a striped image effect. I'm going to use this photograph which I took off at risk which is an old decommissioned code one military base used to develop Britain's nuclear weapons and over the horizon radar. Now back in the main document. Create a new copy of the smart object the same way we've done in the previous part. Then rename it to striped image. Then open its contents and remove the previous image. Go to the document with your image, select it and copy and paste it into your smart object. Resize and reposition it as required. When ready, save the smart object document and go back to the main document. Open the filter gallery effects for this smart object. Let's make some changes to all of them. Firstly, go to the total edges filter. Make sure the image balance is set to 25, smoothness to 14, and set the contrast to 12. Then go to the graphic pen filter and make sure the stroke length is still set to one. The stroke direction to either horizontal or vertical, and set the light-dark balance according to the contents of your image. In my case, it works great. Set to 29. Finally, go to the grain filter and set the intensity to around 55. Contrast to around 40. Keep the grain type set to either horizontal or vertical. Feel free to experiment with any of the settings to get your desired results. For example, you might want to experiment with the contrast setting in the grain filter. This will change the contrast between the light and dark areas in your image. With increased contrast, the dark areas will take on the appearance of clumped toner. Or you could go to the graphic pen settings and deliberately turn down the light-dark balance to give an impression of the photocopier that is running out of toner or working in the economy mode. Experiment here. I'll go back to my favorite settings for this image. When ready, click okay to exit the filter gallery and apply the effects to the image. 8. Effect #04: Creating a Contrasty Image Effect: An alternative look, you can give your rust to images and photographs as a contrasty, grainy, and harsh photocopy look. Again, creates a new copy of the smart object and rename it to contrast the image. If you want, you can put another image inside of the smart object right away. But I'll use the same photograph for now. You can see two or 10 type of effects applied to the same image. Let's go to the filter gallery effects for this smart object, and make a few changes. To create a contrasty look, we don't need to touch the torn edges filter. Leave it as it is, if it already has the settings we have used previously. Then go to the grain filter, and change the intensity to 60, contrast 215, and the grain type to stippled. Check out how your image looks on the preview, and if necessary, go to the graphic pen filter, and adjust the light doc balance in the graphic pen filter, until the image looks just right. When you are happy if what you see here, apply changes, here's an alternative look. You can apply to photographs and other types of Multi-tonal raster images. 9. Effect #05: Creating Clumped Toner Textures: Distressing different kinds of graphics and images is not the only cool thing about these effects. You can also use them to create a number of different gritty photocopier toner texture which can be used on their own. For example, as backgrounds or applied over other images to add more texture to them and make them look dirtier. I will show you how to create a number of different textures and how you can put them together with other distressed graphics. Let's start with creating an effect which will allow you to generate unique textures which resemble clumped toner. Go to the Layers panel and add a new empty layer. Rename it to Clumped Toner, and convert it into a Smart Object. Then, select this layer in the Layers panel and make sure that the foreground and the background colors are set to black and white in the Tools panel. Then go to the menu Filter, Render, and select Clouds. These clouds will be the basis of the texture's pattern and you can randomize your texture by double clicking on the Clouds effect here in the Layers panel to rerender them. Now, while still keeping the Smart Object last selected, go to the menu Filter, Blur, and add a Motion Blur. In the Motion Blur dialog window, set the angle to either zero, or 90 degrees, depending on the direction you want the clouds to be spreading to imitate the way the paper is pulled through the photocopier, on the way the drum applies the tonal marks. This is just to make the texture a bit more realistic and dynamic. I like setting the distance to around 300 pixels. But you can experiment with different values depending on how spread out you want the clumps in your texture to look. Click "Okay" to apply the Motion Blur. Remember, you can always revisit its settings at any stage by double clicking on the effects name in the Layers panel. Now, let's go to the Filter menu again and add a filter gallery effects to create the graphic texture. The filter gallery window should open with the sets of filters you've last used. Grain, Graphic Pen, and Torn Edges should still be here. Set the grain fill to intensity to 10, contrast to 15, and grain type to contrasty. Next, go to the Graphic Pen filter and set the stroke length to one, stroke direction to either horizontal or vertical, and light/dark balance to 30, or experiment with other values depending on how dirty and intense you want your texture to look. Finally, go to the Torn Edges filter and set the image balance to 25, smoothness to 14, and contrast to 17. Check the preview and click "Okay" when ready. Here is the first type of texture ready and remember, you can generate more versions of this texture by rerendering the clouds, by double clicking on them here. 10. Effect #06: Creating Toner Textures with Sprinkles: The next texture you can create two using these effects resemble small sprinkles of tone are spread evenly over the whole canvas. To create it, you'll need all the same basics, such as clouds and motion blur. You can simply copy the smart object and rename it to sprinkles. Then double-click on the filter gallery effects for this layer and edit the filter settings. Go to the grain filter and change the grain type to sprinkles. In the preview, you can see how the texture changes. The sprinkles are light much more spread out compared to the contrast degrading type. Keep the rest of the settings as they went from the previous effect. If you want to have less sprinkles and make them looser, you can increase the contrast of value of the total and edges effects like this. I usually keep it between 18 and 23. There are a few different texture options here. Experiment and apply changes when ready. 11. Effect #07: Creating Striped Toner Textures: The next texture will be creating imitates [inaudible] look of using a really old, dirty photocopier, which creates visible tone stripes across the copy. Again, we will need all the same things to begin with. So let's create another copy of the smudged object and rename it to toner stripes. Then go to the filter gallery effects for this smudged object. In the grain filter change the intensity to 40, contrast to 25 and set the grain type to either horizontal or vertical. When creating this effect, it is important you keep the direction of the motion blur and the grain the same. So if your motion blur angle is set to zero, set the grade type to horizontal. If your motion blur angle is set to 90 degrees, set the grain type to vertical. In the graphic pen filter, keep the stroke length set to one. The lights dark balance should be set to 20 and the stroke direction set to either horizontal or vertical. Finally, in the tone edges filter, set the contrast to 15 and keep the image balance set 25 and smoothness set to 14 and that's it. You're done. As usual feel free to play around with different settings if you want to modify your texture any further. But I'll be sticking with the settings I've just shown you. Apply changes and here's a thumb dirty striped toner texture. Whichever texture you are creating using this or previous effects, remember that you can regenerate the rendered clouds anytime by double-clicking on the effects name in the layers panel. Each time the clouds have re-rendered, they are different. So you can create an unlimited number of unique textures. 12. Effect #08: Creating Smudged Toner Textures: The next texture, I'm going to show you how to create, looks like smudge tone on the edges of the paper. Let's create a new empty layer and rename it to smudges. Then convert it into a smart object and open its contents. Inside of this smudge object, firstly, let's add a new solid color fill layer and set the color to white. This act as a background like when we would distressing type in graphics. Now create a new empty layer above, select it and switch to the last suitable. Using this tool, draw a rough, jagged selection along the edge of your Canvas, something like this and then fill the selection with black. If you foreground color set to black on the tools pedal, simply press Alt backspace to do so. When one edge is done, repeat the process with another edge. I will be creating vertical smudges. So I'm working with the top and bottom edges. If you want to create horizontal smudges, draw some shapes along the left and right edges instead. You can also use the brush or pencil tools to create the shapes. But the last [inaudible] tool is better at creating really rough shapes whilst having a realistic flow between them. We don't need to have a lot here and you'll see how it looks when we apply the effects and you can always revisit and update this document later to create different patterns of smudges. So when you're ready with some shapes, hit Save and close the Smart Object Document. Now back in the main document. Select the smart object with the shapes, go to the filter menu and add a motion blur. Set the angle to either zero or 90 degrees, depending on whether you are creating vertical or horizontal smudges. Set the distance to 300 pixels and click Okay. Then again, go to the filter menu and apply the filter gallery effects. From our previous texture, here we need to change a few settings. Go to the grain effect, and change the intensity to 75 contrast to 20 and set the grain type to either horizontal or vertical. It is important you set the grain type to the same direction as your motion blur. Then go to the graphic Pen Effect. Keep the stroke length set to one, set the light-dark balance to about 20, and set a stroke direction to either vertical or horizontal. Finally, go to the tone edges filter and set the image balance to 25, smoothness to 14, and contrast to about 15. When you're ready, click Okay to exit the filter gallery and apply the filters. You should have something which looks like this. Now you can see how the shapes you create, it looks smudged. So you can go and create different shapes along the edges to create different smudge textures. 13. Creating Composites: By now you should have a number of effects designed to work with different types of graphics and a number of different textures. All of them can be used on their own. But you can also composite them together to create variations of the same image with rich dirty textures of different kinds. Combine different effects and textures to create a number of different unique looks. Since all of these effects, images, and textures are already in one document, you can pick any of them and combine them with each other. So hide any layers you don't want to use in your composite. Only keep visible the layers you need. I will go with these three, but you can use as little as two or as many as you like. Keep the bottom layer as it is. Then change the blending mode on all visible layers above to multiply. Here it is. The multiply blending mode eliminates the white color, and blends the darker colors with the contents of the layer below. So in this case, it works great, because these layers contain different textures. But if you start multiplying different images or graphics over each other, you'll create something like this instead, which might not be your intention. If you want to develop your work further and introduce multiple colors. Moving away from a black and white photocopy look, you can do that too. I'll be covering how to do this in the next part. 14. Adding Colour to Your Work: The effects I've just shown you can work as they are, an imitate, a traditional black-and-white photocopy look. But you don't need to stop there. If you want, you can also consider coloring your work. This can be done in a couple of different ways. The easiest way of coloring these sorts of images is by turning them entirely. To do this, go to the layers panel, click on the "Add New Fill" or "Adjustment Layer" button, and adds a new gradient map adjustment layer. Put it above all other layers in your document, and double-click on the "Gradient Map Layers" thumbnail to open its properties. In the properties panel, click on the "Gradient Preview" to open the gradient editor. Here, either pick a different gradient from the presets or set your own colors by double-clicking on the "Color Stops" and selecting colors in the color picker. Gradient map works by replacing the colors from the original image, based on their brightness in gray-scale with equivalent colors from the set gradient. Here, the color of the stop on the left will replace the black color in your image. The one on the right will replace the white color. Experiment with different colors and check out how they work with your image. You can use any color combinations you want, if you are keen on moving away from the photocopy look. Or you can consider keeping the black color as it is, and just replacing the light color with something else to imitate the effect you get when photocopying onto color paper, instead of standard bright to the white paper. If you want to learn how to create exciting color combinations, and want more tips for using gradient maps for toning your images, be sure to check out our class Mastering Duotones in photoshop. When you are done setting up your gradient map, click "Okay" to apply the changes. Since the toning is done using a gradient map adjustment layer, you can easily change the colors at anytime by going back to the gradient editor. An alternative and more advanced method of coloring composites is based on coloring separate smart objects differently. This takes it even further away from the photocopy look. But it's a good technique to keep in mind, if you want to add an additional color or few colors to different layers in your composite. Go to the smart object, which you want to be colored differently from the rest of the image. If you're using a gradient map to tone your entire image, drag this layer above the Gradient Map Layer. If you are not using any gradient maps, place this layer where you want it to be between the other layers. If the blending mode of this layer is set to multiply, change it back to normal. Even if you need to see through it, you'll get this effect later. Now select this layer, right click on it and select "Blending Options" in the menu. In the "Layer Style" window, check "Preview" here, to be able to see the changes. Then in the main blending options, go to the blend if settings. Make sure it is set to gray here. On the top slider move the "White Toggle" to the left. You'll see the white background disappear. The further you move to toggle to the left, the more transparency you create in your image, instead of the white color and highlights. You don't need to move it too far. We just need to eliminate the white background here. Around 250 mark, we'll get rid of the white background and the brightest highlights. But you can play around with it further if you want. Click "Okay" to apply changes. After applying the blend if effect, select the "Smart Object", and press "Command G" or "Control G" in windows to put it in a group on its own. Then go to the Add New Fill or Adjustment Layer button and add a new solid color fill layer. Set it to any color you want, and click "Okay". Then make sure that this colorful layer is outside of the group with the smart object and above it. This is super important. Otherwise the next step will not work. When everything is in order, hold down the "Alt Key" and click with your mouse between the group on the solid color fill layer, when you see this arrow icon instead of the cursor. This will clip the color fill layer to the visible contents of the group below, and will fill it with your selected color. After you've colored the contents of the smart object in a different color, you can go back to the blending options for this layer by double-clicking on this icon here. Further adjust the Blend If settings to change how much detail you eliminate from your graphics. To make it easier to deal with, you can put the solid color fill layer and the group it is clicked to, into another group, so you know they belong together. Now, if you want, and if you're using some dark or saturated colors, you can change the blending mode of the whole group to multiply, to blend it with the contents below. If you're using a light color or just want a solid color look, keep it set to normal. If you want to color any of the smart object into a different color, repeat the same process. In any case, if you're making something complex and multicolor, play around with the order of the colored groups, and make sure that the bottom layers blending mode is set to normal. So your overall image does not have any transparent areas. 15. Scaling & Saving Your Work: If you've been following along with me, so far we have been creating all of the effects in a document with a specific size of 3,000 by 2,000 pixels, which is a good middle ground and not too huge to store as an effects master file which you can use as is or copy it to swap the images out and creates as many different composites by picking which different layers and textures to use. But if you want to create a distressed image of different dimensions, smaller or larger, or if you want to have a larger or smaller grain, you'll need to resize your document. There are two different ways to go about it. Before you do any scaling, make sure you save the original master file in a PSD format so you can always reuse it as it. Now onto scaling. If you want your image to be larger and contain more details or smaller and have larger grain in relation to the image size, you'll need to resize the PSD file with all of the smart objects and smart filters applied to them. To do this, either open the image size window by pressing Command Alt I or Ctrl Alt I in windows and input the new desired image size here. Alternatively, if you want to change the proportions of the image, switch to the crop to by pressing C and go to the Options bar to set it up. In the drop-down here, set it to width height resolution and then input the desired values here. Make sure to keep an eye on the units you're using. If your document is set to different units, then you need to input. Simply type the size you need and then add units abbreviation after. Make sure the resolution is set to 300 pixels per inch and not pixels per centimeter. Check that the crop selection is within your original canvas and press "Enter" to crop your image and resize it at the same time. This will re-render all of the effects in the document. If you increase the size, you will notice the grain getting smaller in relation to the image details, and it will get bigger if you reduce the size of the image. Regardless of what you want to do, your distressed image will not be pixellated as the effects are applied within the main document and pixels won't be scaled. You don't really need to worry about the contents of the smart objects. This is how you can scale the image and re-render the effects. After you've done all of the scaling, save your developmental file in a PSD format so you can easily reuse it in future. Use the Save As option and make sure that you do not save your new version under the same name as your master file. I usually include the dimensions in the file name so that it is easy to find the right file and avoid overwriting files by mistake. Alternatively, if you like what you see and you're happy of the level of detail but need to create a small image for output, instead of changing size of the document containing all of the smart objects and filters, you'll need to flatten the image first instead. Go to the menu in the top right corner of the layers panel and select "Flatten Image". After that you can crop it to the desired size or scale it down using the image size menu. This way creates a small image with the same level of detail and smaller grain. Generally, if you want your effects to the very subtle taking into account the minimum values the filters can be set to, you'll need to work with an image which is larger than your intended outcome, and after all the effects are applied, scale the flatten final image down to the desired dimensions. Save your work in JPEG or PNG format if you're planning to put it online, or save it as a TIFF or PDF if you want to print it. If you are planning to print your image, convert it to CMYK plus saving if your printer requires files in CMYK, or if you work in black and white, convert your document to grayscale to ensure you get a proper black and white print without tinting. If you want to show your image as a Skillshare project, which we'd love you to do, firstly scale the flattened image down to about 1,200-1,600 pixels wide. This will also be useful for posting on social media. Then save it as a JPEG and use the quality slide here to make sure that it is under the two megabyte file size limit, and you're done. 16. Final Thoughts & Conclusion: That's it for this class. I hope you've enjoyed it and we'll find interesting creative uses for this technique in your own work. Remember, these effects are great for stylizing typography, creating gritty photographs, posters, t-shirts, and giving your graphics a distressed look. Thanks, I'm showing you here work great with any outcomes produced in our scanner glitch or any of our source and mixed classes. Don't hesitate to give them a go. I cannot wait to see how you use this technique in your work and care about your experience. Be sure to post your experiments in the projects and resources tab for this class. If you're going to share them on Instagram, please tag us @attitudecreative and use the attitudeskills hashtag. If you enjoy learning how to create different graphic effects in Photoshop, don't hesitate to check out our other Photoshop effects classes, which you can find on our profiles. If you have any questions, leave a comment in the discussions tab for this class, and I'll happily answer and provide feedback. If you liked this class, please leave a review so other people can discover it. Be sure to follow us here on Skillshare, to be the first to know about our new classes. Also, don't hesitate to follow our page on Facebook to see what we're up to, get all the latest updates. Send us private messages if you need to get in touch about something and not to miss if you're featured in our student's spotlight gallery. Thank you for watching this class and I hope to see you in our other classes.