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In this movie we're going to take this highly graphic line art and we're

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going to add a couple of crosshatching patterns in order to transform the

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image into this final effect.

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And here's how it works.

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For starters, we need to go ahead and define a couple of tile patterns.

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Now, if you're a Premium member and you have access to the downloadable files,

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go ahead and grab these two files:

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one is called Thin lines and the other is called Thick lines--

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both TIFF files, by the way.

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Now, notice that I'm zoomed in like crazy.

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I'm zoomed in to 1200% on both of these images. And the reason that I've done

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that is I want you to be able to see exactly where the pixels are located.

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And just for the sake of reference, this image measures 48 pixels wide by 48 pixels tall,

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so if you need to build these patterns, here's what they look like.

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Then, once you get done to putting these files together, notice every pixel is

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either black or white.

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Go up to the Edit menu and choose Define Pattern, and then I'll go ahead and

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delete the .tif extension and call this pattern Thin lines.

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And now I'll switch over to the other one. Note how this pattern is put together.

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And it's very important that you put all the pixels in these places because

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they need to repeat seamlessly. All right!

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Then once you have that file in front of you, choose Define Pattern once again

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and delete the .tif extension so the new pattern just reads Thick lines.

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Now let's go ahead and switch over to the Graphic line art file that we created

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in the previous movie.

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And I'm going to turn off this B&W layer so that we can see through to that very

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light version of the original background image.

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And then I'm going to click on the shadows layer to make it active, and I'll

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press the Alt key or the Option key on the Mac, click the Black/White icon at

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the bottom of the panel, and choose the Pattern command. And I'll call this

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first one thin lines and then click OK.

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That will take me into the Pattern Fill dialog box.

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I'm going to change the pattern to the second-to-last one, which is Thin lines.

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And at this point you want to scale the pattern to whatever size you see fit.

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Now, my lines are pretty thick and far apart right now.

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But if you decide to do so, you probably want to take that Scale value down in

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even increments, by which I mean 50% is going to work out all right.

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If that's still too big, then 25% is going to work out well, and so forth.

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I'm going to go with 25% where this specific image is concerned.

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And then I'm going to set this layer to the Multiply mode, so that we're burning

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through to the background.

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We're keeping the black lines, but we're dropping out the white ones.

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And I'm going to double-click in an empty portion of this layer, and we're going

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to use this Underlying layers slider in order to drop out the lines so that they

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fade away, ultimately resulting in a crosshatch effect, as you'll see.

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And where this layer is concerned, I'm going to press the Alt key or the Option

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key on the Mac and drag the left half of this White slider down to 225.

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So notice the first value is 0, the second value--the one before the slash--is

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225, and the value after the slash is 255.

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So we're fading those lines just at the brightest locations in the composite

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version of the underlying layers.

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Then I'm going to click OK.

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And now let's add another crosshatch pattern.

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I'm going to click in the shadows layer again, press the Alt key or the Option

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key in the Mac, click the Black/White icon, choose the Pattern command, call

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this layer thick lines, of course, click OK,

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and this time I will load up the Thick lines pattern, which goes in the opposite

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direction, from bottom left to upper right.

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And I'm going to reduce the Scale value again to 25%.

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I will again change the Blend mode from Normal to Multiply, and then we need to

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adjust the underlying layers settings for this layer as well.

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Double-click on an empty portion of the layer to bring up the Layer Style dialog box.

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And for this image, I'm going to go ahead and drag this white slider triangle

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to a value of 190, and then I'll press the Alt key or the Option key on the Mac

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and drag the right half of this triangle to 220 in order to achieve this effect here.

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Click OK again.

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If you're working with your own image, you can go your own way, make your own

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modifications--totally up to you.

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Now, at this point you might notice that the eyes are looking a little bit

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too dark, and they shouldn't have lines running through them--not the whites

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of the eyes anyway.

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So let's go ahead and scroll to the bottom of the list, click on the Background

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layer to make it active,

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and now you would select the eyes.

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I've already created a selection in advance here in the Channels panel,

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so I'm going to go ahead and Ctrl+Click or Command+Click on this alpha channel

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called eyes at the bottom of the list, and then switch back to the Layers panel.

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Press the Alt key or the Option key on the Mac, click the Black/White icon at

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the bottom of the panel, and again choose the Levels command. And I'm going to

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call this layer "eyes" and then click OK.

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I'm going to change my settings, like so.

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I'm going to take the White Point value down to 235, and then I'm going to

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take the Black Output Levels value all the way up to 150 in order to brighten

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those eyes significantly.

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And you can see that's making those crosshatch lines all but disappear.

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Now let's go ahead and hide the Adjustments panel, scroll up the list to the top

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of the stack, and turn on that B&W layer in order to once again convert the

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image to black and white.

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The reason we're going back and forth between converting the image to color and

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then converting it back to black and white--in other words--I'll turn this

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layer off for a moment--

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the reason we're leaving part of her exposed in the background, and we have set

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this white layer to mere a 50% is because if we had set that layer to an Opacity

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of 100%, that would ruin the entire effect.

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We'll lose all that work we had done with those crosshatch patterns.

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We need the original image to help us out,

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so that's why I took that white layer down to 50% and then reconverted the image

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to black and white using this B&W Threshold adjustment layer.

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If I zoom out by pressing Ctrl+0 or Command+0 on the Mac and turn on this

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border layer, you can see that I've gone ahead and created a black border

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around the entire image.

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I just felt like that helped create a boundary.

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And then I'll go ahead and twirl open the type & graphics folder.

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I've got some text that I created in advance here.

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And I'll also--I'll go ahead and expand the panel a little bit so that you can see

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I've got this vector mask that's shaped like a kind of bullet hole.

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And as soon as I turn that layer on, you can see the bullet hole right there

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inside the final image. All right!

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I'm going to press the F key a couple of times in order to switch to

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the full-screen mode.

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Go ahead and zoom in here as well so that we can see the final version of this

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line art, complete with crosshatching, thanks to our ability to create tapering

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line patterns here inside Photoshop.

