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Since Zac Gorman asked,
1) Scan your paper or other piece of whatever you intend to use as “texture”.
2) Adjust levels etc. as necessary. Get it looking nice and even (assuming this is the effect you want).
3) Run the “High Pass” Photoshop Filter on that flattened image. Find it under FILTER > OTHER > HIGH PASS
3b) Tweak High Pass parameters as necessary. Get it just right and you win a stuffed Finn from Adventure Time.
4) Layer that High-Passed image above the layers you want to affect.
5) Set that layer’s Blend Mode to “Overlay”.
Voila. Hopefully the High Pass filter sucked out the essence of the texture you want to use. (If not, figure out another way.) Since the High Pass-ed image is mostly 50% grey, setting it to “Overlay” doesn’t mess with your image’s colour too much because I guess that’s how Overlay works. Shrug?
This Happy Little Clouds moment brought to you by Mr Tony Cliff.
It’s coming up on a year since Doug and I “wintered” in Buenos Aires (we spent three months there, from mid-January to mid-April), and if any of you freelancers are thinking of doing something like this, it’s a good time to share what we learned from it.
To refresh your memory: because we’re both self-employed, my husband and I decided we would finally take advantage of this, and spend the worst part of our cold, wet winter somewhere warm and sunny. Besides warmth and sunshine, we had two more criteria: 1) it should be a place we’ve never been before and present some fun challenges, and 2) be gay-friendly. (That last one is pretty damn big, when you consider being gay in many places means imprisonment or even death. Kinda cuts down on options.) Thus, we ended up choosing Buenos Aires.
If you’re thinking of doing the same, here’s a small list of things I learned which I’d like to pass on to you:
Probably the most important thing I learned while filling in as an art director:
Seeing how desperate you are as an art director, when you put your trust in an illustrator - has really changed my whole perspective. And also I realized that being on time and doing professional work is 98% of what [being an illustrator] is all about.
And every once in a while you do this one great piece where the stars align and maybe it gets into American Illustration or Society of Illustration or CAA but that’s not what makes your career. I was always trying to shoot for these fantastic super-quirky weird concepts and I didn’t realize that so much of it is being professional - about being somebody that an art director can put their trust in.