It gives a lift to those flat glass segments, making them appear more lit up. Here’s the image after the Inner Glow has been aded to the background. I’ve added 9% Choke to distance the glow from the leading, but you’ll need to play around with the Opacity, Choke and Size settings to get the result you want. Go back to the Background layer, and open the Layer Style dialog again. This adds a slight three-dimensional effect, which gives the leading more substance. Switch to the Leading layer, and use the Layer Styles dialog to add an Inner Bevel to the leading. Deleting this area is likely to produce unsightly white edges, so first use Select > Modify >Contract to reduce the selection by just one pixel. Hold Command (Mac) or Ctrl (Windows) and click on the thumbnail of the Leading layer in the Layers Panel. In order to make the glow work (which we’ll apply in Step 11), we need to delete the leading from the background. I’ve also recolored the background to make the different elements stand out. Here’s how the image looks so far with the leading on top of the background. The easiest way to draw straight lines is to click the starting point, then hold Shift as you click the end point. You can replicate this effect by drawing on the leading layer with a hard-edged brush of the same size as the stroke – 6 pixels, in this case. In real stained glass windows, the glass area is broken up into small, manageable chunks. Now make a new layer, and choose Edit > Stroke to draw black lines along the selection border.
You now need to remove the image of Craig from that selection, and you can do this by holding Command Option (Mac) or Ctrl Alt (Windows) as you click his thumbnail. Hold Command (Mac) or Ctrl (Windows) and click on the thumbnail of the Background layer in the Layers Panel to load it as a selection. Strips of lead hold the glass in place in a stained glass window, so we’ll create those next. The easiest way to do this is to open the Hue/Saturation dialog, check the Colorize button, and increase the Lightness as you play with the Hue and Saturation settings. This makes it much easier to select the individual elements. I used the Background Eraser Tool to take all the white out of the graphic background of this image.
He’s still recognizable, but looks more hand-painted. The easiest way to make this image of Daniel Craig look more painterly is to use the Poster Edges filter, found in the Filter Gallery.
TOPAZ STUDIO 2 STAINED GLASS FILTER WINDOWS
Stained glass windows are painted, not photographic. I also removed the text over the body, and added a blue tint that will make more convincing stained glass. I used the Select Subject tool to isolate Craig, and copied him to a new layer. There’s a clear distinction here between the photograph of Daniel Craig and the graphic background. This is how the Photoshop filter creates stained glass: it divides the image up into random, irregular polygons, and averages the color within each one to create a posterized effect. Here, I’ve used a poster for the new James Bond film, No Time to Die.
You can use just about any image as the basis for your stained glass – even mixing photographs with graphics. It’s very much a one-trick pony, though, producing a thoroughly unconvincing mosaic effect that’s nothing like real stained glass. Photoshop has a built-in Stained Glass filter, located in the Texture section of the Filter Gallery.
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