Creating a texture for the finished model. Creating Textures in Photoshop

As you know, there can never be too many mods, but everyone wants to make their character stand out from the crowd of Dovahkiin/Nerevarin/elves/vampires... :)

I know very well how different the same thing can look with different textures. Therefore, I decided to write a small tutorial on creating textures and retextures for finished models. More precisely, I will describe the sequence of actions in which I usually work.
I recently made several new models; I will show and tell you an example of one of them. So:

Title: Textures are a subtle matter.
Difficulty level: Adept.
Needs: Photoshop+NVIDIA Tools Normalmap Filter+DDS Plugin, Autodesk 3D Max+Nif Plugin (Importer-Exporter).
Rating: NC-17.
Size: Midi.
Status: Finished.

Textures in many games are “packed” into the DDS format; at its core, this is another image compression algorithm, like PNG or JPEG, which has a flexible system of settings. To create game textures, you need

If you open someone else's texture and immediately start working on top of it, you can confuse the top and bottom, one element with another, left and right (yes, yes, this is also possible). Some textures are intuitive, and some features will break your leg. In order not to guess the beans and not run the game a hundred times to check, we need to find out what we are dealing with :)
The purpose of the manipulations described below is to determine how best to work on the texture in 2D. If you have applied beautiful textures evenly and cannot understand why the magnificent patterns have floated in the game, then 3D will help you.
We will need to consider the selected model in 3D max. I have Max open almost all the time while I’m making a texture, in it you can quickly see the result of manipulations in a 2D editor, connect a mesh for better orientation, etc.
Models in Skyrim (and some other games) are in Nif format. And to export to max you need to set Nif Plugin.

Click on the max logo in the left top corner, Import.

The easiest way is to take the file directly from Data, but if you uploaded the model to any other location, check that there are no Russian letters in the path to the file (max may give an error). My importer doesn’t swear only at Russian-language names hard drives and desktop, but it’s different for everyone; you may not be able to open it from your desktop.

Let's squeeze again Import.

Done, the model is with us.

Let's select it LMB. On the right, on the toolbar, go to the tab Modify, you will have three modifiers in the list.

Click on the top line RMB, select Collapse to -> Yes. (Just a precaution to avoid crashes.)

We got to the main thing. A little higher, at Modifier List find the modifier Unwrap UVW. We don’t have to scroll through the entire list, just click on it and press U on the keyboard, everything is simple. I have this modifier heaped on separate button, right below the list, along with other “hot” modifiers: D

[For reference: this modifier allows you to assign a value on the plane to the spatial points of the model (vertices) such that a drawing subsequently superimposed on the plane in a 2D editor will not be distorted on this volumetric model.]

Open UV Editor.

We expand the window that opens, in it we need a scan rendering item... Tools -> Render UVW Template.

Now let's choose the size in pixels. Correct values will be: 8x8, 16x16,....512x512, 1024x1024, 2048x2048, 4096x4096. Choose the size to suit your needs. Usually I take 4k or 2k (for large and small objects, respectively), the initial large size gives better quality with further compression. 4k can then be reduced by 2k, 2k by 1k, etc. without significant losses. Reduce - don't stretch: D

Render UVW Template.

The resulting image is saved in PNG format. PNG format very cool, it maintains transparency. Why the hell do we need it? The image is placed in Photoshop on the topmost layer, it is transparent and does not contain anything extra except the edges of the model. If the original textures on the model you have chosen are very garbage and it is impossible to understand from them what belongs to what, then the rendered scan will help to clearly distinguish objects.

As I already wrote at the very beginning, I leave 3D max open almost all the time of texturing. There are a few more things I would like to mention.
If after rendering it is still unclear which scan element is responsible for what, then you can use the window Unwrap to clear things up. In the lower left corner you need to check “selection by polygons” and “selection by element”. This will allow you to select the element completely by clicking on any polygon related to it.

The element is also highlighted in the viewport.

Very convenient for identifying such small objects.

The scans are different...
Correctly done development is the key to a tasty texture. :3 Bad scan brings with it despair, destruction and baguette :C It is unpredictable and difficult to work with in a 2D editor. Before taking on retexture, it would be a good idea to check whether it’s worth it?

Material editor -> Diffuse -> Checker.

Drag the sphere (material) onto the object. This standard material max to check for lice. It looks like a "chessboard". Where the squares stretch, the final texture will stretch. It's all about the degree of stretching... There are acceptable stretches, and there are those that are incompatible with life-long work in a 2D editor. Some models are better left alone, seriously... for the safety of your own nerves.

If desired, you can increase the tiling (the squares will become smaller) to assess the adequacy of the scan on small details.

Badly._____.

Acceptable stretches.

Just a few examples.

Everything sucks:D

Usually no one bothers small details(laces, thin soles, eyelets, rivets, straps) - as they unfolded, they unfolded. They can stretch, lie in a heap, overlap each other. IN similar cases, it is possible to extend the retexture without affecting the original scan, but it is difficult. One of simple solutions is a monochromatic fill.
The checker also helps to see the proportionality of objects. More squares - less space on the scan, smaller squares - more space on the scan. The larger the object (dress, trousers, whole body), the more information in pixels it will require for a high-quality result. If a small object (bead, button, cuff) on the scan is enlarged to the detriment of the larger one, this is not good: C

Adequate proportionality.

Is there something wrong...

Someone else's model - darkness. If I know my own mesh inside and out, what seams are where, whether there are distortions, how the parts of the scan relate to each other in size... and other little things, then I have to study someone else’s mesh.

Okay, let's move on to Photoshop.
Let's start by creating a Diffuse map, or, more simply, draw a color map. There is one important step that is useful to do first. Create a "mask" for each element. It's in quotes because it's not a layer mask. This is just one layer on which I have all the silhouettes of the elements, filled with one color.

This is what it looks like.

Green lines - borders of elements (top layer).

I always create a mask with a small allowance, using the pen tool. I don't do any smoothing, just rough selection. The main thing is not to leave open areas.
What happens in Vegas stays in Vegas.
Everything that happens next is between the first layer and the layer with the mask. There are a lot of layers, a lot...too much:\ (I do backups everything possible, so by the end of the work a huge “Reserve” group gathers.)

For each object (or material) I create my own folder so that they do not depend on each other. I don't merge layers until the last, so that I can adjust one element without affecting the others.
During the work process, a lot of slag accumulates on the layers. At any time, you can step on the layer mask, select the desired object, invert the selection, and quickly remove all debris. Or cut and try on a stack of photos, looking for the right texture.
By the way, it’s not always possible to find a picture that matches your design on the internet; sometimes you have to act on inspiration, my brothers. For example, I took a photo of my own boot as the basis for the sole. In general, I try to photograph everything that can be useful for texturing. Also, to create the sole, I needed an old fence, a nail puller and sandpaper.

Another layer mask is useful if you do not have the opportunity or desire to bake a shadow map. We highlight desired object and, guided by the layer with the scan, we cast shadows cleanly and quickly.

Opening again Material editor, you can try the texture on the model: Diffuse -> Bitmap -> Your_texture.jpg\png\tiff....

Now we can look at what we have done in general. Having turned on the grid, we will see how to fix this or that jamb, to what specific place what needs to be moved.

Now it's time to bring the model to life. Normal map is the same map that gives the flat Diffuse map relief. Roughly speaking, this card creates a reaction to light and shadow. By superimposing normals on a low-poly model, you can achieve a volume effect.

Middle poly pants and high poly shoes.

Normal map of pants.

Reaction to lighting.

I took the card for the pants from a high poly model.

Normals can look different. For rendering in 3D Max, for example, the b/w version of diffuse is suitable, but it also accepts other types of normals. Next, I will describe one of the ways to create such a map in Photoshop.

We will need to install NVIDIA Tools Normalmap Filter.
First you need to desaturate the previously created diffuse. But before this, it is important to take into account one feature: dark shades are perceived as indentations, and light shades are perceived as bulges. What follows from this? You need to pay attention to the materials: scratches will always be lighter than the base, and because... Scratches are indentations, so you will have to make them dark so that the filter understands them correctly.

For example, this texture contains two materials: leather and metal. They both have scratches.

A simple desaturation will give us an inversion of light and shadow when rendering. The right foundation to apply the filter it will look something like this.

IN in this case I inverted both materials at once.
As for our boots, there are some materials on them that do not need to be inverted. You will have to work magic with metal, dark seams and scratches on the sole. The sole is the most complex object, because it has a ridged surface that does NOT need to be inverted, and scratches that need to be inverted. Organizing layers and groups may seem too pedantic, but it would be very difficult without it now.
The first step is to create two new groups Normal and Diff (yes, more groups, more groups). In Diff I remove all the diffuse and turn off the shadows, now they won’t be needed. Next, standing on the Diff group, press Ctrl+Alt+Shift+E. A layer is created with all the contents, which is sent to the Normal folder (you can also turn off the background before this, but this is not so important). Apply decolorization to it.

The Normal group can be hidden for now and dealt with complex patients. After processing, I overlay the inverted objects on top of the decolorized ones. You can also increase the contrast or, conversely, mute some aspects. Now you are ready to apply the filter Normalmap.

Let's go to Filter -> NVIDIA Tools -> NormalMapFilter. In the settings window, you can change the Scale, switch channels (uses red, green, blue, or all at once) and look at the result. Now I'm happy with these settings.

The result can be left as is, it is completely self-sufficient.
The normal taken from the high-poly model imitates the general shape, the normal obtained in the filter imitates the microrelief. They can be mixed together to achieve a more realistic effect.

This is what we get as a result.

The relief is immediately clearly legible. But, in my opinion, it looks a little flat, and you can see it when you get closer.

Achieve better effect maybe several simple actions. Copy the resulting layer, set it to overlay mode and apply a filter on it Gaussian blur. And then just click Ctrl+J(copy layer) and Ctrl+F(apply the last filter, in our case “blur”).

Now it seems more like the truth.

Briefly about Specular map(light map). There are more or less no frills here. We will need a simple b/w diffuse option. The adjustment is made as follows: black color - no shine, White color- there is shine. The metal may be rusty or dull. Or vice versa - polished. The leather can be matte, distressed or patent leather. The properties of the material are adjusted according to the design.
The specular can be saved as a separate map or inserted into the alpha channel of a normal.

The last point is to save the created textures in DDS format. File -> Save As, select the extension DDS. In the dialog box that opens, we are asked to select the texture type and compression level. You can read more about different compression algorithms. Now I save in DXT5.

Now you can drop the resulting files into the desired directory and look at the result in the game.

It was enough to go to Skye once to make sure that everything was in order.

All done. I tried to tell you a little about everything. I hope you found something useful in this guide.

Seamless textures are images with the texture of some material, surface, substance, which, when joined on any side relative to each other, form a whole continuous picture, without displacements or distortions. Such textures (backgrounds) are commonly used in 3D modeling and web design. If you have ever worked in any 3D editor, for example 3D max, then you know firsthand that seamless textures in 3D modeling are a very important element, since the quality of the model as a whole depends on their quality. How larger size textures, themes best quality The 3D model will be the result.

To create seamless textures and backgrounds, various special programs, there are also various Photoshop plugins that help create seamless images. We will look at a simple way to create a seamless texture in Photoshop, without using plugins and third party programs. To create a seamless texture, we need an image of this texture; we usually take a photo or draw it manually.

We will take a ready-made picture (texture) of the earth (soil), which I found on the Internet, and make it seamless using Photoshop.

First of all, open the image with Photoshop and unlock it if it is locked (the lock icon is on the opposite layer) by clicking on the lock with the left mouse button. This procedure makes it possible to edit the image, but if the lock is not removed, then no manipulations will be possible with the image. In my case, the image was not blocked.

Now you need to find out the size of the image, for this in top menu go to “Image” - “Canvas Size”, or press the combination Alt keys+ Ctrl + S.

It is logical, of course, to look at the size of the image by selecting the “Image Size” item, but we will select the canvas so that, if necessary, we can immediately change the dimensions, and not repeat the same steps several times. And so, by clicking on the “Canvas Size” item, a pop-up window with parameters will appear.

We need to make sure the image dimensions are even values, because we will need to divide the image length and width values exactly in half. In my case, both the image width (596px) and height (380px) are divisible by 2, so there is no need to change anything. If you have one of the values or both of them are not even numbers, then you need to change the size of the canvas by writing down the number by one to an even number and clicking the “OK” button. At the same time, when resizing the canvas, keep in mind that the sides of the canvas should not be fixed, i.e. The paperclip indicated in the picture above should not be activated, otherwise you will change, for example, the height to an even number, and the width to become an odd number.

We remember the dimensions of our canvas (image), divide them by 2 and get the following: width - 298px and height - 190px. Now go to the top menu in “Filter” - “Other” - “Shift”.

In the pop-up window, enter our values for the width and height of the image obtained by dividing by 2, and also select the “Insert clipped fragments” item.

As a result, we get an image composed of 4 parts, the joints of which do not coincide and clearly stand out.

We need to remove these errors. To do this, we will use the "Spot Healing Brush" tool, you can also use the "Stamp" tool - this is at your discretion - experiment. In the left panel of the program, select the tool we need and carefully process the joints.

After you get rid of the visible seams (joints), you must again enter the “Shift” filter and enter the horizontal and vertical values as zeros. As a result, I got it seamless image(texture).

Now let's check how it will look, for this I will take several of the resulting textures and join them to each other on different sides.

As you can see, now the seams (joints) are not visible, which is what we needed to do, we have a seamless texture for 3D max or Photoshop. Let me remind you again if you want to get texture High Quality, then you need to use large image and the more, the better.

Product manufacturing process using 3D technology computer graphics consists of several stages. One of the most important and mandatory stages is the stage of creating three-dimensional models, which in the future will be part of the story being told. Moreover, it does not matter at all what exactly the 3D models are created for or in what industry they will be used. After all the main task three-dimensional models - to create a sense of reality, to make the viewer believe in what he sees on the screen and to be completely at the mercy of the story being told. Ultimately, 3D graphics- this is just one way to convey to the viewer the story invented by the screenwriter.

But under the short phrase “create 3D models” lies much more difficult process production. A very important component in the stage of creating 3D models is the creation of materials and textures for 3D models.

Promotional poster for the short film "Architype" by Aron Sims, in which the main role is "played" by a character created entirely using 3D computer graphics.
Copyright © 2012 Aaron Sims

general information

Before a three-dimensional model appears on a cinema screen, TV or monitor, it must be created. As a rule, the term “create a model” means alternately going through the following stages of production:

Creating an image of a future model.
Creating the geometric shape of a 3D model.
Creating a set of textures for the model and setting up materials.
Setting up the skeleton and rigging of a 3D model.
Model animation.

Two last stage productions are present only if the 3D model is a character. If it is simply a detail of the environment, that is, the world in which events unfold, then to create such a model, as a rule, only the first three steps are sufficient.

Creating a model image performs concept artist(concept artist) based on the verbal description of the director or screenwriter. The resulting sketches are transferred modeler(modeling artist) so that he creates the three-dimensional geometric shape of the model. This completes the first two steps in the 3D model production process, but is not yet sufficient for the model to be used in the final project.

The fact is that after the modeling stage, the model only has the correct geometric shape, i.e. a dog is a dog, a car is a car, but the model completely lacks materials that give it its unique characteristics, and also make the model realistic. It is after the creation and assignment of materials that the three-dimensional model of the dog has a black coat color, and the car is painted red and has a brown leather interior. Without materials, a 3D model looks gray and featureless, but it is the materials that breathe life into 3D models.

An example of a 3D model of a mechanical soldier of the future. Left side- pure three-dimensional model, right part- finished model with assigned materials.
Copyright 2011 © Mike Jensen
Source: http://eat3d.com/zbrush_hardsurface

Creating and customizing materials

What are the “materials” that 3D models need so much? This term refers to a description of a set of surface properties. That is, the material stores within itself a description of what properties (parameters) the surface has. These are properties such as: surface color, glossiness or dullness, presence or absence of relief, reflection, transparency, glow, etc.

Materials exist great amount and each of them has its own, unique to it, sets of properties (parameters). For each three-dimensional model, its own materials are created. For example, a model of a glass wine glass requires only one material with the properties of color, transparency and reflection. And for a three-dimensional model of a person, you need several materials. One for the skin with the properties of color, glossiness and relief, another for the hair, with the properties of color, glossiness, relief and transparency, and a third for the eyes, with the properties of color, reflection and transparency.

Materials create texture artists(texture artist), and can also be created by modelers or render customization specialists (lighting/shading artist). IN large companies the process of creating the geometric shape of a three-dimensional model and creating materials for it can be performed by different specialists. In small companies, all work on the full production cycle of a model is most often performed by a modeler.

Example appearance various materials that are used to assign to 3D models.
Source: http://www.vray-materials.de

But materials are usually created and configured in the same programs in which the geometric shape of the three-dimensional model is created. These are packages such as: Maya, Softimage, 3dsMax, LightWave 3D, Cinema 4D, Blender, Houdini, Modo and many others. As a rule, all these programs provide user-friendly interface for working with materials. And the work process itself comes down to the fact that the artist needs to select the correct value of one or another parameter in a particular material so that it more accurately matches the desired surface.

The artist can change the material parameter values in several ways. The first way is this is the color. For example, a red cloak looks red due to the fact that the color parameter in the material that is assigned to the geometry of the cloak is set to red. The second way to change or set a material parameter is this is a digital value. For example, the transparency property of a material can be specified by a number in the range from 0 to 100, where 0 means that the model is completely transparent, and 100 means that the model is not transparent. At the same time, a value of 68 will make the model partially transparent. And the third way - this is the use of textures. For example, by simply assigning a terrain texture to 3D terrain geometry, we can immediately make our 3D model look like a landscape. It is the third method of setting up the material that is most often used when creating complex types of materials.

An example of setting up materials in Autodesk Maya software.
Source: http://www.polycount.com/forum/showthread.php?t=94077

Using textures

Textures in all packages dealing with 3D graphics are divided into two types:

raster textures;
procedural textures.

Raster textures are ordinary raster images, which can be obtained in any way: photo, video equipment, image scanning, self-creation in editors raster graphics, such as Adobe Photoshop, Gimp, etc.

Procedural textures are textures whose design is obtained thanks to a specific algorithm ( mathematical formula). As a rule, such textures are not very detailed, but are very convenient when producing complex materials, where they are used to mix raster textures with each other.

More often than not, texture artists use raster images to create materials for 3D models. And here it is very important to remember one feature of the raster. It lies in the fact that quality raster file limited by its size. How more width and the height of the picture (image), the higher the likelihood that the material will be displayed in quality at any degree of camera approach to the surface of the model. That's why modern models Usually they use textures of at least 2k (2048 pixels), and ideally at least 4k (4096 pixels) and even larger.

When using textures as an integral part of the model material, it is mandatory to create a texture scan of the three-dimensional model. If for materials that are created without using textures, and even in some cases when using procedural textures, creating a texture scan is not a mandatory requirement, then for raster textures it is necessary requirement. Therefore, before textures are created for a 3D model, it must have its texture coordinates scanned.

Unfolding texture coordinates

There are a huge number of tools for creating 3D models, and each modeling package has its own tools for this task. There are spline-based modeling, modeling using NURBS curves, polygonal modeling, modeling with Sub-D surfaces, but usually at the very end, the model is converted into a polygonal mesh. And one of the reasons for this conversion lies in the fact that for a polygonal frame it is not so difficult to create a scan of texture coordinates.

Under the term scan(unwrap) - implies the process of creating for each polygon a three-dimensional model of its display (projection) on the coordinate plane. The models that are created are geometric shapes located in three-dimensional space, and the textures are flat images. Unwrapping allows you to solve the problem of how to apply a flat (two-dimensional) image to three-dimensional geometry.

To create developments, you can use both programs that model objects and specialized programs that exclusively create developments. Examples of programs of the second type are programs: headus UVLayout, Ultimate Unwrap 3D, UVMapper, Unfold 3D.

There are several requirements for unwrapping texture coordinates:

The size of the polygons on the texture coordinate grid should match or be close to the size of the polygons on the 3D geometry. Otherwise, the texture on the surface of the model may be distorted (compressed or stretched).
You need to try to use the space of the texture square (the place where the texture coordinate scan is located) as efficiently as possible, otherwise this will lead to a deterioration in the quality of the texture display.
In most cases, layering (overlapping) one texture coordinate with another is prohibited. The only exceptions are symmetrical and sometimes identical parts of the model.
You should try to make as few seams (places of separation of texture coordinates) on visible parts of the model as possible.

Once the model is unwrapped, the texture artist can move on to creating a set of textures.

Example of unwrapping texture coordinates (right) for a 3D model of a pistol (left).
Source: http://www.polycount.com/forum/showthread.php?t=80947

Creating textures for a 3D model

IN this moment There are two main ways to create textures for a material that will be assigned to a 3D model in the future.

The first method is to create textures in raster graphics editors (Adobe Photoshop, Gimp, Painter, etc.) from scratch or using ready-made raster images (photos, drawings, etc.).

Method two - creating textures in specialized programs and for drawing textures directly on the surface of a three-dimensional model.

Both methods are now actively used. Both one and the other have their supporters and opponents. In both one and the second way, you can obtain high-quality textures for models.

Before the advent of specialized programs, textures were drawn only in raster graphics editors using a texture layout template. This process is still used for various models. The only drawback of this method is that if there is a seam on the model (a place where the texture coordinates are separated), the artist needs to work it out perfectly so that it is not noticeable on the surface of the 3D model. Although if the seams are made correctly, you may not even notice them.

An example of a 3D drone model (left) and a set of textures (right) created in Adobe Photoshop.

In this tutorial, we will learn how to create our own textures in Adobe Photoshop. Then they can be used to design the background of websites, as textures for 3D graphics, etc.

But there are some underwater rocks", which make creating textures somewhat difficult. The fact is that when shapes are used to create textures, it is difficult to smooth out the places where they join each other. And if a discrepancy is visible, then the quality of the texture will not be the best.

In this guide we will try to solve this problem.

First, create in Photoshop new document size 100x100px. Select a brush (B) of your choice and draw something like this:

Now let’s transform the drawn figure into a pattern Edit command> Define Pattern... and let's call it "texture". Go to the command Image > Canvas size and set new size 400x400px.

Let's fill our entire canvas with a new pattern using Edit > Fill...

You should get the following:

As you can see, the patterns do not completely fit together. Therefore, a full texture is not obtained. I would like to :)

This problem is solved by using the Offset filter. This filter moves the image by the specified number of pixels. In this case, the image moves inside the outline, while the outline itself remains in its original place.

The effect of the Offset filter is similar to inserting an image into a path and then moving it.

Therefore, go to the command Image > Canvas size and again set the value to 100x100px. Then fill the image with our pattern Edit > Fill...

Let's call the Offset filter using Filter > Other > Offset with the following parameters:

As you can see, the horizontal and vertical pixels have moved almost half of the image:

Now all that remains is to connect the edges of the “broken” lines using the same brush with which we painted them. So select the Brush Tool (B) and connect the lines into one:

Now apply the Offset filter again (Ctrl+F).

Everyone must have encountered similar situation in Photoshop: we decided to make a fill from the original image - we were faced with a poor-quality result (either the pictures are repeated, or they blend into each other with too much contrast). Of course, it looks at least ugly, but there are no problems that do not have a solution.

By using Photoshop programs CS6 and this manual you can not only get rid of all these imperfections, but also create a beautiful seamless background!

So, let's get down to business! Follow the instructions below step by step and you will definitely succeed.

First we must select an area in the picture using Photoshop tool "Frame". Let's take, for example, the center of the canvas. Please note that the choice should fall on the fragment with the brighter one and at the same moment uniform lighting(it is imperative that there are no dark areas on it).

But no matter how hard you try, the edges of the picture will differ, so you will have to lighten them. To do this, go to the tool "Clarifier" and choose soft brush big size. We process the dark edges, making the areas lighter than before.

However, as you can see, there is a sheet in the upper left corner that can be duplicated. To get rid of this problem, fill it with texture. To do this, select the tool "Patch" and draw an area around the leaf. We transfer the selection to any piece of grass you like.

Now let's work with the joints and edges. Make a copy of the grass layer and move it to the left. To do this we use the tool "Move".

We get 2 fragments, which are lightened at the junction. Now we need to connect them in such a way that there is no trace left of the light areas. Let's merge them into a single whole ( CTRL+E).

Here we use the tool again "Patch". We select the area we need (the area in which the two layers will join) and move the selected fragment to the adjacent one.

With Tool "Patch" our task becomes much easier. This tool is especially convenient to use with grass – a background that is far from the easiest to use.

Now let's move on to vertical line. We do everything exactly the same way: duplicate the layer and drag it to the top, place another copy below; We join the two layers in such a way that there are no white areas between them. Merge the layer and use the tool "Patch" We act in the same way as we did before.

Here we are in the trailer and made our texture. Agree, it was pretty easy!

Make sure there are no dark areas in your picture. For this problem, use the tool "Stamp".

All that remains is to save our edited image. To do this, select the entire image ( CTRL+A), then go to the menu "Edit/Define Pattern", assign a name to this creation and save it. Now it can be used as a nice background in your subsequent works.

We received the original green picture, which has many applications. For example, you can use it as a background on a website or use it as one of the textures in Photoshop.