Pencil Sketch Effect From a Photo in Photoshop – The Design Ninja Guest Photoshop Tutorial

Hi, welcome back to I’m Jesus Ramirez. Today with me I have my good friend, Tony
Harmer. Hey, Tony. (laughs) Hey. Tony is from the Design Ninja on YouTube. He’s got an awesome YouTube channel where
he teaches Photoshop, uh, InDesign, what else am I missing, Tony? Uh, InDesign, Illustrator and the, uh, Mobile
Tools. Mobile Tools. Yeah. Yeah. So check him out. So Tony and I were talking about a Photoshop
technique that he came up with on how to make the pencil sketch effect. But he does it with just one single layer. So I’ve done tutorials on something similar,
and I think I used three layers for that. But you’re going to do it just with one. Just one. And … just one. And we’re going to talk about that, and you
were showing me on Skype your technique and I thought it was pretty cool. Mm-hmm (affirmative). So we decided to share it with you guys. So what we’re going to do in this tutorial
is Tony’s going to walk through his technique and I’m going to throw in some comments, some
ideas and we’ll see what happens, right? Yes we will. That’s- (laughs) Yes we will. Anything else before we get started? No, I think we should dive straight into it,
Jesus. And I’ll show you the TDN technique as I designed
it for creating a sketch effect, right? So here’s- TDN. TDN. The Design Ninja. (laughs) Oh. Yeah. So, put it on my Adobe blog originally and
then tweaked it a bit more and put it on Scott Kelby’s blog, I have a guest blog on there. Nice. So let me show you it from here. I’ll bring in something from my Creative Cloud
library. Just here. Now of course the advantage I’ve got with
bringing that in from a library is it automatically, ah, becomes a sort of a smart object, which
is the best way to work with this technique. I’m just going to up the, uh, width just there
to fill the frame I’ve got and apply that. Uh, if not, just bring in any image and then
do the whole convert to smart object thing, eh, from there. And just as a point to note, I’ve actually
assigned a shortcut to mine. I did, uh, alt command S, because Photoshop
has bizarrely two save as commands, so I just changed one and so- Oh. Smart. Well, this is the one I use all the time. So I think I’ll just reassign the other one. Nice. Uh, which is easily done of course from the,
uh, keyboard shortcuts down here. Just create your own set and do that. Anyway, this is from a library, so I don’t
need to convert it into a smart object. And what I do to make this work … in fact,
let me get rid of the background so you can see there, that there really is only one layer
involved in this. And that’s the key, right? That you’re going to do this whole thing with
just one layer. Absolutely. Right. Because the least layer dense of the ways
I’ve seen it done are like, three layers. Which is all well and good, but I thought
this is possible in one layer. And it totally is. So, and what I’m going to do is to get this
nice pencil sketch look, first of all, is come up to the filter menu. Uh, and then I’ll come down to blur and I’m
going to choose Gaussian blur. Okay. Like so. And then dial in like a really, really wacky
value. So I’ll just push this one up. Let’s go to around about 50. That’s, that’s just fine for this. Sometimes I go even further. So, so basically, until you have a really
bl- really blurry image. Is that the goal? Really blurry image, yup. Okay. What I’m going to do is then come down here
to my layers panel, and I can see the smart filters mask, and then underneath that, the
Gaussian blur that I just applied. And then just to the right of that, I’ve got
the sliders here for the blending operations associated with it. So if I just double click there, here are
the blending options. Basically, the fade command. It is really, but of course completely flexible. Mm-hmm. Because fade is only open at the time that
you do it otherwise. Mm-hmm. Whereas this is open all day, all night, every
day. That’s right. So there you go. So what I’m going to do is change this to
divide, and I often joke about the fact that this is very much like threshold, but nothing
like threshold. (laughs) just there. And you can see that I get this really, really
super high key result. But the definition, the essential definition,
is there. And if I just zoom in on that, just for a
second, just on this sort of middle portion. You can already see how, despite the fact
that there’s color in it, it’s got that sort of grainy quality. Mm-hmm. That you would associate with a sketch. Right.
Okay. So what I’ll do is zoom back out for a second. So of course with a pencil sketch, needs to
be grayscale really to do that. Mm-hmm. So what I do then is add another filter, and
my favorite filter of all time ever is the camera raw filter. It’s so awesome. It even gets the shortcut shift-command-A
for awesome, or shift-control-A for awesome if you’re on Windows. And that launches the camera raw filter dialog. What I’m going to do is come across tot he
profiles, just here, and I’ll just tap black and white. Profiles are awesome of course because they
don’t involve changing any sliders. They’re just different ways that you can get
a base interpretation. Mm-hmm. And if I click here for the grid and go into
black and white, I can bring these down. And I just have a look at the thumbnails there
and see if there are any that immediately jump out at me as looking sketch-like. So this one BNW06, black and white 06, that’s
kind of good. I also like 10. Yeah. And also, like, a-as people can see, you can
hover over the thumbnail, and then it applies the effect. Absolutely. You get a really, really good preview. Eh, just going down to the others. I think BNW10 is probably the one I’m going
to choose, just there. So I just clicked on that and then I’ll come
up to the top here. It confirms to me that I’ve got BNW10 there,
and I’ll just tap close. And if I wanted to do anything else on here,
to tune it, then I can absolutely do that. Even the color temperature will have an effect
on that, because of course we’ve got yellow in our skin, if I bring blue down just here
for example to counter that. It still looks groovy and high key. Again, I’ve got magenta too, all in different
proportions. But we’ve got them, so if I wanted to change
that, I could. Just double click that to zero that out. Tune the exposure down slightly there, make
it a touch more contrasty maybe. And even things like dehaze may help. It depends, you know, on the image you’re
using, you know, it’s … all of them will be slightly different. Once I’ve done that, what I can do is hit
okay and you can see immediately if I zoom in on that again. It’s looking pretty sketch-like just there,
but we can do better with that of course. So when we were talking about this the other
day, you had a couple of really, really good suggestions. And they followed on from something else I
picked up from one of your PTC things, actually. Uh, so this one I included in it. If I just go up to filter here, and then down
to the filter gallery, and then from here I’ll just choose fit in view. And down in stylize, glowing edges can work
really, really well for this. Okay, so what we can do there is dial the
width down, because you really only want sort of a slight hit on the edges. Also the brightness doesn’t need to be too
much. The further you go with brightness, the more
it will look like a linocut, which might be what you’re after. But for this one, I’m going to bring that
down a bit like so. And it’s up to you whether or not you tune
the smoothness, the great thing is here is that it’s not a done deal. You can just come back and change any of these
parameters whenever you want to. So I hit okay. And that applies that light. So you’re probably thinking at this point,
well, that just looks crazy and it doesn’t look anything like a sketch anymore. But if I go to the blending sliders for the
filter gallery that I’ve just added, double click on that, what I can then do is change
this to subtract, okay? Which is a bit like inverting it, but actually
nothing like inverting this. So if I just do subtract, you’ll see suddenly,
that has changed quite a lot. Now if you don’t like the result, all you
need to do is double click on the filter gallery and tune it, okay, for the way you want. So maybe if I change that like so, you just
have to kind of think the other way around. Mm-hmm. See that now it’s getting that nice quality
in there, looking very, very shaded and very hatched in places. And so what I liked with your suggestion … this
is something that also gives me some, ah, a bit of a dilemma, right? Because it was the TDN technique. (laughs) Now it’s the TDN technique with the PTC extension. Right. Or we call it the TDNPTC technique. There you go. Oh. I’m happy with that. I-it’s the extra add-on. It’s the plugin. Yes. it is the PTC plugin with the TDN technique,
but yeah. Okay. So, uh, what we can do then is we can come
up to the filter menu again and make our way down to stylize. And choose oil paint from there. Now, the thing is here is to turn off the
lighting. You don’t want the lighting effect on that. And then basically you can tune this the way
you want. So you’ve got a low level of stylization of
course, much less occurs in kind of like, the wavy brush stroke things. If you increase the stylization, then you’re
going to move further away from the actual subject that you’ve got. But that, that actually looks quite- That looks really cool, I think. Yeah. Seriously. Actually, that was a lucky hit, that particular
one. Yeah. Cleanliness at the strokes, of course, you
can tune that. A-again, all of these things you tune to the
way you want it to be, really. Yeah. Um, scale, I think it works better small. But your image might work better with it larger. But that’s when you start, you know, it’s
as if you’re working at it with a bigger- Mm-hmm. Bigger brush. You can really see, by the way, down here
where that glowing edge is, was applied, you can see that the effect that has on things
like that jawline. Yeah. And around there, and the eyes. It gives it a really, really nice hit. Uh, and the bristle detail, I tend to keep
mine quite high. Again, if you bring it down, then it’s almost
as if you’re painting with a chunkier brush. Yeah. And you get a slightly different result. But I think that’s a great add-on to that
effect. Really, really nice. And also like, they key is to keep playing
with those numbers and see what works, because you might end up at a happy accident like
we did here. Absolutely. A-and don’t forget, any of the steps here,
right, you can go back to and tune. So just for example, let’s say that I wanted
to bring out some more shading around the eyes. Okay. I can just double click … whoops, I went
onto the gaussian blur. Let me just, uh, hit okay and then just cancel
that when it comes in. So I’ll just hit escape there. I’ll double click on the camera raw filter,
all right, and then what I could do is get something like my adjustment brush, just here,
and what I tend to do when I’m using the adjustment brush is actually two things. First of all, I just reset the local correction
settings at the top here. And then I just dial down the exposure, like
right the way down. Because it gives me an easier preview of where
I’m painting. So if I come along here, for example, and
just paint like so, right, I’m just overcooking that. So I’m giving her some really, just very gothy
eyeshadow, uh, just now. But it gives me an idea of where I’m painting. Then I start to make the tuning that I want. So maybe if I brought that down a little bit, just like so, made that a bit less contrasty, yeah. Just so there’s some gray in there. And any of the other things you wanted to
do, uh, to change that appearance, you can see that even modulating or changing the,
uh, even changing the dehaze just there changes how that appears. And when I hit okay, then that just bubbles
down into that, and suddenly she’s got wicked Disney villainess eyeshadow, just starting
to look- Nice. Really, really mean. Now I’m just going to go back, actually. I’m just going to undo beyond that. Or in fact, I’ll go into the camera raw filter
and show you how to remove local effects like that. So if I just go tot he tool that made the
local effect, in this case the adjustment brush, and click on the pin to highlight it,
if you don’t want it, you can just delete it. So that’s how you remove it. And the reason I’m showing you that is this. The real power in this effect comes from you
don’t have to do all of this all over again when you’ve got a new image that you want
to work with, right? This is a really, really powerful but. All you need to do is to come along and right
click on the layer, then choose re-link to a file. Or here I’m going to re-link to a library
graphic. Now I’ll just go up to the top here. Let’s choose this hipster guy. And then down here and choose re-link. Okay. And what it does is it replaces the contents
of the smart object. Now I just need to do a bit of a transformation
there, because this one’s larger. So I’ll just do command-T. Just do that. Okay. Then I come up to the top here and I just
what I like to call stapler accident finger. Just there to mouse down or press down on
my track pad and change that width like so, and then just apply that. And it all bubbles into those things. And you can see, you can just carry on doing
that when you want to tune anything. You just get in and tune. So just as another example of that, if I just
replace those contents again. I think you can also actually drag things
onto a target as well. Yeah, you can … actually on the Mac, open
PC and drag it over. Thanks, buddy. You can. And if I just, uh, come along and just delete
that, uh, particular layer. Just there. So we’ll try that again. Because if you’ve got … different colors
of skin have different values in terms of density of what you do. I think I’m just managing to not get that
quite right just there. So I’ll just come along and re-link to a library
graphic and choose this lady just there. Oh, and by the way, I think I m- I misunderstood
what you’re doing. Like, what I was trying to say is that if
you have another layer, another smart object, you can hold alt or option and drag the smart
filter onto it to duplicate it. Oh yeah, could have done that as well. Yes. You’re, you’re right. That’s what I was referring to, yeah. You were. Okay. So let me just make sure those things are
linked. And just scan- Nice. Upways, bring that down. So look at that. Oh, that’s great. Really … well, that’s wild. But in the gaussian blur here … so I find
the darker the skin, okay, then the less of a blur gives you more texture in the skin. Now, if you go too far, it starts to look
like a beard is appearing. And that’s the last thing- Mm-hmm … that this beautiful creature would need,
uh, just there. But I tend to think that going down slightly
in terms of the blur, you can see how now I’ve got some more out of the skin. There’s one other thing here. If I just turn off the oil paint for a moment
and I’ll also turn off the filter gallery just there. So this mask can also get you another effect
as well, which might be kind of cool for people to try out, because of course it’s just like
any other mask, but here it’s masking all of these things. So what I’m going to do is with black ad my
foreground color, of course black concealing and white revealing, I’m then going to choose
a brush. And I’ve got a whole bunch of different brushes
here. And I’m actually using one from Aaron Blaze. You know the, uh- Yup. Our good friend Aaron Blaze. yep. Fantastic. Creature Art Teacher. Creature Art Teacher. Yeah. Yeah. Yeah, he’s fantastic. And I love … these are from his hair and
fur, uh, collection. And I kind of like this one here, tight curl. So I’m just going to choose that and then
just bring that down with the bracket keys there. I want to make it nice and small. I’ve got this set to around about 80 percent
opacity. And so this creates this nice texture. In fact, if I just create a new image just
for a moment, so I’ll just go with whatever is on by default there. So that 1080p, like so. I’ll show you how the brush works. Like this. Okay, so can you see that? Mm-hmm. If I just continue working in that area there,
it gives me … it’s meant for like, curly hair. Super curly hair. Yeah. But where I really like this on using this
mask, it’s kind of like retrieving some of the image. So I tend to work here in the eyes to start
off with, ca- because that’s naturally where people start to look. Yeah. And then work into the shadow areas like so,
and reveal some of the background. Yeah. Because it looks like a super detailed- Right. … and into the ears there. Yeah. And just to be clear, wh-what you’re doing
there is hiding the filter effects with the layer mask. You’re using black to conceal the effect. That’s absolutely right. Absolutely I am. Yeah. So you can see that everything’s still there
and I can hide the mask here as well so that you can see if I shift click the mask to turn
that off momentarily- Yeah. … and shift click it again to enable. So I’m just letting the photo peek through. Yeah. Into what I’ve done. And that- Why don’t you show people what the mask looks
like? Yeah, let’s have a look at that. So, uh, what I can do is … alt, isn’t it? So that- Alt. A-alt or option, yeah. So that’s, that’s what you’re doing. You’re painting the darker it is, the more
of the original image that comes through. Absolutely. And working at a lower opacity than 100 percent
gives you a latitude. Mm-hmm. To move between, between the two. And also with a brush that itself has some,
uh, dynamics in it, or in terms of the way it applies a stroke. And you’re using the Wacom brush right now,
correct? I am using a Wacom brush right now. But this is one of those things I could switch
to the track pad here with this one. And it works just as well. Nice. Yeah, so I’m actually working with my track
pad. But you can see how … look at this, it’s
like a stylized album cover. Exactly. You know. In, uh, in just, moments. And if you did have a range of shots of model
and you were doing something like this for an album cover, the chances are they were
all shot under the same lighting conditions, and you could just ingest another file from
there. You could just, you know, put that in. Mm-hmm. Do what we did before and say, you know. Yeah. Bring that in. If you needed to clear the mask, you can just
clear the mask by flooding it with white. Right. And there you go. And if you’re working with a regular smart
object but not a CC library image, all you would do is just double click on that thumbnail,
it opens up in a new tab, and whatever you put inside of that new tab will get this effect
applied to once you save it. Yup. Absolutely. Yup. So you can just double click away, and as
you just said, drop any new contents, close it, save it, and it would just repopulate
in here. Yup. Yup. It’s all good stuff, I think. Nice. I think it looks fantastic. Thank you. So there we’ve got the PTC extension onto
the TDN technique. Exactly. So let people know where they can find you
if they want to see more tutorials like … I know you do Photoshop tutorials obviously,
but what, what kind of o-other tutorials do you show on your YouTube channel? Uh, so Illustrator and InDesign and Mobile
Apps. Those are my main things. And they can find me at Go there. And there’s going to be a link below in the
description where you can just click onto your YouTube channel and give you a thumbs
up. Yup. And give you a subscribe and hopefully click
on n- that notification, so that way they’re notified whenever you post a new tutorial. Absolutely. That would be just great if they could do
that. And if this is your first time at the Photoshop
Training Channel, where this video will be, also click on subscribe and the notification
button. (laughs) Absolutely. This has been a blast. Yeah. Thank you for having me on, really loved it. Yeah, you’re welcome. I’ll see you in Seattle. Yeah. In just a couple months. Yeah. You will. Tony and I have spoken at how many events
together, four-ish? Yeah, about four. Yeah, yeah. Few maxes and, and now this one. Pretty good. Yeah. Awesome. Yeah. All right, Tony, well thank you so much for
showing us this technique. I think it looks great. Um, let us know in the comments down below
what you think, what you like, what you learned and if you saw anything that Tony showed that
is going to be helpful for you and your workflow, don’t forget to click on that like button
and let us know what it was in the comments.


  • Lets Talk Pixel

    Woooh thats pretty kick ass need to try ot by my own this weekend 😁 thanks for sharing detail version

  • Pocket

    Great video, love both of you 🙂

  • Sanju Kumar

    very nice n informative tutorial.. we want more of such kind.

  • Beheahl Ghalemvras

    This TDN guy looks like a real ninja and he is awesome!!

  • Zedsta R

    Very nice. Thanks for sharing

  • Snow Wold

    Thanks a lot

  • R Garlin

    Guys! That was super cool! Very impressive! I'm off to explore channel TDN!

  • Catalin Dacian Gulan

    Amazing tutorial, wonderful guest invitee – already legendary Tony Harmer, and not the last..great host – Jesus Ramirez! ❤ Thank you very much indeed for sharing!
    PTC it is the best Ps tutorial channel! Splendid! ❤

  • Tommy Gunrunner

    Beautiful effect. Excellent collaboration as well.


    Suberb tutorial! Thank you very much!

  • Yogesh Negi

    beautiful..🎀 ✌️ ✌️ 🔥 🔥 creation

  • scomart

    Awesome! When gurus collide! Would love to see more collaboration videos.

  • Sunil Poreyana

    Awesome techniques…. Blown out…

  • AciD ToX

    Whoever gave thumbs down is an idiot…

  • Kit Sherwin Rombines

    awesome sir

  • Fernando Vázquez Dj Manitas

    Fantastic!!! Very nice, thanks

  • Kit Sherwin Rombines

    i dont have the treatment in camera raw im using photoshop cc 2018

  • P Scott

    Fantastic tutorial and I will be using these techniques on some of my travel photography. I like to to convert some of images to art and bring in tones and warmth that I want. Thanks so much for sharing your creativity and methodology!

  • Morning Wood

    Great collab. I love seeing creators working together. 👍🏻

  • Michel Berube

    Magic! An action which replicates all the steps to get you started would be fantastic.

  • Javier Lukarelly

    Muchas gracias , como siempre maravilloso . Saludos

  • John Berthoty

    Really nice technique! Will be creating an action for THAT one!

  • Tech Show


  • Dr. Harshwardhan

    powerfull .. skill 👌

  • Nemo With Glasses

    In the Camera raw filter I don't have the blending option to alter the greyscale, is that b/c Im using PS CC17?

  • Mel Stone

    I’m guessing you’re using an 8-bit image… otherwise you wouldn't have the filter options?

  • Walter G

    Better than excellent

  • Brenda Milstein

    Interesting but you do need CC to access the camera raw in the filter column sadly not available in PSCS6

  • Mark Hawthorne

    Loved the tutorial up to the point where he used the oil paint filter. It has always been greyed out on my menu and try as I will, I have never been able to activate it. Others I know using PS have the same problem too.

  • Kevin Dennis

    Very Exciting

  • Johan van dreven

    Has someone a link to the brush he used? So I can buy these?

  • Jim Bembinster

    A real dynamic duo, thanks to both of you for your time and expertise.

  • Jose Lopez

    Excellent information… step-by-step!

  • Anki Sandinge

    I Love this effect.

  • genesis2303

    Are these some additional profiles for B&W I don't see B&W profile just basic and favourite?

  • Bashir ahmad

    Classic one brother.

  • Abdul Gani

    He is genious really too good. Thank you very much.

  • Abdul Gani

    He is genious really too good. Thank you very much.

  • Jules Moyaert

    Thank you BOTH! Very, very cool!

  • Finthefish 1701

    Dude sounds like mark kermode

  • Ted Douglas

    Thank you Tony and Jesus. The most insightful thing for me was using a more drastic Gaussian blur as a filter in the very first step. Great! But, for those of us who are not so up-to-date with CC2019, or who do not have the Camera Raw Filter as an installed PS feature… we are then left to explore other ways to proceed with a work flow that will have the same result. Can work around that, of course. Meanwhile: whether this is strictly on one layer is not necessarily an advantage in the creative projects I am involved with — I would still rather have individual layers with their own respective masks to give me specific editing control… this works best for me. Since my final output will be a CMYK file for print, and generally not a RGB for Web purposes… I need to be able to fine tune a group of bits or pixels at times. By the way, Jesus, do you think there is any way to convince Adobe to offer just the Camera Raw filter as a separate plug-in for earlier versions of Photoshop?? Once again, thank you both for the great presentation.

  • Martin Turner

    This was AWE and then SOME! Thanks, guys!!!

  • Nickelodeon ll


  • Bill Franklin


  • Carlos Nesci

    Excellent, what a push to go on exploring. Congrats!

  • Benteparle

    that was cool.

  • Mario Pires

    Thks for the video….Did you understood the britsh accent,and humor ? ah ah

  • Andrew Grabham

    Great effect, enjoyed it. Interesting to me was the different styles you guys have for teaching. I will check out Tony's site, but definitely keeping my subscription here.

  • JCPE

    Really great tutorial< Jesus and Tony! It might be a very basic question but I couldn't access the Filter Gallery and/or Glowing edges while editing a "dng" or TIFF file. Only when I convert it to jpg. Is there really such limitation or am I doing it wrong?

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  • adetokun abeeb

    I know Tony Hammer, He is also a Tutor with lot of years of experience as a graphics designer and he's good.

  • Anatoli Atanasov

    Amazing tutorial!

  • Bainebiker x

    Brilliant tutorial,thank you!!

  • Trevor Dennis

    Guys, I clicked through to this from Tricia's acp Friday newsletter, and I am totally glad that I did. More fool anyone who does not read those newsletters 😉 I am also loving those Aaron Blaise brushes, and I have a feeling his sales are going to peek this week.

  • P Scott

    Great tutorial and the new "Texture" slider can add to the sketch effect too!

  • David Butler

    Great video! Please correct me if I'm wrong but I believe image mode can't be more than 8 bits in order to access filter gallery.

  • runbei

    Follow-up comment: this has proved tremendously useful for me, to create illustrations from photos. A very, very valuable (and cool) effect. Many thanks.

  • Niko Ortez

    "stapler accident finger" 😂 Thats fantastic. Great trick!

  • Kae Ro

    Nice tutorial. I don't see the black and white preset under camera raw.

  • Paul Burwood

    Brilliant final image; just love the effect.


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