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However, you can create a second layer that just holds the texture if you need to, or start with a Gradient Fill layer, sidestepping the limitation. The Pattern layer style is composited below the Color and Gradient styles, ruining an otherwise perfect noise and texture method. As with previous methods, using Luminosity as a blending mode and reducing the opacity to suit it yield great results. Once you’ve defined the pattern, it will be available in the Pattern Overlay layer style options. Start by creating a noise or repeating pattern in a new document, then choose Edit → Define Pattern. It’s a fairly involved process, but it can accommodate a combination of effects that can be remade if the document gets scaled. Scales: Yes, texture will be remade automaticallyĬreate a Solid Color layer, convert it to a Smart Object, select Filter → Noise → Add Noise, apply a Vector Mask to match your element, set the layer blending mode to Luminosity and reduce the layer’s opacity.The previous bitmap layer method can add highlights and shade at once while maintaining the average luminosity, and it looks far better in my opinion. Unfortunately, the noise can only lighten or darken the underlying elements. The noise is added above the Color, Gradient and Pattern layer styles, which is great. It’s a good solution, provided you’re not already using the Glow layer style for something else. Works with Color and Gradient layer styles: YesĪdding an Inner Glow layer style with the source set to center and the size to 0 will let you use the noise slider to add texture to any layer.Scales: No, texture will have to be recreated if the document is scaled.

(Clipping results in higher contrast, which might not be desirable.) A noise setting of 48% gives a high dynamic range without clipping the noise. Using a high amount of noise, setting the layer blending mode to Luminosity and reducing the opacity will yield the most control over the noise with the least disturbance to the underlying layers. Probably the most obvious method for adding texture to a shape is to create a normal bitmap layer, fill it with a color, select Filter → Noise → Add Noise, then apply a mask or Vector Mask to match the element you’re adding noise to.

Can the method be used with any texture, not just noise?.

Can the noise be on top of the Color and Gradient layer styles?.

Ability to scale: if the document is resized, will the effect maintain its quality?.

Number of layers used: fewer is better.

To find out which is best, we’ll judge each method using the following criteria: Subtle noise or texture on UI elements can look great, but what’s the best way to add it? Our goal is to find the best method that maintains quality when scaled but that is also easy to implement and edit.

Pixel Perfection When Rotating, Pasting And Nudging In Photoshop.

The Whys And The Hows Of Textures In Web Design.

Techniques For Creating Custom Textures In Photoshop.

You may want to take a look at the following related posts: Here, then, is an obsessive-compulsive’s guide to some frequently used tools and techniques for Web and UI design in Photoshop.

Being the obsessive-compulsives that we are, we’ve conducted a huge range of experiments to determine the benefits and disadvantages of each technique. Photoshop contains a vast array of tools for embellishing a design, but choosing the right one isn’t always easy. Often, it’s the little details that turn a good layout into a great design details such as subtle textures, shading and smooth shapes.