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Creating torn paper effects

What is the deal with the torn paper effect? I mean it's such a visual clichË, but then clichËs communicate.
Well, I'll let you ponder that design enigma on your own. In the mean time, let's look at how you can create
your own torn effect in Photoshop. Since we're on the web here, we'll go ahead and approach this as a
web background project. Indeed, the background of this here page is our ultimate goal. Of course, you can
use the techniques covered here for print or multimedia as well. We begin with two textures on 3 layers. The
file size I'm using is 1024 pixels wide by 200 pixels high. You need one copy of the background layer and
two copies of the texture on which you will apply the torn paper effect. Incidentally the textures used for this
example are from "The Ultimate Texture Collection" by Auto F/X. I've been using the Ultimate Texture
Collection a lot lately because Auto F/X has compiled a remarkably usable selection of textures and tiles
and because the plug-in filter that comes with the collection allows you to easily modify the textures--I'm
particularly fond of the collection of paper and metal textures. In any event, name the top layer "Inner
Edge" and the middle layer "Outer Edge" as shown below.

Now Open the Channels palette, create a new Channel and call this Channel "Fat". Next, select a big
brush and paint a random black line somewhere down the left side of the channel (see below left). Now use
the paintbrush and/or Fill tool to paint in black everywhere to the left of the line (see below right). Now make
a copy of the Fat Channel and name the copy "Skinny". Apply the Maximum filter (Filter, Other) and apply it
with a radius of about 4-8 pixels. The larger the number the wider the outer edge of the tear effect (don't
worry it will make more sense in a moment).

The next series of steps need to be applied to both the "Fat" and "Skinny" Channels. I will demonstrate the
steps using the "Fat" channel. First select the Scatter filter (Filter, Brush Strokes). Apply the Scatter filter
with a Spray Radius of about 10 and a Smoothness of about 5. These settings are certainly variable, but I
wouldn't stray too far from these recommendations. Now apply the Blur More Filter (Filter, Blur). Next we
need to collapse the midtones using Levels (Image, Adjust) Click here for more information on "collapsing
the midtones." See the top image below for the approximate settings with which to apply the Levels
feature. We want to minimize the number of pixels that are sort of stranded on either side of the black and
white areas. That is, we need solid black and solid white areas. So, after you collapse the midtones with
Levels you might need to touch up the black and white areas with the paintbrush tool. Go in and make any
white holes within the black areas black and any black dots within the white area should be painted over
with white. Your results should look similar to the bottom image below.

Now that we have our Fat and Skinny Channels, we need to go back to the Layer palette. First turn off the
top "Inner Edge" Layer by clicking on it's corresponding Eye in the Layer palette. Now, select the "Outer
Edge" Layer and load the Fat channel as a selection. Delete and Deselect. Now lighten up the remaining
contents of the Outer Edge layer by applying a Curve (Image, Adjust, Curves) similar to the one shown
below. The result should look roughly like the second image below.

Lacks contrast, don't it!? Right: we need a shadow. Ok, duplicate the Outer Edge layer, rename the
duplicate "Outer Shadow", and then drag the Outer Shadow layer below the Outer Edge layer. Now, turn
on the Preserve Transparency option in the Layers palette and then fill the Outer Shadow Layer with black
(press the "D" key and then hit Alt+Delete [pc] or Option+Delete [mac]). Now turn Preserve Transparency
off and apply a Gaussian Blur of about 5-8 radius. The results should look similar to those shown below.

Much better! Ok, now make the Inner Edge layer visible and select it. Load the Skinny Channel as a
selection. Delete and Deselect. Repeat the process described to add a little shadow only use a Gassian
Blur radius of only 1-2. The result should similar to those shown below.
Now we just need to make the thing into a seamless pattern. That should be the easy part, but just in case
you aren't familiar with the excessivly documented technique for creating seamless patterns, here's a quick
rundown. Select the Offset filter (Filter, Other, Offset). This background only needs to tile vertically, so I set
the offset to 0 horzontal and 100 vertical (you need to set the Offset to one-half the file size). Turn on the
Wrap Around feature and apply. Now use the Cloning tool to go back and blend out the resultant seam
down the horizontal middle of the image. That should do it. See? Easy, huh? Now you don't have to go
around tearing up your favorite paper and scanning it. Gotta save them trees.

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