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HOW TO USE THE PUPPET WARP TOOL CREATIVELY

Image of Jimmy Buffett's Margaritaville sign at City Walk in Orlando, FloridaJust having some fun with this week and trying some new things out. This is the sign on the restaurant for Jimmy Buffett’s Margaritaville at City Walk in Orlando, Florida. So the reason this is rather “wonky” is because I decided it looked kind of good “wonky!” This sign was at the top of the building and was not shot straight on, so the sign on the right side was further away than the side on the left. There was lots of reflection in the restaurant windows in the original since it was taken during the brightest part of the day – totally awful! And the blue lettering and the parrot were almost indistinguishable in the sign. I thought this would make a good image to experiment with the brushes created in my How to Easily Create a Photoshop Brush for Painting blog. First the image was cropped in Lightroom and then opened Photoshop where it was taken into the Edit -> Perspective Warp command to see if it could be salvaged. It actually did a pretty good job on it but there were a few disturbing areas. It was tweaked using the Edit -> Puppet Warp command and that is when it went “wonky” – I just started pulling and pushing the pins all over and got this really whimsical look that I liked – it looks like the sign is on the top of a sombrero. (For info on how to really use this tool effectively, see my short Tidbits Straightening with Puppet Warp! blog.)

It occurred to me that Puppet Warp is actually very similar to the Warp Tool in Free Transform (CTRL+T). On a New Layer on top the sky was blended using the Creative Toons Mixer brush from my linked blog. On a stamped layer (CTRL+ALT+SHIFT+E) above, Topaz (see sidebar at my Tidbits Blog for website link) Detail 3 was opened and an underpainting look was created. (Here are my settings: Topaz Detail 3 – used Abstraction II preset. Made changes to Tone Cyan-Red -0.69, Magenta-Green -0.12, and Yellow-Blue 0.09; Color Temperature 0.30, Tint 0.02, Saturation 0.05, and Saturation Boost 0.02; and Effect Mask – Painted out the effect off the bird’s face, trees, and Jimmy Buffett’s lettering using a Brush Strength of 0.45, Brush Size 0.11, Hardness 0.66, and Flow and Edge Aware at 1.00; and Overall Opacity set to 1.00.) This layer was set to Subtract blend mode at 89% layer opacity and on a layer mask the lettering was painted out to make the Jimmy Buffett’s lettering show up better. In the Layer Style dialog, the Blend If This Layer black tab was split (ALT+click on the tab and pull apart) and set to 56/77 to really darken down the sky. (See my How to Use Those Handy Blend-If Sliders! blog) How I came up with this I do not know, but on another stamped layer above, the image was inverted by clicking on the layer and pressing CTRL+I – now it was all white looking. A black layer mask was added and just the same lettering was painted back. Looked terrible so a Hue/Sat Adjustment Layer was added to turn the lettering from the ugly yellow to bright red – now you can see it. On another New Layer I used the SJ-Kahara Regular brush from my linked painting blog to paint on the sky around the the bird and trees to make them stand out a little more and add some interest to the night sky. On yet another stamped layer a Camera Raw Radial Filter was added to just the parrot’s head (hum) to bring the focus to him. A Selective Color Adjustment Layer was added to adjust the green color in the image and that was about it. Oh yes, lastly added Jack Davis’s Wow Texture 02 (got this style along with many others from the CD in a little gem of a book called Adobe Photoshop 7 One Click Wow)– this to give a more painterly look. Whew!

Image inside the Trolley Train Ride at Universal Studios Orlando This image was shot looking up at the center from the stairs going up to get on the High in the Sky Seuss Trolley Train Ride at Seuss Landing in Universal Studios Orlando. I really loved the bright colors but was not quite sure what to do with the image. It seemed like a good candidate to try a little Puppet Warping on, so that is what you see. In Lightroom the image was cropped and Seim’s (see sidebar at my Tidbits Blog for website link) Power Workflow 4 Magic Ugly Shade Fixer preset was used to help with this issue. In Photoshop on a duplicate layer, the Puppet Warp Tool was used. Once again, the mesh was turned off first. Then pins were stuck in each corner to hold the image still. The various pins were placed and dragged to get this crazy result. Back in Photoshop Topaz Adjust was opened and a preset I created called Negative Preset was applied with no changes. (Here are the settings: Global Adjustments Adaptive Exposure 0.07, Regions 50, Contrast -0.02, Brightness 0.00, Protect Highlights 0.02, and Protect Shadow; and Finishing Touches Warmth 0.18, Border Size 0.26; and Vignette Strength -1.00, Vignette Size 0.01, Vignette Transition 1.00, and Vignette Curvature 0.87.) It gave it a bit of the surreal look. 2 Lil’ Owls Studio’s (see sidebar at my Tidbits Blog for website link) Member Freebie of July 2012-57 was applied and set to Hard Light blend mode at 61% layer opacity. The Blend If This Layer black tab was split (ALT+drag tab) and set to 125/191 and the white tab was also split and set to 215/255. This pulled back some of the texture from the image to get this kind of nice effect. Her Ultimate Texture Collection Chalkboard Burgundy was applied at Soft Light and 100% layer opacity. Three New Layers were added with painting on each to smooth out the white highlights in areas that were distracting. A stamped layer was created on top and set to Multiply blend mode and a white layer mask was used to bring back the texture details in the darker areas. Another stamped layer was created and my free SJ Thin Double Edge Frame layer style was applied with the default colors. I think it turned out to look a little scary!

Image of the Giraffes in a Store Sign at Seuss Landing in Universal Studios OrlandoThis was just too much fun to stop at one image. The puppet warp was used to warp another store sign in Seuss Landing at Universal Studios. These funny giraffes are from the first Dr. Seuss book called And To Think That I Saw It On Mulberry Street. I wanted to show a painterly image that had very little brush painting done in it – all done with filters and textures. Ran the same Shake Reduction Filter in Photoshop, selected the plain blue sky using the Select -> Color Range Tool, and added Melissa Gallo’s Painted Texture June Seashore for a bluish sky that looked like painted clouds. Next a new texture by French Kiss called Color Wash Sage was added. What really made this image get this rather grainy illustrative look was in the layer style of the layer (double click on the layer to open). The Blend Mode was set to Color Dodge at 94% opacity and 95% Fill Opacity, and the Blend If This Layer White Tab was split (ALT+drag to get a smooth transition) and set to 224/255; the Underlying Layer Black tab was split and set to 29/47 and White tab split and set to 145/177. A stamped layer (CTRL+ALT+SHIFT+E) was placed on top but a huge color shift occurred. This is because the blend mode of the texture below was set to Color Dodge and this happens – to get rid of this just set the stamped layer blend mode to Color. Decided to try the whole image in Topaz ReStyle and voila, instead of a blue image, I had pinks and warm tones which I really liked. (Here are the ReStyle Settings: colors based on Orange Peel preset – ReStyle Color Style Hue Fifth 0.53; Sat Fifth 0.41; and Lum Primary -0.48; Texture Strength 0.00; Basic Color Temperature -0.31, Tint 0.61, and Saturation 0.11; Tone Black Level -0.31, Midtones -0.02, and White Level 0.02; and Detail Structure 0.38 and Sharpness 0.16.) The last step added my SJ Thin Double Edge Frame on a top stamped layer – sampled colors in the image to get the frame colors.

Sometimes it is just fun to play with the different tools and see what results you get. I think I would get bored if I did the same workflow on every piece I did. Sometimes you have to when working on a special occasion or group of images, but it is kind of nice to take a break and try something different. Until next time – Digital Lady Syd

Digital Lady Syd Related Blogs:
How to Get Blend If Slider Settings to Apply to a Layer

JUST PAINTING IN PHOTOSHOP AND HAVING FUN!

Image of totem poles in front of a store in St. Augustine, FloridaThis week is all about just having some fun painting – which is why I do anything in Photoshop! Thought I would pass along a few tips that occurred to me while painting away this week. This image is of some really beautiful wood totem poles that are in front of a store in St. Augustine, Florida. Had to take the image! The colors were marvelous!

This is an example of how to use your new brush skills to remove areas in your image – the texture was used to hide a very messy and distracting background and the basic objects were painted a little but kept in tact so you can appreciate the detail of the pieces. Since the last few posts have been about creating some nice brushes, this image used the one created for the first image in How to Paint with a Texture Brush blog. I like this brush because it contains a whole bunch of texture. If you want a more obvious texture in your brush, increase the Depth slider. What does this do? Well basically by setting to a high level, the deepest areas of the texture would not get any paint; set to 0% means that there really is no different between the high and low parts of the texture and very little of it will be seen in the brush stroke. The Depth Jitter adds some randomness to the brush texture in the stroke.

Lots of clean up was done before starting on this image – need to get any distractions out of the way and clone in areas that are covered up. Saves a lot of time later. In this case all the bottoms of the front totem poles had to be reconstructed and many had white sales tags on them. Note – Open up that Clone Stamp Panel and click on icon in front of the W – this reverses the direction of what you are cloning – totally useful to help with reconstructing a missing area. Added on top Melissa Gallo’s August Copper texture. By using a layer mask to paint back the totem poles, a pretty nice painterly effect is achieved. This is actually a very popular technique used whenever a texture is added. (See my Texture Resources – So Many Choices! So Many Choices! blog.)

Another tip is do not forget to try some of your plug-ins once you have got the image close to finished. I have often created much better results by doing this. This image used Nik Viveza 2 (one of my totally in-disposable plug-in) and Nik Analog Efex Pro 2 (another favorite) as a black and white layer and set to Overlay blend mode at 86%. Viveza let me make the faces a little sharper where I wanted to direct focus and add some slight vignetting in the corners. My last step involved adding yet another texture, August Marble also by Melissa, and setting it to a Color Burn blend mode at 52% layer opacity – and no layer mask this time.

So in this case we found that painting is not that much of the process – need to really clean up the image, use  your plug-ins wisely, and find a perfect texture to hide distractions! Always be on the look out for that great texture!
…..
Image of a painted bouquet of flowersThis bouquet is of an image I actually put a white background behind and shot with natural light. All that was done on this image is to just paint on a New Layer on top of the flowers using a Mixer brush. First Seim’s (see sidebar at my Tidbits Blog for website link) PW4 Super HDR X preset was added to add some contrast and sharpen the image a little. In Photoshop I converted the image to 8-bit (Image -> Mode -> 8 Bit) and made the image smaller since I was going to use a Mixer brush to paint and it is common knowledge that these brushes slows everything down – a lot! Usually this works along with keeping the brush size pretty small. This image just used Photoshop’s default Flat Fan Single Bristle Wet Edge brush at 25 pixels as a Mixer brush. The Options Bar was set so the “Load the brush after every stroke” icon was turned off – do not want to add any color – and Sample All Layers turned on. Set the Wet to 100%, Load 1%, Mix 100% (want to mix our colors up), and Flow 100%. I could have used the Very Wet Heavy Mix, in the drop down which increased the Load to 50% – not sure it matters at this point since no color is being loaded. Now just dabbed and stroked away to my hearts content on this image trying to keep my focal point in mind and not overdo that area. Two texture layers from French Kiss (see sidebar at my Tidbits Blog for website link) were added – the Atelier Valley set to Hard Light blend mode at 35% and Tableaux Mirage set to Vivid Light at 67% layer opacity – no layer masks were added. A New Layer was created and set to Overlay – then with a dark greenish brush set to 19% brush opacity, some of the lines in the flower were painted back to emphasize the separation in my focal area. (See my The Best Dodging and Burning Technique! blog.) Another New Layer was added where the Mixer brush was used to just add some extra strokes in the leaves – if the texture that was added is too strong, this can be blended into your strokes to make this less obvious. It just cleaned up some of the painting. A Curves Adjustment Layer was used to add back some of the contrast when the textures were added. A stamped layer was created and now I decided to go into Topaz ReStyle just to see if I could improved upon the color palette. The Thistles and Bright Sky preset was used (here are the setting if you are interested: ReStyle opacity 55%; Hue Secondary 0.30, Third 0.38, and Fifth 0.86; Lum Primary -0.33, Third -0.09, Fourth -0.33, and Fifth -o0.37; and Sat no changes; Texture 0.86; Basic Opacity 49% at Color blend mode; Color Tint -0.56 and Saturation 0.03; Tone Black Level 0.20 and Midtones -0.30; and Detail – Structure -0.42 and Sharpness 0.20.) Another Curves Adjustment Layer was added and by dragging in the focal flower area, more contrast could be added. By filling the layer mask with black, just this area was lightly painted back until it looked just right. It took a lot of steps but it ended up creating a very nice result! Used a similar process but different brush in my Tidbits Blog called Red Carnations on a Bright Sunny Texture.

Here’s a little tip I wanted to pass along – actually found this in the Photoshop Manual’s shortcut key section and it is a real time-saver when changing brushes. In the Preset Brush Panel pressing the “.” (period key) takes you to the next brush in the list and the “,” (comma key) takes you to the previous brush. You can skim through all your brushes very quickly by just pressing these keys. Also, by pressing the “<” key, you are taken to the first brush in your preset list and the “>” takes you to the last one. This is very handy since every time you create a new brush, it ends up at the bottom of the stack , and if you are like me, there can be many brushes in your list – so just press the > key and it takes you to the last entry quickly.

Well that’s it for this week. Maybe you picked up a couple new brushes or tips to try. See you next week!…..Digital Lady Syd

HOW TO PAINT WITH A TEXTURE BRUSH FROM YOUR IMAGE

Image of a painted Rooftop at Harry Potter Land - Universal Studios OrlandoThis week I only have this one example using an image taken at Harry Potter Land in Universal Studios Orlando, but it works well for this very useful technique. Since I have been learning more about the brush engine in Photoshop, I discovered a rather useful way to link a part of the texture of the background to the brush being used to paint over the image.

Here are the beginning steps to making this image. First converted image to 8-bit (Image ->Mode->8-bit) so the brushes will paint faster. The sky was a very bland flat blue color so it just seemed to be begging for something to perk it up. Topaz (see sidebar at my Tidbits blog for website link) Detail 3 was applied for an overall image sharpening and then some basic spot cleaning was done since my camera sensor was a little dirty.

Owl Steps: Next an owl brush from a set called harry_potter_brushes_by_nyvelvet-d4qcowz was applied on a New Layer by clicking just once at 100% brush opacity to get a nice owl outline. On another New Layer underneath, some brown was painted in the owl wings and head, then on another New Layer white was painted in other parts of the owl to make it stand out and look painted – just used a regular soft brush at 100% opacity. These three layers were grouped (highlight the layers and press CTRL+G) and named Owl.

A stamped layer was created (CTRL+ALT+SHIFT+E) on top and this layer was opened up in Topaz Simplify where the BuzzSim III preset was applied to use as an underpainting. This broke up the image into a really nice color palette that can be used to sample colors for painting over the main objects. Note you do not have to use Simplify (or Detail above), these are just some ways I am experimenting. An underpainting could be created using different Photoshop filters or adjustments layers. I plan on covering this topic at a later date. Used Topaz ReMask to remove the sky and the selection was loaded as a layer mask from the plug-in (check ReMask settings at bottom to set this up) although Photoshop could easily have used for this as it was a very easy selection. Now a texture needed to  be added underneath to fill up the sky and various ones were tried. I settled on French Kiss Atelier Georgia texture (see sidebar at my Tidbits blog for website link) which gave the image a nice painterly feel. Obviously the Simplify BuzzSim edges in the towers looked bad, but it is now time to make a brush to smooth these out.

Creating Brush Steps: A brush was made right in this image by turning off all the layers except the texture layer. Next use the Rectangular (or Elliptical) Marque Tool and select a small portion of the texture that represents an area that might make a nice brush. Press CTRL+J and it copies the brush selection up onto its own layer. Turn off the full texture layer and on top of the sample layer, add a Threshold Adjustment Layer to get a strong nice black and white look – all brushes have to be in black and white tones or it will not pick up the texture. I think my Threshold Level was set to 162. Highlight the brush layer under the adjustment layer and go to Edit -> Define Brush Preset. Down at the bottom of your Brush Presets Panel is your new brush. The new Brush now needs to be turned into a pattern, so on a New Layer a one stroke click was done with the new 208 pixel brush at 100% opacity in a black color. With the Marque Tool again just the brush stroke was selected and then go to Edit -> Define Pattern and name it the same as your brush. Deselect and highlight all three layers to put into another group and name brush and pattern.

Now the rest of the Brush in the Brush Panel must be set up. The Brush Tip Shape size was set 30 pixels and Spacing 56% – keep the Size small but play around with the Spacing watching the Preview area. Next in Shape Dynamics the Control was set to Off and the Angle Jitter to 4% – just enough to give a bit of variation. The last step involved adding the new brush pattern that was just created. By clicking on the down arrow next to the current texture, the last entry should be the new brush pattern just created – select it. Set the Scale to 131% – needs to be set over 100% so no obvious patterning is observed. If you are using the CC or CC 2014 versions of Photoshop, adjust the Brightness and Contrast sliders – I used Brightness -19 and Contrast 11. Make sure the Texture Each Tip is checked and change Mode to Multiply. Depth was set to 100% and Depth Jitter to 59%. All these settings can be manipulated until you get a stroke you like, but these are settings I used on this image. A new Brush Preset was created with these new settings by clicking on the Create New Brush icon at the bottom of the panel. A video going over these brush and pattern steps is below in case you got lost in the description.

Finalizing the Image: Several New Layers were painted using just this Regular Brush to paint over the objects – no mixer involved – and by sampling in the different colors that Simplify supplied, the image could be painted fairly quickly. Basically I like to sample a darker similar color and paint over a light one and vice versa to get a nice blend effect. Since the texture adds enough empty space in the stroke the colors blend nicely and it also looks somewhat  like the added large sky texture. This does not have to be painted perfectly and it will give a totally painted look. It really was a lot of fun and did not take too long to complete. A Pattern Adjustment Layer with the new pattern set to 100% Scale was put on top. The layer opacity was set to Normal at just 3% layer opacity – just gave a little bit more of the overall texture. On a stamped layer, a Radial Filter was added in Camera Raw to help draw the focus to the top cupola.

Update: I just added a Tidbits Blogs called A Little More Painting with a Texture Brush where I finished up the image started in the video and got a very different result. Check it out for a couple more tips.

Hope you get a chance to try this – as you can see from the video, a different texture gives a very different brush – some are better and some are worse, but it is nice to be able to match the added texture to the paint brush strokes so the objects fit more smoothly into the texture. Have a good week!…..Digital Lady Syd

HOW TO EASILY CREATE A PHOTOSHOP BRUSH FOR PAINTING

Image of some of the characters making up the Caro-Seuss-el at Universal Studios OrlandoI think most people are pretty much in a rut and do not even think about using anything other than a basic round brush in Photoshop. But Wow! There is so much more sitting in that Brush Panel that is not really that difficult to use and the results can do some amazing things to an image. This week I am going to give you some very basic settings for making a nice brush variation and how to use it as both a regular brush and a Mixer Brush without having to learn everything “under-the-sun” about them. So here we go.

I have decided I must see things differently since I seem drawn to shooting these sort of close-ups of funny things I see at theme parks. They do such a good job with color and expression that it is hard not to enjoy them. So once again a Universal Studios Orlando image close up of a couple of the characters to ride on from the Caro-Seuss-el in Seuss Landing.

Getting Started

I decided I wanted a painterly feel to this bright colored image. Most people will over-saturate an image in Camera Raw or Lightroom as the painting can make the image lose its contrast. In Photoshop first do any cropping, straightening and clean up of distractions and convert your image to 8-bit mode to help speed up the painting process (Image -> Mode -> 8-bit).

This step does not have to be done – you can just go on to Creating the Brush step and then start painting on a New Layer without an underpainting effect. For this image, on a duplicate layer (CTRL+J),  Topaz (see website link in sidebar at my Tidbits Blog) Simplify 4 plug-in was opened to create an underpainting before beginning to add my personal painting brush strokes. This is the same process as traditional painters do when they paint large blocks of color on their canvas before they begin painting the details. Especially for these bright contrasty images, it is a great way to start. Simplify does a great job of doing just that, simplifying your picture so you can take time working on your details. A preset I created back in version 3 was used (here are the settings used: Simplify section: Size 0.60, Feature Boost 0, Details Strength 0.80, Details Boost 1.28, Details Size 0.60, Remove Small 0.10, and Remove Weak 0.47; and Adjust section: Brightness 0.02, Contrast 0.82, Saturation, Saturation Boost 2.31, Dynamics 0, Structure and Structure Boost 1.00; no other settings used. ) This creates a rather bright flat image, but perfect for painting on the image. There are other ways to create an underpainting – the copy of the actual image could actually be blurred so only the basic shapes and colors are distinguishable and the detail removed. Alien Skin’s Snap Art 4 is another plug-in that creates a great underpainting effect. (See the first image in my More Plug-in and Painting Effects blog for an example using Snap Art 4.)

Creating the Brush

Next a New Layer was added on top and a watercolor Regular brush was created from the set I am always talking about – Creative Toons Watercolor Brushes – these were free from Photoshop Creative Magazine No. 113. (See next section for some other choices.) The brush used was Sample No. 15 but in the Brush Tip Shape in the Brush Panel, I set the size to 90, Roundness 100%, and the Spacing to 55%. Then added these brush sections by clicking on the words (not just check boxes or the settings don’t show up): Shape Dynamics was set to an Angle Jitter of 19% – no other settings on; Scattering with Scatter slider turned on and set to 30% and Count to 1 – no other settings on; Texture was turned on and the Gauze Pattern in Photoshop’s Artists Surfaces set was selected – Scale 100%, check Texture Each Tip, Mode Multiply, Depth 100% and Depth Jitter 40%; and of course Smoothing. (To locate pattern, click on side of pattern in Texture brush section, then click on the cog in upper right corner and select Artist Surfaces in list and Append – newly loaded patterns appear at bottom of already loaded patterns.) All the Control settings are turned off in all the sections. Be sure to save down as a Brush Preset so you do not lose your settings by clicking on the third icon over at the bottom of either the Brush Panel or the Brush Preset Panel. These were all settings I figured out since I really liked the shape of the original brush from Creative Toons, a brush that originally had a Size of 2500 px and Spacing of 25%. When painting, the 90-pixel size is as large as you want to use, especially when used as a Mixer brush. I believe any nicely shaped watercolor brush would work with these settings. Please try different settings and different types of brushes, not just watercolor, as you can get some very different but equally beautiful effects – I just happen to think this brush is very versatile and blends so beautifully. When using as a Regular brush, I usually set the brush opacity in the Options Bar to 30% and leave the Flow at 100%. If painting on a layer mask, may want the brush opacity set to 100%. For info on Flow, check out my blog called What Does the Flow Slider in the Options Bar Do?

Where to Find Some Nice Starter Watercolor Brushes

If you are unable to create this brush since the set is not free without the magazine, try downloading this large set of brushes from Env1ro watercolor brush and select Brush 3-697 pixels using exactly the same settings – when tested it creates the same effect as the brush used above since the shapes are very similar. It is also used in image below. Some other similar results were obtained using  SwimchickWatercolours – brush no 480 which gave a little softer result. Kahara has a nice 8-brush set and the third one made a beautiful brush with these settings and a different pattern, a concrete  pattern from Photoshop’s Texture Fill set (click on side of pattern in Texture brush section, then click on the cog in upper right corner and select Texture Fill in list – new patterns appear at bottom of loaded patterns). Changing up the patterns can give a brush new life. For a great list of free brush downloads, check out 45 Watercolor Brushes For Photoshop by Petshopbox Studio.

Turning it into a Mixer Brush

The real trick is to get your new Regular brush to work as a good Mixer Brush, and that is determined by what is up in the Options Bar – these settings are all sticky so when using your Mixer brushes, check them out if the brush is not working correctly.

So here are the options to make this really easy:

  • To blend the colors (creating a blender Mixer brush), in the Options Bar turn off the “Load the brush after each stroke” icon by clicking on it and always leave “Clean the brush after every stroke” clicked on, and selecting the Very Wet, Heavy Mix in the drop-down – have Sample All Layers checked. Now you have a pretty nice blending Mixer brush. If some color shows up, you left the “Load” icon turned on.
  • But what if you need to add some color to an area (creating a painting Mixer brush)? Turn On the Load the brush after each stroke icon (or no color will be painted) and flip the drop down to Dry, Light Load. Dab a few times to add your color and go back and turn off the Load icon and set to the Very Wet Heavy Mix to blend some more.

Really not that hard at all if you know where to look. And that is what I did on this image. Photoshop does try to make it easy. I blended areas where Simplify left a rough edges between color and added color to areas that were blown out as highlights or needed a more solid color added. Be sure to use dabs as well as longer strokes to get a nice painterly feel. If your brush gets much bigger than 90-pixels, the computer may slow down considerably so reduce the brush size – I usually paint at 20 pixels or less anyway. If still having problems, resize your image smaller – it will not matter if you are creating a painting – it can always be increased again after the image is finished. This was just too much fun to do! I love happy characters to work on!

NOTE: For painting with the Mixer brush – to sample colors that are under a brush stroke where you are painting, just press ALT+ click to add the(ose) colors to the “Load the brush after each stroke” icon which shows what is being painted by the brush. If you want to use a pure color from the Color Picker, you will need to use the Eyedropper Tool or double-click on the foreground swatch. I find this very time-consuming, so I do two things. First I have set up a keyboard shortcut for the letter “n” to open up the Color Picker. (Go to Edit -> Keyboard Shortcuts) Since I do not use the letter “n” for the 3D Camera Rotate Tool, I changed it in the Shortcuts For: Tools and scrolled to Foreground Color Picker, clicked Add Shortcut button, and typed in the letter “n” – it said it was in use and do I want to do this and I said yes. There you have it – very handy! Also my Wacom Stylus pen is set up so that the top of the long button opens up the Color Picker by selecting my “n” shortcut key, and the bottom is for Enter to accept the new color. This speeds up the painting process immensely! As a Regular brush – to sample an image color, just ALT+click on the color in image and the Eyedropper Tool pops up and selects it. The “n” shortcut key will bring up the Color Picker no matter what brush tool you are using.

Finishing up Your Painted Photo

I decided that the image needed a few lines showing, especially on the faces to draw the eye a little better. Again, this does not have to be done with a plug-in. One of the best ways to do this is to add a New Layer and select a Pencil Ink pen and add them in yourself – adjust the layer opacity so it is not over-whelming. For my painting the original bottom layer was duplicated and Simplify was opened again. This time the Black Line Only preset was chosen and just the Reduce Weak slider was set to 1.00 – all other settings were left. In Photoshop the layer was moved up to the top and set to Overlay blend mode. A black layer mask was added and just the eye areas and a few other details were painted back with the lines showing using a low opacity white brush. Many painted images have some lines in them and there are various actions around that add lines to your images, but by using just the Edges section in the Simplify plug-in is by far the fastest way to do this. The Reduce Weak slider controls a lot of the lines in the image but also check out the Edge Strength and Simplify Edge sliders for getting the illustrated look you want. This layer was set to Overlay blend mode so the white disappeared and a black layer mask was applied – painted in lightly with white brush where just the eyes and a few other areas had lines added for a little additional definition. A Curves Adjustment Layer was added for contrast. The Camera Raw Radial Filter was added to draw focus to the eyes , especially the center figure (Inside Radial Filter settings: Exposure 0, Contrast +5, Highlights +44, Shadows -4, Clarity +41, Sat 0, and Sharpness +33). And finally OnOne’s (see website link in sidebar at my Tidbits Blog) Perfect Effects plug-in was used to add the pretty border – they have always had the best borders. This one was called Antique Rounder Border. This turned out to be quite a lot of effort, but when you are painting an image, it usually does take some extra effort – even with the underpainting already added.

Here is another example using the same settings on a new brush.

Image of Dwarf Firebush flowers with the ICW in the background This image is of some Dwarf Firebush tubular flowers growing in my front yard and the Halifax River (aka Intracoastal Waterway) at Ormond Beach, Florida, is the background. Not sure how I came up with this combination, but it turned out kind of nice and definitely different. The reason it fits in this blog is that the flowers were painted using the same settings as the Mixer Brush in the above image, but with a similar brush I created. Wanted to show you that applying these settings to any brush is totally easy and the results can be very nice. But first I had to select just the flowers from the background using Photoshop’s Color Range Command. I needed to put them on something, so I added a Pattern Adjustment Layer and found this image of the river that looked kind of nice behind it since the roof on the pier is so similar to the flower colors. The pattern was left at a Scale of 100%. I wanted to add a little grunge to the image so Kim Klassen’s Make Grunge Set Allard texture was added and set to Luminosity blend mode at 54% – any grunge texture would be fine but I like really like Kim’s textures as most of them are very subtle. Next Env1ro watercolor brush 697-3 was loaded with the same settings that were used on the Creative Toons brush. Unfortunately due to an electrical storm that knocked out electricity and totally busted my Photoshop preferences, workspace, brushes, and image, I lost the layers for this image – what a mess! But since I did have my History in Preferences set to Metadata and Edit Log Items Detailed, and all my steps were listed in the File -> File Info and the History tab. Pretty nice extra-back up to have, especially in this case! Another Simplify Black Line Preset was added on a duplicate background layer and placed on top, set to Overlay blend mode, and a black layer mask added to paint back the flower details. Topaz ReStyle was applied to a stamped (CTRL+ALT+SHIFT+E) on top with my favorite Cream and Plum preset (here are my settings: ReStyle blend mode set to Color. In Basic blend mode set to Luminosity; Temperature was set to -0.75, Tint 0.20, and Saturation 0.13; Tone Black Level -0.37 and White Level 0.22; and Detail Structure -0.20 and Sharpness 0.64). This gave it a bit more of a soft look as opposed to a grungy effect. The last step was to use the new brush as a Mixer and blend the edges by painting around it. I am not sure this image has that much of a painterly look, but I still liked the results.

Hopefully this blog makes sense to you and you now have enough information to actually start painting on layers on top of your image. Also use the same brush to paint in a layer mask, to use with the Clone Stamp, and create borders. It really is not that hard. Experiment with the settings in the Options bar – try some of the other choices in the drop-down menu for the Mixer brush. Try different patterns in your brushes. It is all pretty easy – just keep saving your brushes as presets so you do not lose them. I would suggest going in to the Preset Manager (icon at bottom of the Brush Panel) and saving your new brushes down since I did lose all of the ones I had created when my electricity went off. And if you have Topaz Simplify, try out the line and flat painting presets. Hope you have a fun week experimenting – I know I will!…..Digital Lady Syd

Digital Lady Syd Related Blogs:
Digital Lady Syd Reviews Topaz Simplify 4

HOW TO GET PAINTING EFFECTS FROM ACTIONS-Part 2

Image of Edinburgh, Scotland, from the castleI have been enjoying learning about several actions people have created that give some interesting twists to an image, and some are quite painterly. Last week I presented Part 1 on action based images, and this week Part 2 is a totally different kind of look also created with actions. I have to thank Diana Day for the blog comment (here is a link to a beautiful flower image she created with the following set) that directed me to this little gem.

Ultimate Artist Action by Brandy Murry

The above image was taken from Edinburgh Castle in Scotland.The Ultimate Artist packet is an inexpensive set ($7.50 at this time) provided by Scrap Girls, one of the really nice website that scrapbook hobbyists use. Besides the three actions provided, this packet also included three brushes (although you can use any of your brushes),  six layer styles including one pattern for use in the styles and Pattern Adjustment Layers, two videos, and PDF instructions. I wanted to try a landscape so the Sepia Action was selected. The supplied Sketch brush was used to painted detail in the buildings but not the sky area. Following her suggestion in the videos, I copied the bottom original layer and moved it on top to add some color back into the image. This layer was set to Vivid Light at 59% opacity. On a New Layer some color was added into the image by painting with her Sketch brush. A Selective Color Adjustment Layer was added to get the colors exactly how I liked them, then set it to Darker Color blend mode at 77% layer opacity. Now the sky looked bad, so a cloud texture I had painted in Corel Painter were added for a more painterly feel. Any cloud brushes would also have worked. The sky color was changed back to a beige color as the blue just did not look right from the original. To do this a Hue/Saturation Adjustment Layer was clipped to the painted cloud layer and the city was painted back in the mask.  Added a painted edge border on a New Layer on top – used the provided Sketch brush again to do this. Finally on a stamped layer (CTRL+ALT+SHIFT+E) Brandy’s Texture 2 layer style was applied. The pattern did not completely cover the image and left a line down the right side, so the Pattern Overlay Scale was changed to 165% and the Blend Mode was set to Multiply at 24% (from the default Overlay at 100%) to get a very subtle overall textured feel. I really like the supplied pattern for this effect. This image took a long time for me to get to a point that I liked.

Image of yellow daisies that used Ultimate Artist action for effectThis image of my front yard yellow daisies that gives a very popular effect and is sold as an artistic effect in many stores. This image was cropped into a square and then the Color Action was run. The Watercolor Brush supplied was used to paint in the flowers on the action’s created black layer mask. When finished I decided to apply the layer mask so that I could add a texture behind the flowers that I painted in. The Outline Guide layer was turned off and Melissa Gallo’s beautiful Painted Texture April Pastel was brought in as layer under the flowers. French Kiss’s (see my Tidbits Blog for website link) Vintage French Recois overlay (the French writing) was placed over the flowers layer and set to a brownish color using a clipped Color Fill Adjustment Layer (CTRL+click between layers to clip). A layer mask was added to the lettering layer and it was lightly painted away from the flowers. Next I decided I wanted a more painted texture in the image so several New Layers were added using Creative Toons Watercolor brushes ( Creative Toons Watercolor Brushes – these were free from Photoshop Creative Magazine No. 113) on the different layers in different colors at different opacities. They were grouped to create just one layer look and set to 82% layer opacity. On a New Layer French Kiss Dot Grunge 04 was added and changed to a purplish color using same technique as the French Kiss overlay. Last step involved creating a watercolor border by painting around the edge of a layer with your favorite brush – the supplied brushes can do this easily. This was really a lot of fun to create and the package was very inexpensive.

Image of a vintage post cardJust having some more fun with this little action set. The flower followed basically the same actions and painting steps as above, just different Creative Toons Watercolor brushes. Next added the image to a beautiful free frame from Keep Designing.com called Antique Design Background and Rustic Frame and then Shadowhouse Creations free vintage Post Card Set 3-post card 3. Topaz (see sidebar at my Tidbits Blog for website link) ReStyle was used to really get the look I liked. The address is one of my overlays I created (see my How to Create Personal Overlays for Your Images blog) and the French stamp is from French Kiss Collections. This image really took a lot of fiddling around with to get it to all go together but it was lots of fun to do.

A Few Brush Hints

After spending a large amount of time with these actions, I felt really nice effects can be achieved with them. The bottom two image worked out very well when flowers are used. But the landscape image turned out to be a lot of work and a  lot of manipulation had to be done to achieve a look I liked – I believe I could do this same effect in some of my Photoshop plug-ins a lot easier and get a similar result. I discovered the watercolor brush to be especially nice, but you need to go into the Brush Panel and check the Spacing checkbox to see the stroke effect in the Preview box. I had trouble getting the nice watercolor effect she got in her videos so some of the brush parameters were adjusted. Remember that the Options Bar settings are sticky so check the opacity and flow settings – a wrong setting can give very different results. On her Watercolor Brush she has the Enable Airbrush-style Build Up turned on – this means that the paint builds up as you hold her Watercolor Brush in one place. (To turn on in a brush, check the Build Up section in the Brush Panel – it activates the Option Bar icon at the same time or just check the Options Bar icon.) Jack Davis uses this setting in his watercolor brushes but most do not use it. I got a little bit of edge difference so experiment with turning it on and off – and a mouse vs. a stylus can give very different results so play with these settings. And if your lines are not as scattered as hers, go in and change the scattering – check out the preview section and change the sliders to see what is happening. I got a really nice Scattering effect with this brush by setting the Scatter to 190% and the Count to 2. The Brush Panel can be very useful to help get the look you like. Also, if you find a brush you like, be sure to save it as a brush preset to use again – otherwise your settings are lost when you change brushes.

Overall I think Brandy has done a great job in creating thee actions – it definitely creates more of a sketch look and would look great on note cards or for personal gifts. I still need to work with the actions to get some better results. Definitely spend time watching the included videos as they do give some extra info on how to set up the brushes. There were several images I used that did not work out – the landscape image needed a lot of contrast, which she says to do, to get a good result. What I liked best were her brushes – very nice place to start so you can create some really useful ones of your own – and her layer styles. If you enjoy this painting effect, it would definitely be worth purchasing – there is a lot of “bang for the buck” with this set. See ya next week!…..Digital Lady Syd

HOW TO GET PAINTING EFFECTS FROM ACTIONS-Part 1

Illustrative image of the Circus McGurkus at Seuss Land, Universal Studios, FloridaSince we are all clamoring to learn how to paint and how to give our images an artistic flair, this blog is about some really cool free painterly actions that I recently learned about! I really did not have high expectations since these were not sites I was familiar with (like the wonderful Jack Davis and his actions! See my Can You Get a Painting Look With a Photoshop Action? Jack Davis Can! blog). But still, since they were about painting effects, I had to try them. Well, if nothing else  these actions can serve as a great starting point to getting a painted look up and going rather quickly. I decided to break this down into two parts since this is a pretty long topic to cover in one blog, so next week a different action will be presented.

Painting Effects by SparkleStock

The above is another one of my quirky images from Universal Studios Orlando (I think I am obsessed with this place!) of The Circus McGurkus in Seuss Landing and I just had to do something with it. So this is how I got the really cute illustrative effect with lots of paint in it without too much trouble.

1. First step is to download the Painting Effects by SparkleStock from Photoshop Tutorials – there are three free actions for download.
2. Need to change your image into 8-bit mode if it is in 16-bit as the actions use the Photoshop Filter Gallery and will not work with 16-bit mode images. Go to Edit -> Mode -> 8-bit.
3. Run the action.

After applying Seim’s Power 4 Workflow (see my Tidbits Blog sidebar for website link) Magic-Harsh Sun Fixer preset to image in Lightroom, it was opened in Photoshop and the Modern Watercolor action was selected. The original action did not leave that great a result, but by changing the patterns in the Pattern Fill Adjustment Layers, totally different results can be easily obtained. The Outline layer was changed to Soft Light at 36% opacity. The Underlying Layer Blend If slider was changed to black tab 24/53, and Color Overlay was turned off. In the Pattern Fill 1 Adjustment Layer, I found a leafy pattern that had a lot of gray and white in it set to 110% Scale. In the Dark Paint Pattern Fill Adjustment Layer, I selected a very colorful pattern from 10 Free Seamless Colored Splatter Textures Pattern 7 set to 535% Scale that shows up in the white areas of the image . Both of these layers were left set to Overlay blend mode at 100% layer opacity. Then on several New Layers I painted on the image using various brushes, including those wonderful watercolor brushes from Creative Toons ( Creative Toons Watercolor Brushes – these were free from Photoshop Creative Magazine No. 113)). Clouds were painted in, the elephant’s body shadow lines were smoothed, and more color was added to the circus tent to give a more festive look. This was too much fun! A stamped layer was created on top (CTRL+ALT+SHIFT+E) and two identical outside Radial Filters in the Camera Raw filter were added to really light up the edges (used these settings: Exposure +2.25, Contrast -47, Highlights -50, Shadows -21, Clarity +100, Saturation +28, and Sharpness +43) – layer was set to 74% layer opacity. Created another Stamped layer and applied Topaz (see my Tidbits Blog sidebar for website link) Detail 3 (these settings to adjust the color just a little sharpness to the image: Overall Small Details 0.3, Small Boost -0.05, Medium Details 0.35, Medium Boost 0, Large Details 0.25, Large Boost 0, Shadows -0.34, Cyan-Red, Magenta-Green 0.61, Yellow-Blue 0.45.  Set Overall Effect in the Mask section at 58%). Used French Kiss’s Sponged Edge overlay (from her Tableaux Texture Collection) and set it to a light pink. This action really allowed me to get a great painterly effect while it did the groundwork.

Image of a street in St. Andrews, ScotlandThis is an image I took a while ago of one of the most beautiful and charming cities I have ever visited (and of course the home of the most famous links golf course – Wow! See my The Old Course at St. Andrews image on Flickr.) The same Modern Watercolor action was used like above – I seem to get better results with this action than the other two. Detailed steps are listed as to how I got this look since it did take a lot of manipulation to get the effect. I have found the action is a great starting place, but it takes some help to get a really nice painterly feel to it. So bear with me as I list my steps (or skip over if you don’t need them).

1. Used the new CC Perspective Warp Command to set this town up a little straighter. There was some real tilting going on in the original image. (For instructions on this, check out Terry White’s What’s New in CC-1/14/14 Update)
2. Ran SparkleStock’s Modern Watercolor Action. Be sure you are in 8-bit mode before running.
3.  Changed bottom pattern to Sandpaper and Scale of 100% – Layer Blend Mode changed to soft light at 68%. Set This Layer blend If to 176 and 255.
4. Changed the second pattern to my SJ Purplish1 Impasto Texture Pattern at Scale of 238%. Set Blend Mode to Divide at 100% Layer Opacity. This texture I created in Painter and it really is a pretty subtle one – I converted it to a pattern by going to Edit -> Define Pattern – you can do this with any texture you have. This texture was basically just some smaller brush strokes in various tones of purple and white – I would suggest finding a couple of textures you own and just converting them to patterns and trying them out in the image. I probably tried out 10 textures before I found one I liked for this image. And try different Scale settings and blend modes. Each image will give very different results.
5. On Color Adjustment layer changed Saturation +67 and Lightness -11.
6. Changed Outline opacity to 47% and turned off the Cutout filter eyeball.
7. Added a Selective Color Adjustment Layer on top of action group (Absolute (Greens-Cyan -25, Magenta +1, Yellow -18 and Black 0; Blues-Cyan +13, Magenta -8, Yellow +20, and Black -11; Whites-Cyan +4, Magenta -9, Yellow -8, and Black +25; Neutrals-Cyan +7, Magenta 0, Yellow -14, and Black -1; and Blacks-Cyan -6, Magenta +1, Yellow -8, and Black -1) and set to 54% layer opacity. This made adjusted the color in the sky to ones I liked.
8. Added New Layer on top and used DC (David Cole’s Complete Digital Painting Techniques ) Watercolor Washer Brush (click here to download his wonderful brushes) on the foreground and to touch up little areas. Gives more painterly look.
9.  Created 2 New Layers to blend in the sky which I just didn’t love the way it looked – used Mixer brush by Fay Sirkis using  her CS6 Oily Rich Blender #1. (I love her brushes! If you are a KelbyOne member, they can be downloaded from her older webinars.) If not, download the Wet Media Brushes that come with Photoshop, change to the Mixer Brush Tool, and select the first brush, Round Point Thin Bristle set to a small size – under 20 px. Use these settings up in your Options Bar to get a nice blend brush – Turn on Load after every stroke, Turn off Clean after every stroke, set to Very Wet, Heavy Mix which sets the other settings, and check Sample All Layers. Try a different brush if this does not work – any brush can used as a Mixer Brush as long as it is listed in your Brush Preset Panel. It is really fun to paint with a Mixer Brush.
10. Create a Stamped Layer (CTRL+ALT+SHIFT+E) which combines all layers into one on top.
11.  Opened Topaz ReStyle and applied the Bleached Raw Umber preset (Settings used ReStyle opacity 36%;; Hue Primary -0.19, Secondary 0.34, Third -0.23, Fourth -0.70, and Fifth 0.48; Sat Primary 0.55; and Lum Primary -0.58, Fourth 0.39, and Fifth -0.58; Texture 0.27; Basic Tone Black Level 0.47, Midtones 0.05, and White Level -0.28; and Detail Structure 0.42 and Sharpness -0.55. In Photoshop set opacity to 46%). Totally transformed the image into something that is just the look I wanted – ReStyle Rocks!

Okay – what have we got here? A pretty nice action set (and you cannot beat the price!) that gives you a great place to start – it reminds me of how an underpainting would look. Personally I find it works best on landscape type images – not having good luck with flowers and close-ups, but I will continue experimenting to see if I can figure it out. If you need a decent Mixer Brush to use on a New Layer above the actions, check out Step 9 – everyone can make this brush and it does a pretty nice job of blending some of the wild texturing. Also, create some patterns out of your textures for use in the different Pattern Adjustment Layers – see Step 4 – totally easy! Now you have some real variety and some very interesting results should happen. SparkleStock has created a very nice action for all of us to you. Next week I have another action that gives a totally different look, but still a great artistic look – so stay tuned! Until next week and Part 2, have a great week!…..Digital Lady Syd

 

HOW TOPAZ BLACK & WHITE EFFECTS CAN CREATE SOME SURPRISING RESULTS!

Image of top of Caro-Seuss-el at Seuss Landing in Universal Studios OrlandoFor some reason this week I kept playing around with Topaz (see my Tidbits Blog sidebar for website link) Black & White Effects – have not really done this in a while and am enjoying some of the really different effects that can be achieved with this little gem of a plug-in. I am not a great black and white image fan, although I have been trying to learn the technique. There are so many things to learn just to get a great black and white image. But I use Black & White Effects more for getting that unique and sometimes artsy look.

So what did I do to get this totally different look from this plug-in since this image was taken in the middle of the day in bright sunlight? This is another image from Universal Studios Orlando of the top of the Caro-Seuss-el in Seuss Landing. In Lightroom used Seim Power 4 Workflow (see my Tidbits Blog sidebar for website link) Gentle Afternoon preset before opening image in Photoshop. Topaz Detail 3 was applied on the whole image to sharpen it up a bit. Nik Viveza 2 was used to add more emphasis to the little blue elephant and the really cool shadow from the pterodactyl-like bird. Then the image was taken into Topaz Black & White effects and one of my presets I created a long time ago was used. For the preset settings, see Image 1 info below. The Sharpen Tool was used on the elephant on a New Layer and some paint touch up was done to smooth everything together. A cloud layer was used (used my free Cloud Brushes No. 11) to add a little sky interest – the sky was cloudless. To get a really cool darker look, Kim Klassen’s free Simpleset Simple 2 black texture set to Screen blend mode at 56% was added and a dark blue Color Fill Adjustment Layer was clipped (ALT + click between layers) to the texture to make it dark blue instead of the black background color.  Image of a sign at Universal City Walk in Orlando, FloridaI have to be honest and say I love to photograph and post-process images of signs, especially unusual and brightly colored ones. Universal Studios Orlando has so many from which to choose. This one is from Universal City Walk that is outside the two large theme parks and has some great restaurants and entertainment offered nightly. In Lightroom used Seim’s Power 4 Workflow Ultra Color preset. In Photoshop a Color Balance and Curves Adjustment Layers were added to sharpen up the image a little. On a stamped layer on top (CTRL+ALT+SHIFT+E) Content Aware Fill was used to get rid of some extraneous objects in the sky. Next Topaz  ReStyle was used – The Bright and Shiny preset was selected and few minor changes were done to the Basic Color sliders and Detail and Structure sliders. Some clouds were lightly added to background using Creative Toons Watercolor Brush 41 (these were free from Photoshop Creative Magazine No. 113) and then a layer mask was added to remove the cloud paint from the signs. A Gaussian Blur set to Radius 3.8 was used on a duplicate layer above to soften the background. The layer mask was copied (ALT+drag to new layer) from the layer below. On another stamped layer, Topaz Black and White Effects was used – started with my House Fronts preset and then did minor adjustments. (For settings, see Image 2 info below.) What made this effect look so good was the use of the Local Adjustments brushes – the Detail Brush was used to sharpen the letter in the signs, Color Brush was used to paint back in the original photo color of the arrows to brighten parts of them, Dodge the Brush was used to soften some of the background details, and the Darken Brush separated the edges of the signs that ran into the busy roller coaster background. The brush settings were all the same and were Size 54, Opacity 0.56, Harness 0, and Edge Aware 0.50. This really perked up the image and gives it less of a “canned plug-in” look. Topaz may do brushes the best of any plug-in as they are very different and easy to apply! The last step added a Camera Raw filter Radial filter to just the inside to brighten it up only a bit. I was so surprised how this image turned out – I keep forgetting how good Black & White Effects really is!
Image of a blue cactus plant in a basketThis beautiful cactus was growing on the porch of a friend of mine and I had to take it’s picture – it looks like a variety of Mother of Pearl Plant, (aka Ghost Plant, Graptopetalum Paraguayense Plant). The color above is actually pretty close to the original – very lovely plant. Anyway, just another quick example of a different look in Black & White Effects. What really worked on this image was adjusting the Quad Tones to new colors – used a dark reddish brown, turquoise, citrus green and light yellow for the different regions. The Adaptive Exposure Protect Shadows brought back the detail in the pot so it did not look too flat. (For settings, see Image 3 info below.) Last step in Photoshop was adding an overlay for a slight vignette effect from a texture by 2 Lil’ Owls Artisan Collection 2/1 (see my Tidbits Blog sidebar for website link) –  then added a Color Fill Adjustment Layer clipped to the layer (ALT+Click between layers) to change the color to a dark green color. (See my How to Create an Overlay Out of a Texture blog for info on how to do this.)

I would recommend you try using the different brushes in Black & White Effects and see if you can get some creative results. It has a lot of good adjustments – can use low or high opacity brushes and flow, can set the hardness to hard or soft, and has a pretty good Edge Aware capability when needed. This was an area I had not even bothered using much, but I can see some real benefit in learning how to use these tools in the plug-in for that unique look. And the Quad Tone section is really a great addition to give some very interesting tones to the image. I am really trying to pass on some of the little tricks I am learning when I use this plug-in and maybe the settings listed at the end will give a good starting place to create a very different look. Hope all are having a great weekend!…..Digital Lady Syd

Digital Lady Syd Related Blogs:
Topaz Black & White Effects and Alien Skin Snap Art Together!
Digital Lady Syd Reviews Topaz Black & White Effects 2.1
Sunny Preset for Topaz Black and White Effects
Topaz Black and White Effects Quad Tones Are Great!

Image 1 Topaz B&W Effects Settings: The Vignette setting is one of the areas that made this special effect so dark. The teardrops on the upper right area control Paper Tonal Settings. Here are the settings for all sections: Conversion Basic Exposure 0.02, Brightness 0.02, Boost Blacks 0.71 and Boost Whites 0; Adaptive Exposure 0.62, Regions 34, Protect Highlight and Shadows 0.01, Detail 2.47, Detail Boost 1.04, and PDI checked; Finishing Touches Silver and Paper Tone Tonal Strength 0.19, Balance 0, Silver Hue 42.58, Silver Tone Strength 0.46, Paper Hue 46.48, and Paper Tone Strength 0.48; Quad Tone Color 1 Region 1 (color black), Color 2 Region 67.18 (color R3/G36/B22), Color 3 Region 146.6 (color R214/G223/B238) and Color 4 Region 255.0 (color white); Vignette Strength -0.25, Size 0.01, Transition 0.17, and Curvature 0.50); and Transparency 0.92.

Image 2 Topaz B&W Effects Settings: This is my SJ House Fronts preset adjusted from last week’s image to fit this image. The settings are:  Basic Exposure – Contrast -0.50, Brightness -0.01, Boost Blacks 0.20, and Boost Whites 0.59; Adaptive Exposure 0.86, Regions 18, Protect Highlights 0.02, Protect Shadows 0.10, Detail 1.49, and Detail Boost 1.13 – PDI checked; Color Sensitivity: Red 0.73, Yellow -0.14, Green 0.61, Cyan 0, Blue -0.33, and Magenta 0.02; Color Filter Hue 325.1 and Strength 0.68; Simplify Size 0.08 and Feature Boost 1; and Vignettes – center on image, Strength 1, Size 0.78, Transition 0.59, and Curvature 0.78. In Local Adjustments painted in detail back into the signs using brush size 54, Opacity 0.56, Hardness o and Edge Aware 0.50; painted in color back into parts of arrows and signs to give a more painterly effect using same brush, used Dodge to remove man in lower left edge; and used Burn to sharpen edges of signs from roller coaster edges.

Image 3 Topaz B&W Effects Settings:  I created a SJ Cactus preset with these settings that also contain the new Quad Tone colors:  Conversion – Basic Exposure Contrast 0.08, Brightness -0.11, Boost Blacks -0.27, and Boost Whites 0.21; Adaptive Exposure 0.18, Regions 26, Protect Highlights -0.04, Protect Shadows 0.15, Detail 2.02, and Detail Boost 0.79; Color Sensitivity Red 0, Yellow 0.51, Green -0.33, Cyan 0.50, Blue 0.68, and Magenta 0; and Color Filter Hue 106.0 and Strength 0.67; Creative Effects Softness 0.37, Diffusion 0.74, and Diffusion Transition 0.50; Finishing Touches Silver and Paper Tone – used first tear drop called Selenium above; Quad Tone Color 1 Region (R49/G5/B5) at 0.00, Color 2 Region (R51/G76/B83) at 92.08, Color 3 Region (R106/G127/75) at 128.9, and Color 4 Region (R240/G240/B178) at 255.0; and Transparency Overall set to 1.00. In Local Adjustments used the Detail brush to paint over the foreground flower Brush Size 110, Opacity 0.60, Hardness 0.01, and Edge Aware 0.50; next used the Color brush to paint in more of the blue color in the foreground flower and its stem – set Opacity to 0.20; the Overall Strength for the brushes was set to 0.57.

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