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THE BALD EAGLE AND HOW TO DRAW ONE

Image of a drawn American Eagle for Memorial Day

I wanted to do something a little patriotic as my contribution to Memorial Day, a most important holiday in my country. The Bald Eagle has been the national bird of the US since 1789. Today, the Bald Eagle, which is indigenous to the US, is protected under the National Emblem Act of 1940. If you love Eagles like I do, check out these web cams of the various Eagle families. I drew this eagle before I decided to put him into a Memorial Day background. I have to admit that I spent a long time drawing this bird, a lot of steps to learn and attempt to master, but overall a lot of fun to create!

I will try to keep this short by listing my references used as the main ingredients on how the Eagle was created. First, a wonderful YouTube video by Aaron Blaise shows how to create the actual bird was used. It is called Birds of Prey Course Sneak Peak Out Now! from 2020. I only followed his first example of the Eagle head, where he takes you very thoroughly through the steps needed to get a pretty good result. Here is what my bird looked like after doing the above video. Still a lot of work was needed.

Basic drawn image of the eagle

Next a background was added using a few layers in Corel Painter, but I could have used oil or acrylic brushes in Photoshop to get a similar results. From this point on, a lot of improvising was done. Photoshop’s Kyle T Webster’s brush Pollock CD from Summer Set 2019 set (Kyle’s brushes are always free to PS subscribers) was used at lower opacities to add the speckles above the background and also lightly on the Eagle. Lots of different brushes were used to add more details into the feathers. Used a lot of Aaron’s brushes for the basics. One of my favorite brushes used was the glitter effect added on some of the darker areas of the feathers – Grut’s major cool OI Brief Shona brush was used but the texture in the Brush Settings Panel was changed to a gold glittery pattern – this gave a really nice glittery feel to the brush when adding in some of the shadow lines. And note, just because the pattern is gold does not mean you get the gold effect – must first select a gold color for painting (could use gray to get a silver which was also done in spots). It sort of felt right for a regal Eagle! Also used Grut’s brush ICitrose for roughing in some of the feathers. (Grut’s brushes are the best and if you visit his website, every Monday he posts a free brush to download which is how I got the ICitrose brush a couple weeks ago – this is always a lot of fun to try out a new brush each week!) Lots of strings of whites a grays were used to add in more feather details. When finished, a Gausian Blur was set to 1.6 Radius to keep these detail lines from being too sharp. Some dodging and burning was used. The font is one I really like called Zahra In Line Grunge – layer style effects of Bevel and Emboss, Pattern Overlay, Outer Glow, and Drop Shadow were applied to make the gold effect. The same gold pattern used in the glitter OI Brief Shona brush was selected, except the gold color now appears in the lettering. The gold pattern effect is from Gold Foils 7th Ave Design textures – the Gold-8 texture was converted into a pattern by going to Edit -> Define Pattern. Any gold glitter textures you have would work or you can even make them. (See my How to Create a Glitter Texture blog.) It is now added to your pattern list and be selected for a brush in the Texture brush settings or as a Pattern Overlay in Layer Style Effects.

I enjoyed doing this bird so much I actually purchased the How to Draw Birds of Prey Course from Aaron – it covers 15 different types of birds and lots of material – still just getting through the basics on birds. Hopefully I will have a few more drawings soon. In the meantime, hope everyone is having a great holiday in the US and a great weekend in other locations! Summer is almost here!…..Digital Lady Syd

Digital Lady Syd Reference Blogs:

A Little Aaron Blaise Digital Drawing Practice

Creative Photoshop Digital Art Tips

Got Some Free Time! Try Drawing!

A Leopard Thinking

Introducing the Beautiful Fox

WHEN LEARNING TO DRAW – PRACTICE PRACTICE PRACTICE

Watercolor drawn image of a vintage woman reading

Happy Mothers Day to all and I hope everyone is having fun with their Moms or remembering the good times if they are not around. This vintage lady, in remembrance of my fabulous Mom, is one I drew based upon an image I particularly like called A Holiday at Mentone (a beach near Melbourne, Australia) by Charles Conder in 1888. I learned this is a great way to practice a little drawing and try out some new brushes.

The brushes used here are all from Kyle T. Webster sets that are free with your Photoshop subscription. To load them, open up the Brush Panel and go to the settings hamburger icon in the top right corner of the panel – in the drop-down select Get More Brushes. Just search through the list until you find the ones you want to download. Note that there are hundreds of brushes so I never load them all at once. Just save the sets to your hard drive and load the set as needed.

First step was to draw the vintage lady – tried several digital pencil brushes and finally settled on one of the Winter 2022 brushes called Tilty Pen Alt. Never really liked the brush but for some reason it worked out very nice for this type of sketching. On layers created underneath the now locked sketch layer set to a lower layer opacity (36%), several digital pastel and oil brushes were tried to add in the color – it did not look great. Having never tried the Watercolor painting effect before, it was my next choice. Therefore, the Real Watercolor brushes were opened up and mainly Kyle’s Real WC-Flat Thing to Thick (in Options Bar, changed the brush Mode to Normal and Angle to 93 degrees), Kyle’s Real Watercolor – Clean Edge Thick ‘n Thin 40, and Kyle’s Real Watercolor – Basic 50 were selected. I found I liked the watercolor brush Mode set to Normal instead of Multiply on many of the watercolor brushes I tried. Separate layers were used to paint the different parts of the image. Also Kyle’s Summer 2020 set called Impressionista was used on the skirt. Viveza 2 (from the free Nik filter set from years ago – still the best filter around for quick changes IMHO) was placed on her face and reading material to slightly lighten the tone. A Gradient Adjustment Layer was added underneath the lady and set to a diagonal. The Microsoft font Segoe Print was used and a Stroke Layer Style was applied to make it stand out.

How do you know which brushes to try? One of the best ways is to watch Kyle T. Websters’s YouTube videos on Adobe Creative Cloud – he does a Brush Hour every other week where he talks about how to use his brushes and how to change the settings to work for you. This is how I found out about the Tilty Pen Alt – once he showed how to use it, I followed along and tried it out. Some of his brushes do not work for me. Recently I did a blog on how to find ones you like. (See my Finding a Photoshop Brush in a Big Set blog.)

One major issue I had was with Photoshop 2022 was when it hung up several times while painting – not sure why but it just stopped making marks – showed it was painting in the History Panel, but they were not appearing. Also the Eraser and Smudge Brushes did not work. Had to save, close and reopen the program and then the painting brushes worked again. Therefore, I have decided to continuing using PS2021 for drawing and painting – never have problem with it. At least the exact brushes I want to use can be set up just for this. My last blog also addressed similar problems and that is why PS2021 was added back on my computer – you can still have PS2022 on your computer at the same time. (See Download Old Versions of Creative Cloud Applications – Bypassing the Creative Cloud App by Helen Bradley.)

Hope everyone has a great day and does a little Photoshop just for fun!…..Digital Lady Syd

A LITTLE AARON BLAISE DIGITAL DRAWING PRACTICE

Drawn B&W image of a Malayan Tiger at the Palm Beach Zoo.

If you enjoy wildlife animals and want to try your hand at drawing them, Aaron Blaise has some of the best videos to fine-tune your skills. I can honestly say, it is taking me a long time to get a good workflow, but I am finding that most digital artists follow similar steps no matter what the subject matter or media they are using is.

The videos used for the Tiger images are in Aaron’s Digital Painting in Photoshop (20 videos and 12.5 hours of lessons) set that were created a while ago (December 2017). In you catch a one of his recent YouTube videos, he still follows the same basic workflow as presented, just uses a different brush. If you are interested in any of many videos he offers, click the link above to sign up for his newsletter – he has fabulous sales several times a year that include his great brushes and many videos (he offers them for $1 to $5 and gives an extra !0% off if you get the newsletter). Since I am on a pretty tight budget, this has been wonderful!

The Malayan Tiger above resides at the Palm Beach Zoo – I have some great images of their tigers so I tend to draw them. Aaron suggests using your own photo images for drawing and painting (especially if you plan on posting or selling your art) as the drawings are still considered under copyright laws of the image. This was just a black and white rendering to practice using your brush in a tutorial called Getting Started-Sketching in Photoshop. Here you learn to use your sketch brush and how to do rough sketch layer, refined sketch layer, highlight or white line layer, and background layer. It’s a great way to practice your drawing skills. These digital drawings are similar to drawing them on a piece of paper with a regular pencil. They have a very grainy line in most cases.

These images both used the Legacy Default 9 Pencil brush that comes with Photoshop – it is an Erodible Pencil and Aaron used it for these videos. I did try several other brushes but ended up using the Pencil 9. I did find the Erodible Pencils have problems a lot in PS2022 – the computer runs hard and sometimes the PS History Panel says a stroke is being laid down, but it is does not show up. It seems to happen often when toggling to the Eraser Tool or the Tilde key. (Also check to make sure your brush is not set to Clear mode in the Options Bar.) By clicking on another brush or tool, it usually comes back, but this is very annoying. My personal work-around was to reload PS2021 for just drawing as there are no brush issues with it. I am hoping Adobe gets this fixed soon.

Drawn image of a Sumatran Tiger at the Jacksonville Zoo

The above used the same workflow, but this time some color was added and a texture placed over him for a different look. This is a Sumatran Tiger from the Jacksonville Zoo. To get him colorized, a Color Lookup table preset color Edgy Amber was added at 72%, then Viveza was used to spot color the orange in (this filter is still the overall best for doing all kinds of things including adding local color to areas). Kim Klassen’s The Studio Collection texture beekeeper (not sure this available anymore) was applied on top using the Divide blend mode. I just posted another example of this technique on my Tidbits Blog called Living in the Abstract – it used some of Kyle Webster’s newly released Spring 2022 brushes.

TIGER TALK: Both these tiger subspecies are on the critical endangered species list. There is no clear difference between Malayan Tigers and Indochinese Tigers except for their geographical location (Malaysian Peninsula) and they are a little smaller, but it is a subspecies of its own. They can swim, can eat elephants, and are born blind. They live in tropical and subtropical forests, shrubland, and grassland, Compared to other subspecies, the Sumatran Tiger, which is only found in Sumatra, has a darker orange color in its fur and stripes that are closer together, and it is the smallest of the tiger subspecies. Their color pattern allows them to blend into their habitat. They prefer tropical forests with dense cover, freshwater swamp forests, and peat swamps. They eat larger ungulates, including tapir, wild boar and deer, as well as smaller animals, like monkeys, birds, and fish. Of the nine subspecies of Tigers, three of them are now extinct. So sad….

I have not finished doing all the tutorials – presently working on an Elk with many Color, Highlight and Shadow layers – lots of fun. One clever thing he did teach us is how to apply a texture to fit an object or subject. Below is my favorite free stock image called guitar man where the guitar material was changed from a solid yellow to a wood texture. To do this, clip the texture to the image, then use the Free Transform Warp tool to adjust to the guitar. If needed add a layer mask after adding the texture and brush away any that is not needed. In this case, the layer was set to Color Burn blend mode and 58% layer opacity. Pretty cool technique and pretty easy! The background used a brush I created from French Kiss Tableaux Mirage texture a long time ago – just stamped it down with different colors, blend modes, and opacities.

Image of guitar player.

Last week I posted a short Tidbits Blog called Waiting for Sunset that used one of the atmospheric effect techniques from this set. I have learned that to get good at drawing, you have to practice some every day or so. It is really easy to lose the stroke feel with the brushes. And Aaron has many other sets of videos including several “How To Draw” animal videos. See the first three links below showing some other images I drew from other sets of his videos. Also see my Learning to Draw a Wolf! blog which is a link to a free YouTube showing his basic workflow that is similar to what he is teaching here – I would suggest you check it out to see if you like his style of drawing and teaching.

Well that is it for now. Hope you try out some of Aaron’s drawing techniques – it is a lot of fun to see what results you get without using a camera! Have a great week…..Digital Lady Syd

Digital Lady Syd Related Blogs:

Got Some Free Time! Try Drawing!

A Leopard Thinking

Introducing the Beautiful Fox

Painting Acrylics Digitally – Can It Be Done?

ADDING GRAIN TO A VINTAGE COLORIZED PHOTO

Colorized image of an old home in Kearney Nebraska 1940

This week I decided to colorize more vintage images using Photoshop’s Neural Filters as I have realized most vintage images need a bit of grain added after colorizing them. This is a very subtle change but it does seem to make a difference. There are so many ways to do this, and I tried several different methods out on these images before creating this blog (i.e, created a film grain layer or downloaded one from the internet to use as a grain overlay and possibly using the Overlay blend mode; applied filters from Topaz Studio, Color Efex Pro, Luminar and others grain settings; or downloaded grain brushes and painted onto a new layer only where the grain should appear). My older blog still seems to have the best method of doing this. It is a workflow by Katrin Eismann. Also, I had created a very simple action for it that still works great.

The image above is of a home in Kearney, Nebraska from 1940 and Shorpy.com (click link to see original image – scroll down through the comments to see how different the house now looks!) had it on their site. They have some of the best vintage B&W photos from all over the US that are just perfect for PS’s Neural Filters, especially the Colorize Filter.

NOTE: Wanted to remind everyone when colorizing a downloaded historic photo, especially from this site, the first thing to do is to check its size by going to Image -> Image Size. If it is too large, change the resolution (if needed) to 240 so the image becomes manageable, like somewhere around 10″ X 7″ is what I like – otherwise it is way too large to process. For the other post-processing steps used on the Old House image, check Image 1 info at bottom of blog. The last step involved adding grain using the workflow below:

Film Grain Effect Workflow and Action Steps

This workflow was a tip in an older KelbyOne class by Katrin Eismann (another brilliant PS guru) called Color to Black and White Artistry, but the basic grain technique is still quite current. In this blog’s case, it has been used on colorized Black and White images. Using this method gives a really natural subtle result to the image and adds the effect in the areas you want it, mainly the Blue and Green channels, and leaves the Red Channel alone where the subject usually resides. The film grain is added so that the Blue Channel gets the greatest amount of grain, Green channel less, and Red Channel the lowest amount.

1.Create a stamped layer (CTRL_ALT+SHIFT+E) where the grain will be added.

2. Open the Channels Panel. Note that on the sub-steps below, all Channels used the Add Noise Filter radial button with Gaussian and Monochromatic selected.

  • Highlight Red Channel (no need to duplicate the channels) and go to Filter -> Noise -> Add Noise and set Amount to 4%
  • Highlight Green Channel and go to Filter -> Noise -> Add Noise and set Amount to 6%
  • Highlight Blue Channel and go to Filter -> Noise -> Add Noise and set Amount to 8%

3. Next Highlight each channel again and go to Filter -> Blur -> Gaussian Blur and set Radius Amount to 0.3%

4. In the Layers Panel, change the blend mode to Luminosity so any color noise is reduced.

5. Will probably need to adjust the layer opacity as the effect may be is too much. Or a layer mask could be added and the grain added/removed in just local parts of the image.

For the Old House image, the layer opacity was set to 56% which seemed to be just enough to give a nice vintage feel to the whole image. It also made the replacement sky match the house very nicely.

This technique/action works very well on regular black and white images and I am sure it would look good on any regular image that needed a little grain added. Below is a screenshot of my action panel showing the steps so you can reproduce them if you wish:

Image of the steps for the SJ B&W Grain by Channel action

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Image of old filling station from 1941

Shorpy.com (click link for original B&W image and great comments again) posted this image a few days ago. I remember seeing one of these little Conoco Stations in Annapolis, Maryland, a long time ago (not sure I ever saw another one). Biggest issue here is that the replacement sky needed some grain to match the image original image grain. By creating a stamped layer on top of the Sky Replacement Group (making sure any layers above it are turned off-by clicking off the eyeballs on the layers above), the grain steps were applied. Then the Sky layer mask in the Sky Replacement Group was copied so only the sky had the grain applied (set layer to 89% opacity). See Image 2 info at end of blog for other post processing steps.

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Vintage colorized image of a portrait from Shorpy.com

The image above is another Shorpy.com one (click link to see original) and was taken by Fritz W. Guerin in 1902. I wanted only a very subtle colorization (and not a lot of film grain, but enough to match the model to the background. Wanted to mention Skylum’s new Neo Filter was opened – the Relight section (which IMHO makes it worth buying) and Film Grain section were applied just to the background by masking out the model in the filter. See Portrait Image 3 below for the Neural Filters used and other steps. The last step was adding the overall grain to a stamped layer and setting it to 43% layer opacity. Two other methods were tried (one using a created film grain layer and another where the grain was actually painted on using a downloaded grain brush), but the above workflow gave the best results.

This grain gives a really nice effect on vintage images, but don’t overdo it or it will not look good. Have a great week!….Digital Lady Syd

OTHER STEPS FOR IMAGES:

  1. Old House Image: After resizing the image, the Neural Colorize Filter was added. It really does not matter what order most of the steps are done, just important to do them. Did a Filter -> Neural Filter -> Colorize and used the default settings. Next a PS Edit -> Sky Replacement using a blue sky from their set was done. Did some sharpening using Topaz Sharpen AI, but any sharpening would have been fine for this. On the above, the house lines were not perpendicular, so the Liquify Filter was used to push it all together. A Color Lookup Adjustment Layer using a Cerulean preset was added at 26% layer opacity along with a Levels Adjustment Layer. Viveza 2 was added. This post processing was definitely just a try this and try that until you get a look you like. The last effect was adding the Film Grain using the Workflow above – it was applied to the whole layer and the opacity was reduced to 56%.
  2. The Filling Station Image: After sizing the image, the image was sharpened. Problem areas were cleaned up – this one had power lines and the kid scratching his face. Created a stamped layer (CTRL+ALT+SHIFT+E) set as a Smart Object, and chose Filters -> Neural Filters -> Colorize. The Adjustments sliders were changed to desaturate it a little to get the overall very sunny effect. (This filter just keeps getting better!) On another stamped layer, the image was taken into Lucis Pro 6 (it appears it is still not available – I keep watching for everyone) to sharpen it just a little more. Then a PS blue sky Replacement Sky was added to add some beautiful clouds. Biggest issue here is that the sky – see blog on image to see how this was handled. A Color Lookup Adjustment Layer was added at 73% opacity using a Cerulean preset. A Photo Filter using Warming Filter (85) with a Density of 56% was added next – it really warmed up the image to make the image look very sunny. A new layer set to Overlay blend mode was created and white color on a brush at a low Flow was used to paint over the gentleman’s shirt, the little boy, and a little on the gas pumps themselves for the focal points. The brush used was just a soft round brush set to 100% Opacity, 9% Flow, and the Airbrush turned on in the Options Bar. The last step added just a slight vignette set to 17% layer opacity.
  3. Portrait Image: Not a lot of steps although I tried a lot of things with this image. After adding Neo, back in PS the Colorize Neural Filter at the default setting was applied (it gave the nice soft colors – I tried the more colorful look but the shadows were too heavy on the face and chin with this filter) and the Smart Portrait Neural Filter – just used the Expression-Surprise set to +16 and Global Light direction set to -14 (gave her a more serious look). Had some clean up layers, and created a stamped layer on top. To get the nice skin tone, a turquoise Solid Color Fill Adjustment Layer was set to Color Burn blend mode at 29% layer opacity and a Color Lookup Adjustment Layer using a free Sparkle Stock’s Choi Hung Estate 01 preset set to 60% layer opacity was added.

CREATIVE PHOTOSHOP DIGITAL ART TIPS

Digital art scene

I have been working on getting my digital painting skills back up to speed and learning some new tips. Thought I would pass along a couple things I learned while creating these images this week – maybe some will help your workflow.

TIP 1: HAVE A BASIC IDEA OF WHAT TO CREATE. This image above may look simple, but it took forever to get this effect. Part of the problem is that I did not have a good “roadmap” of where the final composition should go so lots of bad choices were made before it was finished (in this case 7 iterations were made). One issue was finding a font that fit the the feel of the image (this one is from Design Cuts Nordica Collection where a slight Outer Glow layer style was added to it for contrast – the bear, which was later painted and redone to be a Polar Bear is included). So Tip One, if possible, is try to get a basic idea or make a sketch of where you want the image to go – it will save lots of time! That said, half the fun can be just experimenting which is what was done here. The eye is from a set called Mystic Sun Moon Logo Templates Kit by Olya Creative – it just looked so different!

TIP 2: MAKE LOTS OF LAYERS. The above contains 56 layers. Many digital painters will paint different elements and objects on different layers so they can be manipulated to get the correct opacity or effect needed to enhance the image. Then they merge them together. I am not that brave – usually I group the layers and close them up when finished, but never merge. Definitely start with many layers before merging.

Digital Art image of winter trees

TIP 3: WATCH FOR COLOR SHIFTS WITH STAMPED LAYERS. This is a problem that has driven me nuts for years. Once the layers are all finished, I find a final composite layer comprised of all layers merged into one is needed so a stroke layer style (set to Size 2-pixel, Position Inside, Opacity 100% and using a medium dark gray color) can be added for uploading to social media – it gives a nice hard edge differentiation for different formats. Often a color shift occurs when the merged or stamped layer (CTRL+ALT+SHIFT+E) is created. The Snow Tree image above had this problem – not sure why (it appears to happen when using some layer styles on one of the layers in the stack). To remove the color shift, set the stamped or merged layer to the Color blend mode and it will go back pretty much to the original look. Made the Snow Tree image just for fun to learn how to use Kyle’s Winter 2022 set of brushes – he has a good video called Illustration Masterclass New Photoshop Brushes for 2022 where he goes through every brush in the Winter 2022 set and Describes what it does. He also has one called Brush Hour with Kyle T Webster: The Winter 2022 Brush Set where he actually draws a scene using them. Used one of his tree brushes in the top photo left panel. The Font is called Thankful Sans.

Digital art image of a snow scene using Vesner's brushes

TIP 4: TRY OUT NEW BRUSHES AND SAVE THE ONES YOU LIKE. This sounds like a very logical thing to do, but it is very easy to download new brushes and forget all about them. The Winter Wonderland image used just a set I have had for a while and never checked it out. It has lots of fun brushes – all are in a free set of 174 brushes called Lazy Brush Set by Vesner on DeviantArt. It is an older set from 2013, but the brushes work great with CS5 and above. The image used several and three were added to my Creative Brush group (and there are a lot of other brushes in there) for use when doing this type of art work. Check out my blog called Finding a Photoshop Brush in a Big Set for tips on how to find brushes you do not use that often but want to remember. If you do a screen copy or right click and Save As on the download page image of the brushes, it creates a jpg of the different brush strokes similar to the example sheets made in my referenced blog. In this image only the birds from Shadowhouse Creations free Birds Brush Set 4 were not Vesner brushes. To get the birds on the left-hand side to appear in the distance, a layer mask was added to the bird layer and the Gradient Tool set to Linear Gradient was used to diminish their appearance by dragging diagonally top left to bottom right.

TIP 5: HOW TO STOP LAG IN YOUR BRUSHES. It has come to my attention that some brushes just have more adjustments and PS has trouble making them zip along the image as fast as most artists would like.

  1. First of all, yes it is great to have the ability to add just a little more smoothing to your brushes other than the default 10% PS gives you. This is very helpful if sketching or outlining an object, but it can really slow down the painting process. Turn it off up in the Options Bar if the brush is really slowing down.
  2. Adjust the Spacing of your brush. For example if the brush size is 100 pixels and the Spacing is set to 100%, a new stamp occurs with each stroke separated by 1 pixel. The PS Default is 5% – lots of overlap of strokes which can cause painting to slow way down when lots of other settings are turned on in the brush so just bump up the Spacing a little to make it paint faster.
  3. Turn off the Extras like rulers or overlays that may be visible. It can affect painting, transforming and dragging layers onto the canvas. Go to View -> Show -> None to turn off. I never knew this but it was in an Optimize Photoshop Performance article by Adobe (other good info in it also).
  4. Minimize or turn off the Preview thumbnails in the Layers Panel. Each time you change a file, PS updates all the thumbnails visible in the Layer Panel (and also Channels Panel). This affects painting, moving, or nudging layers. And the more thumbnails visible, the greater the effect. I will check to see if making stamped layers and hiding the merged layers below will make it faster to paint, but it makes sense it would. To minimize or disable previews, go to the hamburger icon in the upper right of the Layers Panel and selection Panel Options – select either small size or None. If switching to the small size thumbnail, it can be handy to switch from Thumbnail Contents Entire Document default to Layer Bounds to be able to see what is in the layer easier.
  5. Close the Library Panel if it is not being used much by going to the hamburger icon and selecting close. This will make your computer and brushes run faster. Not sure how much this helps as I have not tried it, but it seems like it might.

TIP 6: COPYING SETTINGS FROM ONE BRUSH TO ANOTHER. In the Brush Settings Panel, click the little locks on the right side of the sections in the brush panel to copy those setting to a different brush. Be sure to turn them off in the brush with the new settings or they will get applied to the next brush used. This can be a little tricky but it is an easy way to copy setting over. Very helpful if creating a new brush and wanting to use similar settings from one of your favorite brushes.

TIP 7: WORK WITH JUST A FEW BRUSHES AND REALLY LEARN HOW TO USE THEM. Similar to Tip 4, it is easy to get distracted by a new brush and think it is really so much better than your stand-by brushes just to find out that it really is not as good as it seemed. I am still using a pastel brush created back in 2017 to do a lot of the basic painting – it is a brush that I am very comfortable using and have learned how it works with different settings added. The Polar Bear in the top image was painted using it. (See my How to Create My Favorite Brush Blog.)

I hope these tips will help you a little with your digital painting and art. I am slowly learning more about this from the many wonderful digital artists that use Photoshop for their jobs. It is amazing what the brushes can do! Hope everyone is getting through winter just fine and are Waiting for Spring!…..Digital Lady Syd

Digital Lady Syd Related Blogs:

How to Do a Little Subconscious Digital Art Journaling

Working on Digital Painting in Photoshop

PUZZLED

Creative digital art image

Decided to start the New Year off doing something different. I had been working on this really intricate Taj Mahal Jigsaw Puzzle and got to wondering why did I enjoy doing this so much? Then I started looking at all the pretty colors and the intricate things the subjects were doing and realized this was a pretty impressive puzzle. Even the painting strokes were interesting, especially in the sky. It appears that many puzzles are made by very serious painters and much research is done to correctly finalize them. The image above did not actually use a separate puzzle effect as created below – it used the background of a phone image from one of my put-together puzzles for the effect. See Image One below for how this was done and what resources were used. This to me was what I wanted to create, but then I decided it would be interesting to learn how the actual puzzle effects for Photoshop were made. So below is what I learned.

The big question was how do you get the Puzzle Effect? These are the choices I found:

  1. Use an overlay that can be downloaded from the internet. I created a free basic Jigsaw Puzzle overlay for you to download on my DeviantArt site since I could not find a free link.
  2. Download the Free Puzzle Pieces action by Bojan Zivkovic from Adobe Exchange (can do a search on the internet for it and then just log into the Creative Cloud to download – a zipped file goes into your download folder along with a nice PDF on how to use it. It will create 2 – 192 puzzle pieces all placed on individual layers.
  3. Go to the Layer Styles panel and click the little upper right icon – in drop down select Select Legacy Styles & More -> All Legacy Default Styles -> Image -> Puzzle. When the style is applied, in the Bevel and Emboss Texture section, there is an Adobe Puzzle Pattern. More on this in Example of Step 3.

See examples for each Jigsaw Effect below.

Example of Step 1: This image was finalized before adding the effect. It was created by following Maddy Bellwoar’s video tutorial on Behance called Painting Beautiful Birds in Photoshop. Her videos are a wonderful way to learn to draw and paint. Now the Jigsaw Puzzle overlay could be added.

Drawn and painted image of a robin

Just use Free Transform (CTRL+T) to adjust the overlay if needed – it is set to a 2:3 aspect ratio (can rotate to 3:2 for Portrait view as shown above). Use layer masks, adjustment layers (try clipping it to the puzzle layer – right click and choose Create Clipping Mask), layer styles including Blend If sliders, blending modes and layer opacity can be adjusted. (The settings for the robin image above were as follows: The jigsaw overlay layer was set to Luminosity blend mode to start; double clicked on this layer to bring up its Layer Style and used the Stroke effect – set Fill Type to Color and sampled a light color from the image and selected a slightly lighter Color, Size 8, Position Inside, Blend Mode Normal, and Opacity 100%; and opened the Bevel & Emboss effect and set Style to Emboss for more of a puzzle effect, Technique to Chisel Soft, Direction Down, Size 16 and Soften 0, Highlight Mode Screen at 48% opacity and Shadow Mode Multiply at 55% opacity. The layer was set to 46% opacity.) Definitely play with the sliders in the Layer Style – the Bevel and Emboss settings can really make some cool looks on the piece edges.

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Image of an electric guitar player from Pixabay with puzzle effect applied

Example of Step 2: This action is very easy to use and there is a great short video on how to do this called How to Create Puzzle Effect in Photoshop by ReVon. Basically the biggest thing you need to worry about is the Aspect Ratio of your image so the action runs correctly. Open Image -> Image Size to see how large your image really is – this one was 6″ X 4″ roughly or a 3:2 aspect ratio. Go to the Crop Tool and set an Aspect Ratio that works if needed. Load the Puzzle.atn (just double-click on the action in the Explorer and it puts it in the Action Panel in PS). Open the action to see lots of choices – just beware that each puzzle piece is going on a separate layer so if the image is large, watch the size of the file. This image (called Pixabay Electric Guitar) was set to 3:2 aspect ratio and 54 piece set. When running the action, the top left puzzle piece will be highlighted, and the Drop Shadow Effect (it was turned if off for the above) and Bevel & Emboss Effect (used Depth of 100, Size 3) will be checked and can be adjusted before applying it to all pieces. He has included another action called Change Layer Style to use if you do not like the effect results when finished. The Puzzle action creates a New Document so the original file is not affected. To remove a piece(s), select the Move Tool and hold CTRL + click over the piece to be removed or turn off the layer eyeball on left. This actually gives a pretty nice result and is fast. Read the accompanying PDF for more tips. The Jigsaw brushes from Image One were used on a layer above the puzzle pieces and a Photofocus Sepiatone LUT (not sure where to find it)I at 65% layer opacity.

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Guitar Man from Pixabay with puzzle effect on it.

Example of Step 3: Here is another type of puzzle effect that used an old Adobe Pattern for the puzzle template that PS provided with PS2019. (Who knew?) (Used my favorite ISO Republic Guitar Man for a subject.) Download it as discussed in Step 3 above. To find it, double click your layer to open the Layer Style and on the top left, select Styles – go down to the bottom and Puzzle should be listed there. You can see that it has a Bevel & Emboss effect applied to it along with a Texture. The Texture is the key to this puzzle effect – go into the Texture and you will see a Pattern that looks like a puzzle preset. Here you can Scale the piece size for your image (slide right for larger size up to 1000% – this image used 695%). I found turning off the Invert button and changing the Depth to +297 gave a more realistic puzzle look. The pattern can also be dragged around in the image to line it up right. Need to check in the Blending Options area the “Layer Mask Hides Effects” so the next step can be done. Say Okay and add a Layer Mask to the image. Paint out in the mask the little tabs from the edges to look like edge pieces. Create a stamped layer (ALT+SHIFT+CTRL+E) and underneath fill a New Layer with a background color – then add a Layer Mask to the stamped layer and paint out puzzle pieces to remove the puzzle pieces as if the puzzle is not done. This process definitely takes a more effort.

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Digital art image of some beautiful arrows and feathers

Used a different jigsaw pattern (that is no long available on the internet) on the above. After loading the Pattern into PS, the Pattern Fill Adjustment Layer was scaled to the Puzzle using a Scale of 110% for the Arrows image – it fit pretty good, but this will depend on the size of your image and the size of the pieces wanted. Then the Pattern Fill Adjustment Layer was duplicated and rasterized by right clicking on the pattern and the original adjustment turned off by clicking on the layer eyeball. Why did I do this? So the Free Transform command could be used to adjust the edges exactly right. A Layer Mask was added to the rasterized layer and the tabs on the edges were painted out. The overall puzzle layer was set to 32% layer opacity so as not to overtake the elements in the image. See Image Two below for more info on creating the design.

Bottom Line is to use whatever works for you. I think the Adobe Free Action has a lot of possibilities but I did not spend that much time using it. I hope you at least enjoyed finding out the different ways the puzzle effect can be applied and what different results occur. Stay warm…….Digital Lady Syd

IMAGE RESOURCES AND POST PROCESSING INFO

Image One: Of course, the first image above was just for fun – got some new resources this past month and thought I would try out a few. But the actual background puzzle image is one worked awhile ago of bird stamps (Finchley Paper Arts from Milton Bradley) – a phone image of the finished piece was taken and was placed over a Rusty 3 Vintage Paper by Suna Kosem. To get the paper to show up, used Blend If This Layer settings (56/138 and 162/255). A layer mask was used to paint the pieces off the face. (The face is from an old free brush set on Deviant Art called Phrenology Photoshop brushes by hogret.) The individual Jigsaw Puzzle pieces were from jigsaw(set07)briarrose_icons and are also available from Deviant Art. The Puzzled font is one of my very favorites called Everleigh Serif Font by Gleb Guralnyk – along with the paper, these items were in a Christmas $5 bundle from Design Cuts. Twice a year they run a great deal on some of their best items. The font at the bottom is Rosabelia SLDT, one I have been using a while – just like the way it looks, and it was from Creative Market, another great resource spot (check out their Free Goodies of the Week – this is how I got this font).

Image Two: The rest of the Arrow image was just adding a few arrows and feathers from the same Design Cuts set – this one was called Boho Arrows Clip Art – then changing the colors and adding some layers styles. I really like the pretty arrows so I wanted to try some type of creative image with them. To get the individual loose puzzle pieces from the actual image, a couple of the jigsaw pieces were painted out in Quick Mask to select them. They were put on separate layers and spun a little. 2 Lil’ Owls Mosaic Set’s Delfine Grunge (not sure it is still available) was the background texture (one of my favorites sets from her). It was a lot of fun to do!

LET IT SNOW!

Animated snow GIF of an Old St. Nick image

Happy Holidays!

I had so much fun creating these animated snow GIFs the past few days. Thought I would share how it is achieved since I have been looking for easy tutorials on this forever. BTW, the image above is of a beautiful Holiday item one of my friends had in her living room. The subject was first separated from the background and then snow and lots of other steps added to the it to get the start of a snowy effect before adding the animated snow layers.

The GIF tutorial I followed is by one of my very favorite PS guys, Corey Barker. If you are member of Kelby One, check out the November/December 2019 edition of Photoshop User Magazine, Shaping and Styling a Custom Holiday Scene article, and at the bottom click on the Learn More button – a nice 7 minute video on how to do this is shown and it works perfectly! A more complicated video called Create Realistic Animated Snow in Photoshop that uses 3D by Corey is also very good – basic steps are the same at the end of the video so it does not have to be done with a 3D effect (had to try this in CS6 but any snowy layer should work). Corey used a Pattern Layer Style in a timeline to get his snowy effect and that is what you see above and below. For the top image, two layers with layer styles were used – one that used the ornament image snow layer and one using my blurry snow overlay turned into a pattern. By dragging the blurry snowy pattern a little sideways in the Pattern Layer Style, a soft windy feeling could be achieved. The speed seems to be a bit of issue with this method as I could not figure out how to slow the rate of falling snow down a little.

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Animated snow GIF of a Christmas Ornament

The ornament is a shape that was also explained in the PSUser magazine and everything else was painted or used Christmas brush strokes. And for your info, the crazy Fisheye effect is a filter in Topaz Lens Effects, one of my favorites (and it sure is a lot cheaper than buying a fisheye lens). Need to put your image together the way you want it before adding the animation effect. The green tree background was created using a silver colored pattern fill and clipping a Select Color Adjustment Layer to it for color. The bulbs were copied from one of old tree pix. And the branch edges and some ivy painted across some of the more bare areas were painted on using JS Scully’s Christmas Accent Brushes at DeviantArt. Also in the center were some PNG snowflakes from a while back that were turned into large soft brushes (I love doing this!). This time just created one layer with snow that would only show up inside the ornament. This was my first attempt and it took a while to figure out how to set it all up.

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Animated Snow Gif

This image is from Deeezy’s 33 landscape photos free set and used a little different process to create the snow animation. This time the Photoshop marvel Colin Smith created a nice video called How to Make Animated Snow in Photoshop – it contains three snow layers in a Smart Object that ultimately ends up on top of your image (or videos). I thought this was an easier way to do the gif, but I had a lot of problems with the slight jiggling when the 5 second loop starts over. I think a lot of experimentation has to be done to get smooth snowfall. But overall it turned out pretty nice. In PS the Landscape Mixer Neuron Filter was set to the first preset image to turn the summery image into a wintry scene. Also a few layers were painted to add a snow accumulation effect to the objects. This effect has a more natural snow look with the snow layer animation speeds set to different amounts. This way of animating the snow does allow from some falling snow rate adjustment so that give a very different feel to the images.

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Animated Snow Gif

What is really great is that this animation layer can be placed on a different photo (this last image is from Unsplash by Atikh-Bana) to make it an animation also. I cheated and duplicated the animation smart object layer from the Deeezy image above to this image and then changed the opacity of the different snow layers by opening the copied snow layer’s smart object and resaving. Then Color Lookup and Levels Adjustment Layers were applied before converting the image to a gif animation. To do this correctly, go to Colin’s video link above and scroll down to follow his saving directions so the snow layer can be easily be added into another image easily.

This is very challenging to do, but once you start to understand the Photoshop Timeline Panel, it is pretty easy to figure out. It was fun to have a challenge and hopefully I will learn a few tricks to make this easier, especially with adjusting the snow speed and how the loop interacts. Everyone have a Great Holiday and I will see you next year!………Digital Lady Syd

MORE COLORIZE FUN

Vintage image of the Colonial Hotel in Nassau.

I have been taking a break for a while – lots was going on with all the many Photoshop conferences and the new versions of Lightroom and Photoshop. Everyone seems to be using this one filter in PS – I can’t say that I blame them. It is turning out to be pretty cool! Since writing a blog called Wow! The New Improved Photoshop Neural Filter Colorize in August, the filter has gotten much more stable and works a lot smoother.

The above is an image of the old Colonial Hotel built in 1901 by Henry Flagler in Nassau, the Bahamas. The hotel burned down in 1922 and the British Colonial Hilton Hotel is now located on this area. The image is from Shorpys.com (see original black and white). The area has some interesting history including scenes from the James Bond Movie Never Say Never Again! Thought I’d include this vintage 1918 postcard of the original hotel from Wikipedia. Wish I could have visited the original – it looks quite beautiful!

Postcard of the old Colonial Hotel in Nassau from 1913

For post processing on the top photo the relatively new PS Neural Filter Colorize was selected using just the preset called Retro-Faded. After applying the filter on a New Layer, a stamped (or composite) layer was created on top, and the Edit -> Sky Replacement command was used to add in a more interesting sky. On a new stamped layer, Color Efex Pro 4 was used to soften up the whole image to give an overall nice warm feeling (Ink, Darken/Lighten Center and Film Efex: Vintage filters were used). Last step was a Curves Adjustment Layer for some image contrast.

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Image of a Fountain sculpture of Neptune

Below you can see the image of Neptune was larger and what settings were used. (See my 1-minute video called Hilton Waikoloa Village Palace Tower Fountain for other fountain images taken a while ago – I have no idea who created it!) It was cropped down to emphasize the expression on Neptune‘s face (this guy had a bunch of children). It took a lot of steps but the color definitely came from the Colorization Neural Filter. Below is the original image in the Colorize Panel. Just the sliders were used this time.

Settings for the Colorization Neural Filter in Neptune image

The main objects were selected, which took quite a while due to the complexity of the subjects and many items had to be covered, removed or added to get a more unified feel in the image – just basic PS clean up. One of my painted backgrounds was used to give a more painterly old feel. An oldie-but-a-goodie filter was brought out to give the image a warmer feel – Topaz Lens Effect’s Gold Reflection filter was applied at 79% layer opacity – then some of the effect was painted out with a layer mask so it was not overdone. Finished up with the Camera Raw to adjust the colors a little more. But overall this is the color palette that was applied from the Colorization filter.

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Colorized image taken from Shorpys.com B&W image.

The above image was another Shorpy.com black and white image of Bannack, Montana in 1942. I wanted to show that this image was colorized in the neural filter twice. First converting a duplicate of the original the black and whiter Background layer with the Output to New Color Layer checkbox on (see first screenshot below), and then using four Focal Points, three adding yellow to the dirt road and one to cool down the first hillside area (see second screenshot below). Back in PS the only other things done to the image were a Levels Adjustment Layer and a little bit of Dodging and Burning on the dirt road to define the edges.

Screenshot of the Neural Filter using the Output to New Color Layer checkbox.
Image of the Colorize Filter in PS using Focal Points.

As stated above PS has added a couple extra tweaks to the new PS 2022 upgrade and the filter no longer is crashing as much (also my brushes are working correctly again!) I did have one big program blow-out (PS just disappeared!) while adjusting the Focal Points, but when tried again it worked.

Still figuring out the other filters. It seems there needs to be a little more work done to get them working as good as the Colorize Filter. I did learn that if your Neural Filters keep crashing your system or shuts the filter down, you can delete the filter file and let Photoshop restore them when you restart the program. This fixed some of my errors with these filters, but not all. Here is the Adobe troubleshooting link.

Hope you have tried out this filter – it seems like it does have some very nice uses for the PS creative. It is nice to see PS adding a few new items to try out……Digital Lady Syd

FINDING A PHOTOSHOP BRUSH IN A BIG SET

Drawn and painted image of a Red Legged Honey Creeper Bird

So how do you keep all your great Photoshop brushes organized and how do you remember what they look like for a given effect? This blog shows what I have been doing to combat this huge Photoshop brush debacle! I have two tips on how to do this.

For the past several months, Kyle T. Webster (Adobe Brush Evangelist) has been creating videos on how to use some of the different brushes in his PS sets. It got me to thinking about how to see these brushes and their strokes quickly to decide if I wanted to apply any to an image. Since Kyle has over 2000 brushes to download, with 400 in his Megapack alone, it can get very confusing. (Note: To download these brushes, open PS and go to the Brush Panel’s upper right corner drop-down menu and choose Get More Brushes. If you are on the PS subscription service, you will be able to choose any of his sets.) And if you are like me, I am always on the lookout for other great brushes such as the fabulous GrutBrushes (he gives a free one away every Monday so check him out – you won’t be disappointed with them), Aaron Blaise brushes (the wonderful Disney drawer with lots of nice brushes and wildlife tutorials – watch for his great sales), and Maddy Bellwoar (Adobe Create artist that has some beautiful painterly brushes and great weekly painting videos), to name just a few. Just these few artists’ brushes create a huge amount to organize!

For a quick bit of info on the image above (which was really just a practice image BTW and not finished), it was drawn by following a video by Maddy on Behance called Painting Beautiful Birds in Photoshop. Below most of her videos is a link to download a free set of 44 brushes and many were used on the blue bird she painted. Below is my stroke page for these brushes. (See my American Goldfinch Tidbits Blog for more info on Maddy and her brushes.)

First Tip: Create a Brush Group with Duplicates of Brushes Used in Image

The first tip is what I now do anytime a new image is painted. It is very important that the layers are labeled with the different brushes being used so you know where they were applied in your painting – then you can see how to create a similar effect in another painting.

  • When painting, click the “Create a New Group” in the Brushes Panel – click on Folder icon at bottom and name it. See in screenshot below.
  • A duplicate of any brush being used is created as I paint. To duplicate a brush, highlight the brush to copy and press the middle box with a (+) icon next to the Group icon. Sometimes the duplicated brush will show a different name (the Soft Airbrush below shows a name of Soft Round 200 730) so it is renamed back to the original and sometimes the initials of the brush artist, like MW is added if needed. (You can save any brush you want this way – just rename and decide if you want the Tool Type, Size and Color saved with the brush in the New Brush dialog box.)
  • Then highlight and drag the duplicate brush to the new group. Below is an example of all the Bird brushes used so far for the top image.
  • When finished, be sure to save the Group of brushes by highlighting all the brushes in the Group – then in upper right drop-down menu, choose Export Selected Brushes and Name the file on your computer (I usually use the image name and place in a special folder called Project Set Brushes). It will save down as a PS brush .abr file. If you add more brushes later, the file can always be saved over with the added brushes. To open file in PS, go to the drop-down again and select Import Brushes – go to the file and double click and it will be shown at the bottom of your brush list. Very handy to have!
Image of brushes used in bird image.

Second Tip: Make Brush Stroke PSD Files for Reference in Bridge

Kyle recently created a really interesting video called Brush Hour: the Fall 2021 Brush Set on his Fall 2021 set of 26 brushes where he drew a Halloween-looking guy like below. For this image it was really good practice to try and emulate what he did just to learn how to use the brushes. (I also learned how to stack drawing layer effects in this video.) No Brush Panel Group was created since most of the brushes used were in the his Fall 2021 set.

Drawing of a vampire in Photoshop

To keep brushes straight in all of Kyle’s free sets from Photoshop, or any others I have downloaded, a Photoshop PSD document was created for each stroke, and anything else can be placed in it. Two files are usually made with big sets of brushes – often my own little sketches using the brushes are added. Below is an example of my Fall 2021 Brushes Set showing each brush – the ones liked are marked with a dot. (For the vampire pix, the Double Edged Hatch, Boxit, Circlez, Ripopolo, Pigmentia Edge, and Ratchet brushes were used just to create the background. Then Pigmentia and Rachet were mainly used to create the character but also a little Concept Pencil and Vincent for Vincent Van Gogh were also used – you can see I liked several of these brushes.)

Examples of Kyles Fall 2021 Brushes

Below is the sheet created of Maddy’s Free Brush strokes. (Click on the image to see better in Flickr.) The third brush in the top row is one I created (from a Maddy video) based on the second brush – it has been saved with the brushes in this set file. The Canvas Size (go to Edit -> Canvas Size) was extended to accommodate all the brush strokes in this set (it would be hard to print the files out this way as it needs two files for printing).

Image of Maddy's Free Brush and Variations

The PSD file is saved and placed into a folder to access in Adobe Bridge (mine is called Paintbrush Example Files). This way the files can be reviewed very quickly to see where the needed brush is located or to find a good one to use. Below shows my folder of some of the PSD files in Bridge.

If there is an interesting technique being used, select the Note Tool (toggled with the Eyedropper Tool and several others) to include this info with your image for extra reference – this can show brush change info, like adding a Color Dynamics section to it or changing the spacing of the brush. Or if a change is made to a brush, it can be saved with a name showing what was done to it as shown in the SJ Soft Shading and Blending-no opa transfer brush in Maddy’s Blue Bird Group above.

It takes a while to do this, but it has saved so much time now that they are available. Getting the backlog of Kyle’s and Grut’s brushes set up took a lot of time. And having the brushes in a folder when painting is also very handy, especially if I am trying to get a similar look to a painting or drawing from a previous image. And it is a great way to learn how to use the brushes with your stroke style! Wish I had been doing this all along!

I hope this is helpful to some of you who are like me and collect who knows how many brushes. Hope everyone is enjoying this beautiful weather like we are having here in the States. Fall is such a great time of year!…..Digital Lady Syd

WOW! THE NEW IMPROVED PHOTOSHOP NEURAL FILTER COLORIZE

Unsplash image by Nairit Prachanda of the Himalayan Free Church.

As many of you know I love to colorize images, especially old ones from my own family collection of photos or those from Shorpy’s – the best around for old pix. Now you can actually colorize images that aren’t old black and white shots and get some pretty remarkable results with this updated filter panel. The best information I could find on the Colorize filter is a short YouTube by Photoshop guru Colin Smith called New Neutral Colorize in Photoshop Can do Much More. One thing I found interesting is that the Colorize Filter and the Select Subject command are both using the same AI Sensei Technology PS uses.

The image above is an image by Nairit Prachanda of a Himalayan Free Church from Unsplash. The original image is very dark as seen in the link. By using the Beta Colorize filter, this image can be made to really pop! This filter can be revisited by making the image a Smart Object before beginning the change. Below is a JPG screenshot of what the Colorize interface looked like when opened (go to Filters -> Neural Filters and select Colorize at bottom – need to move toggle to the right to load the panel) and manipulated. In this image an orange triangle told me that the filter had quit working and appeared towards the end of its use – remember, it is a Beta version so it may not work smoothly all the time. The sliders that are checked were adjusted just slightly – a little bit goes a long way. If you do not want the program to do the original adjustments, check Retain original image colors and adjust the sliders manually. To get the warm color on the right, just click in the image and the color picker opens up – choose a color for that area. It will change everything that color so this may have be adjusted back in PS with a layer mask.

Screenshot of Neural Filter Colorize interface

Also note that Colorize has Profiles presets that can be used to give a certain feel – this one used the Retro Green to bring out the oranges especially. (Profiles presets include: Retro in all cases and the following words: high contrast, blue brown, light yellow, purple yellow, bright, red, green, faded, denim, dark, and brown). In this case, it was overall a little too much, so the Profile intensity was checked and the slider set to 70. Note that the Profile and the Profile slider amount settings were not retained in the Smart Object although all the other settings were.

Back in PS, used both a Shadow and a Highlight layer (see my A Few Photoshop and Lightroom Tips and Tricks blog-Tip #2 from Sam Peterson), which showed some of the background a little more clearly. Then the Camera Raw filter’s Calibration Panel was opened and the Red, Green and Blue Primary sliders were adjusted.

A second Neural Filter was applied to add a little more green to the top of the structure and make the orange look more painterly. The colors were reset by pressing the arrow and line icon in the upper right, then the Retro Green Profile was selected again and the Profile intensity was set to 50 – that was all that was done this time. A black layer mask was created and just those two areas were painted back.

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Colorized image of an old motel from 1939.

The image above is from my favorite vintage site, Shorpy.com – to see the original Black and White version click here. When doing these colorizations, once the image is loaded into Photoshop, be sure to make sure the size is not crazy – like 80 inches X 60 inches at 72 res. What I always do is go to Image -> Image Size and uncheck the Resolution box and change it to 300 ppi, then check the box again and then go up to the size – it should now have adjusted down to something like 8 inches X 5 inches but it can not be changed to a reasonable size. Otherwise you could have problems down the way with the huge size of the image.

This image was taken into the Colorize Filter and not much was done to it – only a little Red and Magenta were added before bringing it back into PS for further processing. (See panel below.) It was definitely too green so a few things were done to get the image above.

Back in PS, a Color Lookup Adjustment Layer using the Cerulean preset was added to darken it. Next Sam Peterson’s Shadows and Highlight layers were added to emphasize the shadows and lighten up the foreground shrubs. A Red Channel Luminosity Curve Adjustment Layer was added on top. On a stamped layer (CRL+ALT+SHIFT+E) set to a Smart Object, Color Efex Pro 4 was opened where lots of filters were applied (Tonal Contrast, Brilliance/Warmth, Vignette-Lens, Contrast Color Range, Remove Color Cast, White Neutralizer, Sunlight, and Image Borders) – all of these were set to taste. Finished off with a Levels Adjustment Layer changing the black Output Level amount to 14 to get a little more of a vintage feel in it.

Jean Beraud's Avenue Parisienne from 1880's lightened up with PS Neutral Filter Colorize.

The above 1880 Avenue Parisienne painting (click link to see original) by Jean Beraud was selected for trying out the Neural Filter Colorize because it was rather dark but was a very interesting image. It is also one of my favorite paintings. Below is the panel and basically the only thing done with the Colorize filter was to check the Retain original image colors box and set the Saturation to +50. After that the Camera Raw Filter was used to just slightly adjust the skin tones as the faces were really over colorized but it looked good in other parts of the painting. (Color Mixer – Saturation Reds +8, Orange +21, and Yellows -15 and Luminance Oranges +65 and Yellows -6) This step also lightened some of the buildings in the background which show the Parisian architecture of the time. Since the skin was still too bright, a Vibrance Adjustment Layer set to Vibrance +44 and Saturation -19 was add and the layer mask filled with black (CTRL+I) – then just the skin areas were painted back in. This helped a lot. Last step added a Black and White Adjustment Layer set to Luminosity to slightly change the tones a little. I really like both iterations and it was fun to try out the filter with a really good painting.

Screenshot of Neural Filter Colorize settings

As you can see, this Colorize filter has a lot of possibilities and I am sure Adobe is working on it as we speak. It is fun just to see what it will do and the creative possibilities are endless. I want to try just bringing a selected area into it to see what it would do in a composite. Hope everyone is having a great summer and gets a chance to play around with this filter and your images…..Digital Lady Syd

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