This week posting another oldie but goodie from my Tidbits Blog and a newer image with some of my favorite newer filters. I loved the way the above image turned out – never expected it to be this pretty considering it was an image I snapped while standing on the street in front of our hotel. It is Nelson Monument (in center) and Acropolis (aka National Monument of Scotland on left corner) on Calton Hill – I did not get to visit this site but wish I had. This was not difficult to process once I got going. After cleaning up a rather boring image, Topaz (for website link see my Tidbits Blog sidebar) Simplify was opened and a preset I call the John Barclay BuzSim Setting preset was used. I listened to one of John’s excellent videos on Topaz Labs and created this preset which has a very subtle result. (The settings are: Simplify: Colorspace RGB, Simplify Size 0.19, Details Boost 1.00, and Details Size 0.20; Adjust: Brightness 0.01, Contrast 1.08, Saturation 1.03, Saturation Boost 1.15, Structure 1.00, and Structure Boost 1.00; and Edges: Edge Type – Color Edge Normal, Edge Strength 0.00, Simplify Edge 0.30, Reduce Weak 10.00, Reduce Small 0.20 and Flatten Edge 0.00.) Next I added 2 lil Owls (for website link see my Tidbits Blog sidebar) Workshop 6 – Texture 1 which has the beautiful turquoise and light yellow sky color – the layer was set to Overlay Blend Mode. The beautiful text was supplied by my favorite Shadowhouse Creations – his Text Brush 5. I actually clipped a bright green Color Fill Adjustment Layer to the text (to clip just ALT+click between the two layers and the color fill adjustment layer will only affect the layer below) – then the text layer was set to 55% opacity. Another 2 Lil’ Owls Texture – texture 4 was used as an overlay frame. A light yellow Color Fill Adjustment Layer was clipped to the texture file. A Curves Adjustment Layer where the red, green and blue channels were adjusted to get this slight vintage feel. The last thing done was to add a Color Fill Adjustment Layer to the whole image using a soft cream color (#c6c3bd) and the Nelson Monument was painted out in the layer mask so the eye is drawn to that area of the image.
This image from the Ormond Memorial Art Museum and Gardens in Ormond Beach, Florida, used the same Topaz Simplify preset by John Barclay and just used Topaz Texture Effects 2’s Facing Fast preset. This time the effect was removed from the foreground flowers and Nik Viveza 2 was used to add a little vignette effect to the image. Texture Effects does a really great job of giving vintage effects and it is always fun to try out the different presets and combinations by adding new sections to get some great results.
Had a lot of fun as usual – never get tired of this!…..Digital Lady Syd
This week I have been feeling “under-the-weather” so I am going to present a valentine link for the image above and the workflow for the card below from a few years ago. To get the info on how the top valentine was created, check out my original blog at Free Valentine Templates and a Valentine with Heart.
To create the above, these steps and resources were used:
1. Started on a New Document with Spatter Heart Frame from PS Brushes. A Layer Style was added – Outer Glow set to a soft yellow and Linear Dodge (Add) at 75% and a Spread of 21; and a Gradient Overlay adjusting Graphix1 Muted 8 for a gold tone.
2. Next a background was added underneath using Colored Vintage Paper by Ciara Panacchia Texture 08 (Deep Red).
3. Another texture was added above this one – Vintage Valentine Paper by Aramisdream using Texture 09. It was set to 59% and a layer mask was used to brush out the center and to create a vignette effect around the edges.
4. A layer was placed on top that used Obsidian Dawn’s Glitter set-hearts-glitter brush in a soft beige at 43% opacity.
5. Glass Prism’s cupid brush was placed in the center on it’s own layer.
6. The red valentines were placed on their own layer – Hearts by King Billy Sample Brush 20 was used (there are some other nice valentine brushes in this set). A Layer Style was added using a red Color Overlay and a small 1 pixel Stroke.
7. Two Text Layers were created using the font Precious, a perfect Valentine font. A Layer Style was added using: Inner Shadow set to Distance of 21 and Size of 21; Outer Glow set to Linear Dodge (Add) at 45% opacity and Size of 24 pixels with a light yellow color; and Bevel and Emboss set to Inner Bevel, Smooth, Depth 103, Size 10 and the rest default settings.
That is how I made some Valentines. It was a lot of fun to try out the different effects with the brushes – the layer styles really made a difference. When you have a minute, try a layer style on some of your brush strokes – you may get some surprising results!…..Digital Lady Syd
I ran across this little brush technique in Advanced Photoshop Magazine No. 81’s DVD (several years old) in a PDF called Photoshop Uncovered: Forgotten Features. This particular tip was by designer/illustrator Radim Malinic of Brand Nu. I am not sure I have completely mastered his technique yet, but it was fun trying to figure out how he uses it to create some really great art.
Exactly what does setting a brush to a Linear Dodge (Add) mode in the Options Bar do? According to Radim, “As the color dodges, the overall shade goes lighter with every brush stroke.” Usually he tries to stick to just one color for his image, so this was my goal in my blog images. His basic technique involves creating a colored image, then desaturating the image, adjusting contrast with a Levels Adjustment, and adding in background textures and shapes.
On a New Layer with any brush selected, the Options Bar was set to Linear Dodge (Add) mode, Opacity 30% and Flow no more than 30%. Choose a darker shade of any color wanted to dominate your image. As you dab, colors will become brighter each time a stroke is overlapped – be careful not to overdo this effect as it is easy to get carried away. A New Layer is needed to get the effect as a white background layer will not show any strokes. If the last dab is too strong, go to Edit -> Fade Brush Tool to reduce the effect and change the blend mode for a better look if needed. The bright linear dodge strokes can be seen in the plants and giraffe in the bottom image below.
The Tych Panel shows how I created this image. I was attempting to try and just use a nice color of green to do all the painting in this image. The upper left image is what was initially created using several layers and various colors! This involved adding the background textures and creating a group of layers that contained my plant brushes. A stamped layer (CTRL+ALT+SHIFT+E) was created on top. Next a Black and White Adjustment Layer was used to get a nice tone – this was merged down (highlight both layers and press CTRL+E) so now my main image is black and white. It was set to 94% layer opacity – that is why there is some slight color showing in the image. Therefore, a white filled New Layer was placed underneath so the colors below did not show through.
Now the fun began. Just started painting using the Linear Dodge (Add) mode in the Options Bar at 30% Opacity and 30% Flow. A light green was painted over the image. A giraffe silhouette brush was added and a layer mask was used to put some of the plants in front of his legs. On a New Layer painted in with the green colors on the giraffe – see the variation of the colors as the brush is dabbed over the same areas. A Levels Adjustment Layer was clipped (ALT+click between layers) to some layers to soften the effect so it blends in better with the plants. 12 more layers were created to paint in the different object using different brushes. I found that by varying the brush Opacity but not the Flow over 30%, the various shades of the color could be easily obtained. Also the layer opacity or Edit Fade command can be used if the effect is just too strong. To finish up, Nik Viveza 2 was applied to adjust the focal point and add a slight vignette effect for drawing the eye. I decided the green was overwhelming the image as seen in the bottom part of the Tych Panel. Therefore a bright dark blue Solid Color Adjustment Layer was added. It was set to Color blend mode at 35% layer opacity. This seemed to balance out the over green to a level I liked as shown in the top image.
The above is another example of using this same technique. It was first painted in color and then turned to black and white before creating a New Layer and using Linear Dodge (Add) brush mode to paint with a cyan blue color in the image again. This technique does take a bit of practice to get a good result, but I do see a possible use for this type of brush in doing a regular painting. It is nice to just emphasize a certain area in an object using this method – in fact several digital painters use this method for dodging their images. It has been fun to try and paint with a monochromatic color scheme. Definitely have to think about what the values are in your image. Hope you get a chance to experiment with this brush mode and come up with some interesting results!…..Digital Lady Syd
Basically this blog is showing that filters or plug-ins do not have to be applied on a layer with the second one applied on top of the first one on the same layer, but rather they can be applied to the same original duplicated layer and by using layer masks the desired effects from can be inserted. This image above followed a workflow that followed my Nik HDR Efex Pro 2 and Topaz Clarity Together? Tidbits Blog from a few years ago. It had been a while since HDR Efex Pro2 (part of the free download from Google-Nik) was used so it seemed like a good time to try it out again. The original image from the Tidbits Blog is shown below. This image was taken yesterday at the 28th Native American Festival in Ormond Beach, Florida. The displays and costumes really give a nice variety for those who love photography (and the vendors and show organizers are some of the nicest people!). The focus area of the two teapots show more of the HDR plug-in effect and the rest of the image has more of the Topaz Clarity filter effect. Any plug-ins can be used this way, these are just what I was using for this image.
HDR Efex Pro 2
The image was first opened in Lightroom where it was brightened up just a bit. Then in Photoshop, the background was duplicated, converted to a Smart Object (right click on layer and select Convert to Smart Object), and HDR Efex Pro2 was opened from the Filters menu. Note: you do not have to be shooting HDR photos to use this plug-in – it works fine with just one image. (For info on how to use if shooting with more than one image, see my How To use Google (Nik) HDR Efex Pro 2 Blog.) This is another one of those huge plug-ins with lots of sliders and presets to play around with on your images so the Smart Object allows you to go back and adjust it if it look wrong (double click on the thumbnail in the Layer Panel). In this case the Outdoor 2 preset was applied. One of the best things in this plug-in is the Levels & Curves section where besides RGB and the individual channels, there is a the Luminosity Curve that can be adjusted – this was done for this image. The curve was pulled downward to get a nice overall effect. Then the Tonality section Structure slider was set to 31% and the Color Temperature was set to -20% and Saturation 19%. That was all that was done to this preset.
Now for the Topaz (for website link see sidebar at my Tidbits Blog) Clarity part. This is one of my favorite Topaz plug-ins partly because of the versatility in it. The HDR Efex layer was turned off and the background duplicated again and set just above the background layer. Since the HDR Efex layer had way too much contrast for the softer vintage effect I wanted, a preset that I created for painting was applied in Clarity. It totally softens the whole image but the colors looked really good. (Here are the settings if you are interested: Clarity Dynamics Micro Contrast -0.86, Low Contrast -0.86, Medium Contrast 0.63, and High Contrast 0.94; Tone Level Black Level -0.19, Midtones -0.36, and White Level 0.19; HSL Filter Hue – no changes; Sat Orange 0.06, Yellow 0.63, Green 0.13, Blue 0.25 0.25, and Overall -0.45; and Lum Orange 0.36, Yellow -0.34, Green -0.42, Blue 0.61, Purple 0.11, Magenta 0.75, and Overall -0.27 – all other colors were 0.00. Adjust these settings around if they do not quite fit the effect you want.)
The HDR Efex layer was turned on and a black layer mask was added (press ALT key while clicking the layer mask icon at bottom of Layers Panel). Just the areas where more contrast was needed was painted back into the image – mainly around the teapots where the focal point is. A round brush set to 50% opacity was used so edges were not too sharp.
Photoshop Brushes for Clean up
Some of the background in the curtains did not look so nice, so the brushes were brought out to paint in some colors and blend some colors on a New Layer. It is so handy to have a good Regular Brush and Mixer for clean up. A pastel with rough edges was used to paint over some greenish shadow colors that did not fit the image. The brush can be downloaded from SDW Haven Pastel Brushes Part 1 – it is the last brush or 11th brush in this free set. (These are the settings used for the brush: Brush Tip Shape: I like it as a small size so it is set to 8 pixels but enlarge it often, Angle 137 degrees, Roundness 100% and Spacing 35%; Shape Dynamics: Angle Jitter 42%; Texture – Rough located in PS Erodible Textures (load by clicking texture patter, then on the cog wheel and Load Erodible Textures, and set to Scale 87%, Brightness -45, Contrast 0, check Texture Each Tip, Mode Multiply, Depth 50%, Depth Jitter 1%, and Control Off; and check Smoothing.) This brush also clean up funny colored edges nicely – just ALT+click in the image on the color to sample, and lightly paint in. I usually paint at 67% opacity with this brush.
Then an overall soft Mixer blender was used to mix up the edges. The brush I use is by David Belliveau from Paintable – here is a link to his free brushes and his How to Blend Colors in Photoshop: 4 Essential Technique blog. David does a great job explaining how to use brushes in Photoshop. On the clean up layers, I just kept going back and forth between the Regular and the Mixer brush adding color and blending until the color and edges look smooth. The Mixer also does a great job of softening lines that appear too sharp in the background. I use these two brushes all the time to both clean up images and paint in Photoshop.
Finishing Up the Image
Last steps involved adding on a stamped layer (CTRL+ALT+SHIFT+E) Topaz Texture Effects 2 with adjustments to the Crisp Morning Run preset. A Spot Mask was used over the center pots so they were not affected as much by the plug-in. Duplicated the layer and applied Nik Viveza 2 to further sharpen the two middle teapots and add a little more saturation to that area. Duplicated the layer again and Topaz Lens Effects was opened and a Silver Reflector filter coming from the left was applied – just to add a softer effect and emphasize where the light was. Using these three plug-ins one after the other is an example of applying them onto each other and no masking was involved. Therefore the effects of Texture Effects is in the image where Nik Viveza 2 was applied which is in the results of applying the Lens Effects filter. If you wanted to get down to the original Background effect, many masks were have to be created. Subtle but significant difference.
Overall HDR Efex Pro and Clarity are not a bad combination for getting some nice effects in Photoshop. Both images used the filters discussed above. Each filter was added on its own duplicated Background layer and then the parts of the image to be concealed were masked in or out on each layer. For the top image it just did not look as good when one filter was applied over the other one. This is really important to remember if you are liking the effect in two different filters – they do not have to both be applied over each other – just mask in or out what you like on separate layers. And do try out the brushes – they work really well together. Hope everyone is coping with the winter and staying warm. Until next time…..Digital Lady Syd
This is a pretty basic post on how to use a Pattern Fill Adjustment Layer to add some subtle detail to image objects. This may be something you are already doing, but if not, give my short workflow below a try. A Pattern Fill Adjustment Layer was used on the flying birds in the digital painting above. The birds are a free download from Cheryl Tarrant – for download link and more image details, see Image 1 info at end of blog. Bird objects work well with Pattern Fills, but any painted strokes, text or objects placed on a layer by themselves will work. Below is the quick workflow and the rest of the blog goes into more detail regarding Patterns.
Workflow for Adding a Pattern Fill Adjustment Layer
- Open up a Pattern Fill Adjustment Layer above image by going to the bottom of Layers Panel and clicking on the Black & White circle icon (fourth one over) and select Pattern (third one down). By default the last pattern in your Pattern Picker list will be selected.
- Clip the Pattern Fill Adjustment Layer to the one below by ALT+clicking between the two layers. (See below for more options.)
- Double click on the pattern to open the Pattern Fill Dialog and choose your pattern. (To add more patterns, click on cog wheel in the upper right corner – PS has packaged several sets that can be clicked on or add your own. See below.)
- Adjust the Scale slider and drag on pattern in image to get the location and size of pattern for the effect required.
- Set the blend mode and opacities for both the Pattern Fill Adjustment Layer and the object layer below.
Difference Between Textures and Patterns and Where Patterns Are Used
A little background material here so you understand what a pattern is much less how to use it in a Pattern Fill Adjustment Layer. In PS, a pattern is a fairly small file, often times repeated without edges (lots of tutorials out there on this), that can be added to an image in various ways. A texture is a much larger file usually using the .JPG file format. Textures are added in as a layer that goes over the whole image – can alter them with a layer mask and/or different blend modes and layer opacities. Since Patterns are much smaller in size, they are added to an image with PS tools, commands, layer styles or a Pattern Fill adjustment layer. Several tools have an option to add a Pattern like the Regular Brush Tool (and Stamp Tool, Smudge Tool, Dodge Tool, Burn Tool, and Sponge Tool) in the Brushes Panel Texture Section, the Spot Healing Tool, Pattern Stamp Tool, and the Paint Bucket Tool (who knew?). (Note: In the Brush Panel, the Texture section is really adding a Pattern from the Pattern Picker to add texture to the stroke.) Also the Rectangular Tool and all the tools grouped with it can use a Pattern when set to Shape – look in the Stroke drop down. The Edit -> Fill dialog with the contents set to Pattern gets some very cool pattern effects with the Script drop-down box. Layer styles using patterns are the Bevel & Emboss Texture subsection, Stroke Fill Type, and Pattern Overlay sections. Oddly enough, the PS filters do not appear to use .PAT pattern files (they use regular texture .PSD files instead). Just wanted everyone to know patterns are located in many places, and sometimes quite hidden places (and I might have missed a few), just in case a need arises and a different technique could be used.
Pattern Fill Adjustment Layer Dialog
My favorite method for using a Pattern is with the Fill Adjustment Layer. It does not have a lot of adjustment sliders (only the Scale can be adjusted but since it is its own layer, the blend mode and layer opacity can be adjusted. There is also a layer mask so the effect can be locally masked in or out. Very easy way to adjust the results. And perhaps best of all, it can be clipped (see next paragraph) to an object layer so only what is on the layer is affected by the pattern effect. That is how the birds above look like a natural brownish color instead of the original black silhouette object. Below is a screenshot of the Pattern Fill dialog that was used on the birds above.It can be seen that first Pattern Fill Adjustment Layer was clipped (the indented layer) to the birds layer. There are several ways to clip a layer, but my preferred way is to hold down the ALT key and click between the two layers to link them together. Can right click on adjustment layer and select Create Clipping Mask; or go to the Menu and choose Layer -> Create Clipping Mask; or just press CTRL+ALT+G on the highlighted layer – all work equally well.
From the latest Photoshop Manual (can download as .PDF file) search for Pattern: “Click the pattern, and choose a pattern from the pop-up panel. Click Scale, and enter a value or drag the slider. Click Snap To Origin (button) to make the origin of the pattern the same as the origin of the document (pattern opens up set to upper left corner). Select Link With Layer if you want the pattern to move along with the layer as the layer moves (moves with object layer as it is moved in the Layers Panel). When Link With Layer is selected, you can drag in the image to position the pattern while the Pattern Fill dialog box is open.” I usually just select the pattern and set the scale here. The really important thing to know is that by dragging in the image, the pattern can be moved to make it look correct on your objects if the Link with Layer box is checked. The Create a New Preset seem useless since all the patterns are already loaded.
Any color of patterns can be used (although all patterns are added turned to black and whites for the Brush Tools Texture section since brushes only use black to white tones). Using the colorful patterns can give really nice results on objects like birds or rocks or text. The one used above was included in a free Obsidian Dawn’s Grungy Dirty Patterns set which I use all the time. Some other patterns I use a lot are 10 Splatters Patterns by Idealhut and Vintage Floral Patterns by flashtuchka. I tend to like patterns that show bright colors and contrast. Also watercolor patterns are very useful. Try some of the loaded PS patterns, but I do not use them much. To add the patterns into your list, open up the Pattern Picker and select the little pop-out wheel where it says Load. Now just go to where the patterns were saved and open them up. They will appear at the end of your pattern list. Click on Preset Manager to add, remove or change the order (just drag to move) of the patterns loaded. With the Pattern Picker open, the different patterns can be clicked on and a live preview on the image will be seen. For the above the Pattern Fill Adjustment Layer Scale slider was set to 155%, then back on the actual layer, it was set to Normal blend mode at 67% layer opacity. The birds underneath were set to Normal blend mode at 45% layer opacity. The combination gave a really nice subtle bird effect.
Pattern Fill Adjustment Layer or Pattern Overlay Layer Style
There are a couple major reasons I like the Pattern Fill Adjustment Layer. The Pattern Overlay Layer Style can do pretty much everything the Pattern Fill Adjustment Layer does. But it is easy to run into problems with the other Layer Style sections that are applied on top of this section. It can block out the whole section being added. One advantage of the Layer Style is that the blend mode and opacity can be set for the actual dialog, then the adjustment layer’ blend mode and opacity can also be set. I find the Pattern Overlay section works well with text layer especially since strokes and glows can be added in easily. Note that you can use both a clipped Pattern Fill Adjustment Layer and a Layer Style on the bird layer to get extra effects. There is so much that can be done! Just remember that if you want to add a layer mask to the bird layer with a Layer Style on, be sure to check in the Blending Options section “Layer Mask Hides Effects.” Otherwise the masking will look bad.
I created this image to show how both Pattern Fill Layers and Pattern Overlay Layer Styles can be combined to get a really nice effect. Several of the plant layers used Pattern Overlay Layer Styles and many have Pattern Fill Adjustments Layers clipped to them. For example, the text layer applied both a Pattern Overlay and Drop Shadow Layer Style sections and a Pattern Fill Adjustment Layer clipped to the text layer. For more info on this painting, check out Image 2 below.
How to Create a Pattern from Your Own Textures
This is probably the easiest part of this blog. I had several great textures I created and bought that would make good patterns. To convert them from a .PSD file or .JPG file to a .PAT file, go to Edit -> Define Pattern. Then name the pattern and it is placed at the bottom of your pattern list to use the next time the Pattern Picker is opened. If you are using PS CS5 or older, there is a Pattern Maker filter in the Other category that can be used to make patterns – not sure why Adobe removed it.
I hope you try this technique on your images. Adding a pattern to just a few strokes on a layer can add some real interest in an image – it does not have to be an object. I am finding I am using patterns more and more to get that extra level of creativity and blending that seems to be lacking in a lot of the original images I am seeing. Know this was a little long, but I hope this helps a little about how to do this!…..Digital Lady Syd
Image 1: This started out as a spring image but finished up as the Last Snow before Spring. That is what I love about Photoshop, sometimes major surprises result! Most of this image was painted in Corel Painter, but many details were completed in Photoshop. This seems to be the only way I can paint. In Painter, mainly used John Lowther’s Landscape Collection brushes along with various Karen Bonaker and Melissa Gallo brushes – all three of these people are incredible digital painters! In Photoshop, 37 layers were created so lots of different brushes went into this image. Several of Grut’s FX Cloud brushes were used along with Seishido Biz Favytunic’s brushes (can’t seem to locate them now-older brushes) and Frostbo’s Grass Set2 brushes. Also used several of Melissa Gallo’s Photoshop brushes from her video class (incredible class BTW). The snow was added using a brush created by following Corey Barker’s Corey’s Universal Particle Brush video which teaches how to make a terrific snow brush. (See my How to Paint in a Snow Storm blog.) The snow appears a lot more natural to me now. Also the birds are from Cheryl Tarrant’s Distressed+Seasonal+Flock+Birds+Brushes set – Brush 05 – some of the nicest bird brushes around. The texture used was by Kim Klassen called Cool Grunge (not sure this texture is still available) and was set to Multiply at 29% layer opacity. My basic PS workflow was followed after creating all the detail layers. Used Topaz (see my Tidbits Blog sidebar for website link) ReStyle’s White Swan Feathers preset. Nik Viveza 2 to draw in focus, and some Curves Adjustment Layers to restore contrast.
Image 2: The Birds of a Feather image was first painted in Paintstorm Studio with each type of brush painted on individual layers – the image was eventually saved as a .PSD file for more adjusting in PS. In this case 13 different Paintstorm layers were created using several of my own brushes, some Double Brushes, Pens, and Multi Brushes and opened in PS. The bottom layer was one of my watercolor textures and two Pattern Fill Adjustment Layers were clipped to it – the first a light beige watercolor pattern set to 417% Scale and Normal blend mode at 91% layer opacity, and the second a Bobby Chiu Colored Paint Texture which was created from his video Building My Favorite Photoshop Custom Brush – it was set to 1000% Scale and Vivid Light blend mode at 25% layer opacity. The birds are on their own layer from Lisa Glanz called Flying Geese (could not find the download link) with a brown watercolor Pattern Fill Adjustment Layer attached. The text layer was added with a Pattern Overlay Layer Style using a bright watercolor pattern set to 265% scale and 39% opacity and a simple drop shadow. Then a Pattern Fill Adjustment Layer was clipped to this layer using a small yellow/orange/green small print pattern set to 417% scale and a layer opacity of 78%. The last step in this image used a Kyle T. Webster layer style called Fresh Fun set to 0 Fill and painted over the plants and birds to give a little extra texture effect.
For some reason I have been sort of fixated on how to create a nice wintry feel in an image without getting fake falling and unnatural looking snow. This week I will show a couple ways I use to create a more natural snow and piling up effect in my images. Its a lot in the brushes!
The image above is of a pretty red budded plant (unable to find the name in my resources) that was growing at the Harry P. Leu Gardens in Orlando, Florida. In a short Corey Barker video called Corey’s Universal Particle Brush video, a fabulous brush was created to add the falling snow in exactly the places it needs to be. Corey gives very clear steps to creating this brush that uses PS Noise Filter, PS Gaussian Blur, a Levels Adjustment, and Gradient Tool to make the basic brush. Then changes are made in the Brush Panel to the Shape Dynamics, Scattering, Transparency, and Brush Tip sections. This brush was then saved as both a brush and Tool Preset – size is 1000 pixels. Corey uses this brush not for just snow but anywhere that particles are needed like fire sparks and rain effects.
Now to processing the image. Once some random flakes are added to the image, Corey suggested adding a subtle Motion Blur to the flakes (Angle 75 and Distance 11) which makes the flakes look more realistic without doing anything else. Add a New Layer and make the brush smaller (500 pixels) to build up more dense snow around the plant branches. The layer opacity can be controlled for each snow layer to give the effect wanted. Also layer masks can be added to remove flakes where unwanted. A stamped layer was placed on top (CTRL+SHIFT+ALT+E) and Topaz (for website link see sidebar at my Tidbits Blog) Black & White Effects was opened. In the filter, the Local Adjustments brush section was used to bring back the color in the image where I wanted it. The filter’s Color Brush was used to paint in the red buds and using a lower opacity, the green leaves were painted in. This softened the background a lot but color could still be introduced – in PS the layer opacity was set to 76%. On a New Layer more snow was painted in using the smaller sized Particle Snow brush again. This is how the lower leaves show snow building up on the leaves. A basic Mixer brush was used on a New Layer to add dabs of white paint for snow – I used Fay Sirkis’s Pet Pastel Underpainting Highlight Photoshop brush (I can’t seem to locate a resource with her brushes right now). But any small sized Mixer brush (45 pixels) will probably work – in the Options Bar set the mixer combination field to Dry and turn on the Load the Brush After Each Stroke with the color set to the snow color and just paint in the snow. Next a text layer with some icicles hanging from the letters were added on layers above using the free Frostbo Ice Brush 01 for the icicles. The last step was a Levels Adjustment Layer to adjust the contrast. I feel like this plant looks like it is in a “winter wonderland” and not a sunny Florida garden.
This image of the St. Johns Tower Entrance to apartments at Windsor Castle turned out to be lots of fun to convert to a spooky winter image. The original image was taken on a sunny day in August so it has definitely been winterized. First Topaz Clarity was used to sharpen the image overall. Then the Adaptive Wide Angle Filter, Topaz Glow, and Lucis Pro were all used to get a really sharp and correct image. At this point I was just trying out different plug-ins and this is what I ended up using. Now the snow was painted in. A free set of very basic star brushes was downloaded by KeReN-R on DeviantArt and 4 brushes were used to paint in a lot of the snow (Sample Brushes 4 – see next paragraph on how to adjust this brush, 6, 8, and 19). Also Grut’s FX Inky Leaks Bottle Topple and Romato brushes were used to give the wet slick look on the street and steps (many brushes in this set would make great snow brushes). This step was a lot of fun to do! At this point Corey’s Particle Brush could be used, but instead I took the image into Topaz Texture Effects 2 and used the Winter Day I preset which contains a snow texture. A Spot Mask was used on the entrance so it could be adjusted a little differently. Back in PS the layer was duplicated and a Gaussian Blur with radius set to 250 pixels to really blur the image. Then it was set to the Subtract blend mode. The same entrance area was painted out in a layer mask. This darkened the image down immensely. On a New Layer white was painted in the entrance and set to overlay blend mode. Another New Layer for snow was used and some snow effect painting around the doorway in front using the Grut Bottle Topple brush. On a stamped layer Nik Viveza 2 was used to really pull out the lighting effect in the doorway and to darken down the on the street. There was a lot of trial and error on this image and I personally believe that is how to actually pull this look together.
I am using Sample Brush 4 in the KeReN-R Star Brushes a lot to get the nice piling up effect of snow. These settings were changed in the Brush Panel to get a really great snow smoothing and piling brush: In Brush Tip Shape: Change size from 773 px to 150 px and leave Spacing at 25%; check Shape Dynamics and set Angle Jitter to 9%; and leave all other settings alone. In the Options Bar turn on the icon next to the Opacity amount so pen pressure will increase or reduce the amount of snow added. This creates a really nice brush to build up snow in any image.
Above is an image I painted showing how a duck sees the beauty in his home during a light snow that we humans do not get a chance to appreciate. It was initially painted in Corel Painter by first adding a lot of the basic elements and grasses. Just enjoying painting at this point. Then the image was opened in PS and many more details were added. In this case the snow was painted in using Corey’s Particle Brush and the snow was built up using the Snow Build Up brush (sampled brush 4) and sampled brush 6. Many more plant elements were added along with the duck. Topaz ReStyle was used to change the color scheme from a warmer one to a color for a more wintry look. This is a good example of how to use these snow brushes when doing creative painting.
It is very handy to have the snow in brush format as opposed to a large vector overlay. I hope you will try creating these two basic snow brushes if you enjoy making wintry scenes. I am still experimenting with them, and trying out other brushes. I like the overall effect of these two brushes and am using them a lot to just add a little wintry effect to a cooler image. Until next week…..Digital Lady Syd
Thought I would do a short post of my favorite images from the last year – have not done this in a while. For more info on photo adjustments, click on the image to go to Flickr where links to the original blogs are available. Hope you enjoy my favs!Image above is from the Viera Wetlands in Brevard County and used the Orton Effect.
This beautiful Malayan Tiger was post-processed using the fabulous Topaz (for website link, go to my Tidbits Blog sidebar) Impression 2 filter. This is one of my favorite images created using Impression.
Image of this peach rose is one that was painted in Photoshop with the mixer brushes, and the background was created in Corel Painter – then the layers were stacked in PS.
The original image was taken in Washington, DC, around 1922 was cropped and hand-tinted in Photoshop. I find it is really fun to hand-tint old images found at Shorpy.com.
This is the Flagler Kenan Pavillion at the Flagler Museum in Palm Beach, Florida. It is one of the lightest, brightest rooms I have seen and is on the IntraCoastal Waterway. This effect was created with the no longer available Lucis Pro 6.0.9 Photoshop plug-in – too bad that in 2016 it finally became a reasonable purchase and then it discontinued.
Image is of St. Trinity Church as seen from the Mir Castle in Belarus. This image was painted in Photoshop using Jack Davis’s painting action.
These three painted Florida birds are presented in a Lightroom template with the background added in Photoshop. The birds were all painted in Photoshop and the bird backgrounds painted in Corel Painter.
This image is an example of a composite that integrated several elements into a story.
Image taken with a LensBaby Composer on my camera which gives a very lovely soft effect.
These flowers were painted in Paintstorm Studio, a really nice painting program.
Next week I plan to continue presenting all the Fun Tips and Tricks that can be done in Photoshop with a little painting mixed in!…..Digital Lady Syd