Been a busy couple of weeks – one preparing for a hurricane and one cleaning up after one. Very lucky here – only lost power for a few days so I can continue on with my blogs. Thanks for all the good wishes I received – they were really appreciated!
Before the storm Adobe sent out a newsletter with a link to a free Postcard with Instructions template that has turned out to be quite easy and fun to do. They used a .psdt file format (it will open in PS like a .psd file in layers) which listed some very good instructions on the top layer – this made the document much larger than the actual postcard size. Therefore the Crop Tool must be used eventually to remove the excess size. Just about every layer was substituted with my own objects and text. (The bird is called White Heron from the Design Fairy, two textures from 2 Lil’ Owls (for website link, see sidebar at my Tidbits Blog) called After the Rain 10 used at 57% layer opacity and Starry Night 6 used inside the letters, large font is called Consequences, and small font is called A Charming Font Superexpanded.) The palm trees are from another of my images. To get the rather textured result inside the large font, a Gradient Map was clipped to the text (ALT+click between the layer to clip) and in the Gradient Editor the Gradient Type was set to Noise and the Randomize button was clicked a few times until I found one I liked. (See my short I Didn’t Know That! Randomizing Gradients blog.) It does take a little experimentation to figure out where to set the different objects or add extras in, but it is pretty simple to adjust.
Here is another example of using the Adobe template and a Zebra Longwing Butterfly who was flying around in my Bottlebrush Bush. This is so much fun, especially if you like to work with text. The large font is called Castile Inline Grunge.
The text and image below are from an old blog created back in 2011 that created a similar effect as the template above. Had to edit out some old links, but the workflow is the same and very easy to do. Just follow along to give text some interesting effects.
1. Open image to use in text layer.
2. Unlock the Background layer. (Drag lock to trash can.)
3. Create a New Layer underneath Background Layer by ALT clicking the New Layer icon and fill with whatever color you would like to use.
4. Highlight top layer and select Text Tool.
5. Click on image and enter text with the font you want to use – can adjust size of text later. Click Check to finalize text.
6. Select the Move Tool and move the text where you would like it.
7. Can CTRL+T to adjust the text size. Click check to finalize text again.
8. Drag Background layer above Text layer.
9. Go to Layer – Create Clipping Mask or ALT+click between the two layers.
10. On Text layer, create Layer Style – double click on layer to open. Select Drop Shadow and set to 100% Opacity. Play around with the other sliders and contours until you like what you see. I also added a stroke to my images here.
For the above, the original image was converted to a Smart Object as the background. Topaz (for website link, see sidebar at my Tidbits Blog) Simplify plug-in was set to Sketch Hardpencil (check out the Topaz Simplify 3 presets in updated version) and adjustments were made by adding Contrast, Details Strength, Details Boost, Details Feature Boost, and making the Edge Type Mono Line. The opacity of the layer was set to 49%. A free font called Freshman from dafont was selected. A Textures by Ash No. 26 (no longer available but was mainly a very yellow texture with grungy orange edges) was placed above the Background layer at 65% opacity to add warmth to the image.
Hope everyone has a wonderful weekend and are starting to enjoy what I consider the best month of the year!…..Digital Lady Syd
No post for a while as unfortunately I live in Florida with Hurricane Irma on the way. This bird was taken after Hurricane Matthew last October. Figure the birds will be the only ones not concerned about what is coming. Will be back as soon as possible on the other side!…..Digital Lady Syd
This week Topaz released an update to their very popular Clarity plug-in and it is a really nice upgrade. It is now much improved over an already excellent filter that is one of the best Photoshop plug-ins around. The Heron above was not processed very much in Lightroom, all in Clarity Topaz Studio and a little in Nik Viveza to adjust the light on the birds head and wing tip. Before going any further, please be aware that Topaz is not going to update the actual Topaz Labs version if you own it. Instead it will be updated in Studio (to download go to my Tidbits Blog sidebar and for more info check out my see my Introducing the Free Topaz Studio blog) before adding the Clarity update. If you have Studio already running, just go to the website to find the Clarity update by clicking this link. Topaz does a great job of walking you through this new process on the Topaz Studio website. So what is so different?
It is all in the Clarity Interface. In Photoshop, the new Clarity update will now be linked as Clarity in Topaz Studio (Filters -> Topaz Studio -> Clarity) instead of in the regular Topaz Labs individual plug-ins. By selecting Clarity, an interface very similar to Topaz Studio will appear that contains two adjustments, Precision Control and HSL Color Tuning. See image below for an example of the bird as it looked in Clarity for Studio (click to see large view Flickr).
Precision Contrast Adjustment
As you can see the Clarity Dynamics section from the Topaz Labs Clarity plug-in is now called the Precision Control Adjustment. The Contrast section contains the original Micro, Low, Medium and High Contrast sliders but the website says they are now much improved – I believe they are after using the update on the bird image. Some of the feathers on the bird are crazy sharp! The Lighting section sliders are better at detecting the Shadows, Midtones and Highlights – these appear to be derived from the original Toning Section Black Level, Midtones, and White Levels sliders. Also there are Equalization buttons (low, medium, or high) which are supposed to emulate the Region technology in Topaz Adjust. I have not fully explored this. The Preset drop-down has several choices for setting up these sliders (Balance, Brighter, Brightness, Color Detail, Color Boost, Details, HDR, Little Things, Reduce Shadows, Saturation Boost, and Sharp). This image shows settings for the Color Detail preset. There are also presets on the left side which I did not use for this image. All your original Clarity presets are migrated over. Unfortunately at this time there are no subcategories so one long list of presets occurs – I cannot seem to figure out a logical order to them and my personal presets are all over the place. The good news is that there is a field for searching for your presets if you can remember what you named them. Hopefully Topaz will address this situation in a future update.
HSL Color Tuning Adjustment
The second part of the original Clarity was called Hue/Sat/Lum and now is called HSL Color Tuning. Not a lot different other than each color has individual sliders where the color is shown in the image, and a Gray Color is available. Also some presets are in a drop-down (Extreme Hue I and II, Increase Cool, Increase Warm, Red Cool, Red Warm, Subtle Hue I and II). Three new sliders have been added: Details (to help recover detail lost from increasing the brightness of the different color or whole image), Suppress Artifacts (to remove rough and unnatural edges and helps reduce artifacts to reduce detail), and Color Sensitivity (set higher to add saturation in the whites and grays in surrounding image). Not sure I understand how these setting work exactly yet, but the website does a good job of telling what they do.
By using the Studio interface, each adjustment can be masked, different blend modes applied, and opacity adjusted. So there really is a major benefit to using the upgraded version in Clarity for Studio. In the screenshot below, you can see the Precision Control mask created for this image. I did not want the background to appear crisp, so by clicking on the plus sign on the upper right of the adjustment, a layer mask is opened. I inverted it and used the Brush tool to just paint back the bird. The brush tool has really been improved – it does not crash my system if too many strokes are made too quickly.
Two HSL Color Tuning Adjustments were used: One to change the green color in the upper right corner (a layer mask was used to localize the color change), and one to emphasize the Red, Green and Blue colors, and adjust the Details, Suppress Artifacts and Color Sensitivity sliders. See screen shot below.
If you bought the Pro Adjustments pack from Topaz Studio, the Clarity updated sliders will also be in the Precision Contrast and HSL Color Tuning adjustments in Topaz Studio. If using the stand alone version of Topaz Studio, I do not see at this time a specific link to the Clarity for Studio update in the menu for those who previously owned Topaz Labs Clarity. I believe the two Adjustments will just be added to the regular Topaz Studio interface. Note that you can still reach the original Topaz Labs Clarity plug-in (and all your other plug-ins) in both the stand-alone version and the Photoshop Filter version by going to the Plug-ins in the top options menu of either Clarity for Studio or the Topaz Studio interfaces. The image above is from Holyrood Palace in Edinburgh, Scotland. The Clarity in Studio did a great job on the detail of the stone carvings. A Dodge and Burn 50% gray layer was added to finish up, but Clarity did most of the detail work in this image. It also does a great job on landscapes so give that a try too. Below is a house located in the Scottish Highland and is probably a little over the top with processing, but I like the almost illustrative artsy effect. Instead of using the HSL Color Tuning Adjustment, the Dehaze Adjustment from the Pro pack was used to make the tree colors sharper – a preset was made in the Community called SJ Clarity PC with Dehaze that you can download to try out the settings. Then I also added one of my favorite Topaz plug-ins, Detail 3, and set the Med Detail to 0.38, Large Detail to 0.15 and Tone Contrast to 0.30 set to 59% layer opacity. That was about it. The combination of Clarity and Detail is one I actually use quite a bit when I want this type of look.
It appears that Topaz will now be using the Topaz Studio as the location for all upgrades to their plug-ins that are currently linked in Photoshop as Filter -> Topaz Labs -> Topaz (plug-in name). I know Topaz is one of the best software groups around and they will answer any questions you have if there is a problem with the upgrade. It took me a while to figure out how to add the upgrade. And I did have to update my video card after loading it as all the sliders disappeared. Topaz suggested on their website to try this if there are problems and gave you a step-by-step guide to follow. I hope you will all enjoy this update. I am finding it to have wonderful results. Hope you get a chance to give it a whirl this week!…..Digital Lady Syd
Lots of times I have found or created a texture I really like that I would like to use in an image but not sure where. So this is a blog on how to create images for that texture, and possibly get your creative mind going. Not particularly a new concept, but a little different approach for using texture. It also gives you a chance to brush up on your compositing skills and try out some nature brushes. The image above is an example of my using a texture that I created in Corel Painter and used in this image originally.
There are not a lot of steps to this process. Just open the texture above a white Background layer in case the texture needs to be set to a different blend mode or opacity amount. Next add elements and/or text, and finally do the finishing steps as if post-processing an image.
That is exactly what was done above – here is the workflow for this image to demonstrate the steps. The texture was added and left as it is. Next Photoshop’s tree filter was used to create this pretty foreground tree. If you have not experimented with this filter, give it a try. (For more on this see my How to Create a Photoshop Artistic Tree.) It is so much fun! These are my tree settings – most of the settings were changed to get the tree effect shown above. (Base Tree Type: 19: Fraxinus Griffithi which is an Evergreen Ash, Light Direction 85, Leaves Amount 22, Leaves Size 130, Branches Height 94, Branches Thickness 77, Uncheck Default Leaves and select 8: Leaves 8, Uncheck Randomize Shapes Arrangement 21.3.) A layer mask can always be added if you do not quite like the way the branches look – in this case some of the leaves were too dark so a 30% brush was painted over them in the mask to lighten them up. The Liquify Tool can also be used to get the branches sitting just right. A Hue Saturation Adjustment Layer was clipped to the tree to make it more golden in color to match the texture. The texture looked like a golden wheat field to me so a little red barn from PixelSquid was added – a mask was added so the bottom of the barn could be removed and hide it from view. The layer was set to 55% layer opacity so it is looks a little less sharp and more distance. I love the brushes by DeviantArt’s ninelvlsup and her Dandelion Whisps brush was used in the foreground. Some of the edges were removed with a layer mask. The birds are from a Flypaper Bird Set that I use all the time. To soften the effect of the birds, a Pattern Fill Adjustment Layer was clipped (ALT+click between the layers to clip) to the birds and a yellow and red pattern was used. The bird layer was set to Multiply blend mode at 77% layer opacity. The last element is the single bird from the same brush set called Big Crow Fly Birds brush – it was duplicated and the top layer was set to Multiply blend mode at 65% layer opacity to emphasize the bird a little more. The elements are now in place. A stamped layer was created (CTRL+ALT+SHIFT+E) and Topaz (for website link, see sidebar at my Tidbits Blog) ReStyle was opened. There a different color palette was applied – one that was less bright and yellow and created a cooler color tone – the preset was created from another image. (See my Flagler Beach Pier image for color palette used.) This layer was set to Color blend mode. The final steps are what I generally do when finishing up a regular photo image. Not all my steps were used here but a lot of them. A Levels Adjustment Layer was added to add some contrast back. On another stamped layer Nik Viveza 2 was used to shift the focus back over to the bird from the barn. On a New Layer a little spatter brush was used to give the grass a little life – I wanted it to look like little bugs flying around. A soft orange Light Leak was added to the top left for a bit of color in the sky. A Red Channel Luminosity Curves Adjustment Layer was added to pull the whole image together. The last step was to add a layer style to the edge for a soft brown border – just an Inner Shadow set to Normal blend mode, brown color, Distance 0, Choke 53, and Size 29; and Inner Glow set to Saturation blend mode, Opacity 100%, white color, Softer Technique, Edge, Choke 0, and Size 250 pixels. Know this got a little long, but it is a pretty good example of how to pull a composite effect together once the texture is chosen.
Below are two examples of using basically the same elements in the same place but used with different textures that give a totally different look. This image used a really colorful background texture that I created using a whole bunch of the brushes in Grut’s Inky Leaks Splatter Brushes, which are fabulous brushes. Here is a link to how this texture was used before. It gives a subtle effect especially in the sky in the above. Here is a quick run-through of the steps using a very similar workflow. The tree was created using the PS Tree filter again (the Pine Tree 2 was used) and duplicating and flipping it to make a second one. The deer element is from Tara Lesher (could not get weblink to work). Frostbo Grass Set 2 brushes were used. The flower under the large tree is actually from a recent Checking Out the Buds Tidbits Blog. I try to save out anything that could be used again for other images. The flying ducks are also from the Flypaper Bird set above. A light leak was added on right side. A Van Gogh preset was applied in Topaz Impression 2 – a layer mask was used to paint back the deer, birds and tree trunks. Three more textures were used get even more of a painterly look: one of mine which had yellow and a slight bluish vignette around it and set to Darken blend mode at 57% layer opacity (used Topaz Texture Effects in PS to create it), 2 Lil’ Owls (for website link, see sidebar on my Tidbits Blog). The Grey Collection 3 was set to Overlay blend mode, and her Ancient 1 set texture 2 was set to Linear Light at 28% layer opacity. Nik Viveza 2 was applied to adjust focus. Last step added a Color Lookup Adjustment Layer using a Candlelight preset – it was set to Linear Burn at 10% layer opacity. Pretty much the same as above but very different result.
In the image below I wanted to show how a different texture gives a very different result. It contains the same basic elements except that the grass was created using Aaron Blaise‘s Foliage brush set and Directional Fur and Hair brush set. I was really surprised what nice flowers and grass can be created with these brushes. The texture is another one I painted in Corel Painter. The font is called Winter Holidays. I am not sure I have ever used this texture before but I like it. The reason this image looks so different is that the PS Lighting Effects filter was used to set the lighting on the right side. Otherwise the image was post-processed as the first one.
Just doing a quick post this week. Thought I would pass on just a couple thoughts on doing a digital painting. I find that when I am painting that either the Color Panel (set to Hue Cube – click the pop out in upper right corner to see other options) or Coolorus is open on the left side of my screen so colors in the same color palette can be selected very quickly by just clicking in the color areas. Coolorus is an inexpensive add-on for Photoshop CS6 and up. The Color Wheel and the Mixer section Swatches, Color History, and Shades & Tones strips are all kept open so all you do is choose a color you want by clicking in it with your brush. For painting with the mixer brushes, the Current Brush Load needs to be set to Load Solid Color Only in the drop-down toggle menu. Then colors can be sampled using the ALT+click in the Mixer brushes also.
These are some of my favorite painting brushes I am using right now for most of my Photoshop painting. For this image the purple color was used as the major color and the rest of colors were mainly complementary greens. First started out with a purple background color – used a new Paint Bucket Tool preset by Grut (for website see sidebar at my Tidbits Blog) called FI Paper Deeds. On a layer above just drew a rough sketch of the leaves using Grut’s I Qwillo brush (one of my favorite drawing brushes!). Then painted in the leaves underneath using Gruts NM Pans Attic and OI Shiff Din brushes – made the brushes much smaller and just kept blending the colors using both brushes. The white flowers were painted in using my SJ 3 Pastel Van Gogh TI1 brush (see below for settings) and turned off the Color Dynamics sections to paint in centers. My sharp line texture png was added underneath and some green grass with flower were added that I had painted previously. Then a stamped layer was created (CTRL+ALT+SHIFT+E) and Topaz (for website see sidebar at my Tidbits Blog) Impression 2 where Rembrandt Portrait II preset was applied a little. Then on a New Layer the fence was drawn, Jai Johnson’s flying birds png was added and set to 23% layer opacity. Two text layers were created – one used Castile Inline Grunge font and the other a font called Chiller. Used one of my painted borders created a long time ago. Some little spatter marks were created using Grut’s FX Flick Tub brush. A purple light leak I created a while back was added to the right side of the image and one of Sebastian Michaels borders was added on top. Finished up the photo with Nik Viveza 2, and a Red Channel Luminosity Adjustment Curve. See my Related Blogs for more info on some of the techniques used above.
This digitally painted image above is using the same basic workflow as above. I used a couple different brushes on the flowers and leaves, but overall pretty much the same results. The major trick is to find a brush to remove some of the sketch work without losing the definition of the petal. I used a mixer on this one to soften those lines. The mixer brush layer was lowered to add back in some of the texture in the leaves and blossoms. And definitely a lot of brush size variations to add detail versus smoothing. Underneath all the painting and sketch layers, Kim Klassen’s Dream texture (not sure it is still available) was added and set to 46% layer opacity (on top of a white background layer). The frame is from one of my Double Edged Frames layer styles that can be downloaded on DeviantArt. Lots of fun but it does take some time to get a nice overall effect. My sketches were so rough looking it is amazing to me that it all pulls together.
Have a nice week and try a little illustration even if you are not that great at it. It is a lot of fun to try different Photoshop brushes and see what turns out……Digital Lady Syd
Brush Settings for SJ 3 Pastel Van Gogh TI1 brush: To make your own, follow my How to Create my Favorite Brush blog but with a couple important changes. First a small square was selected using the Marquee Tool showing a part of the plant Impression layer that showed some nice contrast and brush strokes in it. It was turned into a Pattern by going to Edit -> Define Pattern and name it. (I named mine TI Van Gogh). Next the Brush Panel Texture section was opened. Select the Pattern drop-down (little arrow on right side of pattern swatch) and go to the very bottom where the new Pattern is located. The setting for the pattern I created are: Scale 46%, Brightness -46, Contrast 34, check Texture Each Tip, Mode Color Dodge, Depth 38% and Depth Jitter 12%. Try adjusting all these settings to fit your particular pattern. This brush gives a nice stroke effect at both larger and smaller sizes. Then open the Color Dynamics section and check Apply per Tip, set the Hue Jitter to 2%, and Brightness Jitter to 11%.
Digital Lady Syd Related Blogs:
How to Create My Favorite Brush
How to Create Scanned Photoshop Brushes
How to Create Light Leaks to use Over Again
How To Make Frames or Borders
How to Use a Red Channel to Create a Nice Blended Image Effect
This week just continuing with my playing in Photoshop – great time to enjoy it when it is so hot outside. Not sure how I came up with the Gondola at the Alcazar Hotel (Lightner Museum) in St. Augustine, Florida, but it happened. What actually happened is that I really liked the wrought-iron lights in the image – taken in noon sunlight on the hottest day – so that is how this all started.
Content-Aware Crop Tool – The image needed to be expanded to the right to make it look balanced in my eyes so the Crop Tool was selected. By stretching the outline outside the boundaries of the image and checking Content Aware, PS attempts to fill out the blank area. This turned out to look a lot like the building set to a smaller size and reversed, so that is what is shown here. Some clean up had to be done, but it is definitely something to explore if a creative element is needed for filling in your image size. And remember that if you do not like the results, just rerun the Crop Tool and a different result should happen.
The result made me think about adding Flaming Pear’s Flood filter, which is one of my favorite plug-ins of all time. And regarding the fact that these old filters will not work in your current PS – my version of this filter has been around forever and works just fine, although the link is to a newer version now available. So do not get rid of your Nik filters just yet – they may last a long time. Back to the Flood filter – I have yet to run into a filter that gives this perfect water look yet – in this case it was set to for smooth water with quite a bit of reflection. A beautiful texture by French Kiss (for website link, see sidebar at my Tidbits Blog) called Atelier Anemone was placed on top and set to Multiply blend mode at 47% layer opacity. A gondola seemed to be needed to create the story for the image so I just found an old gondola image and sketched out the boat and a person. Then painted in the drawing created from the image using a brush called Scraggly Brush (Charcoal Large Smear) by Kristen Palana from a fun short class at Udemy called Quick and Easy Digital Painting. The gondola and man were not supposed to look too realistic but more painterly. The little stars were from Media Militia Particle 018 brush. On a New Layer filled with 50% gray and set to overlay, black and white brushes were painted on the layer to dodge and burn the image. Next Kim Klassen’s Pumpkin Grunge texture (you can actually still download a low res version if you click the “HERE” in the text) was applied, set to Hard Light blend mode at 18% layer opacity. This is a really nice texture to add – for some reason the bright red-orange gives an interesting result. On a stamped layer (CTRL+ALT+SHIFT+E) Nik Viveza 2 was used to adjust the lighting just right in the image. A border was added and color adjusted using a Curves Adjustment Layer. Lots of other adjustments layers were added to adjust several of the layers throughout the image. Just clip (ALT+clip between the layers) them to the different layers if you want only one layer adjusted.
This image is of a Monarch Butterfly that was extracted from my front yard image and placed in this fantasy garden. GrutBrushes has a wonderful background paper called Dee Print that was placed as the background for this image. Then two beautiful brushes by ninelvlsup at DeviantArt called windflower and dandelion whisps were used for the background elements. The Warp Filter (CTLR+T, then Warp in Options Bar) and layer masks were used to get the effects needed on these elements. Aaron Blaise’s Canvas Texture Brush 46 32 was used to get the flower center texture. One of Sebastian Michael’s edges was used for the frame. 2 Lil Owl’s Workshop Texture 1 which has the star pattern in it was placed on top and only inside the frame, then set to Linear Burn blend mode at 66% layer opacity. On a stamped layer Nik Viveza 2 was used to even out the distribution of color and tones. Topaz (for website link, see sidebar at my Tidbits Blog) ReStyle set to the Zinneas preset was applied and set to 35% layer opacity. A Hue/Saturation Adjustment Layer was used to get this final color palette. Lots of adjustments layers again throughout the image to get the final effect. Lots of fun here!
Not sure there is a lot new here other than the Crop Tool which turned out to give an interest effect. I actually tried it on another image and got another interesting result so give it a try. And do not forget Topaz ReStyle if you own it, it can really give an image a whole different feel – another of my favorite plug-ins! Hope everyone is having a great end of summer – I know I am, although a little cooler weather would be nice……Digital Lady Syd
As you know, I am a major Photoshop brush fanatic. This week I am doing a quick blog on creating brushes from scanned marks and then turning them into brushes. I am finding it so handy to have these brushes for detail or grunge effects for areas that need just a little more subtle texture. So here are the steps I am finding useful for creating this type of brush.
Creating the Brushes
- Need to create some square marks on paper – in my case an inexpensive Sketch Pad from WalMart that is good for Pen, Pencil, Pastel and Oil Pastel was used. 10 different marks were created on the page as shown below. All but the Pencil Brush mark were created using an inexpensive set of Faber Castell Black India Ink artists pens sized to S (0.3 mm), F (o.5 mm), M (0.7 mm), and B (1.8 mm) – any of their sets look pretty nice. Any type of media could be used here.
- Scan the whole document as a JPG at 600 dpi. Below is the scanned document with some explanatory text added for blog.
- Bring scanned document into PS and increase the brightness with Levels Adjustment (CTRL+L) or Curves Adjustment (CTRL+M) to make sure the background is white – the scanner tends to darken the whites as seen below.
- Select each mark with the Marquee Tool and put on its own layer (CTRL+J). More contrast can be added here if the mark is still not as dark as needed by using the same Levels or Curves Adjustments.
- One by one, toggle each layer on with the others off and create brush by going to Edit -> Define Brush Preset and name it.
- Once created, add different settings in the Brush Panel to make different effects. I experimented with all the marks, but only kept the labeled brushes shown below. Some just do not work out well.
My favorite brush in this group turned out to be the Pencil Brush which was just a basic pencil scribble. In Image 1 above the green soft vertical lines that seem to stretch the columns out is from this brush effect. Image 2 below is another example of using this brush. (For both image details see end of blog.) By making a few changes in the Brush Panel, a new brush called Pencil Thin Vert Lines brush was created. Using this I was able to create a very nice vertical effect for use below extracted objects. (Here are the settings used if you would like to create a similar brush: Brush Tip – used Pencil Brush mark, Size was huge – usually have to reduce it as it came in as 2955 px, Angle set to 90 degrees (makes strong vertical lines), Roundness 12%, and Spacing 10%; Shape Dynamics Size Jitter Control set to Pen Pressure and both the Flip X Jitter and Flip Y Jitter boxes are checked; and Smoothing section checked.)
Here are steps to create a handy PNG file from a layer in a document that would be nice to use in other images.
Turn a Layer with a Brush Effect into a PNG File
- Highlight the layer in the Layer Panel.
- Right click and choose Duplicate the Layer.
- In dialog in Destination Document drop-down, select New to create a new document.
- Just this layer appears in the New Document that can be saved as a PNG file. For the Vertical Pencil effect, I saved it in my Library Panel for quick use.
The Duplicate Layer command also my favorite way to move layers between files with lots of layers – none of this dragging with the Move Tool. In the Destination Document drop-down, select the document to move layer(s) into instead of New and of course do not save as a PNG. Hope this will give you some ideas on creating your own unique brushes – I am going to try scanning in some crayon marks and also some watercolor marks. By making changes in the Brush Panel, lots of subtle texture effects can be created. Have a good week!…..Digital Lady Syd
Digital Lady Syd Related Blogs:
How to Enjoy the Doodle!
Image 1: This image turned out to be very complicated and several iterations were created before I settled on this look. I first began with the beautiful model image called peach2 by faestock and extracted her from her background using the Select and Refine command. She was duplicated and put in the background at 35 % layer opacity and at a smaller size to get the two face look. The hair was thickened by using my basic SJ Pastel 3 brush (see How to Create My Favorite Brush blog.) The floral headband is from Carousellerie Creative Pinkish Blooms Arrangement Wreath 04 – Free Transform (CTRL+T) was used to adjust it to her head. The background was added – starting with 2 Lil’ Owls (for website link see sidebar at my Tidbits Blog) Making Waves 2 texture. Then the column was extracted from the Ancient Ruins IV by Pelleron at DeviantArt and taken into Topaz Impression2 using my Colored Pencil preset. (Started with Colored Pencil II preset and ended up with these settings: Stroke Brush Type 07, Brush Size 0.90, Paint Volume 0.77, Paint Opacity 0.20, Stroke Width -0.82, Stroke Length -0.25, Spill 0.26, Smudge 0.16, and Coverage 1.00; Color Overall Sat 0.37, and Red Hue 0.78, Red Sat 0.32 and Red Lightness 0.28; Lighting Brightness 0.21 and Contrast -0.40, Light Direction X: 1.00 and y: 1.00; and Texture Strength 0.33, Size 0, Paper I texture and white background.). Next the Pencil Brush was turned into a PNG object to add the effect on a layer underneath to add a very vertical grunge look. On top of the model an Orange vertical light leak was added on the right side and some Gold Dust Glitter by Alaina Jensen added on top of her head. A Watercolor Wedding Collection flower bunch by Lisa Glanz was added down the right side of the image. French Kiss (see my Tidbits Blog for website link) Tableaux Fresco texture was applied and set t0 54% layer opacity – a layer mask was added and the model and some more center areas were painted out. Kim Klassen’s Downtown II Collection Isobel (could not find link) was added at 48% layer opacity and set to Soft Light Blend Mode. On top 2 Lil’ Owls Comos 11 texture was desaturated and set to Overlay blend mode for the star effect. The Bumble Bee brush his from fartoolate at DeviantArt. The text is from Robert Louis Stevenson. There were lots of adjustment layers in this file also.
Image 2: I actually had posted this image a few weeks ago using a different color palette. Here is some of the blog post from my Tidbits Blog. This pretty flower is from an old album called Illustrations of the New Zealand Flora (Plate 139) published in 1914. It was just a black and white line drawing and I added the color and texture. The image was removed from a page in the downloaded PDF file using the steps in my How to Create Vintage Text for Images Fun Photoshop Blog -just go towards the end for steps to pull images. I am afraid I took a little color liberty here as the volume says the flowers are actually white, but I liked the pink color. The flowers pink color was created by using a Curves Adjustment Layer’s individual Red channel with the layer mask filled with black (CTRL+I in the mask) – just painted in the pink on the petals – layer was set to Color blend mode. On a separate blank layer under the outline, painted in the green textures using Grut’s I Qwillo (I love this brush for drawing and painting!) and a Mixer blender to paint in the leaves and stem. Below that but above a white background layer a texture layer was painted – just experimented with a couple of my brushes (the Pencil Brush from above for the vertical lines and the squares are a brush that was created from Subtle Grunge Texture 10 – Cement texture 10 by Spoongraphics). Took just the texture layer into Topaz Studio (see my Introducing the Free Topaz Studio blog) and sidebar at my Tidbits Blog for free download. The Radiance filter was applied so the fine lines showed up – I thought it matched the line drawing effect of the flower. The font is Viner Hand ITC and an Outer Glow layer style with a Contour change was used to make the text stand out. Used a Hue/Saturation Adjustment Layer to set the background texture color. The original flower outline was set to 15% layer opacity at the top of the layer stack. That was it.