I found some good info in my old notes on the settings for Color Dynamics in the Brush Settings Panel. With so many sliders it is easy to be confused on how to use these settings when you want to just add another color to your brush for painting. In the image above, which was created in Corel Painter, a scatter brush was used on a separate layer in Photoshop using Kyle’s scatter brush below using blue colors. The Color Dynamics section is not available for all PS brushes, but is for the Regular Brushes, Pattern Stamp Brushes and Art History Brushes.
Back in 2014, Melissa Gallo, a Corel Master and great painter, created Painting with Photoshop Workshop with 26 videos. It contained all kinds of brushes, patterns, actions, etc., that covered everything needed to learn to paint in PS. It is still available on her site and worth getting if you are really interested in learning to paint with PS. One of the her videos has a very uncomplicated way of looking at the Color Dynamic sliders. The other major reference for this is from David Belliveau, who mainly draws portraits in Photoshop (he offers a free class a couple times a year which are excellent so look for this) and has some wonderful free PS brushes (scroll down the page to find them). He covered this topic in Brushmakers Blueprint, a video from 2016 which appears to be only available on his member site.
Below is a screen shot of the Color Dynamics Section as shown in PS. Be sure to click on the actual words “Color Dynamics” to open up the settings. If just the left side check mark is clicked, it does not open up.
Kyle’s Spatter Br-Pressure Control brush is in his Scatter Brushes group, one of the free sets that can be downloaded if you use PS. (To find these brushes, go to upper pop-out menu in the Brushes Panel and select Get More Brushes – the Scatter brushes can be downloaded from this page.) Note that this is an Airbrush as shown by the icon checked in the Options Bar – the longer you press on the brush, the more dense it gets. The original brush does not have Color Dynamics checked so all the brush strokes will appear in just one color. To get the colorful effect shown in my top image, the screenshot settings were used. After adding the settings, the brush was resaved (by clicking the “plus sign in a box” icon at the bottom of both the Brush Panel and Brush Setting Panel). In the New Brush dialog, rename the brush (I added my initials to it so I knew it has the new settings) and check “Capture Brush Size in Preset” and “Include Tool Settings.” Below are listed all the color settings and what they do. The word “Jitter” means change in the digital world according to Melissa.
Foreground/Background Jitter: When kept at 0, the colors will mix just fine but will have mostly Foreground color variations. If you move the slider right, more of the Background colors are picked up until the stroke shows more of the Background color variations. (This is when the Hue is set to 0 – move this slider and get a lot more color variations.) This setting is not so important if the Control field is set (see next paragraph). I tend to adjust this slider and not change the Control field when adding color to most of my brushes.
Control: In the above brush settings, Control is set to off as I liked the effect I was getting as is. By switching in the drop-down to Fade with Foreground/Background Jitter set to 0, it takes 25 steps (if that is the number chosen in this field) to go from the foreground color to the background color. If set to Pen Pressure, it lets you paint using foreground to background colors depending on how hard you press (when using a tablet & pen). Many people just use this and not change much else in the panel.
Apply Per Tip: Located at the top of the Brush Setting Panel, when turned on, the colors are all mixed according to the panel slider settings. With the Pen Pressure set in the Control field, press hard to get the foreground color and light to get background colors. If you turn this off, each time you make a stroke, the same color will appear. So all the scatter color might be pink with one stroke and red with another. Different way of laying down the color in the stroke. I find this a little hard to control.
Hue Jitter: This decides how many colors you get between the foreground and background colors. Want more, move slider right; want fewer, move slider left. Note that as you increase the slider, more colors will be added into the stroke with Apply Per Tip on. Set to 100%, all colors will be shown. The Hue Jitter above is set to 25% which means 25% will go from the foreground color to variations of the foreground color, and 25% will go from the background color to variations of the background color. Increase that amount to get more color variations.
Melissa says the next three settings work in tandem, meaning they work together.
Saturation Jitter: How much of a change do you want between Saturation and no saturation? Set to 50% means that 50% of 100% of the colors are saturated and will show some gray randomly placed. When Saturation is set to to 96%, 4% of the colors are saturated and 96% of the colors will be randomly grayed out. When Saturation is set to 0%, no colors are grayed out and are all equally saturated. The scatter brush is set to 40% so 40% of 100% means that 60% have some gray showing up. This seems a little complicated to me. Basically this means when set to 0%, PS is using the original saturation of the foreground and background colors for all color variations created, and when set to 100%, PS is adding in a lot of desaturation to the color variations.
Brightness Jitter: Set to 100% means the colors are very dark – the jitter goes from high to low randomly. The brush above shows a 54% change in brightness – pretty middle of the road between overly dark (100%) and overly bright (0%).
Purity: How pure the color is. I wondered what this meant and David says the slider is acting like Hue and Saturation. When set to -100%, it becomes a black and white stroke and whens set to +100%, it is totally saturated. The brush above was set to -12 which causes it to be slightly darker overall. To get a black and white brush, set everything to 0 but Foreground/Background Jitter should have some settings to be able to see the variations, and set Purity to -100.
Here are some ways to set up these sliders:
- With some Hue added, set Brightness Jitter to 80% and Purity to 55% to get very bright strokes.
- Decrease Brightness Jitter to 15% and get a much lighter look.
- Adjust Purity to -45% to get more of a pastel look.
- For a nice pastel look set Brightness Jitter to 23% and Purity to -47%. To put some color in gray and others in pastel, set the Saturation to 100% (changes how many colors are completely grayed out and how many are in full color).
I figure you will not remember all these settings (I know I won’t), but maybe you can use this blog when you need a reference on the settings (that’s why I wrote it). Bottom line is to experiment with your brush and the different settings to get that perfect effect. Hopefully it will help you get the brush results you need. Hope everyone is having a great winter – so far not too bad!…..Digital Lady Syd
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Where to Find a Good Photoshop Painter
Just doing a really quick blog this week – have been working on an image that was taken this last summer that I really liked, but it just was not that sharp. Mainly my settings were off – they were working on the butterflies but not for the skiddish birds. If I walked in closer, the birds were totally freaking and would not come near the bird feeder, so this was a problem. Lesson learned – shoot manual when having problems! It may not be the best image, but I did get a nice remembrance of the birds and they are at least recognizable. So here is what I finally came up with to fix this.
Obviously I was shooting a lot of images and that was a big part of why this worked. I have learned that a little burst shooting and several attempts are especially good when I am not sure that I am getting the image I want. The two images were not shot at the same time – actually several deer images were taken in between. The juvenile Blue Jay image was shot first and the Cardinal second. You will probably never find a Blue Jay and a Cardinal at this feeder at the same time. That is why the bird images were taken at different times, but I decided to leave the Blue Jay alone as I thought he looked cute. Below are the actual RAW files taken. You can see these both are in pretty bad shape. One reason I wanted to use this Cardinal shot is that I liked the way his head was turned.
In Lightroom these simple settings were applied: first opened the Detail Panel to adjust some Sharpness and add Noise reduction (because it is always there with this camera), then in Lens Correction the check boxes for Remove Chromatic Aberration and Enable Profile Corrections were turned on. The image was next cropped into a Square. In the Basic Panel the Auto button was clicked and Texture and Clarity sliders were adjusted. That was it. The image was taken into Photoshop where it could be seen this just was not good. Topaz (for website see sidebar at my Tidbits Blog) Sharpen AI was added and set to Stabilize, Remove Blur 1.00, and Remove Noise 0.20. It helped, but it could not totally fix this pix. In Lightroom an image that used the same bird feeder that was sharper had to be found – the one with the juvenile Blue Jay was selected. The changes made to the RAW file for the Cardinal were copied over to the Blue Jay image and it was also brought into PS. Below you can see what they both looked like at this point.
Now the Blue Jay image had to have Topaz AI Sharpen applied in PS before stacking on top of the Cardinal layer. Several layers of cloning and painting with both regular and mixer brushes was required to add back the needed detail and blend the colors together. Once brought into the Cardinal image, the Blue Jay layer had to be Free Transformed to fit and a black layer mask added – just painted back parts needed. The info was all there on the originals, just slightly blurry. A Color Lookup Adjustment Layer was added on top using Sparkle Stock’s Bleak-Shoji 01 LUT and set to 58% layer opacity – this tended to tone down the very green background color. Viveza 2 was used to highlight the birds and add a little detail with the Structure slider. The setting were placed on the Blue Jay in this case where the Structure slider was set to 65%, Brightness 42%, Contrast 49%, Saturation 22% and Warmth 25% – really made the bird pop – I use this program all the time to even out an image. I used 6 different points in this image to help direct the eye to the birds. I really feel it is much better than Lightroom’s filters and a lot easier to use. I do still love LR so don’t get me wrong, but this program to me is still the best Photoshop plugin ever made. (See screenshot below of how this plugin was used.)
On a stamped layer, Topaz Lens Effect’s Vignette filter set to Burnt Sienna was used – the effect was painted off the birds and feeder in a layer mask. A Curves Adjustment Layer was added to add some contrast back. Then on a New Layer the Sharpen Tool was set to a Strength of 100% to just the Cardinal and some of the seeds in the bird feeder – it was set to 45% layer opacity to keep it natural. A Selective Color Adjustment Layer was added next to adjust the red color in the Cardinal – this really added some depth and detail to the birds body which was not seen in the original image (Reds set to Cyan +82, Magenta +6, Yellow +2, and Black +13). Next a Black and White Adjustment Layer was added on top and the colors were adjusted as a black and white before setting the layer to Luminosity blend mode – great way to make sure you have your tonal values correct. (See my How to Use a Black & White Adjustment Layer to See Contrast in an Image blog.) Last step involved adding a Red Channel Luminosity Mask to a Curves Adjustment Layer – the Red Channel lighted up the birds the best. (See my How to Use a Red Channel to Create a Nice Blended Image Effect blog.) I hope I am getting across the fact that the sharpening is just slowly built up using different tools for different parts of the image.
Who is this that just walked into my blog? Oh yes, one of the deer that was wandering around the yard near the bird feeder. My goodness! (Image was digitally painted mainly in Corel Painter 2019 and then finished up in Photoshop – my normal paint process.)
Anyway, thought I would show you how to fix something that may not seem fixable. It can be done, just takes a little experimentation and imagination to make it work. It actually is a lot like compositing images. Hope this was a bit of help to some of you – a favorite image might be saveable with a little manipulation. …..Digital Lady Syd
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
This week I have just been working on my flower painting skills. This is a beautiful Zinnia elegans with a Dahlia blossom in the lower left – I am looking forward to planting both in my yard later this month. I am now getting to a point that I can objectively see differences and similarities between painting in Painter and Photoshop.
The painting technique used above is basically the same one I use on my various bird images, except I am painting the flowers in Corel Painter and finishing up in Photoshop. I am taking Karen Bonaker’s 2016 Painter Club at the Digital Art Academy and it really is a lot of fun. This month she is presenting a Blenders to Brushes class where she teaches you how to use different Painter brushes to create this effect. Of course, since I am a Photoshop person, I ended up finishing the composition in CS6 (which I and Karen prefer when using the Mixers in PS – the computer seems to paint much faster). I am finding that Painter brushes are definitely the most gorgeous, but the the basic program is a lot harder to manage than Photoshop (I can’t believe I am saying PS is easy to manage????) I am also using some PS tricks in Painter since the programs are similar in some respects (Layer Styles, Transforming, Blend Modes to name a few). I find selecting an item and using Layer Masks is much easier in Photoshop. And no Commit to Layer commands. In Painter a Mixer Pad with just black and white color swatches was created to quickly sample between the colors for working with a layer mask. And there is no way to view what the layer mask looks like on the image as in Photoshop (press the “\” key to see the colored overlay of the Layer Mask on the image). And I totally miss the Quick Mask selection tool in PS. Karen’s class supplies some wonderful brushes for this type of painting which produces a rather realistic painted rendition of the image.
This technique is similar to what Lori Jill teaches in her Udemy classes for PS but applies it to portraits and landscape type images. She also does a great job on teaching you how to use the PS Cloning Action which can be a little difficult to figure out. (See my Tidbits Blog Looking Glamorous! and An Old Victorian House for some examples.) I could easily create brushes just from watching her videos, but some brushes are supplied with a couple of her classes. Fay Sirkis’s (if you are a KelbyOne member, should be able to download) skin brushes for children work really well with flower images and were used to clean up painting problem areas from Painter. I am finding the basic trick for this technique is to figure out what brushes work for you. It is easy to get really confused by all the choices in Painter and sometimes really good brushes are forgotten. One thing I do like about Painter are the personal Palette’s that can be used to hold your favorite brushes and commands. A couple weeks ago I blogged about how to create Tool Presets .tpl files when painting in PS – similar concept, just not as easy since only one Tool Preset Panel can be opened at a time on your desktop. (See my Why Use the Tool Preset? Photoshop Painters Listen Up!)
The pink rose used the exact opposite workflow from the first image – it was painted completely in Photoshop and the background was done completely in Painter. Topaz ReMask 5 was used to separate the rose in my original image from the background. Then the Painter background texture could be placed behind the rose. Now the edges of the rose can painted into the background to keep it all very blended – same technique as in my bird paintings. (See my How to Paint an Image Using Regular and Mixer Brushes in Photoshop.)
The other area that I am trying to figure out is exactly how Painter’s new Blending Panel relates to the Options Bar settings in PS. PS also has lots of presets choices – basically just need to know that if the word Dry is in the preset, it will be adding color if the Load Color icon is turned on; if the word Wet is shown, it will be mainly blending with Load Color icon turned off. Usually Sample All Layers is turned on unless the PS default Mixer Brush Cloning Paint Setup Action is run – then turn it off. These settings are very similar to using Painter’s Blending Panel Presets, new with the 2016 version. (Note the Blending Panel used to be called the Well Panel which does not have the presets.) One thing I do not like is how finicky the Blending Panel Preset field is – the Enhanced Blending Layers checkbox does not always work correctly and has to be reset by setting the Preset field back to Balanced and turning the checkbox on and off to get it to work. The Preset settings also do not save with down if a new brush is saved. And the Preset field is sticky, meaning if you go to a different brush and starting painting and the preset field is not set to Balanced, you can get some really weird results or none at all. Just beware if you use Painter’s Blending Panel Presets to always set them to Balanced before painting with a new brush. Sometimes I am just not using the presets and am adjusting the brushes manually. Definitely a glitch here that Painter needs to fix.
The purple violets are just painted but with a more illustrated feel to them. Tried to change up the colors a little for a slightly different look. Same process – this time painted in Photoshop and using a Melissa Gallo texture. The difference is that Kyle T Webster’s Impasto brushes, the Oil Dry brush and the Palette Knife 1 brush along with his action and layer styles, were used to paint some impasto stroke effects into the flower petals. This is a similar technique used by John Derry and Melissa Gallo to get that impasto effect, but I am still experimenting with this effect. It does give the flowers a little different look!
Well that is what I am learning. If you are interested in trying this technique, I would encourage you to check out the links above to check out their courses. I plan on being a little sporadic in getting blogs up for the next few weeks – trying to reorganize my office and set up my video capability on my new computer. In the meantime, keep on having fun in Photoshop!…..Digital Lady Syd
This week will be just having some fun and doing a little comparison between Photoshop Mixers and Corel Painter’s brushes, specifically John Lowther’s wonderful Landscape brushes. The image was taken at Pensacola Beach in Florida – the best beach in the US in my opinion. I lived there for a year and loved going to this beach!
The above was completely painted with the Mixer brushes in Photoshop. As I have stated before, I am one of those people that has a dilemma on which software program to use for painting. I am so comfortable with Photoshop that I can actually visualize what brushes I need to use to get the look I want. For my Photoshop painting, I like to use Fay Sirtis (a Corel Elite Master) Mixer brushes – if you are a KelbyOne member, at their Photoshop User site some of her brushes can still be downloaded from links under her older webcasts. I really love her Fays Portrait Pet Brushes set. A new free Breath of Sea Air texture from Jai Johnson (wonderful nature photographer and beautiful textures on her site) brought out a little bit of the wind blown feel at the beach and was set to Hard Light blend mode at 100% layer opacity. Also the sunlight effect on the left side was created using a fun little video by Glyn Dewis called Create a Sunset Glow with Photoshop. It really works!
Now the biggest difference I see between the Mixers (not the regular Photoshop brushes} and Corel Painters beautiful brushes is that it is harder to dab a Mixer brush, although not impossible. With Mixers I find I usually have to stroke to paint onto the image, not just stamp it down. In Corel painter, you can get some fabulous results by just dabbing, especially with when using their Captured Dab Type. One of the confusing things is that there are so many brushes in Painter so you definitely need to keep track of your favorites. I think I have created over 20 palettes with different brushes. Not all brushes work using a full stroke – totally depends on which type of brush you are using. Painter has a very complicated “brush engine” with many panels controlling each brush. This gives some wonderful variations, even in the same brush. I find it really interesting that you can now add a Photoshop brush to Painter as a Captured Dab Type. I have not had a lot of time to try this out, but I did one brush and it turned out pretty good!
The image below uses John Lowther’s Landscape Painter brushes. It was really fun trying these brushes out, although they mainly seem directed toward creative art. But there are three cloner brushes in the set. Usually I clone an image in Painter, but this time the image was painted over as it seemed to work better. Therefore it is very similar to the workflow as the Photoshop Mixers. There are no rules to use.
The Lowther brushes used were the cloud brushes, ground cover and grasses brushes to paint over sea oats, and a couple objects – mainly the fence and birds. I almost always go back to Photoshop to add the Contrast, and in this case a Color Balance Adjustment Layer, to the image and save.
There is quite a big difference between the Mixer brush image and the Painter look. I am not sure which I like best. It is fun to use the different programs on the same image as they rarely turn out the same. I do believe that Painter has the edge on the actual brush variations and the color in the brushes is very nice. Photoshop definitely uses a totally different technology to get their results, which is what makes it interesting to use both programs. I find I often paint a lot in Painter and then return to Photoshop for clean up with the Mixers! And that may be the answer. With each upgrade I keep hoping that I will be able to just stay in one program, but so far that is not working out. Use what you are comfortable with from each program. Sort of like getting the best from each! Until next week…..Digital Lady Syd
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More Painting – With Painter and Photoshop
Still enjoying my summer so decided to present a couple of images that used both Painter and Photoshop, apparently my favorite way to process an image. The dancer image was taken at the Annual Native American Festival at Ormond Beach, Florida – one of my favorite events for photographing. This lovely dancer is performing the Butterfly Dance (check out the link for the uplifting legend associated with this dance). It is definitely a difficult balance to achieve in an image that contains some detail and realism to it, but yet has a definite painterly quality.
Both images took a long time to complete. I had trouble above getting the balance I wanted. I am glad I did not give up as it forced me to think about what was really wrong with it. This image was actually opened in Corel Painter first – to get the colorful strokes in the background for the painterly feel. See below for the original image. Karen Sperling’s Artistry Quick Fix Video (#4 in this case) Series brush 02 was used to paint the texture along with a couple of her blenders. Then it was saved as a PSD file and taken into Photoshop to do a lot more work on this now rather roughed in image. Several layers were created and the Mixer brush and Smudge brush was used to further blend the background in. One of the textures I created previously was added and set to Color Burn blend mode at 15% layer opacity to add a slight gold tone.
Here is where I had problems – I could not get her face to blend in nicely with the image – it stood out too sharp and bright. After trying a lot of different things in Photoshop, I decided to open an earlier RIF revision of the Corel Painter image. I wanted to soften the whole costume and face area. After trying a lot of different brushes, I ended up selecting Karen’s o1 brush with some brush modifications in the General, Well, and Color Variability Panels. Used lighter colors to blend and soften the dancer. The adjusted brush did the trick and this time the image was saved as a PSD file to use in Photoshop.
Back in Photoshop just the top layer was copied and moved into my later image and set to Soft Light blend mode at 51% layer opacity. On a stamped layer, Topaz (see sidebar at my Tidbits Blog for website link) Lens Effects was used twice: once with the Diffusion Filter (Softness 0.41, Diffusion 0.25, and Edge Transition 0.50) to soften image overall; and then the Reflector Adjustments filter (set to Type Golden, Strength 0.34, Transition 0.62, Position 0.33, and Angle 208.5). A layer mask was applied so only the tents and sky got the warming effect – when the tents were lighter, it drew the eye to them instead of the dancer. A final check with a B&W Adjustment Layer to see if the focal point is set correctly, and it was not. Nik Viveza 2 was opened to tone down the white in the tents even more. Now the lady is just a little softer and blends better into the painted background behind her.
Bottom line here – walk away, come back later, and try something radically different if you do not like the results. I am not sure why I took used an older Painter revision of the image to correct this issue, but it worked!
I think this little beauty is possibly a Least Flycatcher, but authorities disagree on where they live. Anyway, he was very tiny and fairly friendly. This is another example of blending the image and the texture to give an overall pleasing effect. The workflow was similar. See image below for original as shot. This time opened a new document in Painter, placed the bird in as a layer, and then proceeded to paint a texture that would enhance his colors and location. At this point, the texture was painted in soft browns and light greens since he is standing in grass and the sun is pretty strong on his left side. When the file was brought Photoshop, the color in his body is both the golden back feather area and the bluish-brownish breast area. The color tones just appealed to me. But this image had a little different issue. It was warm on the left side and cooler on the right. This time Topaz Lens Effects Graduated Filter was used to lighten up just slightly the left side of the image so you can feel the sun on his side – a light yellow was used to get this effect. The more brushy grassy effect in foreground was added on a New Layer by laying down the stylus and pressing hard with my brush to create these more squiggly marks. (For brush used, see my How to Use Photoshop’s Brush Textures Section for Painting Clean-Up.) This brush was also used to clean areas on the bird where grass was running through his body. There were several clean up layers and adjustment layers to get the colors just right, but overall it is just he same basic process of adding your image on top of texture and painting out the distractions. I am finding this is not something you do in an hour – it takes a while to get the overall effect adjusted correctly. Well, hope you enjoyed the images and got a little inspired to try this. It is really fun to create your own textures, although I have not mastered this in Photoshop. Corel Painter does a great job when making the textures, and then using them in Photoshop with different adjustment layers to get the tones and color right is really not that hard. Have a great week!…..Digital Lady Syd