This week I decided to try a little in-camera photo effect and then post-process in Photoshop. In my mind, this is the best of both worlds when trying to put an artistic feel into an image. The above was first shot with my Nikon D-300 camera (I dearly love this camera and can’t seem to part with it!) and shot the image in multiple-exposure mode using just 2 shots. I am not really sure how this type of exposure is supposed to look, but this method seems to fit floral or plant images quite well. This image was taken in my front yard of a Queen Emma Lily in front of a Cardboard Palm. I see this as a very creative blend of the two exposures but it did take some finishing work in Photoshop to get the final interesting feel.
So first the basic workflow for taking a multiple- or double-exposure shot will be covered. It is not that difficult but do consult your camera manual to get the exact menu settings to do this. I will be using the Nikon D-300 menus, which due to its older age, should be similar to what is available on most newer cameras.
1 First set your camera to Manual Focus. To do this on my camera, looking at the front of the camera the Focus Mode Selector dial is located to the lower right of the lens. The dial should be set to M for manual (as opposed to C for continuous auto focus or S for single auto focus). Note: For my camera, if either the Camera body or the Lens is set to Manual focus, then it must be focused manually. Many of the lenses will have a Manual focus setting also (usually the lens is set to M/A – switch to M to make it focus manually). I am using the Camera Body setting for this.
2. On the back of the camera, press the Menu button and select the Shooting Menu. Then Scroll down to the Multiple Exposure choice.
- Select the number of exposures to shoot – the above was just a double exposure so it was set to 2. Up to 10 are allowed.
- Select whether to turn on Auto Gain. The difference is that when it is on, the exposure time is divided by the number of exposures chosen for the image, and when off, each exposure is exposed for the full amount of time (meaning shutter speed). I had it turned off, but try both to see which looks best.
3. In my camera I need to turn on the Multiple Exposure setting each time an image is to be taken.
It sounds a lot harder than it is. Just have to get familiar with where the settings are. Now you can try different camera settings to get different results. For the above, both of the in-camera exposures were shot using the basic Nikon 18-200 mm zoom lens set to 105 mm at F/5.6. Below is what the original out of camera image looks like. First the palm exposure was taken, then moved the camera and took the lily.
Post-processing: In Lightroom a Trey Radcliff free preset called Sunday Alone Time was applied and then the Vibrance was lowered (-65) so it was not so colorful. In Photoshop the layer was duplicated and Topaz (see sidebar at my Tidbits Blog for website link) Glow was opened and my SJ Inter Web Variation was applied. (Settings are: Primary Glow Type Dark, Glow Strength 1.00, Effect Sharpness 0.12, Electrify 1.00, Simplify Details 0.06, Edge Color 0, Detail Strength 1.00, Detail Size 0.42, Brightness 0.16, Contrast 0.18, Saturation 0.08, Line Rotation 0, and Glow Spread 0; Secondary Glow Glow Type Light, Glow Strength 0, Effect Sharpness 0.54, Electrify 0.11, Simplify Details 0, Brightness 0, and Contrast 0; Color Overall Saturation to 0.62, Red Sat to 0.44, Yellow Sat to 1.00 Yellow Lightness -0.36, Green Sat 1.00 and Lightness -0.51, Aqua Lightness -0.36, Purple Sat 1.00, and Magenta Sat 1.00 and Lightness 0.50. Set to Screen blend mode at 66% Strength; and no Finishing Touches.) The Layer was set to Overlay Blend Mode at 96% layer opacity. A black layer mask (CTRL+click on layer mask icon at bottom of Layers Panel) was added and just the areas I wanted lines to show through were painted back. The Layer Style was opened (double-click on the layer) and on the Underlying Layer slide, the white tab was split (ALT+click) and set to 178/255 before exiting the menu. A stamped layer (CTRL+ALT+SHIFT+E) was created above and the now free Nik Color Efex Pro 4 was opened. Three filters were used: Midnight with no Blur added, and overall opacity of 73%; Reflector Efex set to Gold with the light coming from bottom up; and Vignette Filter using a darkish brown color and centering on the focal point. Next the also free Nik Viveza 2 (downloads with the above plug-in) was opened and just one control point was placed in the center area to add a little more structure and whitening to the focal point. Last step involved using a New Layer to clean up lines – Grut’s – MI Swish Mini Mixer brush was used to break up the edges of some lines that were too sharp – I love this brush! Check out his other brushes too – so many wonderful ones! This image turned out to be a lot of fun and created a very different type image!
Another double-exposure image – used the same Nikon 18-200 mm zoom lens sets 150 mm and F/5.6. This was shot with white blinds behind the flowers in a vase and sunlight strong outside. This time for the first exposure just the focus was set to a very soft blur, then the second focused in on the flower to get this soft effect. The double-exposure created an almost translucent feel in the flower petals by shooting into the lighter background. In Lightroom just a few adjustments were made before going into Photoshop. On a duplicate layer, Topaz Lens Effects Diffusion filter was added. Then Nik Color Efex Pro 4 was opened and the Glamour Glow filter and Film Efex Vintage filter (Film Type 13) were stacked. A pink pastel texture of mine was added on top and set to Darker Color blend mode with a layer opacity of 55% – a layer mask was added and the texture was gently painted off the flowers.
These dandelions were shot using the same lens at 170 mm and F/5.6. Once again, the background was really defocused for the first exposure and then brought the foreground dandelions into focus for the second. My first thought was to convert this to a black and white so it was brought into Photoshop and the free Nik Silver Efex Pro 2 (downloads with the other Nik plug-ins) was opened. The Fine Art (high key, framed) preset was selected and the frame removed. Then a Finishing Adjustment using Toning 22 was used to give a warm tone to the overall image. There are lots of really great sliders in this plug-in so give them a try! It was set to 75% layer opacity and actually gives a really nice look at this point. But to get an artistic feel in the image, first 2 Lil’ Owl’s (see sidebar at my Tidbits Blog for website link) Stained Plaster Collection 17 texture was added to the image and on a layer mask, the foreground dandelions were painted back without the texture. On a stamped layer, Topaz ReStyle was opened and the Brandeis Blue preset was applied. Next another 2 Lil’ Owls texture called After the Rain 14 was added and set to Multiply blend mode at 85% opacity. Another one of her textures was added called Grunge 27 and it was set to Color Dodge blend mode. This added some texture in the bottom foreground – a black layer mask was used to remove all of the texture except this area. That is what was done to get the final image.
I hope this was not over everyone’s head – it really is just a way to change up an image and possibly get a different result. Many people go to much more extremes on shooting the double-exposure adding very different items, more like the first image. And many people are into creating silhouettes for the first exposure and then shooting small flowers for the second exposure for some incredible results. Since I am rather new at this, I stayed pretty basic with this. It does sound like it would be fun so I may have to try that for second go-round on this topic. Therefore if you just want to try something new, give this a try. It is a lot of fun and the final effects can be quite dramatic!…..Digital Lady Syd
Thought this week I would just do a quick blog on this rather older and overlooked feature in Photoshop that can really give your images a pretty decent painterly feel. Even I overlooked it and have not blogged much on this before. There is a lot more to this little jewel than I thought at first. The above image is of a historic balcony on St. Georges Street in the historic district of St. Augustine.
There are just a couple important things you need be know before you start painting away. One – your image needs to be in 8-bit mode (check this out by going to Image -> Mode -> 8-bit) or it will not work, and two – need to start by making a new Snapshot of your image by going to the History Panel. In the pop-out on top right corner of panel, select New Snapshot – when the dialog opens up, in drop-down do not choose Full Document, but Merged Layers. Now you can select that snapshot and you should be able to paint either directly on the image, or on a layer above. I recommend you watch Julieanne Kost, the Adobe Photoshop guru, short video called Secrets of the Art History Brush that goes over all the brush settings and how to really make your images just stand out.
So where do you find the Art History brushes? Photoshop only supplies one default Art History Tool preset (click on the far left arrow next to the tool icon in the Options Bar to see loaded choices). There are other Art History brush presets provided by PS, but you need to click on the Wheel at the top right of the Tools Panel and select Load. By default you should see several other tool choices (Tool Presets include different brushes and others tool presets) so select the Art History Brushes – 10 more Art History brushes should now appear in the Tools panel that can be used. Also, Jack Davis, possibly my favorite Photoshop guru (I have blogged about his PS painting techniques often), offers 20 Art History brushes that are from 2002, but work just fine in the current PS versions. You can download them by going to Jack Davis Wow Facebook page and clicking on the More tab – then Freebies. There is a One-Click Wow Photoshop Presets Mini Sampler that can be downloaded. It is not really that hard to make your own brushes by first selecting the Art History Brush (which resides with the History Brush) and then selecting a brush from the Brush Preset Panel. Now by changing the settings in the Options Bar, you can get many different effects. Check out the Style field in the Options Bar to get a lot of choices.
To create the image above, the Background layer was opened in Topaz (see sidebar in my Tidbits Blog for website link) Impression where a watercolor effect preset was applied. Then a snapshot of the layer was created and the paintbrush was set next to this snapshot in the History Panel. A Pattern Fill Layer using a canvas type pattern was added above the Background layer set to a low layer opacity to see through to paint to get some background texture. It was increased layer when done painting. A Solid Fill layer could just as easily be used. On a New Layer on top the Artist Brush was used to paint over the image. Since the whole layer was not painted, you get a mix of the original Topaz Impression effect and the Art History brush strokes. I also used a chalk brush as an Art History brush to paint in some of the edges on another New Layer. On another separate layer, a scatter watercolor regular brush was used to add some more texture interest in the image. A Curves Adjustment Layer was needed on top to add some of the contrast back into the image but that was about all there was to it.
The flower cart image from SeaWorld Orlando was used to create this image. This time I painted just the cart over a white Solid Fill Adjustment Layer using PS’s Oil Sketch Art History Brush. When finished painting, one of my Corel Painter textures was added over the Fill Layer before applying Alien Skin’s Snap Art’s Autumn Abstract preset to a stamped (CTRL+ALT+SHIFT+E) layer. Another Snapshot was created by going to the pop-out and selecting New and Merged Layers. With the Art History brush set to the right edge of this new Snapshot in the History Panel, a New Layer was created and PS’s Butterfly Madness Art History brush was used to pop up the flowers a little and some of the edges – that is the scattered edge effect you see. That was about all that was done, but by combining with some of the other PS plug-ins, the Art History brushes can give some pretty nice results!
The images I created are pretty basic. I think with a little more experimentation better results can be obtained. This is a really an easy process and there is a lot of flexibility after trying it out and seeing what you can do with it. You can use any number of snapshots with different effects on them – like adding contrast or changing colors, etc. The basic limitation is that once you close out of the document, you lose all your snapshots and you will have to reconstruct them if you want to work on the image some more. On the other hand, it does not take too long to get a pretty nice result. Definitely worth playing with and combining with other painting techniques. I was really surprised how it worked so well with Topaz Impression. Well that’s it for this week. Have a good one!…..Digital Lady Syd
Digital Lady Syd Related Blogs:
How To Use the Smudge Tool
Just a short blog to say Hi with another one of my bird shots from the St. Augustine Alligator Farm Rookery. Thought I would review my focal point tips with you even though I have covered this recently. It is such a crucial part of both digital photography and digital painting to make your images successful. It is also one of the areas I struggle with the most.
Also I have been trying to get a good stroke with the Mixer Brushes in Photoshop. I am learning it is really important to have a good blending mixer brush, a good mixer to add color in very gently, and a good regular sketch brush to straighten up lines in your image. I can’t tell you how many clean up layers were in this image. Instead of adding a texture, this time the clean up involved using Mixer Brushes to smooth and remove the very cluttered appearance of nature behind the birds which was so distracting. (See left image below.) Found a very creamy oily brush (used Fay Sirkis‘s 04 Precious Oil Diamond Blender in case you have her brushes – love her Photoshop brushes for painting) to blend in areas to remove the distractions.
It was difficult determining what was important enough to leave in the image besides the birds. I did not want to totally remove the birds from their natural habitat, but in this image it was over-taking the birds in the image. Therefore lots of removing, checking it out, and removing more. Also needed to remember that people are drawn to the eyes and beak of a bird, so those needed to be pretty sharp even though they are painted. Used the Exposure Adjustment Layer again to help with this. (See How To Do a Quick Eye Sharpening in Photoshop.)
Two quick tricks can be an aid to determining if the focal point is actually correct:
1. Squint your eyes and see what pops out at you. Lots of painters use this trick and it seems to really help when looking at a busy image.
2. Add a temporary Black and White Adjustment Layer on top of your image and see what pops out at you. If your background is showing up too much, need to subdue it.
Here is what the original image looked like and what the final image looks like with the Black & White Adjustment Layer added. My focal point was the bird beaks and you can see how the beaks stand out nicely – in the original they blended much more into their bodies.
As a last step Nik Viveza 2 was used to create a soft vignette effect. I am finding I also use the Black & White Adjustment Layer at the beginning of my workflow to see where the tonal contrast is before I start post-processing the image. If that area is not where you want the eye to go, you have some work to do. Hope you have a wonderful week!…..Digital Lady Syd
Digital Lady Syd Related Blogs:
How To Use a Black & White Adjustment Layer To See Contrast In an Image
What About This Focal Point Issue?
Thought I would just do a quick post while taking some blogging time off. Don’t forget to check in on my short Tidbits Blog though. This beautiful Heron was very busy organizing her nest at the St. Augustine Alligator Farm Rookery.This is another image I painted in Photoshop using a couple Blender Mixer Brushes, meaning no color was added – just blending and smoothing the color that was already there.
This Calvin Hollywood eye technique is one I use all the time. The bird’s eye was sharpened by selecting the eye in Quick Mode (press Q – be sure Color Indicated is set to Selected Areas and press Q again to exit Quick Mode) although any selection tool works fine, and then opening up the Exposure Adjustment Layer. Now just the eye is showing as white in a black layer – if this is backwards, just CTRL+I in mask to invert. Set the Exposure to the right a little (which lightens the exposure of the eye) and then adjust the Offset (sliding to left darkens shadow areas) and sometimes the Gamma Correction (affects the midtones of area) – watch for any milky or color shifts with the Offset slider which means you have gone too far. Go back to the Exposure slider for final adjustment. For example, my settings were Exposure +2.06, Offset -0.0100, and Gamma Correction +1.04, which means the eye was brightened by 2 exposure stops and midtones evened out a little. To further enhance the brightness of the eye, add a Hue/Saturation Adjustment Layer. Copy the Layer Mask from the Exposure Adjustment Layer by ALT+clicking on mask and dragging up – it will ask if you want to replace the mask – say yes. Adjust the Saturation slider and change the whole Hue/Sat Adjustment Layer to Luminosity blend mode so only brightness is changed in the eye.
Very little else was done to this image. Used a Curves Adjustment Layers to make a slight Vignette around the bird and to adjust the blue color in the image, and a Levels Adjustment Layer to open up the midtones a little. This is too much fun!…..Digital Lady Syd
This week I thought I would discuss how to turn an ordinary picture into something with a bit of “creative flair” using a couple basic brushes in Photoshop. This is not a new topic for me but I keep coming back to it since this is how I spend a lot of my time working creatively. I had such a fun time going with the Photography Club of Flagler County to the beautiful Ritch Grissom Memorial Viera Wetlands in Brevard County, Florida. I really love photographing and painting nature and these little American Coots were one of my favorite subjects from the day! Probably not what everyone was looking at, but I thought they were very entertaining! Hum! I knew most of my images would be similar to the many taken by the group and that is one reason why I wanted to do something a little different with them! So the image above was changed drastically by just adding a nice texture and painting in Photoshop. And it will look different and hopefully everyone gets a feeling of what I was experiencing when watching these entertaining creatures.
So exactly how did I do this? There are not really that many steps – I have included settings in case you are interested in getting some similar results.
1. For me the first step is always Lightroom – used Seim’s (see sidebar in my Tidbits Blog for website link) Power Workflow 4 Sunday Cross preset. Usually I just go through and look at the different presets in the Navigator until one is found that suits the image. Also an Adjustment Brush set to Clarity 73 and Sharpness 65 was used to sharpen anything in the image that may need it. Just be sure that before opening the photo in Photoshop, the Lens Correction section has checked the Enable Profile Corrections and Remove Chromatic Aberration boxes. Can save problems down the road. Also, now is a good time to Crop your image as it is easier and faster than in Photoshop. This photo was cut almost in half and only the foreground grass and birds were left.
This Photoshop file was divided into two Groups – one containing the Filters and Textures used and the other has the Painting layers.
2. Since Topaz (see sidebar in my Tidbits Blog for website link) Detail 3 is my second most used filter that I own and used almost exclusively at the beginning of my Photoshop workflow. It is used to overall sharpen my images. Sometimes Topaz Clarity is applied instead for the same reason with a slightly different result. Detail has always served me well and this image shows why. There are some very painterly effects that Detail can give by just creating and using a preset. On a duplicate layer (CTRL+J), one of my presets was applied – it basically removed all the sharp edges, and but left some very pretty colors that is used as an Underpainting layer. (The settings are: Detail Overall – all the details are set to -1.00 and all the Boosts are left at 0; no Tone changes; and Color Temperature -0.27, Tint 0.34, Saturation -0.65, and Saturation Boost 0.21.) This gives a really flat look to the image. A layer mask was added and with a small black brush, just the eyes were painted back and kept sharp. The preset layer and mask were duplicated and set to Linear Dodge (Add) and set to set to 77% layer opacity to lighten up the image overall.
3. Now the texture was added and usually a bit of trial and error is done to figure out which to select. In this case at least 5 textures from different people were tried before the effect that looked best was found. 2 Lil’ Owls Studio’s (see sidebar in my Tidbits Blog for website link) Mosaic Set Destine was applied and set to Darken blend mode at 69% layer opacity. This texture was chosen because the colors gave the image almost that “golden hour” feel and it seemed perfect for this nature image. A layer mask was added and the ducks were painted black so that the colors in the texture did not interfere with the white feathers in the birds.
4. A stamped layer was created on top next (CTRL+ALT+SHIFT+E) and converted into a Smart Object. Nik Viveza 2 (my most used and favorite Photoshop filter) and a control point was placed only on the ducks (Brightness 31%, Contrast 48%, and Structure 100%). On the same layer Nik’s Color Efex Pro 4 was applied and Fly Paper’s Nik Color Efex Preset Thialand Surfing was selected for this image. (The filters in this preset were Detail Extractor, Cross Processing Darken/Light Center, Glamour Glow and Reflector Efex.) These are inexpensive presets that have really helped me speed up my workflow in this program. This layer was then set to 76% layer opacity so as not to overdo the results.
5. A Curves Adjustment Layer was used to bring back a little contrast since textures can often removed it.
Now all but the bottom Background layer were put into a Group (CTRL+G in Layers Panel) and named Filters and Texture. The image actually looked pretty good at this point, but it seemed to be begging for some paint strokes.
6. Now the fun started. What makes this image so painterly is what brushes are used to get the effects. You cannot do this with just a soft round brush – you need to use the Brush Panel sections to add texture and jitter to your strokes. So lets create some useful brushes. For a regular painting brush, my Pastel Brush is used most often for regular painting in Photoshop. (I used Pastel 11 in SDW Pastel Brushes-a free brush that comes in as a huge 2130 px brush! Used these settings:Brush Tip Shape section Size 35 pixels, Angle 137 degrees, and Spacing 35%; Shape Dynamics section Angle Jitter 8% and Control Pen Pressure; Texture section using the Rough texture or any texture I feel like, Scale 87%, Brightness -45, check Texture Each Tip, Mode Multiply, Depth 50% and Depth Jitter 1%; and Smoothing – if these settings are not working for you, just move the sliders around, especially in the texture section, until you see something you like in the bottom preview.) You really need to find a brush that works for you and use it. I also like my really basic Chalk 60 Brush that just has an Angle Jitter of 19% – you can always add in other items like texture or dual brush for different paint strokes. Just save as a variant.
A good blending Mixer Brush is also needed to blend in some of the more obvious edges of the regular brush to get that soft painterly look. A lot of Photoshop’s canned Mixer brushes are really good. I find the Flat Fan Single Bristle Wet Edge Brush in the Wet Media Brushes from Photoshop to be really good for both a Mixer and regular painting brush. Any brush can be a Mixer brush by turning on the Mixer Brush in the Tools Panel and then selecting the brush in the Brush Picker. The regular brush created above makes a really nice smooth mixing effect as a Mixer. Just remember if you do not want to add any color to the image but just want to mix or blend colors or hard edges, be sure to untoggle the “Load the Brush After Every Stroke” in the Options Bar – otherwise you will get some amount of color being added. In the large drop down in the Options Bar there are a lot of choices to try out for painting. Just experiment. You can get very different effects by just adjusting the Shape of the brush by dragging on the the little circular graphic on the right under the Size slider. Just watch the preview for the results of the changes. I like a rougher edge to give more of a brush-like effect and used the same brush as both a regular brush and Mixer brush for a lot of this painting.
7. Ten layers were added for painting and clean up. I like to switch between the regular brush strokes on one layer and Mixer brush strokes on another since the effects are so different. I have the brushes set up so that B is the regular brush and A is the Mixer brush (this was changed by going to Edit -> Keyboard Shortcuts and selecting Tools) for fast switching. Two different brushes can be connected with each type of brush. With the regular brush, you can sample the color by ALT+clicking in the image and then just start dabbing. With the Mixer brush, you can either click anywhere in the image to get what color is under the brush tip, or you must click on the color swatch to sample in the image and change just one color. Not sure why they are different. If you make a lot of changes to the brush, save it as a Brush Preset by clicking on the Create New Brush icon at the bottom of the Brush Panel or Brush Picker – Photoshop always sets the brush back to the default settings when you click on it brush again.
For this layer, I really wanted the colors to show up in the foreground grass and reeds so first the regular brush was used at a very small size to add in a little rough grainy edge feel and color, then on the layer above, it was turned into a blending mixer and smoothed out some. Did the same thing on the birds and with the reflections. You can paint as much as you want and can adjust the blend modes and layer opacities to adjust the look. I sampled lots of the colors from the texture to get its colors in the foreground.
8. All the Painting layers were put in a group just to keep it all organized. A final Curves Adjustment Layer was added to get the contrast exactly right.
Above is another image created with some inexpensive flowers and vase from the Dollar Store and shot with a white cardboard background. This is a good way to practice your flower shooting and post-processing. It was then painted in Photoshop using the basic steps from above. French Kiss’ Solstice Elan2 (see sidebar in my Tidbits Blog for website link) was used as the texture. A 2B Pencil brush was actually used as a Mixer to get fine detail in this image.
I am constantly surprised how nice an image can look with just a few brush strokes added to give it your own look. It is not that hard – just find a couple brushes you like and adjust them to fit what you are doing. It is lots of fun and you do not have to be a major artist to get a beautiful representation of your image. Hope you get a chance to try out the brushes – I know you will love the results once you try it!…..Digital Lady Syd
Sounds simple enough! It is but it is not. Had a lot of fun trying out a few techniques and going back and forth between Photoshop and Painter. Unfortunately, I believe this will be my workflow since both programs have things I like.
So let’s start with this top image. This actually is a tree that was created in Photoshop with their relatively new Tree Filter – it is in both Photoshop CC (go to Edit->Fill->Pattern Fill and open Scripts-has a few of the sliders missing from CC2014) and CC2014 (go to Filters->Render->Tree). It took some experimenting to get what I consider an artistic feel to the tree, but it can be done. Two files were created to do this. First I found a texture that I liked – it was Anna Lenabem’s Texture 208. (If you have not seen her textures, check them out – they are absolutely beautiful!) Next the tree was created on a New Layer above. (Here are the settings in case you want to see how it was done: Base Tree Type: Robinia; Light Direction 180, Camera Tilt 3, Leaves Amount 100, Leaves Size 98, Branches Height 100, Branches Thickness 112, Check Default Leaves, Check Custom Color for Leaves – color used R255/G255/Blue147, Check Custom Color for Branches R238/G128/B99, and Arrangement 94.9.) I think I am turning into a Blake Rudis “groupie” – he definitely has the best tutorial on how to create trees in Photoshop – see his recent video tutorial called How to Make a Tree in Photoshop CC. He also gave me the idea to try and make a fine art image out if it. Now here is where it gets a little sticky – the layer was duplicated and just the tree was taken into Topaz (see sidebar at my Tidbits Blog for website link) Impression. (Here is my preset and the settings applied: SJ WC like Effect preset-Stroke: Brush Type 04, Brush Size 0.91, Paint Volume 0.42, Paint Opacity 0.87, Stroke Rotation 0, Stroke Color Variation 0, Stroke Width 0.33, Stroke Length 0.89, Spill 0.23, Smudge 0.26, and Coverage 1.00; Color: Overall Hue 0.15, St -0.20, and Lightness 0.06; Red Sat 0.47 and Lightness 0.14; Orange Sat 0.60 and Lightness -0.42; Yellow Sat -0.33 and Lightness 0.13; Green Sat 0.20 and Lightness -0.32; and Blue Sat 0.36; Lighting: Brightness -0.04, Contrast 0.39, and Light Direction x0.33 and y0.06; and Texture: Strength 0.78, Size 0.30, Canvas IV, Background Type Solid, and Background #d38967 (soft melon color). Changes I made to it: Stroke Color Variation 0.52, and Green Sat -1.00 and Lightness 0.) The layer was set to 63% layer opacity. A Hue/Saturation Adjustment Layer was placed and clipped to tree layer on top with Master Hue set to -43, Sat +36, and Lightness 0 – this added some pink tones into the leaves. A stamped layer was created (CTRL+ALT+SHIFT+E) and Alien Skin’s Snap Art 4 was applied. (Here are the settings used: SJ Abstract Large Color Variation – Artistic Style Oil Paint; Background: Brush Size 27, Photorealism 4, Paint Thickness 100, Stroke Length 49, Color Variation 73, Brush Style Bristle Brush, and Random Seed 418; Detail Masking none; Colors Brightness 59, Contrast -14, Saturation 54, and Temperature 33; Lighting: Highlight Brightness 45, Highlight Size 26, Direction 120, Angle 65, Color White; Vignette none; and Canvas Rough Paper, Thickness 26, Zoom 16, Texture Paper, rough, Color white.) Since it puts the layer on white background, the layer was set to Multiply back in Photoshop and the layer opacity set to just 21%. The last step in this file added a Gaussian Blur filter with the Radius set to 1.1 – added a black layer mask and painted back just the sharp edges of some of the leaves that looked unnatural. Saved this image and then saved another version that was flattened to take into Corel Painter. Here is what the image looked like at this point.
All that was done in Corel Painter is a New Layer was added and Karen Bonaker’s Bare Trees brush from her Holiday 2014 Brush-a-Day Set (this is brush 1) was used to add the trees in the background. The file was saved as a PSD file and taken back into Photoshop where the Painter layer was set to 49% layer opacity. A little clean up was done on a New Layer. Next Painted Textures Desert Sky Canvas texture was applied twice, first set to Divide blend mode at Fill of 26%, and the second one set to Linear Burn at 68%. Another stamped layer was created and the image was taken into Nik Viveza 2 where the focal point was clarified just a little – I love what this filter does to a photo! Created a stamped layer and this time another of my all-time favorite plug-ins, Topaz ReStyle, was added. (These settings were used: Silver and Ivory Cloak preset – Set ReStyle to Screen at 53% opacity and Texture 1.00; Basic Tone Temperature -0.34; Black Level 0.66, Midtones -0.27, and White Level 0.05; and Detail Structure 0.39.) On a New Layer above back in Photoshop, the Blur Tool was used to further blur the edges of just the dark leaves on the tree that appeared too sharp. The last step was adding a Curves Adjustment Layer to give a little more contrast. That was it – a really involved workflow, but it was not that hard – just a lot of experimenting. It was really fun to create something that looks so artistic with just filters!
This is the same tree – the only difference in the whole workflow is that I used a different preset for Topaz ReStyle – the Guite Chrysanthemum preset. The settings were lost but is was slightly lightened in the plug-in. I liked the results so I thought I would show you what a different color palette can do for the image. I really like the way the oranges and blues play off each other.
Hope this blog gave you some ideas on how to use your filters with the Tree Filter in Photoshop. It really can give some beautiful results. And what the heck is a Robinia Tree? Have a great week and grow a Photoshop tree!…..Digital Lady Syd
This week I thought I would show just where I am in my painting journey from one year ago. Since my New Years Resolution last year was to really learn to digitally paint, it has been a huge endeavor, and I have so much more to learn. With that said, I feel I have come a long way. Since I was pretty much clueless on even the basics of painting, it has been a lot of fun to understand some of these principles and try to apply them. Therefore, I present where I am and a few notes on how I got here.
The first major step I took last year was learning how to paint digitally in Photoshop. I also found I actually enjoy painting people in Photoshop, but it takes a huge amount of time to get them just right. Not many people are teaching this. Melissa Gallo of Painted Textures may have the best program around – check out her Painting with Photoshop Workshop. The key to both learning both Photoshop and Painter are the brushes: changing the settings quickly while painting, and how the strokes are applied. It has helped me to watch Melissa’s videos, and others in the case of Painter, to learn how to do this effectively. Painted Textures Baby Gold and her Oil Sketch Brush (both come with her workshop) were used to get the above result.
These are some of my fake flowers I photographed. As I continued on my journey, the image was painted in Corel Painter X13, then in Photoshop’s Topaz (see website link in sidebar at my Tidbits Blog) ReStyle plug-in and texture were added to get the beautiful color. In Restyle my favorite preset was applied – Cream and Plum (set Detail to -1.00 and Sharpness to +1.00; in Masks painted out the pink main flower and some of the flowers just above and to the bottom left). Painted Textures Dark Naples Yellow Canvas was added twice, once set to Multiply blend mode at 36% layer opacity and the second set to Hard Light blend mode at 48% layer opacity. Try stacking the same texture with different blend modes and opacities to get some beautiful effects.
After viewing lots of videos from several people, I have started to learn how to use Corel Painter with a better understanding of its brush engine – the key to the whole program. Compared to Photoshop, this program is “brushes on steroids!” Besides learning how to actually stroke the brushes and using their different panels, there is a lot to learn on how they interact with the different Painter papers to create the same beautiful effects actually seen in the traditional field of painting. The above was an image that used a still life photo provided by Melissa Gallo in her Autumn Still Life Studio course. (Yes, I added the geometric background – I seem to enjoy this effect in my paintings!) My next step is setting up some of my own still life shots – I keep on the look-out for inexpensive flowers and props for trying this. And obviously I am still learning to paint, but this image represents to me that I have come a long way!
Here is one of my latest creations painted in Corel Painter using a grocery store phone image. One of the things I learned was how to use different sources to add color and depth to your painting – in this case Topaz ReStyle’s Nordic Punch preset was used to help paint this image. In Photoshop Kim Klassen’s May Magic Pack 2 overlay was set to Color Dodge blend mode at 52% layer opacity and Painted Textures Winter Storm left set to normal at 100% layer opacity.
This image was created in Corel Painter using Karen Bonaker’s brushes – mainly her Bare Trees brush from her Holiday 2014 Brush Set, the 7-deer variant from her previous holiday set, and cloud brushes from her July Clouds set – all these are free brushes that can be downloaded at her site Karen Bonaker Art. She is so nice to give us newbies to Painter a chance to try her great brushes. This image started out using all colors of yellow but added Topaz ReStyle plug-in in Photoshop. I created the yellow texture and used it to get the wintry snowy look. It was set to the Difference blend mode at 73% layer opacity along with Blend If This layer white tab split and set to 198/221 and Underlying Layer black tab split and set to 199/255. Then one of my favorite presets was applied in ReStyle. (Here are the settings for my SJ BW with greens preset: Peppermint Gray preset as a starting point. ReStyle Opacity – 76%; Color Style: Sat-Primary -0.14, Secondary 0.48, Third 0.30, Fourth 0, and Fifth -0.58; and Basic Color Temperature -0.58, Tint -0.22, and Saturation -0.11. These changes were then applied to the preset: Texture Strength 1.00; Basic blend mode set to Screen, Temperature set to -0.58, Tint -0.22, and Saturation -0.11; Black Level 0.05, Midtones -0.50, and White Level -0.58; and Detail Structure to 0.56.)
I hope you enjoyed seeing my progress, or what I consider progress. There are so many people out there that are doing great digital paintings. Besides the resources mentioned above, the following people have really helped me with my journey: Jason Maranto (check out his free Corel 2015 Video Manual – it’s wonderful), Jeremy Sutton (his Corel Painter X3 videos from Creative Live was a great help-and his way of painting is very interesting), Cher Threinen-Pendarvis (her books including the Painter Wow books are totally the best!), Marilyn Sholin, Carolyn Beccia (she teaches actual painting techniques in her The Digital Renaissance book), Fay Sirkis (get her videos and brushes at Kelby One – she is the one who got me started using Painter way back at Photoshop World), and, of course, Skip Allen! I am sure there are others I have forgotten to mention, but all of these people have been so kind to share their expertise that it makes learning how to paint just lots of fun!
I am assuming my creative buddies had some similar successes last year! I plan on working hard this year to continue learning and trying out some new types of brushes for some different effects. Oh yes, the most important thing I have learned is that you need to paint at least a little bit each day as it is very easy to forget what you learned! Practice, practice, practice! In the meantime have a wonderful New Year and lets see how much progress we make this year!…..Digital Lady Syd