Wishing everyone a Merry Christmas and Happy Holidays! And thank you for taking the time to stop by and check out my blogs. It has been a busy year, especially the last few months with all the new software and updates to older versions being released. It has been a real challenge to keep on top of it all. So for the next week I am taking it easy with family and friends. Then I am going to try and figure out how these programs really work and present some new techniques.
A couple of notes –
- If you are a Windows Luminar 2018 owner, Skylum sent out an update just a few days ago and fixed the plug-in problem with Photoshop. It now comes back into PS with the changes applied – that in itself is something to celebrate! If you are still having trouble, go into the stand-alone program and to File -> Install Plugins dialog where the Photoshop and Lightroom should say installed. Change to uninstall, go out of the dialog, then go back in and click Install. It should now work properly when you open PS.
- Also, Topaz Studio issued an update last week with a few interface changes and the Glow filter added into the program – it should show the new Glow filter if you already own Topaz Labs Glow. It stacks the Glow (which looks very similar to the Labs version) with HSL Color Tuning, Vignette, and Smudge filters. Wonderful extra Holiday treats here!
- Have heard lots of people (including me) are raving over the updated Auto Button in Lightroom and Camera Raw – I am finding it is a great starting place for my other adjustments so give it a try!
- And On1’s new Photo Raw 2018 seems to be really good – I am especially enjoying the overall speed and sharpness in my images with this program.
It has been a wonderful year with all the new advancements to the various plug-ins. (All the above plug-in website links can be found on the sidebar at my Tidbits Blog.) I see 2018 just getting better for us Power Photoshop Users. And with the old Nik filters being picked up by DxO, it should get really interesting!
The Christmas card above was one I created mainly using just Photoshop. The trees were created using the Filter -> Render -> Trees where the Pine Tree 1 was selected (this filter is not available in CS6). This is too much fun creating your own trees in PS – and did you know that if you select the Advanced tab (yes, there really is one there right next to the default Basic tab) the color of the leaves and branches can be changed! As silly as it sounds, this is the reason I keep coming back to PS – it just has some of the best tools and filters. The tree was duplicated 4 times and each was Free Transformed and selecting the Warp Tool in the Options Bar. Then mainly created some snow brushes (check out Corey’s Universal Particle Brush video to make one) and used one of Grut’s brushes called W Wain Riff brush to paint in more snow – this brush is free until Monday – check out each Monday for a new free brush! The deer is from Deer Antler Clipart by Tigerlily Design Co. The Santa and Reindeer is a brush I created. The color in the trees is from one of the basic Corel Particleshop plug-in packs using the Cluster and Light brush. The Merry Christmas lettering is from a major cool Photoshop template called Free Ice Cool Text Effects by Alifuwork where the font called Adrenaline Brush was used. A Color Lookup Adjustment Layer using PS’s Foggy Night preset was applied and set to Multiply blend mode at 69% layer opacity.
As stated before, hope everyone is having a Wonderful Holiday Season! Enjoy and see you next year!…..Digital Lady Syd
This week I am doing a little video on how I brought these tiny yellow flowers into sharper focus using one of my favorite dodging and burning techniques and show what a few of my other workflow techniques look like once applied. This image could have been used with several other textures or have been cropped differently for a totally look. I really liked the negative space and dreamy feel of the image, so I left it the way it was done for the video. Links to more information are provided below. Here is the video:
Here is a list of places that will give you more info or where you can get more information on some of the techniques or resources presented in the video:
- Lightroom Preset called Hazy Days 17 by 2 Lil’ Owls – See sidebar at my Tidbits Blog for website link, she has a lot of great Lightroom presets besides her gorgeous textures.
- My Fun Photoshop The Best Dodging and Burning Technique blog – basically same technique as presented in the video except that a black brush color is used to burn instead of sampling a dark color from the image.
- I Qwillo Brush from GrutBrushes.com – keep checking back on Monday’s on Nicolai’s site for a free brush each week – love his brushes!
- Adobe’s Paper Texture Pro – free panel that can be added into Photoshop to quickly add and change textures layers to your images – very useful.
- My Fun Photoshop How to Add a Spot of Light blog – the blog used a technique by Corey Barker, but Pratik Naik uses the same technique with the soft round low flow brush – try this brush in different colors to get some interesting effects.
- My Fun Photoshop How to Use a Black & White Adjustment Layer to See Contrast in an Image blog – should use this technique on every image to make sure your focal point is standing out.
- My Fun Photoshop Yet Another Great Way to Create a Vignette! blog – same technique used in the blog except the Gradient Editor was opened and the gradient color changed from black to a soft purplish color in the bottom left tab. Blake Rudis came up with a brilliant idea here!
If anyone has questions on some of the procedures performed on this image, just drop me a question in the comments below and I will go over it more clearly. This was a pretty fast pace for describing all the steps followed in this image. Hope everyone has a wonderful weekend and Happy Halloween!…..Digital Lady Syd
This week Adobe Photoshop released CC2018, a long awaited update, which finally addresses some of the issue we painterly people have wanted for a long, long time. Adobe claims to have increased the speed of brushes for just painting. Since a lot of us have used Corel Painter for years and it has one of the easiest systems to set up brush palettes, it was always a wonder why Photoshop did not do a similar thing. Well they finally have. It may not be quite as easy to use as Painter’s, but it goes a long way towards correcting some of the digital artist problems with organizing their brushes. Above is a tri-colored heron taken at the St. Augustine Alligator Farm that was painted using the new Brushes Panel set-up. It took a while to get my brushes converted over, but it is overall a much faster workflow.
Photoshop Brushes Panel
To clean up some initial confusion, the old Brush Panel is now called the Brush Settings Panel and is where the settings for each brush are located. The old Brush Presets Panel is not called the Brushes Panel and is where all the brushes are listed.
- Photoshop now allows New Groups (or folders) for saved brushes and sub-groups can be added into the new group. So for example, if you want to put all your Texture brushes into one group, the group can be added and sub-groups created for brushes used for backgrounds and those used in drawing. Also Mixers or Erasers or any different types of brushes can be grouped with Regular brushes so you can easily switch between the different types without having to select the new Tool.
- Within the Brushes Panel, the brushes can be moved between the groups by just clicking and dragging. No need to go to the Preset Manager to organize the brush order. Some people like to keep brushes together for a current project so the top Group might be named Flower, and the sub-groups Background and Retouching. If you want the same brush in two places, a new copy of the brush needs to be made by highlighting the group to add it to and clicking on the New Brush icon at the bottom of the Brushes Panel – name it the same and the new preset brush will pop into the highlighted group.
- The brush presets now store all the Options Bar information with them as if it was a Brush Tool Preset. So if you wanted to have one brush set to 100% opacity and the same brush set to 50% opacity, they could be created and saved in the same group for quick switching. This means no more Brush Tool Presets, but will still need to create Tool Presets for the Gradient Tool and Paint Bucket since they are not brushes.
- Both the Brush Tip and the Brush Strokes can be seen in the display. To load the Brush Tip, click on the upper right pop-out in Brushes Panel, and check Brush Tip along with the Brush Stroke and Brush Name. The brush view can be made bigger or smaller by moving the slider at the bottom of the Brushes Panel. And the panel can be dragged out horizontally to display several columns of brushes if several are listed in a group. If a color is saved with the brush, a little square shows up in the list showing the color.
- Brush Tool Presets can be easily converted to regular Brush presets. If just converting one or two Tool Preset brushes, just select the brush in your Tool Preset and click the Create New Brush icon at the bottom of the Brushes Panel. A New Brush dialog box appears with check boxes for Capture Brush Size in Preset, Include Tool Settings, and Include Color. A note of caution here – PS might name the brush some really weird title if that the brush creator used so make sure the brush has the desired name. The brush will be placed either at the bottom of the Brushes list or in a Group that was highlighted before saving the preset. If you accidentally try to save the brush as a Tool Preset, a long dialog appears asking if you want to actually change it to a Brush Preset instead. By saying yes, the brush will then be placed into a new Converted Tool Presets group. For converting all the Brush Tool Presets, go to the pop-out in the upper right corner of the Tool Preset panel and select Convert All to Brush Presets – they will all be placed in a new group called the Converted Tool Presets group. In this case, all the brushes will retain the same names from the Tool preset. Really weird. By converting the Tool Preset brushes to regular brushes, the brush file extensions in PS will change from a .tpl to .abr files.
Here is a link to a short video by of my favorite Adobe people, Julieanne Kost, called New Brush Preset Management in Photoshop CC for more information on the Brushes Panel.
This new little feature has been added to the Options Bar in Photoshop whenever the Regular Brush Tool, the Pencil Tool, the Mixer Tool or the Eraser Tool is selected. This Smoothing Slider filters out jittering in your paint strokes. The default setting is 10% and it goes from 0 to 100. There are a couple drawbacks to setting this slider too high. 1) It can really slow your computer down depending on the brush selected. 2) And there can be a big lag – by clicking on the little gear next to the Slider field, there are some options that can be chosen which controls this.
By default, the Stroke Catch Up (Enables paint to catch up when brush cursor movement is paused) and Adjust for Zoom (Automatically adjust smoothing amount to avoid jitter in low zoom percentages) are checked. Disable Stroke Catch Up and the paint application stops as soon as the cursor movement stops. In Adjustment for Zoom, if the Smoothing amount will be decreased if zoomed in, and increased if zoomed out. The Pulled String Mode (Enable paint application beyond the radius set by smoothing values. Use when sharp corners are desired.) creates a really large lag if Smoothing is set high. It paints only when the string is taut and outside the radius. Definitely experiment with this slider and drop-down settings to see what works best for you. To change the setting on the fly, press ALT and numerical number like 3 for 30%. To completely turn off Smoothing in the selected brush, go into the Brush Settings Panel and uncheck the Smoothing box. For you Painter folks, it is still not near as sophisticated as the Smoothing Panel in Painter (the slider appears to be very similar to the Damping slider), but it is definitely a step in the right direction. I personally think the default settings are fine for most brushes as it seems there is not much of a lag in most brushes. But when using your favorite painting brushes where a lag can occur as you stroke, definitely adjust the Smoothing setting and try the different Smoothing options. In the above image a Smoothing setting of 35 was used and the default options.
Once again here is a short video by Julieanne Kost called Brush Stroke Smoothing and Paint Symmetry in Photoshop CC that goes into a really good explanation on these settings and shows some great examples.
Adding the new Kyle T Webster Default Brushes
Also, there is another little thing Photoshop added to the Brushes Panel – Kyle T Websters brushes are now most of the Default Brushes except for the round brushes. Many new brushes that can be explored here. To get to them, need to go to the pop-out in the Brushes panel and select Restore Default Brushes – they will not override the ones already in the list, but will add 4 new groups of brushes (General Brushes, Dry Media Brushes, Wet Media Brushes and Special Effects Brushes) – only the General Brushes are ones from before. If you want all brushes from CC2017, in the pop-out select Legacy Brushes – all of them will be appended and put in original category types groups. There is also a set called Convert Legacy Tool Preset brushes (some of you may not have known the Tool Preset Brushes were there – many of them are very nice brushes so check them out.) that can be appended to your brushes.
It appears to me that Adobe is beginning to phase out the Tool Presets and the Preset Manager. If you are interested to learn more on Photoshop CC2018, check out Adobes Information Page or a longer video by Jesus Ramirez at the Adobe Training Channel called Photoshop CC 2018 Tutorials – What’s NEW in Adobe Photoshop CC 2018. Well I think I am about talked out here. Lots of other new things to explore in Photoshop. Have a nice busy weekend catching up!…..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
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.
This week still having some summer fun. Have not been painting that much recently, so I decided to share a couple little things I am learning. Since I have been playing around with faces and portraits a little (Lisa Carney reruns have been on Creative Live recently and she is the best retoucher), I thought I would attempt a little painting in Photoshop. The above image was taken from a beautiful photo at Unsplash by Roksolana Zasiadko. First the image has to be cleaned up and the subject put on its own layer using some sort of selection process. I could not get her hair extracted properly in PS, even with a little “channel pulling” (using the channel with the best contrast to make a selection) to make the selection, so I improvised by doing using the Select and Mask command before painting in the missing hair. Then lots of layers of painting and retouching on the face . I cannot tell how important it is to develop a set of brushes for this type of work. So for example, I used the brush that was in my How to Create my Favorite Brush blog using a very small size to paint in the eyelashes. David Belliveau’s mixer brush was used to smooth skin. (A link to his free brushes are with his How to Blend Colors in Photoshop: 4 Essential Technique blog.) To add the hair, one of Aaron Blaise’s Lion Leopard Fur Brush was used at a large size. It worked amazingly well by just sampling lighter and darker colors. Added one of my orange light leaks (one I created using my How to Create Light Leaks to use Over Again blog) to the right side to lighten it up and give a sunny feel. One of my Corel Painter textures was used as a background. On the top a layer used one of 2 Lil’ Owls (for website, see sidebar at my Tidbits Blog) Creative Masks set to Screen blend mode at 31% layer opacity for a little detail effect on the side. Just a lot of experimenting with brushes and effects. If you have a great photo to start with, it is not that hard. Still, it takes a lots of practicing to get the digital look just right – hope to spend some more time on this this summer!
I discovered that using Topaz Impression2 to help your digital art is just fine, and then take art to the next level with your painting. This shot of a coleus plant was taken in my front yard – they grow almost like weeds once planted, but they are so pretty, and there are lots of pattern varieties. It took quite a bit of clean up to get to a point where the painting could begin. The plants were selected and placed on their own layer – much easier than the portrait with the hair above. Then the selected object was taken into Topaz (see sidebar for website link at my Tidbits Blog) Impression 2 was opened and my SJ Van Gogh Painting Start preset was applied – can be downloaded in the Topaz Community by searching for sj space. (These are the settings if choose to use: Started with Van Gogh II preset and made these changes: Stroke Type 01, Number of Strokes High, Brush Size 0.13, Paint Volume 0.20, Large Brush Volume 0, Paint Opacity 0.81, Stroke Rotation 0, Rotation Variation, Stroke Color Variation 0, Stroke Width 0.68, Stroke Length 0.58, Spill 0, smudge 0, and Coverage 1.00; Color Overall Saturation 0.17; Lighting Brightness 0.09 and Contrast -0.04; and no Texture.) For this image, the Orange, Aqua, and Green Colors were also adjusted. Next Jai Johnson’s Daily Textures Explorations 10 was added underneath and a Hue/Saturation Adjustment Layer was set above to get the background colors.
Several new layers were painted using my SJ 3-Pastel-Van Gogh TI1 brush – this is a brush I created just for painting this type of image. 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%. (It was used on the hair in a few places on the top image.) This is the only brush used in the Coleus picture and basically I dabbed around on each leaf to get the look I wanted. And since the image is a composite, the plant edges were painted over slightly using the brush at a little larger size and sampling the background color all around – this blends the edges much better so it does not look like you just popped the plant on the background. To finish off, another texture from Jai called Be My Valentine was added on top – it was set to Overlay blend mode at 80% layer opacity. Another Hue/Saturation Adjustment Layer was clipped to the texture (ALT+click between layers) to set the color correctly. Finally finished off with a Black and White Adjustment Layer set to Luminosity blend mode and a Levels Adjustment Layer to get the final tone and color correction.
Well it may sound like a lot of work, but I am finding using the new brush is very nice for painting, with no change of pattern. I did notice after several attempts to get the correct feel to this image that using a texture that matches the painting style being used is very helpful. And I was surprised how easy it was to get nice hair effects by creating your own hair. Until next week, have a good one – I hope to try a little more experimenting with these techniques……Digital Lady Syd