This week I am recycling another one of my “oldies but goodies” where the Puppet Warp is used in a pretty cool way. I added the White Rose image above from the Harry P. Leu Gardens in Orlando, Florida, to show that the petals can be easily adjusted using the Puppet Warp Tool. The rose was much flatter and vertical, but by pinning and dragging around the points, the petals were pulled out to create a much more flattering arrangement. Also applied Topaz (for website, see my Tidbits Blog‘s sidebar) new Adjust AI filter to get the luminous petal effect. To learn the basics on how to use the Puppet Warp Tool (as in straightening buildings or objects), see my older short Tidbits Straightening with Puppet Warp! Tidbits Blog which is still good. And also check out my more recent Puppet Warp Replay Fun Photoshop Blog. In the meantime, enjoy the weekend – I am – nice to take a summer break! Enjoy!…..Digital Lady Syd
Just having some fun with this week and trying some new things out. This is the sign on the restaurant for Jimmy Buffett’s Margaritaville at City Walk in Orlando, Florida. So the reason this is rather “wonky” is because I decided it looked kind of good “wonky!” This sign was at the top of the building and was not shot straight on, so the sign on the right side was further away than the side on the left. There was lots of reflection in the restaurant windows in the original since it was taken during the brightest part of the day – totally awful! And the blue lettering and the parrot were almost indistinguishable in the sign. I thought this would make a good image to experiment with the brushes created in my How to Easily Create a Photoshop Brush for Painting blog. First the image was cropped in Lightroom and then opened Photoshop where it was taken into the Edit -> Perspective Warp command to see if it could be salvaged. It actually did a pretty good job on it but there were a few disturbing areas. It was tweaked using the Edit -> Puppet Warp command and that is when it went “wonky” – I just started pulling and pushing the pins all over and got this really whimsical look that I liked – it looks like the sign is on the top of a sombrero. (For info on how to really use this tool effectively, see my short Tidbits Straightening with Puppet Warp! blog.)
It occurred to me that Puppet Warp is actually very similar to the Warp Tool in Free Transform (CTRL+T). On a New Layer on top the sky was blended using the Creative Toons Mixer brush from my linked blog. On a stamped layer (CTRL+ALT+SHIFT+E) above, Topaz (see sidebar at my Tidbits Blog for website link) Detail 3 was opened and an underpainting look was created. (Here are my settings: Topaz Detail 3 – used Abstraction II preset. Made changes to Tone Cyan-Red -0.69, Magenta-Green -0.12, and Yellow-Blue 0.09; Color Temperature 0.30, Tint 0.02, Saturation 0.05, and Saturation Boost 0.02; and Effect Mask – Painted out the effect off the bird’s face, trees, and Jimmy Buffett’s lettering using a Brush Strength of 0.45, Brush Size 0.11, Hardness 0.66, and Flow and Edge Aware at 1.00; and Overall Opacity set to 1.00.) This layer was set to Subtract blend mode at 89% layer opacity and on a layer mask the lettering was painted out to make the Jimmy Buffett’s lettering show up better. In the Layer Style dialog, the Blend If This Layer black tab was split (ALT+click on the tab and pull apart) and set to 56/77 to really darken down the sky. (See my How to Use Those Handy Blend-If Sliders! blog) How I came up with this I do not know, but on another stamped layer above, the image was inverted by clicking on the layer and pressing CTRL+I – now it was all white looking. A black layer mask was added and just the same lettering was painted back. Looked terrible so a Hue/Sat Adjustment Layer was added to turn the lettering from the ugly yellow to bright red – now you can see it. On another New Layer I used the SJ-Kahara Regular brush from my linked painting blog to paint on the sky around the the bird and trees to make them stand out a little more and add some interest to the night sky. On yet another stamped layer a Camera Raw Radial Filter was added to just the parrot’s head (hum) to bring the focus to him. A Selective Color Adjustment Layer was added to adjust the green color in the image and that was about it. Oh yes, lastly added Jack Davis’s Wow Texture 02 (got this style along with many others from the CD in a little gem of a book called Adobe Photoshop 7 One Click Wow)– this to give a more painterly look. Whew!
This image was shot looking up at the center from the stairs going up to get on the High in the Sky Seuss Trolley Train Ride at Seuss Landing in Universal Studios Orlando. I really loved the bright colors but was not quite sure what to do with the image. It seemed like a good candidate to try a little Puppet Warping on, so that is what you see. In Lightroom the image was cropped and Seim’s Power Workflow 4 Magic Ugly Shade Fixer preset was used to help with this issue. In Photoshop on a duplicate layer, the Puppet Warp Tool was used. Once again, the mesh was turned off first. Then pins were stuck in each corner to hold the image still. The various pins were placed and dragged to get this crazy result. Back in Photoshop Topaz Adjust was opened and a preset I created called Negative Preset was applied with no changes. (Here are the settings: Global Adjustments Adaptive Exposure 0.07, Regions 50, Contrast -0.02, Brightness 0.00, Protect Highlights 0.02, and Protect Shadow; and Finishing Touches Warmth 0.18, Border Size 0.26; and Vignette Strength -1.00, Vignette Size 0.01, Vignette Transition 1.00, and Vignette Curvature 0.87.) It gave it a bit of the surreal look. 2 Lil’ Owls Studio’s (see sidebar at my Tidbits Blog for website link) Member Freebie of July 2012-57 was applied and set to Hard Light blend mode at 61% layer opacity. The Blend If This Layer black tab was split (ALT+drag tab) and set to 125/191 and the white tab was also split and set to 215/255. This pulled back some of the texture from the image to get this kind of nice effect. Her Ultimate Texture Collection Chalkboard Burgundy was applied at Soft Light and 100% layer opacity. Three New Layers were added with painting on each to smooth out the white highlights in areas that were distracting. A stamped layer was created on top and set to Multiply blend mode and a white layer mask was used to bring back the texture details in the darker areas. Another stamped layer was created and my free SJ Thin Double Edge Frame layer style was applied with the default colors. I think it turned out to look a little scary!
This was just too much fun to stop at one image. The puppet warp was used to warp another store sign in Seuss Landing at Universal Studios. These funny giraffes are from the first Dr. Seuss book called And To Think That I Saw It On Mulberry Street. I wanted to show a painterly image that had very little brush painting done in it – all done with filters and textures. Ran the same Shake Reduction Filter in Photoshop, selected the plain blue sky using the Select -> Color Range Tool, and added Melissa Gallo’s Painted Texture called June Seashore (I do not think it is available anymore) for a bluish sky that looked like painted clouds. Next a new texture by French Kiss called Color Wash Sage was added. What really made this image get this rather grainy illustrative look was in the layer style of the layer (double click on the layer to open). The Blend Mode was set to Color Dodge at 94% opacity and 95% Fill Opacity, and the Blend If This Layer White Tab was split (ALT+drag to get a smooth transition) and set to 224/255; the Underlying Layer Black tab was split and set to 29/47 and White tab split and set to 145/177. A stamped layer (CTRL+ALT+SHIFT+E) was placed on top but a huge color shift occurred. This is because the blend mode of the texture below was set to Color Dodge and this happens – to get rid of this just set the stamped layer blend mode to Color. Decided to try the whole image in Topaz ReStyle and voila, instead of a blue image, I had pinks and warm tones which I really liked. (Here are the ReStyle Settings: colors based on Orange Peel preset – ReStyle Color Style Hue Fifth 0.53; Sat Fifth 0.41; and Lum Primary -0.48; Texture Strength 0.00; Basic Color Temperature -0.31, Tint 0.61, and Saturation 0.11; Tone Black Level -0.31, Midtones -0.02, and White Level 0.02; and Detail Structure 0.38 and Sharpness 0.16.) The last step added my SJ Thin Double Edge Frame on a top stamped layer – sampled colors in the image to get the frame colors.
Sometimes it is just fun to play with the different tools and see what results you get. I think I would get bored if I did the same workflow on every piece I did. Sometimes you have to when working on a special occasion or group of images, but it is kind of nice to take a break and try something different. Until next time – Digital Lady Syd
Digital Lady Syd Related Blogs:
How to Get Blend If Slider Settings to Apply to a Layer
This week I am presenting an “oldie but a goodie” from my archives of several years ago. Keeping with the vein of the original post, the above image was created today using the same cup and the same wood floor from the image below. The lace curtain background texture was from Shadowhouse Creations and Luminar’s (for website link, see sidebar at my Tidbits Blog) Flex plugin applying the Enhance Detail and Structure filters to get the beautiful sharpness in the texture – used a mask in the program to paint out the cup. The Egyptian cat is from Skybox Creative. The font is A Charming Font Expanded. And yes, I drink my coffee out of the mug all the time! Hope you enjoy it!
I am a huge fan of Kim Klassen textures and her type of photography. I joined her test kitchen a few months ago (no longer active) and have learned much from her site. All the images in this blog use the same beginning shot. This plain white cup was bought from Tuesday Morning for just a couple dollars. The picture was taken by placing the cup on a white piece of cardboard for the bottom and a 22″ X 14″ Elmer’s Tri-Fold Display Board (found in WalMart). It was shot using a 60-mm macro lens at F/3.2 for 1/60 sec and was taken on a table near a window where there was natural lighting. In Lightroom only the basic sliders were adjusted and some chromatic aberration was removed.
Since I wanted a bit of a vintage feel for the top image, Caleb Kimbrough’s free Old Wood 4 texture was used for the floor. All but the bottom area was painted out and the opacity was set to 25%. The canvas was expanded on the left side of the image by using the Content Aware Move Tool. Next Kim Klassen’s iAm texture was applied using Soft Light blend mode at 100% layer opacity. Her marchtrio totally texture was added using Soft Light at 79% layer opacity. By signing up for Kim’s newsletter, she will send you lots of textures throughout the year – these both were links from her newsletters. A light blue Color Adjustment Layer (#b8bfe0) was clipped (ALT+click between layers) to the marchtrio texture texture to give it more of a soft blue tone – it was set to a 49% layer opacity to lighten up the photo just a little. A New Layer was created and placed between the two texture layers – Kim Klassen’s Cloth & Paper Extras Brush 1084 was selected to paint in light gray on the left side of image at 2285 pixels to add a little more texture to the image and set to 59% layer opacity. Here was the tricky part – a New Layer was created and with Brush Lovers 1941 brush (these used to be posted at BrushLovers.com but they do not appear to be available anymore – but there are many other choices at this site), one click was painted on the front of the cup. The layer was duplicated and set to Multiply blend mode to darken. Then with a layer mask, the highlights and shadows were carefully painted out so it looks like the flower design was already on the mug. I put this in a group (CTRL+G on the two selected layers). Added a Levels Adjustment Layer and moved Output Levels a little left to lighten the whole image and painting back the mug so it shows up a little better. Added text using Batik Regular font and it’s done!
Got into some Hawaiian dreaming on this one. I used an image I had taken while in Hawaii and placed the cup on a sand-like texture. The cataramaran in the water is the whale-watching boat where a whale actually hung around our boat for 5 minutes while we were on it – biggest thrill I had while in Hawaii! (See Topaz Simplify and Lens Effects Saves an Image! blog for image processing.) First the water image was stacked on top of the cup image. Next the cup layer was duplicated and the sky and background were cut out using a layer mask and applying it. It was moved on top of the water layer. My wonderful palm tree clip art objects (created from an image I took of the palm trees that were extracted from the background and filled in with a solid color), and a Bevel and Emboss layer style was added using a Size of 7 px, Soften of 10 px, and Depth of 50%. A dark blue Color Fill Layer was clipped to the tree layer (ALT+click between the layers to clip). Next Kim Klassen’s Cloth & Paper Touch texture (my favorite) was added using Soft Light blend mode at 95% opacity. Shadowhouse Creations Photo Tint Peach was set to Soft Light at 100% layer opacity, and then a Levels and a Curves Adjustment Layer were added to get the right tonal effect. A second Curves Adjustment Layer was used to make the bottom color look like sand and the rest of the image was painted out in the layer mask. A Text Layer was added using FFF Tusj font at 65% layer opacity. An Outer Glow Layer Style was added to the text using a sampled light tan color set to 62%, a Spread of 8, and Size of 193 – this was done to make the lettering stand out just a little from the sand background. The whale is from a Dingbat Font called Flood Font Dingbat m and was set to 47% layer opacity. Painted Textures (Melissa Gallo’s texture that I do not believe is available anymore) Winter Wheat texture from her Cyber Monday Set 1 was applied using the Subtract blend mode at 45% opacity to add a painterly look to the overall image. A Hue/Saturation Adjustment Layer was clipped to the texture and Saturation set to -67 to remove most of the color from the texture. Another Hue/Saturation Adjustment was clipped to the texture – the layer mask was filled with black and just the cup was painted back so no color showed up in the white cup.
Just another example of how to fix up the same image. This time Kim Klassen’s Cloth & Paper touch texture was added behind the cup. A shadow was added to the cup. Fay Sirkis’s Texture Pink Rose (from her Fay’s Master Background Collection at Kelby Training) was used for the beautiful flowers on the cup – just cut out the flower and added as a layer. As you can see a lot of clean up was done to get the cup looking right – just created New Layers and painted by sampling the image to even out the colors. 2 Lil’ Owls The Artisan Coll-Big Set 2-2 texture (see my Tidbits Blog sidebar for website link) was used – it was turned into an overlay using my How to Create an Overlay Out of a Texture blog. Kim Klassen’s Dream Definition was added as text. Two layers using my free Cloud Brushes – Cloud 1 set to 43% layer opacity and Clouds 3 at layer opacity 23%. The last step was a Level Adjustment Layer to add some overall contrast.
This was a lot of fun trying different effects on a very basic image. Not sure which one I like best but it is interesting to see how you can change up an image by using different textures. And thanks to Kim Klassen for her great textures and techniques in creating this type of effect. Until later…..Digital Lady Syd
This week I am just going to show you how easy it is to add an Impasto Layer to your image to get that added painterly effect. In the past many people were selling these layer styles but it seems to be out of vogue now and they are really easy to create once you understand the steps required. The above image of the Statue of Boadicea in London used three different layers and layer styles to create the unique texturing that appears on the horses and on the people riding in the chariot. First some major clean up was done and a visit to Topaz (see my Tidbits Blog sidebar for website link) Studio to get the wonderful AI Clear applied. I wanted to add an interesting story to the shot so one of my textures that had a lot of color and action in it was added on top and set to Linear Burn at 59% layer opacity . Next the Layer Style textures were added. I decided to create a video describing the steps so you can see how the layer style effect develops.
The basic workflow on creating an Impasto Effect Layer Style is as follows:
- Add a New Layer on top.
- Select a brush you think would work in your image. To start I used the Aploosa 2 brush from a Horse Pattern Pack by horsecrazy at 20 pixels for painting over the horses – you do not have to use this brush. With any brush set to 100% opacity, just dabbed over part of the image that would look good with some impasto effect applied.
- Double click on the layer in the Layers Panel to open up the Layer Style dialog and set the Fill Opacity to 0. Next click on the words Bevel & Emboss. Set the Reset to Default button at bottom and change these settings in the Bevel & Emboss Style: Depth 115, Size 4, Highlight Mode Linear Dodge (Add) and Opacity 20%, and Shadow Mode Linear Burn and Opacity 28%. Now check the Contour box and use the default. Now check the Texture box and open up the dialog – set the Pattern – a Washed Watercolor Paper texture (to load go to the drop-down by the pattern swatch, click on the wheel on the upper right for drop-down, and select Artist Surfaces set) was used for mine, but one you like is fine. Set the Scale to 100 and Depth to +100%.
- Click the New Style button on the right and name your style – mine was named SJ Basic Impasto Layer Style. Now if you click in the Style section at the top of the Layer Style dialog, the new layer style will be at the bottom of the list. I also saved mine to the my library.
- Your dabs on the layer should show some Impasto.
The Texture in the Bevel & Emboss style can be changed to get all kinds of patterns and lines – that is how the background got created in the flowers below. All the sliders in the Bevel & Emboss dialog can be changed to get very different results. Once you start playing with this, it is an amazing way to add texture to a whole image or just a little part of it. And like what was done in the image above, different layers can be used to add different textures in the image. The texture in the brush is usually different from the one in the layer style that creates an even more interesting result. I tried stacking two different impasto layers with different textures and got some very nice effects. And don’t forget that the Pattern can be scaled and dragged around on the image, and the Depth sliders can make a big difference. The actual layer opacity can be changed if the overall effect is too strong. Oh yes – try different kinds of brushes to paint the impasto onto the layer – those with lots of texture can look really great. Lots of fun here!
A couple things to Note:
- If your brush has a different texture that is not in the pattern list, open up your Brush Panel and in the Texture section there is a little square icon with the corner creased – hover over it and it says “Create a new preset from the Current Pattern” – just click it and the texture will be added to the Pattern list at the bottom. Now you can set the Bevel & Emboss texture to the same pattern if you want.
- Also, if you have textures that are not .pat files, just open them in PS and go to Edit -> Define Pattern, name it, and it is placed in your Pattern list with the .pat extension. Anything can become a pattern very easily.
Here is the finished version of the plant shown in the video. As promised the background pattern was created with Texture.com bronze copper texture (no longer free I think) it was converted to a pattern using the Edit -> Create Pattern command (see Note above). If you have a similar type texture, try converting it. The leaves used a PS patterned texture called Ant Farm that created this rather incredible pattern on the flowers when painted with Kyle’s Spatter Brush Supreme Spatter & Texture, a PS brush. The Ant Farm pattern is found in PS’s Patterns set (right click on the upper right cog to add). Just some spotlighting and vignette were added to this image.
Hope everyone sets up one of these layer styles and tries painting on the layer. Check out my Tidbits Blog for another example I will upload on Tuesday. It is quit an interesting look and can really perk up an image. In the meantime, get through these wintertime blues. Have a great week!…..Digital Lady Syd
Since it is that time of year when everyone is evaluating their images from the past year, I have decided that instead of doing my top pix, I am going to create some special award categories for my photography. I am finding this is really tough to look at your images and think about them objectively.
Best Humorous Image of the Year
Many choices for this category but they all either were bird images or Christmas images. Still love the effect the Scribble Action created on this guy so he won the Category – for original blog see my Updates, Updates, Updates! What to Do???? blog.
Best Creative Use of a Plugin
This year in my opinion, the best new Plug-In was Topaz Studio’s AI ReMix – something totally different to use to bring a whole different look to your images. This image is my favorite example of the ReMix look so it was chosen as my favorite for this category. For the matching blog on this image, check out my Dodging the Fire blog.
Best Digital Painting of the Year
Did not do as much painting this year – this is on my resolution list for next year to do more painting. I did like how these unusual dandelions turned out. Here is blog which contains a little more info: Blowing in the Wind.
Best Animal Picture of the Year
I had several animal images and it was hard to figure out which I liked best, but this painted fox was one of my favorites. He appeared in my Introducing the Beautiful Fox blog that contains a little more info.
Best Drawing Image of the Year
This was my first attempt at drawing a face and I totally enjoyed doing it. I learned the technique from David Belliveau at Paintable.com – for more info on this fun workflow, check out my short blog at Where to Find a Good Photoshop Painter.
Best Landscape of the Year
Best Macro of the Year
This year I did not shoot as many macros as I usually do, but this one turned out very nice. It was painted using Corel Painter. A short blog called Pink Carnation was created showing more info.
Best Black and White Image
This image had been post processed in color previously, so it really surprised me how nice it looked as a black and white image. For more info, check out my Girl Playing Erhu blog.
Best Floral Image
One of my favorite flower images this year just because I loved the way the color came out. For more info on how this was done, check out my Colorful Queen Emma Lily blog.
Best in Creative Category
This may not have been the most striking image, but I like that a lot of my favorite people are on this map and sort of represents me and my taste as an artist and Photoshop nut. It was a lot of fun to do and definitely was creative. For more on how to create a fantasy map of your own, check the original blog called My Personal Fantasy Map.
Best Image Created using a New Technique
This image represents a pretty cool technique used to get rid of camera shake (not the PS filter) and create a really sharp image from Deke McClelland. For links to the video on this, check out my Parliament blog.
Best Use of Texture
This image I was particularly proud of since I created several textures to use in it. For more info on this, check out my Adding Textures to Wildlife Photos blog.
Best Use of Color
This image is one of my favorites since it is so bright and cheery with a very strong color palette. For more info on how this image was post processed, check out my blog called Three Views of Air Balloons at Epcot’s The Land Pavilion.
Most Dramatic Image
This beautiful Church in Belarus has a nice dramatic night effect applied to it. Check out my First Snow of the Season blog for more info.
GRAND AWARD WINNER FOR 2018
I decided this was my Grand Award Winner because it represents the various things I have been working on in many of my images. Mainly, I have been trying to learn to draw (and Aaron Blaise is the master that taught me how to do this), textures, and lighting effects. Check out my Learning to Draw a Wolf! blog for more info. Hopefully during the next few years I will be able to draw more animals and apply more of what I have learned to date.
Hope you enjoyed my photos and my theme for this blog. It is very hard to decide what is your best work, but it does make you really think about what you have done and where you are going with your art. Happy New Year to everyone!…..Digital Lady Syd
Today I am just going to go over a really short but handy workflow I use all the time to add texture subtly and give a somewhat painterly effect to an image. This technique is from one of my older Tidbits Blogs and I literally go back to it all time to remember how I did it. Figure it might be as handy for you as it is to me. The image above is of the Frog Fountain at Flagler College in St. Augustine, Florida. (Actually the fountain is a working sundial and each Frog represents an hour on the clock. The Turtles represent the four seasons. I find it quite humorous as they seem to be having a grand ole time spitting at each other.) This image was used in the demo video linked below. It used a French Kiss texture (see sidebar at my Tidbits Blog for website link) called Tableaux Secret Garden – I find her textures work well with this technique since they are all very painterly.
The Hawaiian Orchids above were treated with a different type of texture from French Kiss called Solstice SeaSprite. The image below was taken at the entrance to SeaWorld in Orlando, Florida, and is a great place to take photos – very Disneyland-like colors! It used her Artiste Fauve Rainbow texture.
1. After all corrections are made to the image, select a texture and place it on top – depending on the type of texture (large sweeping strokes like in the Sea World image versus more of a grainy look as in the Orchid image) different effects can be created, some looking quite painterly.
2. A Hue/Saturation Adjustment Level is clipped to the texture layer (by ALT+clicking between the layers or click the bottom left icon in the adjustment layer panel) and Saturation is set to -100 to desaturate the texture. Clipping the adjustment layer to the texture allows no color from the actual texture – only color changes will be from changes to the image itself.
3. The texture blend mode is then set (for the Fountain, Vivid Light blend mode at 45% layer opacity, the Orchids used Linear Dodge at 53%, and for the Sea World image, Hard Light at 34%). Try different blend modes, even Normal is fine in lots of cases, to see which looks best with your image.
4. A Levels Adjustment Layer or Curves Adjustment Layer can be added to brighten the image as the texture tends to darken the midtones down.
That was it and you get a nice painterly effect! Pretty easy and adds a nice touch to your images. Hope everyone has a great week!…..Digital Lady Syd
Sometimes when you get so busy blogging about cool things you can do in Photoshop, you forget about just having fun with what you already know how to do. I have not blogged a lot recently as I am trying to catch up on my creative side and just have some fun. This week I am showing a few things I have been doing to just enjoy myself.
The above is an image trying to emulate a piece of art called Bird on a Flowering Branch by Watanabe Seitei, a famous Japanese painter, created in 1887. My image does not look a whole lot like his, but it gave me a good place to begin a composition. I don’t see anything wrong with trying to emulate a piece of really good art as long as it is not a direct copy. I think it is a great way to learn so that is what I did. A Kim Klassen Cloth & Paper texture called huges was placed on the bottom to give a nice layer effect to build on. The paint spatter underneath the piece is in a free set called Oh La La Llama by principesca. Then the branches were painted in and the painted bird is from one of my bird images. The flowers are from another free set called All Ginko Textured Watercolor Graphics by Paperly Studio – these are beautiful floral elements. All the layers had to be juggled around a little and opacities adjusted. On a stamped layer, Topaz (for website link, see my Tidbits Blog sidebar) ReStyle was used to further blend in the correct colors and soften them a little. That was about it. I need to take some more pix of little birds to create some more of this type of image – it was very relaxing and fun to do.
Created this image using several items from one of my favorite places to get reference objects – PixelSquid. They had the meat grinder, the basil, the scale, the sandwich, the plate, everything but the wonderful recipe by Kelly at Wildfleur’s Cottage Kitchen. It appeared to be pretty close to the one my mom made since I do not have her recipe. Every now and then the meat grinder would appear on the counter and low and behold, there was a ham salad sandwich! To learn how to add PixelSquid objects, check out my How to Use the PixelSquid Add-on in Photoshop blog. Several textures were then applied to really soften the image and get a vintage feel. These are all ones I made and just removed the color from them. Pretty simple. The font is called Mr. Grieves.
The Hogan House and Museum has recently been designated as an historical home in Bunnell, Florida (Flagler County). It has some really nice period pieces including the old waffle iron on the counter. First Luminar 2018 (for website link, see my Tidbits Blog sidebar) was applied using Joel Grime’s Dramatic Detail preset (his presets are all pretty good so if you own the program, try to download them). The same textures applied at different opacities as the ham sandwich image were also used on this one. A couple Gradient Map Adjustment Layers and a Curves Adjustment Layer were used for the final result.
I guess I have been in a vintage mood recently. It is nice to take a break and just work with your images to give them a look you like – not just what you see. I could almost imagine being back in time. Well hope everyone is not too hot – this summer has been a really warm one! Stay cool and create something fun!…..Digital Lady Syd
This has been a busy summer for me so my posts are a little sporadic. I have not used textures a lot recently but I did get a chance to look at Jai Johnson, a wonderful wildlife photographer, and her Artistry Beyond texture videos. (Of course all her textures are to die for, especially if you do any wildlife shooting.) This got me interested in trying it out again so I followed several of her tips to create both images in this blog. She does use an older Topaz interface – photoFXlab plugin (I agree with Jai – I still love this little program) – but her steps can easily be adapted to Photoshop and Topaz’s new program, Studio (for website link, check out the sidebar on my Tidbits Blog). I just finished watching her Episode 4 on Working with Harsh Light and found her tips very helpful since I photograph a lot in bright light. This beautiful little Rainbow Lorikeet (a type of Parakeet) lives at the Jacksonville Zoo in Florida. Since you are inside the actual bird exhibit, images can be taken quite easily although these birds do not stay still for long.
This image followed Jai’s Farmhouse Art concept (see her Episode 7 for more on this) which basically is a desaturated, simple, subdued and fresh appearance. I have not seen this look very often although I think it is very popular for home decorating. Usually the background is white-washed looking with neutral tones so that is what was done in this image. This image used 9 different textures (only 2 were from Jai) at different blend modes and opacities. It was surprising how nice the effect built up but it did take a lot of trial and error to get the effect. The created texture can be saved down using the combined textures as a jpg to use again on other images. Many of these textures had lots of color in them so they were desaturated using a clipped (ALT+click between layers) Hue/Saturation Adjustment Layer. Some textures were blurred to soften a little and layer masks were used on some to apply just in certain parts of the image. Also the bird had to be lightly desaturated by selecting it and using the Photoshop Camera Raw filter to soften it down. Using different blend modes at low opacities can really change how a texture applies itself. And do not forget those Blend If sliders in the Layer Style. Used all these tricks on the images. Also Nik Viveza 2 was used to help direct focus – still the best Photoshop plug-in out there!
I really like the font Blossom that was used in the word Rainbow and the Lorikeet font is Marcelle Script. A Dodge Brush set to Highlights at 30% Strength was used on a rasterized Rainbow text layer to add a tarnished effect to it. Still learning how to do this effectively, but it was fun to try.
This elephant image was also taken at the Jacksonville Zoo. Similar steps as above were taken to get this effect. This time 5 different textures (these were all different kinds of textures, several I created using Painted and Photoshop) were used. One thing I learned from Jai is that if an area needs a certain color, light or texture, just load a texture that might work and hide the texture with an black layer mask. Then paint back the areas that will add the effect you want using a very low brush opacity. This was done several times on this image to get the darker and softer effect in the corners. The little bird is from a beautiful free set of watercolor birds by Anna Faun – he really looked good with the elephant. The font is called Candy Texture and I added a little smoke effect over it to soften the text.
If you are interested in learning more about how to get some great texture effects, I would recommend Jai’s videos. She has some really good techniques I have not seen anywhere else. I will probably be another week or so before updating again……Digital Lady Syd