This week I am going to just show a couple tricks about how to get this more illustrative look and how to use an overlay from a texture to get a nice effect. This is a beautiful Palm Tree that was growing in West Palm Beach at the hotel. It had a really green background and detail that was making it hard to separate the tree out. So this is how I got what I consider a rather nice effect.
So I am going over the basic workflow which was used on both this image and the foxes image below. Most of these steps I have covered in recent blogs on how to do them so I will direct you to them if you need to refer back.
- This image was adjusted using Adobe Camera Raw – just changed several Basic sliders. Lightroom was used in the second image changing only the DeHaze, Highlight and Shadow sliders and removing a little Noise.
- In Photoshop the bottom layer was duplicated by clicking CTRL+J (if opened as a Smart Object, which preserves your ACR settings as with the image above, need to right click on the top layer and select Rasterize Layer to remove the Smart Object).
- This time Topaz (see sidebar at my Tidbits Blog for website link) Detail was used on the top image and Topaz Clarity on the bottom layer to just sharpen up the details. Any sharpening method works fine but start with a sharp image and remove the detail later if needed. (See my Digital Lady Syd Reviews Topaz Detail 3 blog and my More Clarity on Topaz Clarity blog.)
- The Foxes can easily be removed from their distracting background, so at this point Topaz ReMask 5 was used, but any selection tool would have worked fine. (Try using the Quick Selection Tool, Magic Wand, or Quick Mask with the Refine Edge Command.) This would have been an impossible task with the Palm Tree image at this point. (See my And the Best Complicated Selection Tool Is? blog.)
- Next the free JixiPix Spectrel Art was used on both images. The Palm Tree used the Dark Edges preset and the background was painted out using the Erase Brush in the plug-in. For the Foxes, the Topaz ReMask layer is opened in Spectrel Art and Dark Lines preset was used. Those two presets seem to be my favorites. Both image were set to Screen blend mode on this layer in Photoshop. (See my How To Use the Free Spectrel Art Plug-In.)
- Now the newly free Nik Color Efex Pro 4 is used on both images. The Palm Tree used these 4 stacked filters: Film Efex: Vintage using Film Type 6, Glamour Glow, Lighten/Darken Center, and Color Set Monday Morning using Neutral. This gave the image a bit of nice glow in the image. The Fox image used the same first three filters (Film Efex: Vintage used Color Set 14) but the last one used Detail Extractor set to 20%. ( See my Digital Lady Syd’s Review of Nik Color Efex Pro 4!)
- Now clean up layers were used on both images. For the Palm Tree, a New Layer was created and just sampled the background area and painted around where the distractions were. Brush used was a free brush from Ditlev Fine Art Br Vol1-SB 6 13 – nice texture at a lower flow and just built up the effect so it looks somewhat painterly around the tree fronds. For the Foxes, used a chalk brush at very low opacity to reduce lines that were distracting and emphasized the head of the foxes which is the focal point.
- Now the overlays are used. For the Palm Trees, the French Kiss (see sidebar at my Tidbits Blog for website link) Artiste Bold Brush 2 texture was opened in another document. By going to Select Color and choosing Highlights and the check the Invert checkbox, a selection of only the color was created. Close the dialog and add a layer mask to the layer and the whites will be deleted from the image. I recommend using a texture with lots of grain and color to get an interesting overlay look. Now this layer can be saved as a PNG file to be used again. It was placed into the Palm Tree file and a Hue/Saturation Adjustment Layer was clipped to the layer (ALT+click between layers) to get the light turquoise color on the overlay. The layer opacity was set to 74%. This is one of my favorite overlays – I like for my image to show through better and it does not require a blend mode which can change the colors or the light values in the image. A layer mask was used to lightly remove some of the texture off the Palm Trees. The Foxes used the exact same process – this time two different textures were used from 2 Little Owl’s Studios (see sidebar at my Tidbits Blog for website link): Stained Glass 14 with the Highlights removed in Select Color at 32% layer opacity; and Starry Night 5 which used only the darker areas and was set to 84% layer opacity. (See my How to Create an Overlay Out of a Texture blog.)
- Now an extra step occurred in the Foxes image, mainly some lightening and darkening Curves Adjustment layers to differentiate the right fox head from the back of the left fox. (See my How To Use Curves Adjustment Layers to Dodge and Burn an Image blog.)
- Next Topaz Lens Effects was applied to both images where the Reflector filter using a Gold preset – this directed the lighted the light from a certain direction to give both images a warmer feeling. Just fiddle with the sliders until it looks good. If you do not have the plug-in, use Camera Raw Filter’s Radial Filter and add a touch of yellow Temperature and a little Exposure and make a big circle half off the image to warm up a side a little bit. (See my Topaz Lens Effects for Some Image Fun! blog.)
- New Layers were created in both images and just a little speckle brush was used to paint in around the trees and foxes to give a more painterly effect. The layer opacity was set to 60% so as not to look too fake.
- For the Fox image, a final step of adding French Kiss’s Sponged Edge border overlay to further give a little painter effect to the border. A Gradient Adjustment Layer was clipped to it that contained a warm orange to a gold gradient. The Gradient Adjustment Layer opacity was set to 36% and the Border was set to 35% layer opacity. Very subtle.
These little Fennec Foxes were taking a snooze at the West Palm Beach Zoo on a sunny day. I was trying to give the impression that they were having wonderful dreams. I know the workflow above is a little extensive, and there are several different ways you can improve upon the effect. Still, I personally like that part photo – part illustrative look you can achieve with the various filters. And most can be reproduced with Photoshop and free plug-ins. Of course I am still a big Topaz fan, but there are always other ways to get a similar look.
One of the things I hope you try is Step 8 above. If you have some favorite textures, try removing a color out of them or highlights or shadows – this can really give a unique feel to an image and I do prefer a good PNG file over a JPG texture many times. Hope everyone is enjoying the beginning of summer!…..Digital Lady Syd
Just doing a fun quick blog this week on a Lightroom (Camera Raw) preset I created several years ago and rediscovered. This is an image of how I envisioned this roller coaster looking at Daytona Beach as we move toward the cooler months.
This image was first processed from Adobe Bridge in Adobe Camera Raw using an old preset of mine that uses the Camera Calibration Process 2010, so the new sliders were not present. It was one of my favorites and it was called Colorful Blown Out. (For an example of original use, see my blog Colorful Blown Out Look Lightroom and Adobe Camera Raw Preset. The download links do not work anymore, so see Bird image below for the original preset settings.) I like this preset as it makes it easy to separate your subject from the background so the Color Range Command can be used. By adding a texture underneath, some really interesting and nice effects can be achieved. The Roller Coaster image uses the preset with the old 2010 Process and sliders. See end of blog for more post-processing info and how the Color Range selection was created.
Another image from Daytona Beach near the end of summer. Mainly locals enjoying a few final days. Well, the same blown out preset for Lightroom 3 was used on the first image, but this time I updated it to Camera Calibration Process 2012. Click on the image below to see the settings used for the Basic and Luminance sections which make up most of the preset. The other Sections were Sharpening set to Lightroom default of Amount 25, Radius 1.0, Detail 25 and Mask 0. The Effects Post-Crop Vignetting was set to Style Color Priority, Amount +22, Midpoint 28, Roundness -14, and Feather 4. At this point the settings were saved as a preset. The Exposure and Vignette settings definitely need to be changed to suit the image, and possibly all of them – it is just a starting point. All these same settings are the same in Camera Raw as well. I do find I prefer the original preset more than the 2012 version created with the new sliders. My advice is to try both preset versions.
It is a pretty high key look. In case you cannot see these settings, here they are: Exposure +2.39, Contrast +96, Highlights -28, Shadows +28, Whites 0, Blacks +10, Clarity +34, Vibrance +70, and Saturation 0. For more post-processing info, see end of blog.
This rather comical image of a Roseate Spoonbill from the St. Augustine Alligator Farm Rookery used the original 2010 process. If you want to try it out, here are the Basic Section settings: Exposure +1.61, Recovery 0, Fill Light +56, Blacks 3, Brightness +50, Contrast +97, Clarity +68, Vibrance +70, and Saturation 0; Post Crop Vignetting set to Highlight Priority, Amount +36, Midpoint +54, Roundness -15, and Feather +76; Luminance set to Reds -39, Yellows -36 and Greens -25; and default Sharpening settings. These also need to be adjusted some to get the correct effect, but it is a good start. And lots of people prefer the Recovery and Fill sliders and use the older 2010 process with their old favorite presets often. See this short video by Matt Kloskowski, one of the best Lightroom gurus, called Lightroom’s Secret Shadow Slider Trick. The Fill In slider is quite high in the 2010 process versus the lower amount of Shadow in 2012. It is really great that Adobe lets you use the older sliders so you can still use some of your favorite presets.
Hope you try this effect, it is actually pretty nice on some images. Look forward to the coming months with everyone! Have another good week!…..Digital Lady Syd
Image 1: Info on finishing this photo is as follows. The Roller Coaster image was opened as a Smart Object in Photoshop where it was duplicated. This layer was rasterized to form one regular layer (right click on words in layer and choose Rasterize). This regular layer was taken into Select -> Color Range, choose Highlights, and clicked the Invert check box to select the roller coaster and not the sky. Next press CTRL+J to put selection on a layer of its own. Next several texture were tried out underneath to see what would give an interesting back effect. This time I used two of my painted textures and the Blend If sliders to get the colorful result. On a stamped layer (CTRL+ALT+SHIFT+E) Topaz (for website link, see link at my Tidbits Blog) Lens Effects Dual Tone Red to Yellow preset was used as a starting point, then sliders tweaked to get the effect I liked. A Black and White Adjustment Layer was added on top to see where my focus was going. By adjusting these sliders and setting the Adjustment Layer to Luminosity blend mode, the bright detail in the center were emphasized and where the image focal point is. The layer mask was inverted to black (CTRL+I in mask) and just the focal area was painted back in. On another stamped layer, Nik Viveza 2 was used to darken the edges a little. A Curves Adjustment Layer was added as a last step on top.
Image 2: Therefore, it was taken into Photoshop to add a few more tweaks. The Liquify Filter was used to slim down several of the beach-goers. On a stamped layer Topaz Adjust was applied using Topaz Adjust’s Painting Venice preset (one of my favorite Adjust presets) with changes to Transparency (0.57) and Warmth (0.17). On top one of my Corel Painter beach textures was added to soften and give the foreground a little more color, and was set to Normal blend mode at 53% layer opacity. A layer mask was added and the people were painted back a little to make them show up better. A Curves Adjustment Layer was added as a last step. Pretty easy and lots of fun to do! I just love all the activity at the beach!
Digital Lady Syd Related Blogs:
I Didn’t Know That! Converting Lightroom Preset to Adobe Camera Raw Preset
This week I am just presenting a couple of simple suggestions on how to change up your older, and maybe slightly over-used favorite textures, to add a fresh backgrounds to your images. I have started painting my own textures usually in Corel Painter, but sometimes Photoshop, to cover up my busy bird backgrounds. For me it is easier to actually create basic textures to work with these images, and then keep reusing the ones I like. I also have favorites by several different texture folks that I tend to over-use. The above image of the beautiful Snowy Egret mother and her baby at the St. Augustine Alligator Farm Rookery is a great example of what can be done with a basic texture to get a totally different look.
First tip is to try out your different plug-ins
In this case, Topaz Lens Effects’ Toy Camera filter (Bright Color preset) was used to create this colorful background that fits in beautifully with the birds. See original texture below with birds that were extracted from image using Topaz (see sidebar at my Tidbits Blog for website link) ReMask 5, but before clean up and painting touch ups.
Even Photoshop’s Liquify, Filter Gallery, and don’t forget the older Oil Painter Filter in CS6 or the original CC can be used to get an fresh interesting background. An you can always apply the effects just to the subject layer also. I actually used the Oil Painter filter on the birds first before painting them to use as a starting point. And with all the fairly inexpensive plug-ins around, try stacking some of the effects. Several Lens Effects presets were tried before deciding on a colorful background. (Here were my settings so you can see how it was adjusted: Toy Camera Aberrations all set to 0 as I did not want this effect; Placement Adjustments Region Size 0.06, Transition 0.48, and Angle 130.3; Region A Color Casts Cyan Cast A – 0.09, Red Cast A, Magenta Cast A and Green Cast A all 0, Yellow Cast A 0.13 and Blue Cast A 0.09; Region B Color Casts – All 0 except Yellow Cast B 0.17 and Blue Cast B 0.04; and Image Adjustments Brightness -0.38, Contrast -0.14, Saturation 0.03, Saturation Boost 0.13, Shadows -0.20, and Highlight 0.15.)
One of the most important things to remember about adding texture to birds and flowers is to make sure the background colors somewhat match the colors of the area you removed from around your subject. The subject’s edges blend so much better and gives a more natural look. This may be the happiest Gray Heron I have seen flying around at the St. Augustine Alligator Farm Rookery. He seemed so excited that he found this wonderful twig to add to his nest. The bird background was very simple, just a flat blue sky, so the extraction using Topaz ReMask 5 left just a little bit of blue color fringing on the edges. By placing a bluish texture behind the bird, he blends in beautifully with the texture. This texture that I painted in Painter is not blue at all – see original texture below.
Tip Two is to use those Adjustment Layers to get different overall looks
To change this texture a Hue/Saturation Adjustment Layer was used and set to Hue +155, Saturation +7, and Lightness +22, which moved all the colors towards the sky blue tones. You can even go into the individual colors in the Master drop down to change it up in just one particular color area. The Selective Color or Color Balance Adjustment Layers also do great color changes. Both the Curves and Levels Adjustments Layers have drop downs behind the RGB that go into the individual color channels where very specific color changes can be made. The Color Fill Adjustment Layer set to Color blend mode at different layer opacities can change up the overall color. And the Replace Color command can add some really nice color changes (Image -> Adjustments -> Replace Color). The bird was painted using one of Fay Sirkis’ Portrait Pet Mixer Brushes I believe they are still available at KelbyOne if you are a member (in their older webinar section) and they are the best for bird images that I have found.
Tip Three is just Transform and Warp to your hearts content!
You can always Free Transform your textures when adding to the image, and stretch, bend and/or distort them anyway you want. Sometimes just a part of the texture looks good in the image – you do not have to use it all. Sometimes flipping it vertically or horizontally will make the subject fit in with the texture better. And don’t forget that Warp button – can get some really interesting results by pulling and stretching.
This image is of some beautiful parrot tulips I had a few years ago. It used a texture I created in Painter while I was just trying out different brushes. Below a screenshot of how the original texture was placed to get this effect on this image.
This image used a lot of different painting techniques on the flowers. They were selected in Topaz ReMask 5. Mixer Brushes and Art History Brushes using 4 different History snapshots (Light, Dark, Medium, and Color snapshots were created with Curves Adjustment Layers and Hue/Saturation Adjustment Layer to create snapshots – they can then be deleted) were used to paint the flowers. On top a New Layer was created and the Smudge Brush was used to add even more of a painterly look. It is important to remember that you do not have to stick to just one type of painting technique – change them up and adjust layer opacities or use layer masks to get the look you want.
Try out different effects on your textures either before or after applying them to your image. You might really get a very unique and special look by taking a few extra steps. Also check out my Texture category for more blogs on textures. Have a Fun Holiday!…..Digital Lady Syd
For a few weeks I have been experimenting with some of the wonderful painterly techniques of Jai Johnson, a wildlife enthusiast who creates absolutely beautiful images. I am finally getting some results that are appealing to my personal taste as I love photographing wildlife in the natural habitat. I thought I would pass on what works for me. On her website she has several really nice videos. She uses Topaz (see website link in sidebar of my Tidbits Blog) photoFXlab as a stand-alone, but it is pretty easy to follow along and do the same steps in most versions of Photoshop. Lately I have been doing my painting in CS6 to increase the stroking speed especially with the Mixer Brushes, although all the CC versions will work fine.
Love the beautiful egrets that can be found in the rookery at the St. Augustine Alligator Farm in the Spring. This bird just seemed happy to me and was a lot of fun to paint. The background is one created in Painter for him. I believe you could create some nice watercolor backgrounds in Photoshop that would give a similar result. I needed a yellow warm light in the background to match the sunlight on his body. Used Jai’s basic workflow that puts him on top and then in a black mask, the original background is removed. She also uses Topaz Lens Effects Graduated Neutral Density filter – in this case used to lighten the bird up. The texture was duplicated two more times and placed on top – one used Multiply blend mode at 16% layer opacity and the other Color Dodge blend mode at 15% layer opacity. A Hue/Saturation Adjustment layer was opened and the Colorize button was checked with the Hue set to 48 and Saturation 25 – filled the mask with black (CTRL+I in mask) and painted back just lightly areas I wanted the warmer color to appear. Nik Viveza 2 was used to add emphasis to the head area. The Eyes and Beak were sharpened using two Exposure Adjustment Layers. (See my How To Do a Quick Eye Sharpening in Photoshop blog,) Then a stamped layers (CTRL+ALT+SHIFT+E) was created on top and opened in Topaz ReStyle using the Peppermint Gray preset (one of my favorites) to get a little different color balance. Back in PS the layer was set to 45% layer opacity and the bottom foreground was painted out in a layer mask to keep it slightly darker so the bird looks grounded. Last steps involved used New Layers to clean up distracting colors or areas.
I totally love Wood Storks, the gentle looking birds that are everywhere down here in Florida. This one happened to be standing in the top of a tree at the St. Augustine Alligator Farm Rookery, but they are everywhere in my neighborhood. There were actually two other birds next to him doing some crazy things so I removed them. They seem to tolerate people very well also.
In this image he was placed on a new texture created just for him in Painter. I tried to use complementary colors to the bird. If you like this type of texture, check out Jai Johnson‘s inexpensive (and some really nice free ones) and beautiful textures that give similar effects. The usual steps were taken of putting the bird layer on top of the texture, adding a black layer mask, and painting just the bird back with a white brush in the mask so the texture shows through from below. One of Jai’s great tips is to try to match up the texture with the original background colors of your subject. Used the Properties Panel Density slider to reduce the mask opacity to be able to see where the subject is for the initial painting in the layer mask, then put the slider back up to 100% when blocked in a little. Duplicated the texture and placed it on top of the bird layer, set it to Soft Light Blend Mode at 62% layer opacity. Did some clean up layers to even out some of the edges.
I am finding Topaz Lens Effect’s Toy Camera filter is working well with my bird images. A stamped layer (CTRL+ALT+SHIFT+E) was created on top to apply this filter. Looked at the different presets and choose one, in this case the Yellow Green Low Contrast preset. The Vignette was set 0 and all the sliders in the Toy Camera Aberrations section far left to 0 since I really do not want the Toy Camera effect. The next Toy Camera sections should be adjusted for the individual image. (For the above the Region Size was set to 0.17, Transition 0.42 and Angle 55.25 – especially watch the Angle as it affects how the colors lay out on the image. Next adjusted the Region A Color Cast and Region B Color Cast to fit this image – mainly adding a little bit of Reds, Yellows and Blues to get the colors I liked.) I like how you can really adjust the colors around to get some nice blended effects. Finally adjusted the standard Image Adjustment sliders to add saturation and contrast. These presets, with some tweaking, can really give an image a beautiful soft and blended result.
The Eyes were again sharpened using the Exposure Adjustment Layer, and then another for just the beak. These two areas have to be sharp since the eye will look first at them with birds, but be careful not to over-sharpen so they do not blend into the image – reduce the opacity of the adjustment layer a little if this happens. Next I wanted to add just a little contrast around his head so a Curves Adjustment Layer was used to add some burning by pulling down on the curve to get the correct tone behind his head, filling the mask with black (CTRL+I), and painting back where I want the effect. (See my How to Use Curves Adjustment Layer to Dodge and Burn an Image blog). The last step added Nik Viveza 2 to really make the focal point, the head area, pop out. Since the background is competing with his white feathers, the feathers needed some punch and a little softening in this area.
This beautiful photo was from FreeImages – wish I could take credit for taking this image. The photo was used to follow the steps in Jai’s last video called Working With Bold Colors and Abstract Textures. This image had a really bright colored texture like Jai was using as a background. In her video she suggested trying out Topaz ReStyle, and that is where this color effect was applied. Also Topaz Adjust’s Boost preset was used instead of the Bold preset she prefers on the tiger layer. Topaz Simplify’s BuzzSim preset was used on just the subject layer. On a stamped layer Topaz Lens Effects Graduated Neutral Density filter was applied, and then ReStyle’s Dusty Desert preset which gives the almost colorless result. To finish an Exposure Adjustment Layer for the eyes and then Nik Viveza 2 to even out the background just a little were applied. Wish I had taken this image. Sigh!
Well hope you get a chance to check out Jai Johnson’s techniques on your wildlife images. Like I said, all her techniques can be used in Photoshop without too many changes – just experiment with the brush opacity and Flow settings is about all I see that is a little different. And I really like the Topaz Lens Effects Toy Camera effects – something I had not even looked at before! Hope you are all having a great summer – I am!…..Digital Lady Syd
First I just painted this bird into the texture by adding one of my colorful textures created in Corel Painter, then adding the bird image on take, adding a black layer mask, and painting back on the bird and a bit of foliage so he is not just floating in the air.
Next a New Layer was created and the bird was painted. Usually I would consider using a Mixer Brush, but they just did not look right on him. I had just bought 103 brushes from Grut Brushes for $10.00 and he had developed some wonderful watercolor brushes (also lots of Ink and Oil brushes that really like – check his website for a new free brush each week). The major brush used in this image was called Sparrow Tone and the Brush Blend Mode was set to Normal to paint. Another one of my own golden brown Painter textures was used to add some vividness to the colors. The last step was to add my free painted watercolor layer on a New Layer on top.
This image of a flower cart at SeaWorld Orlando took forever to paint. Still learning how to use watercolor but it was fun to try out different brushes for different effects. I wanted a Tuscany feel to the image, so I tried to stay with the very warm color palette. For the warm wash used as a background, used my free SJ Watercolor Brush Tool Round Blunt to paint across the image. Used Grut’s Sparrow Tone brush and a tiny soft round brush to detail work. The same texture as used above was used in this image and set to Darken blend mode at 61% layer opacity. This image just used a large number of painting layers and several adjustment layers to get the effect the way I liked it.
I am finding the watercolor images use different brushes and techniques to the get the effect correct. I am still working on this aspect of painting, but finding it is a lot of fun. Hope to share more on this as I learn more. Enjoy your week!…..Digital Lady Syd
Still enjoying my summer so decided to present a couple of images that used both Painter and Photoshop, apparently my favorite way to process an image. The dancer image was taken at the Annual Native American Festival at Ormond Beach, Florida – one of my favorite events for photographing. This lovely dancer is performing the Butterfly Dance (check out the link for the uplifting legend associated with this dance). It is definitely a difficult balance to achieve in an image that contains some detail and realism to it, but yet has a definite painterly quality.
Both images took a long time to complete. I had trouble above getting the balance I wanted. I am glad I did not give up as it forced me to think about what was really wrong with it. This image was actually opened in Corel Painter first – to get the colorful strokes in the background for the painterly feel. See below for the original image. Karen Sperling’s Artistry Quick Fix Video (#4 in this case) Series brush 02 was used to paint the texture along with a couple of her blenders. Then it was saved as a PSD file and taken into Photoshop to do a lot more work on this now rather roughed in image. Several layers were created and the Mixer brush and Smudge brush was used to further blend the background in. One of the textures I created previously was added and set to Color Burn blend mode at 15% layer opacity to add a slight gold tone.
Here is where I had problems – I could not get her face to blend in nicely with the image – it stood out too sharp and bright. After trying a lot of different things in Photoshop, I decided to open an earlier RIF revision of the Corel Painter image. I wanted to soften the whole costume and face area. After trying a lot of different brushes, I ended up selecting Karen’s o1 brush with some brush modifications in the General, Well, and Color Variability Panels. Used lighter colors to blend and soften the dancer. The adjusted brush did the trick and this time the image was saved as a PSD file to use in Photoshop.
Back in Photoshop just the top layer was copied and moved into my later image and set to Soft Light blend mode at 51% layer opacity. On a stamped layer, Topaz (see sidebar at my Tidbits Blog for website link) Lens Effects was used twice: once with the Diffusion Filter (Softness 0.41, Diffusion 0.25, and Edge Transition 0.50) to soften image overall; and then the Reflector Adjustments filter (set to Type Golden, Strength 0.34, Transition 0.62, Position 0.33, and Angle 208.5). A layer mask was applied so only the tents and sky got the warming effect – when the tents were lighter, it drew the eye to them instead of the dancer. A final check with a B&W Adjustment Layer to see if the focal point is set correctly, and it was not. Nik Viveza 2 was opened to tone down the white in the tents even more. Now the lady is just a little softer and blends better into the painted background behind her.
Bottom line here – walk away, come back later, and try something radically different if you do not like the results. I am not sure why I took used an older Painter revision of the image to correct this issue, but it worked!
I think this little beauty is possibly a Least Flycatcher, but authorities disagree on where they live. Anyway, he was very tiny and fairly friendly. This is another example of blending the image and the texture to give an overall pleasing effect. The workflow was similar. See image below for original as shot. This time opened a new document in Painter, placed the bird in as a layer, and then proceeded to paint a texture that would enhance his colors and location. At this point, the texture was painted in soft browns and light greens since he is standing in grass and the sun is pretty strong on his left side. When the file was brought Photoshop, the color in his body is both the golden back feather area and the bluish-brownish breast area. The color tones just appealed to me. But this image had a little different issue. It was warm on the left side and cooler on the right. This time Topaz Lens Effects Graduated Filter was used to lighten up just slightly the left side of the image so you can feel the sun on his side – a light yellow was used to get this effect. The more brushy grassy effect in foreground was added on a New Layer by laying down the stylus and pressing hard with my brush to create these more squiggly marks. (For brush used, see my How to Use Photoshop’s Brush Textures Section for Painting Clean-Up.) This brush was also used to clean areas on the bird where grass was running through his body. There were several clean up layers and adjustment layers to get the colors just right, but overall it is just he same basic process of adding your image on top of texture and painting out the distractions. I am finding this is not something you do in an hour – it takes a while to get the overall effect adjusted correctly. Well, hope you enjoyed the images and got a little inspired to try this. It is really fun to create your own textures, although I have not mastered this in Photoshop. Corel Painter does a great job when making the textures, and then using them in Photoshop with different adjustment layers to get the tones and color right is really not that hard. Have a great week!…..Digital Lady Syd
Thought I would cover a little texture trick that I had never used before. The image above was taken at SeaWorld-Orlando – these beautiful Caribbean Flamingos are so graceful looking and seemed quite content to be situated in this rather crazy area near the entrance to the park and a roller coaster.
What I really like about this image is first, the color. I have an interesting older book called Pantone Guide to Communicating with Color by Leatrice Eiseman that says the color “purple is a glorious yet complex color, preferred by very creative and eccentric types.” This is a color I do not use a lot, but the purple color seems to add a nice exotic look that seems appropriate for these elegant birds.
Texturizer Filter for the Impasto Effect
To use the Filter Gallery, the image or texture needs to be in an 8-bit mode (File ->Mode->8 bit) or it will be grayed out in the menu. (See Tips Squirrel’s Solving Common Photoshop Problems-Greyed Out Filters for a work-around.) The purple impasto texture is one I created with a little help from one of my favorite texture people, Shadowhouse Creations, who has some of the most beautiful free textures. This one is located in his Vintage Soft Grunge Set 2 called SHC V21b. First converted this texture into a Smart Object (or Smart Filter – same thing) so it can be adjusted later if you do not like the results or want to change the settings. To add the nice impasto feel to this texture, need to go to Filter -> Filter Gallery -> Texture and select Texturizer. In the dialog there is a drop-down box where you can select Burlap, Brick, Canvas or Sandstone – there is also a little box to the right where you can Load Texture. A psd file, also in 8-bit mode, must be selected. There is no limitation on what it looks like, even the same image can be loaded. The bird image used a texture I created in Painter called Crazy Sky that was saved as a psd file.
When added as the Texture in the filter, it softened the image but no color information was added. The filter is taking the My Crazy Sky Texture Red Channel from the RGB file and using it to displace the SHC V21b Texture. On the bird image, it gives a nice Impasto effect. Here are the settings used for the bird image: Scaling 165, Relief 34, Light Top, and check Invert box. Change these setting around and you get very different results. On a New Layer use any brush to smooth out noticeable patterning due to the scaling. At this point I saved the file to my textures folder as psd and jpg files so it could be used over again without reapplying the filter.
Below is another example of how SHC V21b texture looks with a different one of my psd texture files used for the Texture. The Relief was set to a much lower amount along with the Scale.
To create the image, the new saved texture was placed under the flamingos image. A Hue/Saturation Adjustment Layer was used to get the purple color. A layer mask was added to the bird layer, and using a brush with some texture in it and a very low brush opacity of 30% and Flow of 60%, the birds were lightly painted back just leaving some of the impasto effect of the texture on the birds. The rest was just clean up. Don’t forget that you can change the settings of an Eraser brush to help adjust some of your strokes. I have created a couple brushes just for this use – one I like for painting uses a brush opacity of 38% and Flow of 15%.
Changing the textures in this Texturizer Filter is really a lot of fun. There are so many different effects that can be created from images and textures you already have! And it is really easy to do!…..Digital Lady Syd