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HOW TO APPLY FILTERS INDIVIDUALLY ON LAYERS

Image of Native American PotteryBasically this blog is showing that filters or plug-ins do not have to be applied on a layer with the second one applied on top of the first one on the same layer, but rather they can be applied to the same original duplicated layer and by using layer masks the desired effects from can be inserted. This image above followed a workflow that followed my Nik HDR Efex Pro 2 and Topaz Clarity Together? Tidbits Blog from a few years ago. It had been a while since HDR Efex Pro2 (part of the free download from Google-Nik) was used so it seemed like a good time to try it out again. The original image from the Tidbits Blog is shown below. This image was taken yesterday at the 28th Native American Festival in Ormond Beach, Florida. The displays and costumes really give a nice variety for those who love photography (and the vendors and show organizers are some of the nicest people!). The focus area of the two teapots show more of the HDR plug-in effect and the rest of the image has more of the Topaz Clarity filter effect. Any plug-ins can be used this way, these are just what I was using for this image.

HDR Efex Pro 2

The image was first opened in Lightroom where it was brightened up just a bit. Then in Photoshop, the background was duplicated, converted to a Smart Object (right click on layer and select Convert to Smart Object), and HDR Efex Pro2 was opened from the Filters menu. Note: you do not have to be shooting HDR photos to use this plug-in – it works fine with just one image. (For info on how to use if shooting with more than one image, see my How To use Google (Nik) HDR Efex Pro 2 Blog.) This is another one of those huge plug-ins with lots of sliders and presets to play around with on your images so the Smart Object allows  you to go back and adjust it if it look wrong (double click on the thumbnail in the Layer Panel). In this case the Outdoor 2 preset was applied. One of the best things in this plug-in is the Levels & Curves section where besides RGB and the individual channels, there is a the Luminosity Curve that can be adjusted – this was done for this image. The curve was pulled downward to get a nice overall effect. Then the Tonality section Structure slider was set to 31% and the Color Temperature was set to -20% and Saturation 19%. That was all that was done to this preset.

Topaz Clarity

Now for the Topaz (for website link see sidebar at my Tidbits Blog) Clarity part. This is one of my favorite Topaz plug-ins partly because of the versatility in it. The HDR Efex layer was turned off and the background duplicated again and set just above the background layer. Since the HDR Efex layer had way too much contrast for the softer vintage effect I wanted, a preset that I created for painting was applied in Clarity. It totally softens the whole image but the colors looked really good. (Here are the settings if you are interested: Clarity Dynamics Micro Contrast -0.86, Low Contrast -0.86, Medium Contrast 0.63, and High Contrast 0.94; Tone Level Black Level -0.19, Midtones -0.36, and White Level 0.19; HSL Filter Hue – no changes; Sat Orange 0.06, Yellow 0.63, Green 0.13, Blue 0.25 0.25, and Overall -0.45; and Lum Orange 0.36, Yellow -0.34, Green -0.42, Blue 0.61, Purple 0.11, Magenta 0.75, and Overall -0.27 – all other colors were 0.00. Adjust these settings around if they do not quite fit the effect you want.)

The HDR Efex layer was turned on and a black layer mask was added (press ALT key while clicking the layer mask icon at bottom of Layers Panel). Just the areas where more contrast was needed was painted back into the image – mainly around the teapots where the focal point is. A round brush set to 50% opacity was used so edges were not too sharp.

Photoshop Brushes for Clean up

Some of the background in the curtains did not look so nice, so the brushes were brought out to paint in some colors and blend some colors on a New Layer. It is so handy to have a good Regular Brush and Mixer for clean up. A pastel with rough edges was used to paint over some greenish shadow colors that did not fit the image. The brush can be downloaded from SDW Haven Pastel Brushes Part 1 – it is the last brush or 11th brush in this free set. (These are the settings used for the brush: Brush Tip Shape: I like it as a small size so it is set to 8 pixels but enlarge it often, Angle 137 degrees, Roundness 100% and Spacing 35%; Shape Dynamics: Angle Jitter 42%; Texture  – Rough located in PS Erodible Textures (load by clicking texture patter, then on the cog wheel and Load Erodible Textures, and set to Scale 87%, Brightness -45, Contrast 0, check Texture Each Tip, Mode Multiply, Depth 50%, Depth Jitter 1%, and Control Off; and check Smoothing.) This brush also clean up funny colored edges nicely – just ALT+click in the image on the color to sample, and lightly paint in. I usually paint at 67% opacity with this brush.

Then an overall soft Mixer blender was used to mix up the edges. The brush I use is by David Belliveau from Paintable – here is a link to his free brushes and his How to Blend Colors in Photoshop: 4 Essential Technique blog. David does a great job explaining how to use brushes in Photoshop. On the clean up layers, I just kept going back and forth between the Regular and the Mixer brush adding color and blending until the color and edges look smooth. The Mixer also does a great job of softening lines that appear too sharp in the background. I use these two brushes all the time to both clean up images and paint in Photoshop.

Finishing Up the Image

Last steps involved adding on a stamped layer (CTRL+ALT+SHIFT+E) Topaz Texture Effects 2 with adjustments to the Crisp Morning Run preset. A Spot Mask was used over the center pots so they were not affected as much by the plug-in. Duplicated the layer and applied Nik Viveza 2 to further sharpen the two middle teapots and add a little more saturation to that area. Duplicated the layer again and Topaz Lens Effects was opened and a Silver Reflector filter coming from the left was applied – just to add a softer effect and emphasize where the light was. Using these three plug-ins one after the other is an example of applying them onto each other and no masking was involved. Therefore the effects of  Texture Effects is in the image where Nik Viveza 2 was applied which is in the results of applying the Lens Effects filter. If you wanted to get down to the original Background effect, many masks were have to be created. Subtle but significant difference.

Image of the Belarusian Countryside
Overall HDR Efex Pro and Clarity are not a bad combination for getting some nice effects in Photoshop. Both images used the filters discussed above.  Each filter was added on its own duplicated Background layer and then the parts of the image to be concealed were masked in or out on each layer. For the top image it just did not look as good when one filter was applied over the other one. This is really important to remember if you are liking the effect in two different filters – they do not have to both be applied over each other – just mask in or out what you like on separate layers. And do try out the brushes – they work really well together. Hope everyone is coping with the winter and staying warm. Until next time…..Digital Lady Syd

HOW TO USE A PATTERN FILL ADJUSTMENT LAYER

Digitally painted image of the Last Snow before Spring
This is a pretty basic post on how to use a Pattern Fill Adjustment Layer to add some subtle detail to image objects. This may be something you are already doing, but if not, give my short workflow below a try. A Pattern Fill Adjustment Layer was used on the flying birds in the digital painting above. The birds are a free download from Cheryl Tarrant – for download link and more image details, see Image 1 info at end of blog. Bird objects work well with Pattern Fills, but any painted strokes, text or objects placed on a layer by themselves will work. Below is the quick workflow and the rest of the blog goes into more detail regarding Patterns.

Workflow for Adding a Pattern Fill Adjustment Layer

  1. Open up a Pattern Fill Adjustment Layer above image by going to the bottom of Layers Panel and clicking on the Black & White circle icon (fourth one over) and select Pattern (third one down). By default the last pattern in your Pattern Picker list will be selected.
  2. Clip the Pattern Fill Adjustment Layer to the one below by ALT+clicking between the two layers. (See below for more options.)
  3. Double click on the pattern to open the Pattern Fill Dialog and choose your pattern. (To add more patterns, click on cog wheel in the upper right corner – PS has packaged several sets that can be clicked on or add your own. See below.)
  4. Adjust the Scale slider and drag on pattern in image to get the location and size of pattern for the effect required.
  5. Set the blend mode and opacities for both the Pattern Fill Adjustment Layer and the object layer below.

Difference Between Textures and Patterns and Where Patterns Are Used

A little background material here so you understand what a pattern is much less how to use it in a Pattern Fill Adjustment Layer. In PS, a pattern is a fairly small file, often times repeated without edges (lots of tutorials out there on this), that can be added to an image in various ways. A texture is a much larger file usually using the .JPG file format. Textures are added in as a layer that goes over the whole image – can alter them with a layer mask and/or different blend modes and layer opacities. Since Patterns are much smaller in size, they are added to an image with PS tools, commands, layer styles or a Pattern Fill adjustment layer. Several tools have an option to add a Pattern like the Regular Brush Tool (and Stamp Tool, Smudge Tool, Dodge Tool, Burn Tool, and Sponge Tool) in the Brushes Panel Texture Section, the Spot Healing Tool, Pattern Stamp Tool, and the Paint Bucket Tool (who knew?). (Note: In the Brush Panel, the Texture section is really adding a Pattern from the Pattern Picker to add texture to the stroke.) Also the Rectangular Tool and all the tools grouped with it can use a Pattern when set to Shape – look in the Stroke drop down. The Edit -> Fill dialog with the contents set to Pattern gets some very cool pattern effects with the Script drop-down box. Layer styles using patterns are the Bevel & Emboss Texture subsection, Stroke Fill Type, and Pattern Overlay sections. Oddly enough, the PS filters do not appear to use .PAT pattern files (they use regular texture .PSD files instead). Just wanted everyone to know patterns are located in many places, and sometimes quite hidden places (and I might have missed a few), just in case a need arises and a different technique could be used.

Pattern Fill Adjustment Layer Dialog

My favorite method for using a Pattern is with the Fill Adjustment Layer. It does not have a lot of adjustment sliders (only the Scale can be adjusted but since it is its own layer, the blend mode and layer opacity can be adjusted. There is also a layer mask so the effect can be locally masked in or out. Very easy way to adjust the results. And perhaps best of all, it can be clipped (see next paragraph) to an object layer so only what is on the layer is affected by the pattern effect. That is how the birds above look like a natural brownish color instead of the original black silhouette object. Below is a screenshot of the Pattern Fill dialog that was used on the birds above.Screenshot of a Pattern Fill Adjustment LayerIt can be seen that first Pattern Fill Adjustment Layer was clipped (the indented layer) to the birds layer. There are several ways to clip a layer, but my preferred way is to hold down the ALT key and click between the two layers to link them together. Can right click on adjustment layer and select Create Clipping Mask; or go to the Menu and choose Layer -> Create Clipping Mask; or just press CTRL+ALT+G on the highlighted layer – all work equally well.

From the latest Photoshop Manual (can download as .PDF file) search for Pattern: “Click the pattern, and choose a pattern from the pop-up panel. Click Scale, and enter a value or drag the slider. Click Snap To Origin (button) to make the origin of the pattern the same as the origin of the document (pattern opens up set to upper left corner). Select Link With Layer if you want the pattern to move along with the layer as the layer moves (moves with object layer as it is moved in the Layers Panel). When Link With Layer is selected, you can drag in the image to position the pattern while the Pattern Fill dialog box is open.” I usually just select the pattern and set the scale here. The really important thing to know is that by dragging in the image, the pattern can be moved to make it look correct on your objects if the Link with Layer box is checked. The Create a New Preset seem useless since all the patterns are already loaded.

Any color of patterns can be used (although all patterns are added turned to black and whites for the Brush Tools Texture section since brushes only use black to white tones). Using the colorful patterns can give really nice results on objects like birds or rocks or text. The one used above was included in a free Obsidian Dawn’s Grungy Dirty Patterns set which I use all the time.  Some other patterns I use a lot are 10 Splatters Patterns by Idealhut and  Vintage Floral Patterns by flashtuchka. I tend to like patterns that show bright colors and contrast. Also watercolor patterns are very useful. Try some of the loaded PS patterns, but I do not use them much. To add the patterns into your list, open up the Pattern Picker and select the little pop-out wheel where it says Load. Now just go to where the patterns were saved and open them up. They will appear at the end of your pattern list. Click on Preset Manager to add, remove or change the order (just drag to move) of the patterns loaded. With the Pattern Picker open, the different patterns can be clicked on and a live preview on the image will be seen. For the above the Pattern Fill Adjustment Layer Scale slider was set to 155%, then back on the actual layer, it was set to Normal blend mode at 67% layer opacity. The birds underneath were set to Normal blend mode at 45% layer opacity. The combination gave a really nice subtle bird effect.

Pattern Fill Adjustment Layer or Pattern Overlay Layer Style

There are a couple major reasons I like the Pattern Fill Adjustment Layer. The Pattern Overlay Layer Style can do pretty much everything the Pattern Fill Adjustment Layer does. But it is easy to run into problems with the other Layer Style sections that are applied on top of this section. It can block out the whole section being added. One advantage of the Layer Style is that the blend mode and opacity can be set for the actual dialog, then the adjustment layer’ blend mode and opacity can also be set. I find the Pattern Overlay section works well with text layer especially since strokes and glows can be added in easily. Note that you can use both a clipped Pattern Fill Adjustment Layer and a Layer Style on the bird layer to get extra effects. There is so much that can be done! Just remember that if you want to add a layer mask to the bird layer with a Layer Style on, be sure to check in the Blending Options section “Layer Mask Hides Effects.” Otherwise the masking will look bad.

Painted image of fauna for birdsI created this image to show how both Pattern Fill Layers and Pattern Overlay Layer Styles can be combined to get a really nice effect. Several of the plant layers used Pattern Overlay Layer Styles and many have Pattern Fill Adjustments Layers clipped to them. For example, the text layer applied both a Pattern Overlay and Drop Shadow Layer Style sections and a Pattern Fill Adjustment Layer clipped to the text layer. For more info on this painting, check out Image 2 below.

How to Create a Pattern from Your Own Textures

This is probably the easiest part of this blog. I had several great textures I created and bought that would make good patterns. To convert them from a .PSD file or .JPG file to a .PAT file, go to Edit -> Define Pattern. Then name the pattern and it is placed at the bottom of your pattern list to use the next time the Pattern Picker is opened. If you are using PS CS5 or older, there is a Pattern Maker filter in the Other category that can be used to make patterns – not sure why Adobe removed it.

I hope you try this technique on your images. Adding a pattern to just a few strokes on a layer can add some real interest in an image – it does not have to be an object. I am finding I am using patterns more and more to get that extra level of creativity and blending that seems to be lacking in a lot of the original images I am seeing. Know this was a little long, but I hope this helps a little about how to do this!…..Digital Lady Syd

Image Info:

Image 1: This started out as a spring image but finished up as the Last Snow before Spring. That is what I love about Photoshop, sometimes major surprises result! Most of this image was painted in Corel Painter, but many details were completed in Photoshop. This seems to be the only way I can paint. In Painter, mainly used John Lowther’s Landscape Collection brushes along with various Karen Bonaker and Melissa Gallo brushes – all three of these people are incredible digital painters! In Photoshop, 37 layers were created so lots of different brushes went into this image. Several of Grut’s FX Cloud brushes were used along with Seishido Biz Favytunic’s brushes (can’t seem to locate them now-older brushes) and Frostbo’s Grass Set2 brushes. Also used several of Melissa Gallo’s Photoshop brushes from her video class (incredible class BTW). The snow was added using a brush created by following Corey Barker’s Corey’s Universal Particle Brush video which teaches how to make a terrific snow brush. (See my How to Paint in a Snow Storm blog.) The snow appears a lot more natural to me now. Also the birds are from Cheryl Tarrant’s Distressed+Seasonal+Flock+Birds+Brushes set – Brush 05 – some of the nicest bird brushes around. The texture used was by Kim Klassen called Cool Grunge (not sure this texture is still available) and was set to Multiply at 29% layer opacity. My basic PS workflow was followed after creating all the detail layers. Used Topaz (see my Tidbits Blog sidebar for website link) ReStyle’s White Swan Feathers preset. Nik Viveza 2 to draw in focus, and some Curves Adjustment Layers to restore contrast.

Image 2: The Birds of a Feather image was first painted in Paintstorm Studio with each type of brush painted on individual layers –  the image was eventually saved as a .PSD file for more adjusting in PS. In this case 13 different Paintstorm layers were created using several of my own brushes, some Double Brushes, Pens, and Multi Brushes and opened in PS. The bottom layer was one of my watercolor textures and two Pattern Fill Adjustment Layers were clipped to it – the first a light beige watercolor pattern set to 417% Scale and Normal blend mode at 91% layer opacity, and the second a Bobby Chiu Colored Paint Texture which was created from his video Building My Favorite Photoshop Custom Brush – it was set to 1000% Scale and Vivid Light blend mode at 25% layer opacity. The birds are on their own layer from Lisa Glanz called Flying Geese (could not find the download link) with a brown watercolor Pattern Fill Adjustment Layer attached. The text layer was added with a Pattern Overlay Layer Style using a bright watercolor pattern set to 265% scale and 39% opacity and a simple drop shadow. Then a Pattern Fill Adjustment Layer was clipped to this layer using a small yellow/orange/green small print pattern set to 417% scale and a layer opacity of 78%. The last step in this image used a Kyle T. Webster layer style called Fresh Fun set to 0 Fill and painted over the plants and birds to give a little extra texture effect.

HOW TO PAINT IN A SNOW STORM

Image of some snowy berriesFor some reason I have been sort of fixated on how to create a nice wintry feel in an image without getting fake falling and unnatural looking snow. This week I will show a couple ways I use to create a more natural snow and piling up effect in my images. Its a lot in the brushes!

The image above is of a pretty red budded plant (unable to find the name in my resources) that was growing at the Harry P. Leu Gardens in Orlando, Florida. In a short Corey Barker video called Corey’s Universal Particle Brush video, a fabulous brush was created to add the falling snow in exactly the places it needs to be. Corey gives very clear steps to creating this brush that uses PS Noise Filter, PS Gaussian Blur, a Levels Adjustment, and Gradient Tool to make the basic brush. Then changes are made in the Brush Panel to the Shape Dynamics, Scattering, Transparency, and Brush Tip sections. This brush was then saved as both a brush and Tool Preset – size is 1000 pixels. Corey uses this brush not for just snow but anywhere that particles are needed like fire sparks and rain effects.

Now to processing the image. Once some random flakes are added to the image, Corey suggested adding a subtle Motion Blur to the flakes (Angle 75 and Distance 11) which makes the flakes look more realistic without doing anything else. Add a New Layer and make the brush smaller (500 pixels) to build up more dense snow around the plant branches. The layer opacity can be controlled for each snow layer to give the effect wanted. Also layer masks can be added to remove flakes where unwanted. A stamped layer was placed on top (CTRL+SHIFT+ALT+E) and Topaz (for website link see sidebar at my Tidbits Blog) Black & White Effects was opened. In the filter, the Local Adjustments brush section was used to bring back the color in the image where I wanted it. The filter’s Color Brush was used to paint in the red buds and using a lower opacity, the green leaves were painted in. This softened the background a lot but color could still be introduced – in PS the layer opacity was set to 76%. On a New Layer more snow was painted in using the smaller sized Particle Snow brush again. This is how the lower leaves show snow building up on the leaves.  A basic Mixer brush was used on a New Layer to add dabs of white paint for snow – I used Fay Sirkis’s Pet Pastel Underpainting Highlight Photoshop brush (I can’t seem to locate a resource with her brushes right now). But any small sized Mixer brush (45 pixels) will probably work – in the Options Bar set the mixer combination field to Dry and turn on the Load the Brush After Each Stroke with  the color set to the snow color and just paint in the snow. Next a text layer with some icicles hanging from the letters were added on layers above using the free Frostbo Ice Brush 01 for the icicles. The last step was a Levels Adjustment Layer to adjust the contrast. I feel like this plant looks like it is in a “winter wonderland” and not a sunny Florida garden.

Image of entrance to apartments at Windsor Castle in EnglandThis image of the St. Johns Tower Entrance to apartments at Windsor Castle turned out to be lots of fun to convert to a spooky winter image. The original image was taken on a sunny day in August so it has definitely been winterized. First Topaz Clarity was used to sharpen the image overall. Then the Adaptive Wide Angle Filter, Topaz Glow, and Lucis Pro were all used to get a really sharp and correct image. At this point I was just trying out different plug-ins and this is what I ended up using. Now the snow was painted in. A free set of very basic star brushes was downloaded by KeReN-R on DeviantArt and 4 brushes were used to paint in a lot of the snow (Sample Brushes 4 – see next paragraph on how to adjust this brush, 6, 8, and 19). Also Grut’s FX Inky Leaks Bottle Topple and Romato brushes were used to give the wet slick look on the street and steps (many brushes in this set would make great snow brushes). This step was a lot of fun to do! At this point Corey’s Particle Brush could be used, but instead I took the image into Topaz Texture Effects 2 and used the Winter Day I preset which contains a snow texture. A Spot Mask was used on the entrance so it could be adjusted a little differently. Back in PS the layer was duplicated and a Gaussian Blur with radius set to 250 pixels to really blur the image. Then it was set to the Subtract blend mode. The same entrance area was painted out in a layer mask. This darkened the image down immensely. On a New Layer white was painted in the entrance and set to overlay blend mode. Another New Layer for snow was used and some snow effect painting around the doorway in front using the Grut Bottle Topple brush. On a stamped layer Nik Viveza 2 was used to really pull out the lighting effect in the doorway and to darken down the on the street. There was a lot of trial and error on this image and I personally believe that is how to actually pull this look together.

I am using Sample Brush 4 in the KeReN-R Star Brushes a lot to get the nice piling up effect of snow. These settings were changed in the Brush Panel to get a really great snow smoothing and piling brush:  In Brush Tip Shape:  Change size from 773 px to 150 px and leave Spacing at 25%; check Shape Dynamics and set Angle Jitter to 9%; and leave all other settings alone. In the Options Bar turn on the icon next to the Opacity amount so pen pressure will increase or reduce the amount of snow added. This creates a really nice brush to build up snow in any image.
Painting of a duck in his wintry home
Above is an image I painted showing how a duck sees the beauty in his home during a light snow that we humans do not get a chance to appreciate. It was initially painted in Corel Painter by first adding a lot of the basic elements and grasses. Just enjoying painting at this point. Then the image was opened in PS and many more details were added. In this case the snow was painted in using Corey’s Particle Brush and the snow was built up using the Snow Build Up brush (sampled brush 4) and sampled brush 6. Many more plant elements were added along with the duck. Topaz ReStyle was used to change the color scheme from a warmer one to a color for a more wintry look. This is a good example of how to use these snow brushes when doing creative painting.

It is very handy to have the snow in brush format as opposed to a large vector overlay. I hope you will try creating these two basic snow brushes if you enjoy making wintry scenes. I am still experimenting with them, and trying out other brushes. I like the overall effect of these two brushes and am using them a lot to just add a little wintry effect to a cooler image. Until next week…..Digital Lady Syd

SOME OF MY FAVS FROM 2016

Thought I would do a short post of my favorite images from the last year – have not done this in a while. For more info on photo adjustments, click on the image to go to Flickr where links to the original blogs are available. Hope you enjoy my favs!Image of the Veira WetlandsImage above is from the Viera Wetlands in Brevard County and used the Orton Effect.
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Image of a Malayan Tiger at the Jacksonville ZooThis beautiful Malayan Tiger was post-processed using the fabulous Topaz (for website link, go to my Tidbits Blog sidebar) Impression 2 filter. This is one of my favorite images created using Impression.
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Image of a painted pink roseImage of this peach rose is one that was painted in Photoshop with the mixer brushes, and the background was created in Corel Painter – then the layers were stacked in PS.
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Image from Shorpy's of a boy looking in a store window in DC cc 1922The original image was taken in Washington, DC, around 1922 was cropped and hand-tinted in Photoshop. I find it is really fun to hand-tint old images found at Shorpy.com.
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Image of the Flagler Kenan Pavillion at the Flagler Museum in Palm Beach, FloridaThis is the Flagler Kenan Pavillion at the Flagler Museum in Palm Beach, Florida. It is one of the lightest, brightest rooms I have seen and is on the IntraCoastal Waterway. This effect was created with the no longer available Lucis Pro 6.0.9 Photoshop plug-in – too bad that in 2016 it finally became a reasonable purchase and then it discontinued.
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Painted image of St. Trinity Church in Belarus Image is of St. Trinity Church as seen from the Mir Castle in Belarus. This image was painted in Photoshop using Jack Davis’s painting action.
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Image of three painted birdsThese three painted Florida birds are presented in a Lightroom template with the background added in Photoshop. The birds were all painted in Photoshop and the bird backgrounds painted in Corel Painter.
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Composite image of Rudolph the Raindeer and a Native American little boyThis image is an example of a composite that integrated several elements into a story.
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Image of several ants on a dandelionImage taken with a LensBaby Composer on my camera which gives a very lovely soft effect.
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Flowers created using Paintstorm StudioThese flowers were painted in Paintstorm Studio, a really nice painting program.

Next week I plan to continue presenting all the Fun Tips and Tricks that can be done in Photoshop with a little painting mixed in!…..Digital Lady Syd

HAPPY NEW YEAR!

Happy New Year image
Just wanted to wish everyone a Happy New Year with lots of Photoshop Fun in your future!

This week just a few details and free goodies to start your year.

The trees, reflection and small plants were painted in Corel Painter using mainly Karen Bonaker’s wonderful free painter brushes – so many choices here so I will not go through them all – actually do not remember them all! I am sure most Painter people have all these brushes, but if you are new to Painter, check out the link for a great website and to get a huge assortment of great brushes (and Karen’s classes are terrific – she usually includes new brushes and teaches how to adjust them). The image was saved as a PSD file to be opened up in Photoshop.

In PS a stamped layer (CTRL+ALT+SHIFT+E) composed of the Painter layers was created and then duplicated. Topaz (see sidebar at my Tidbits Blog for website link) Texture Effects 2 was applied to the top layer to create the basic soft background (used Dingy Cream preset and made tweaks).

On another Stamped Layer on top, Corel ParticleShop (these brushes can also be bought and used in Painter) was opened and the Wild Grain brush and the Fur brush were used to add a little more detail to the image. What is really nice is that only the changes to the layer are brought down on the layer that was duplicated – it was set to 44% layer opacity and a Hue/Saturation Adjustment Layer was clipped (ALT+click between the layers to clip) to the ParticleShop layer. The Adjustment Layer was needed as the colors from ParticleShop were a little too vivid and needed to be slightly desaturated.

Jai Johnson’s free Flying Birds overlay was added – a few birds were painted out with a layer mask and a Pattern Fill Adjustment Layer using a gravelly stone looking pattern was clipped to the birds to give them some texture. Set the bird layer to Overlay blend mode at 80% layer opacity.

On top Texture Times Bokeh Number 5 was set to Overlay blend mode at 48% layer opacity.

A couple text layers using the free font called Winter Holidays by Vintage Voyage Design Company from Creative Markets – need to get on their newsletter list to get all kinds of wonderful free PS items each week. A Layer Style was opened by double clicking on the layer words and added a red and gold Pattern Overlay style to fill font with color and a 2 pt Stroke style around the letters. Used a layer mask to paint out parts of the lettering – note to make this look right be sure to check the “Layer Mask Hides Effects” in the Blending Options section.

A Curves Adjustment Layer was added for contrast – pulled the curve down a little bit.

On a Stamped layer the free Nik Viveza 2 plug-in was applied using only one Control Point on the tree leaves to add a little more detail with the Structure slider.

Added a Black & White Adjustment Layer and adjusted mainly just the Reds to pop the image – viewed in B&W then converted to color by setting the adjustment layer to Luminosity blend mode.

It is not really as complicated as it seems. Many steps that were pretty much my regular workflow. At least take a minute to check out some of the wonderful people who still supply us Photoshop Nuts with free products that make our images unique. Hope you have a great New Year!…..Digital Lady Syd

MERRY CHRISTMAS FROM DIGITAL LADY SYD!

Merry Christmas Flowers
These beautiful flowers are called Dalmation Purple Foxgloves and were actually a deep magenta color. I wanted a Christmas feel in the image, so they are now red! Got to love Photoshop! So how did I turn these interesting blooms into red – used the Selective Color Adjustment Layer. This is a very good choice for changing a particular color in your image. Just start by choosing the color you want to change – in this case the Magentas and then go through and adjust each color’s  sliders until the correct overall color is achieved. This image also adjusted the Whites, Neutrals and Blacks to adjust the color cast in those areas. Definitely takes a little experimentation with this Adjustment Layer. On New Layers the beautiful sparkles were created using Pretty Presets Sparkle Dust and Magic Dust Brushes from their Holiday Magic action. Love these fancy brushes although Obsidian Dawn has really nice glitter brushes too. On a stamped layer (CTRL+ALT+SHIFT+E) Topaz (for website see my Tidbits Blog sidebar) Textures 2’s Grunged preset was applied as is. Nik Viveza 2 was used to draw a little extra focus to the lower right petal. A Bevel and Emboss (a Cold Press Pattern was used) and Outer Glow layer styles were added A Bevel and Emboss (a Cold Press Pattern was used) and Outer Glow layer styles were added to the font. To further enhance the petal edges, individual Darken and Lighten layers were created and a small brush set to black and/or white at 12% brush opacity which was used to paint the edges in (see my The Best Dodging and Burning Technique! blog) and reduced the layer opacity so it did not look overdone. The last step was to create a Red Channel Luminosity Curves Adjustment Layer (see my How to Use a Red Channel to Create a Nice Blended Image Effect blog).

Christmas collage

Lots went into this image – many painted brush layers and wonderful Christmas items. I love doing Christmas collages. I will not bore you with all the items, but let me know if you wonder about any of them. Hope everyone is having a wonderful time and enjoying being together! Merry Christmas!…..Digital Lady Syd

HOW TO CREATE 2017 CALENDARS IN BOTH LIGHTROOM AND PHOTOSHOP

2017 January Calendar example This week I thought I would give you a quick tutorial on how to create basic calendars using your own photos. A calendar can be so personal and might be the perfect last-minute gift. Recently I blogged about how to use templates in both Lightroom and Photoshop, and these techniques use very similar steps to create calendars. (See my How to Use Lightroom’s Print Templates to Display Your Images blog and How to Use a Photoshop Template blog.)

The first thing that needs to be done is to download the free calendars. First Ed Weaver at Red Photographic site distributes the calendars every year along with the wonderful Lightroom Print templates. Also Calendar Labs.com has different formats that can be downloaded as Word documents – see the Photoshop Calendars section below on how to convert these to JPEG files. Either site’s calendars can be used in both programs.

LIGHTROOM CALENDARS

Matt Kloskowski (a former Photoshop Guy) created a recent blog that basically covers how to get the templates into your program  – check out his Free Lightroom Calendar Preset and Templates blog. It is important to understand that the JPG calendars are just that – JPGs and need to be Imported into Lightroom just like any other image. Therefore, they need to be placed in a folder probably with your images so you know where to find them. The templates also need to be imported into Lightroom – the files have an extension of .Irtemplate. In the Lightroom Print module’s Template Browser, create a new category called 2017 Calendar Templates – then right click on the folder and import these templates. There are 11 being imported.

The image above used the Calendar 8 1:2 X 11 1 month template. Matt suggests creating a New Collection called 2017 Calendar Templates. From the Develop module, select all the 2017 Calendar JPGs and drag them into this collection. Now go through your images and choose ones you would like to include in your calendar. The collection makes is very easy to add the images and the calendars into the templates once back in the Print module. Highlight the new Calendar collection  and the Film Strip at the bottom will show all the items in the collection. Click on a template in the Template Browser to chose one. Just drag images into the openings of the template you have selected. To adjust the images inside the openings, must CTRL+drag image to fit – this is because the template is a Custom Package. My 12-month calendar did not look right when selected. If this happens, click on the Page Setup button and go into your printer’s Properties. You probably need to set the paper size to the size in shown in the template description – my printer does not have all the sizes shown so the standard 8 1/2 inches X 11 inches was used for the these examples and set to Borderless Printing to get the template openings to look correct. A background color or Inner Stroke can be added. Instead of printing right from Lightroom, I like to go to the Print Job section and choose Print to: JPEG file. Press the Print to File and save the file as a JPEG. Now more adjustments can be made in Photoshop if needed.
Image of a 12-month 2017 CalendarBelow is a different example of how to use the templates in Lightroom. This calendar used the Custom Center template in Lightroom Templates folder. Note that the heading colors are different from the gray tones in the original calendar JPEGs – this can be done by first selecting the calendar needed, then enter the Develop module, create a Virtual Copy (by right clicking on the image) and changing the color – this time the Split Toning panel was used to do this. The Virtual Copy can be dragged onto the template just like the original image. I just kept going back to the Print module and seeing if the resulting color matched nicely. Also, on the Calendars, I removed the bottom lines by just adjusting the cells – then used the CTRL+drag inside to further adjust calendar in the cell.
Image of a January/February 2017 Calendar

PHOTOSHOP CALENDAR

It is actually easier and there is more creative license to do calendars in Photoshop. First create a document that is the size you want the calendar to be – I used 8.5 inches X 11 inches again. Now bring in the calendar. The calendars from Ed Weaver are fine or download from Calendar Labs.com for some different formats. If using the Word document calendar, just open it up in Word, right click on the calendar itself, and choose Copy. Go into the Photoshop file and right click or CTRL+V to Paste the calendar into the document. Now Free Transform (CTRL+T) to adjust size and to position. If Copy is not one of the options in Word (as in the 12-month calendar which is in a table format), need to right click and choose Select -> Table – then right click once calendar is highlighted and click on Copy. It will now Paste into Photoshop. Next place an image for the top of the calendar – or just paint in a New Layer above the calendar. New Layers can be placed above the Background layer and fancy brushes can be used to paint behind it. There are now all kinds of possibilities for creating beautiful calendars for each month or for yearly ones.

Image of a January 2017 Calendar with Lions showcasedAbove the background was painted behind and above the image to give the whole month a snowy feeling – this might be a little hard to read, but it was fun to create. These are just my lion buddies that look so good wherever I put them. Used the Pretty Action”s Magic Dust brush again, some of Aaron Blaise Canvas Texture brushes, and a couple of Grut’s FX Cloud brushes (they don’t have to be used for clouds!). The image below is another example of creating the Calendar in PS and just dragging in the calendars and images. A layer mask was placed on the calendar and using one of the canvas texture brushes again, parts were lightly painted out in the calendar. Then the calendar was duplicated and taken into Color Range where the white was removed – press CTRL+J and just the numbers were shown on the layer – a Layer Styles stroke was placed around it. Then the layer was set to Color Burn at 64% so it shows up, but is slightly transparent. The flower image was taken in the Bahamas – Corel Particleshop was applied using the Cluster Brush to add some bright lights. Also the Magic Dust brush was used to add more of a magical feel. Really fun!January 2017 Calendar Hope this was easy to understand. It is a lot of fun to create your own calendars – I like to do this every year. Just experiment around and you should be able to get the hang of it. Enjoy the holidays!…..Digital Lady Syd

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