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COLORIZING NASA PHOTOS USING TOPAZ STUDIO (AND CHECK OUT UPDATED DETAIL)

Image of Saturn's Rings from Cassini Mission
This beautiful image was originally a black and white taken on one of the last days of the NASA Cassini-Huygens Mission using its Wide Angle Lens. The Moon Tethys is in the upper left background. My original thought was to just try painting different colors into the rings to get an unnatural but pretty color effect. To my surprise, Topaz Studio using both Clarity and the new Detail adjustments were a quick answer to get the beautiful result.

Here is the workflow followed to get the above results:

  1. First downloaded the image from the NASA Cassini-Huygens Mission site – scroll halfway down to find image pia21342-1041 where both tiff and jpeg files can be downloaded. The image above used the tiff file, but the jpeg file worked out pretty good even though it had such a small resolution. (The bottom image of Mimas was two jpeg files that were 59 and 67 KB.)
  2. Open in Photoshop and go to Image -> Mode -> Grayscale and change image to RGB.
  3. Go to the Image -> Image Size – set resolution to 300 by unchecking the Resample box, enter 300, and recheck (the jpeg file is at 72 ppi but the tiff file is 300). Can now go in and change size in inches and set to Preserve Details (enlargement) in drop-down menu if needed. Can also Reduce Noise if noticeable at this point.
  4. Duplicate image and open Topaz Studio – apply my SJ Saturn Rings. The preset has been uploaded to the Topaz Community. The colors were set in the Color Theme Adjustment so the colors in the rings can be changed to any colors wanted by just clicking on each square in the New Color Theme settings swatches and selecting new colors.
  5. Added a Green Luminosity Curves Adjustment Layer to increase the contrast just in the green channel. (Same technique as using a Red Luminosity Curves Adjustment Layer – see my How to Use a Red Channel to Crete a Nice Blended Image Effect blog.)
  6. Since Detail was just added to Studio, a composite image (CTRL+ALT+SHIFT+E) was created above and went back to Topaz Studio -> Detail. Since I am having trouble with my presets and am working with the Tech Team, the settings are just listed here (Detail in TSO – Overall-Overall Small Detail 0.34, Small Detail Boost 0.67, Medium Detail 0.51, Medium Detail Boost 0.31, Large Detail 0.53, and Large Detail Boost 0.31, Lighting Midtones 0.29 and Highlights 0.63. In layer mask painted out the rings and left the background dark to keep noise under control – used brush set to Mask Transparency 0.80. Channel Mixer Adjustment – Adjusted Lightness Channel-Red 1.73, Green -0.23, and Blue 0.34, then painted out background so only just the rings received the effect). Back in PS the layer was set back to 80%.

That is all that was done to this image. It was a lot of fun and I love the results, even though the rings are not quite those colors. The point is that it took only a few minutes to do this image – no hand painting – it just picked up the colors. The Color Theme Adjustment did most of the color work and then Detail’s new Color Mixer Adjustment tweaked it a bit.

NASA image of Saturn's Moon MimasThis updated Detail is much like the updated Clarity as it is also divided into two adjustments: Precision Detail and Color Mixer. Since it just came out, I do not have much experience working with all the sliders – the Channel Mixer Adjustment appears quite different from the original Topaz Detail 3 interface. But I am enjoying having the sliders available for quick use when needed. Here is a quick reminder of what some of the sliders do in the new Precision Detail Adjustment:

Small Details – Affects visibility of fine details in image

Small Boost – Weakens or strengthens the smaller details

Medium Details and Medium Boost – Affects visibility of the medium details with Boost weakening or strengthening the effect

Large Details and Large Boost – Adjusts visibility of the large details with Boost weakening or strengthening the effect

Sharpen – a new slider added – it does seem to add in more detail.

There is a new section called Lighting which contains sliders for Midtones, Shadows, Highlights, Black Point and White Point – same sliders from Detail 3 except the Midtones slider has been added and the Exposure and Contrast sliders are now removed.

The Channel Mixer Adjustment was also added to complete the update of the old Detail 3. It contains a totally new interface from the original Tone section that contained Cyan-Red, Magenta-Green, and Yellow-Blue sliders – these correspond to the Red, Green and Blue channels in this adjustment. There is also a Gray swatch which represents the Lightness of the image. I need to find out more on these sliders, but each have Red, Green, Blue, and Constant sliders. In the Adjustment Preset drop-down, there are several presets (Cloudy Evening, Faux Infrared Landscape, Red Contrast, and Red Green Switch) that can be tried out to see what happens with these sliders. A Maintain Brightness and Monochrome toggle switches were also added. Lot to explore here.

The image above is a composite of an upper and lower level NASA images taken in March 2017 from the same site. Topaz ReStyle was used to introduce the color palette. Topaz Studio’s Precision Detail Adjustment, Color Theme Adjustment, and Impression Adjustment were all used to get this almost poster like effect. For the Precision Detail Adjustment, a layer mask was opened and Luma was selected so just the moon was selected and the background was black – Luminosity slider 0.11 and Range 0.01. In PS Saturn was added in on separate layers with some brushes I had created a long time ago. On a final stamped layer on top, Nik Viveza 2 was used to soften the rough edges between the sharp shadow lines of the moon.

A couple of things I noticed – it appears that they are removing the older versions of the plug-ins in the Plug-ins drop-down and just adding them into the Studio Adjustment lists. Am checking on this as I would like to have the old ones still available. Also, there appears to be the original category preset choices on the left side that correspond to the plug-in being used by clicking on the drop-down menu under the Search field.

Try downloading some of the wonderful imagery from NASA and see if you can create a magical feel. Just remember all the beautiful Hubble images were originally black and white images and the colorization used is similar to what was created in this blog. Hope you have a wonderful weekend…..Digital Lady Syd

Digital Lady Syd Related Blogs:

Updated Impression Now in Topaz Studio
Updated Clarity Now in Topaz Studio
Introducing the Free Topaz Studio
Flowers Enjoying a Planetary Twilight Sky

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UPDATED IMPRESSION NOW IN TOPAZ STUDIO

Image of a little pink Vinca flowerHere is a quick blog on another big update to Topaz Studio. This time the program now includes an Adjustment Panel for Impression. The interface is very similar to what is in the older Topaz Labs Impression2. It actually is easier to understand compared to the Clarity update (see my Updated Clarity Now in Topaz Studio blog for more on this) which included two adjustment panels working together. And the same great Topaz policy stands so if you already own Impression, it will be updated for free. As I said in the Clarity blog, before going any further, please be aware that Topaz is not going to update the actual Topaz Labs version if you own it. Instead it will be updated in Studio (to download go to my Tidbits Blog sidebar and for more info check out my see my Introducing the Free Topaz Studio blog) before adding the Impression update. If you have Studio already running, just go to the website to find the Impression update by clicking this link.

The new Impression update will now be linked as Impression in Topaz Studio (Filters -> Topaz Studio -> Impression) instead of in the regular Topaz Labs individual plug-ins in Photoshop. By selecting Impression, an interface very similar to Topaz Studio will appear but only the Impression presets will be shown on the left side. By using the Studio interface, each adjustment (including the Impression Adjustment) can be masked, different blend modes applied, and opacity adjusted. So there really is a major benefit to using the upgraded version in Impression for Studio. Below are the major changes that have been implemented to the plug-in:

  • The addition of a Painting Progress Timeline slider which “…allows you to move forward and backwards through the development of the Impression effect added to your image.” Using it will give some very different effects from what the full application of the paint strokes creates.
  • Increased the resolution of any image larger than 2k.
  • Increased detail in every brush stroke. Must compare with the Topaz Labs version to actually see this difference.

Just like with Clarity for Topaz Studio, Impression can be opened from the the blue Adjustments button, the Adjustments menu in the top bar, or from the Specialty section in the pop-out on the left side of the interface  – down at the bottom Impression will be listed along with the new updated Clarity if you own it also. I know some people are enjoying have the presets all in one place, but I am still having problems with organizing My Effects presets so I can tell which ones go with which adjustment. By clicking on the three bars at the bottom of the preset and selecting Edit, the name can be changed so I am now adding a TI to all my Impression presets and TC for my Clarity presets.

For those who have forgotten what all the Impression Stroke sliders do, or if you are new to the plug-in, here is a quick reminder:

Brush Size – Very small size protects the detail in image; large size blends detail so less noticeable and more painterly.

Paint Volume – Individual strokes show highlights and shadows; increase size for an Impasto look.

Paint Opacity – Transparency of the strokes (more background comes through).

Stroke Rotation – This slider adds variation to each stroke and when combined with Stroke Color Variation some very interesting texture results can occur.

Stroke Color Variation – This introduces different shades of color in image – the color changes drastically when set really high.

Stroke Width – Set to 1.00 the stroke is scribbly and -1.00 very realistic.

Stroke Length – The large the amount, the longer the stroke.

Spill – Use to make edges of edges more painterly – set to 1.00 and the paint spills over edges as an outline.

Smudge – Burs and smooth edges of strokes – set to 1.00 and it looks like PS Oil Paint Filter.

Coverage – How far the medium is spread across the surface – when set low the background shows through.

Coverage Transition – Only appears if Coverage is used – set to a lower amount and it becomes a white vignette.

Painting Progress – The new slider that can be reduced to take the actual stroke layout to an earlier stage. Really fun slider to use.

Remember that to add a Vignette to an image, in the Lighting section move the Vignette slider and more slider appear to further add alter the effect. Since Topaz Studio does not support Photoshop Smart Objects, there is now a .tsp file format that will save the settings used in the layer so you can go back and see what was done to the layer – just go to File -> Save and in the drop-down name and save as a .tsp. This will save the layer even when opened as a plug-in in Photoshop – just click OK as before to apply the layer.

The image above is a pink Vinca flower where Impression for Topaz Studio was used on two different layers. Each time the default settings were used and the mask was opened and different areas were painted out. It can be added into the same image as many times as you want with different preset effects or settings – or the same! Then individual adjustment masks can be opened and the actual effect can be localized to a certain part of the image just like individual layer masks work work in Photoshop. This image used the Painting Progress slider set to 0.71 for the first use of the adjustment. After the Impression Adjustments, a Texture Adjustment not in the Impression panel was added where one of my textures was used to give the more Impasto effect – just painted out the flower and foreground leaves to soften this effect. Last step was to add a Dual Tone Adjustment to really bring out the highlights on the flower.
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Image of a Zebra Longwing Butterfly in a Bottle Brush PlantIn this image of the Zebra Longwing Butterfly, Topaz Studio’s Impression Adjustment was applied twice on two different PS layers. One used my charcoal presets with the Paint Progress set to 0.43, and the second started with the default settings where a little more color was added using the Impression Adjustment.

I am really enjoying the flexibility the plug-ins now have. It is much easier to apply the different plug-ins in one place and use the effects together. Topaz is still hard at work adding more of their plug-ins into the interface, so be on the look out for another one to be added soon. In the meantime, try adding in Impression into Topaz Studio and try it out if you do not already own it. I think it is one of their best plug-ins!…..Digital Lady Syd

HOW TO CREATE A POSTCARD

Postcard about Hurricane Watching in FloridaBeen a busy couple of weeks – one preparing for a hurricane and one cleaning up after one. Very lucky here – only lost power for a few days so I can continue on with my blogs. Thanks for all the good wishes I received – they were really appreciated!

Before the storm Adobe sent out a newsletter with a link to a free Postcard with Instructions template that has turned out to be quite easy and fun to do. They used a .psdt file format (it will open in PS like a .psd file in layers) which listed some very good instructions on the top layer – this made the document much larger than the actual postcard size. Therefore the Crop Tool must be used eventually to remove the excess size. Just about every layer was substituted with my own objects and text. (The bird is called White Heron from the Design Fairy, two textures from 2 Lil’ Owls (for website link, see sidebar at my Tidbits Blog) called After the Rain 10 used at 57% layer opacity and Starry Night 6 used inside the letters, large font is called Consequences, and small font is called A Charming Font Superexpanded.) The palm trees are from another of my images. To get the rather textured result inside the large font, a Gradient Map was clipped to the text (ALT+click between the layer to clip) and in the Gradient Editor the Gradient Type was set to Noise and the Randomize button was clicked a few times until I found one I liked. (See my short I Didn’t Know That! Randomizing Gradients blog.) It does take a little experimentation to figure out where to set the different objects or add extras in, but it is pretty simple to adjust.

Image of a Zebra Longwing Butterfly postcardHere is another example of using the Adobe template and a Zebra Longwing Butterfly who was flying around in my Bottlebrush Bush. This is so much fun, especially if you like to work with text. The large font is called Castile Inline Grunge.

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The text and image below are from an old blog created back in 2011 that created a similar effect as the template above. Had to edit out some old links, but the workflow is the same and very easy to do. Just follow along to give text some interesting effects.

1. Open image to use in text layer.
2. Unlock the Background layer. (Drag lock to trash can.)
3. Create a New Layer underneath Background Layer by ALT clicking the New Layer icon and fill with whatever color you would like to use.
4. Highlight top layer and select Text Tool.
5. Click on image and enter text with the font you want to use – can adjust size of text later. Click Check to finalize text.
6. Select the Move Tool and move the text where you would like it.
7. Can CTRL+T to adjust the text size. Click check to finalize text again.
8. Drag Background layer above Text layer.
9. Go to Layer – Create Clipping Mask or ALT+click between the two layers.
10. On Text layer, create Layer Style – double click on layer to open. Select Drop Shadow and set to 100% Opacity. Play around with the other sliders and contours until you like what you see. I also added a stroke to my images here.
For the above, the original image was converted to a Smart Object as the background. Topaz (for website link, see sidebar at my Tidbits Blog) Simplify plug-in was set to Sketch Hardpencil (check out the Topaz Simplify 3 presets in updated version) and adjustments were made by adding Contrast, Details Strength, Details Boost, Details Feature Boost, and making the Edge Type Mono Line. The opacity of the layer was set to 49%. A free font called Freshman from dafont was selected. A Textures by Ash No. 26 (no longer available but was mainly a very yellow texture with grungy orange edges) was placed above the Background layer at 65% opacity to add warmth to the image.

Hope everyone has a wonderful weekend and are starting to enjoy what I consider the best month of the year!…..Digital Lady Syd

NO BLOG THIS WEEK DUE TO HURRICANE IRMA

Image of a bird walking in waterNo post for a while as unfortunately I live in Florida with Hurricane Irma on the way. This bird was taken after Hurricane Matthew last October. Figure the birds will be the only ones not concerned about what is coming. Will be back as soon as possible on the other side!…..Digital Lady Syd

UPDATED CLARITY NOW IN TOPAZ STUDIO

Image of a Tri-colored Heron at the St. Augustine Alligator FarmThis week Topaz released an update to their very popular Clarity plug-in and it is a really nice upgrade. It is now much improved over an already excellent filter that is one of the best Photoshop plug-ins around. The Heron above was not processed very  much in Lightroom, all in Clarity Topaz Studio and a little in Nik Viveza to adjust the light on the birds head and wing tip. Before going any further, please be aware that Topaz is not going to update the actual Topaz Labs version if you own it. Instead it will be updated in Studio (to download go to my Tidbits Blog sidebar and for more info check out my see my Introducing the Free Topaz Studio blog) before adding the Clarity update. If you have Studio already running, just go to the website to find the Clarity update by clicking this link. Topaz does a great job of walking you through this new process on the Topaz Studio website. So what is so different?

It is all in the Clarity Interface. In Photoshop, the new Clarity update will now be linked as Clarity in Topaz Studio (Filters -> Topaz Studio -> Clarity) instead of in the regular Topaz Labs individual plug-ins. By selecting Clarity, an interface very similar to Topaz Studio will appear that contains two adjustments, Precision Control and HSL Color Tuning. See image below for an example of the bird as it looked in Clarity for Studio (click to see large view Flickr). Screenshot of Precision Contrast section in Clarity for Topaz Studio

Precision Contrast Adjustment

As you can see the Clarity Dynamics section from the Topaz Labs Clarity plug-in is now called the Precision Control Adjustment. The Contrast section contains the original Micro, Low, Medium and High Contrast sliders but the website says they are now much improved – I believe they are after using the update on the bird image. Some of the feathers on the bird are crazy sharp! The Lighting section sliders are better at detecting the Shadows, Midtones and Highlights – these appear to be derived from the original Toning Section Black Level, Midtones, and White Levels sliders. Also there are Equalization buttons (low, medium, or high) which are supposed to emulate the Region technology in Topaz Adjust. I have not fully explored this. The Preset drop-down has several choices for setting up these sliders (Balance, Brighter, Brightness, Color Detail, Color Boost, Details, HDR, Little Things, Reduce Shadows, Saturation Boost, and Sharp). This image shows settings for the Color Detail preset. There are also presets on the left side which I did not use for this image. All your original Clarity presets are migrated over. Unfortunately at this time there are no subcategories so one long list of presets occurs – I cannot seem to figure out a logical order to them and my personal presets are all over the place. The good news is that there is a field for searching for your presets if you can remember what you named them. Hopefully Topaz will address this situation in a future update.

HSL Color Tuning Adjustment

The second part of the original Clarity was called Hue/Sat/Lum and now is called HSL Color Tuning. Not a lot different other than each color has individual sliders where the color is shown in the image, and a Gray Color is available. Also some presets are in a drop-down (Extreme Hue I and II, Increase Cool, Increase Warm, Red Cool, Red Warm, Subtle Hue I and II). Three new sliders have been added: Details (to help recover detail lost from increasing the brightness of the different color or whole image), Suppress Artifacts (to remove rough and unnatural edges and helps reduce artifacts to reduce detail), and Color Sensitivity (set higher to add saturation in the whites and grays in surrounding image). Not sure I understand how these setting work exactly yet, but the website does a good job of telling what they do.

By using the Studio interface, each adjustment can be masked, different blend modes applied, and opacity adjusted. So there really is  a major benefit to using the upgraded version in Clarity for Studio. In the screenshot below, you can see the Precision Control mask created for this image. I did not want the background to appear crisp, so by clicking on the plus sign on the upper right of the adjustment, a layer mask is opened. I inverted it and used the Brush tool to just paint back the bird. The brush tool has really been improved – it does not crash my system if too many strokes are made too quickly.
Screenshot of Layer Mask in Precision Contrast Adjustment in Clarity for StudioTwo HSL Color Tuning Adjustments were used: One to change the green color in the upper right corner (a layer mask was used to localize the color change), and one to emphasize the Red, Green and Blue colors, and adjust the Details, Suppress Artifacts and Color Sensitivity sliders. See screen shot below.
HSL Color Tuning Adjustments in updated Clarity in Topaz StudioIf you bought the Pro Adjustments pack from Topaz Studio, the Clarity updated sliders will also be in the Precision Contrast and HSL Color Tuning adjustments in Topaz Studio. If using the stand alone version of Topaz Studio, I do not see at this time a specific link to the Clarity for Studio update in the menu for those who previously owned Topaz Labs Clarity. I believe the two Adjustments will just be added to the regular Topaz Studio interface. Note that you can still reach the original Topaz Labs Clarity plug-in (and all your other plug-ins) in both the stand-alone version and the Photoshop Filter version by going to the Plug-ins in the top options menu of either Clarity for Studio or the Topaz Studio interfaces. Image of Holyrood Castle carvingsThe image above is from Holyrood Palace in Edinburgh, Scotland. The Clarity in Studio did a great job on the detail of the stone carvings. A Dodge and Burn 50% gray layer was added to finish up, but Clarity did most of the detail work in this image. It also does a great job on landscapes so give that a try too. Below is a house located in the Scottish Highland and is probably a little over the top with processing, but I like the almost illustrative artsy effect. Instead of using the HSL Color Tuning Adjustment, the Dehaze Adjustment from the Pro pack was used to make the tree colors sharper – a preset was made in the Community called SJ Clarity PC with Dehaze that you can download to try out the settings. Then I also added one of my favorite Topaz plug-ins, Detail 3, and set the Med Detail to 0.38, Large Detail to 0.15 and Tone Contrast to 0.30 set to 59% layer opacity. That was about it. The combination of Clarity and Detail is one I actually use quite a bit when I want this type of look.
Image of a Scottish Highland mansionIt appears that Topaz will now be using the Topaz Studio as the location for all upgrades to their plug-ins that are currently linked in Photoshop as Filter -> Topaz Labs -> Topaz (plug-in name).  I know Topaz is one of the best software groups around and they will answer any questions you have if there is a problem with the upgrade. It took me a while to figure out how to add the upgrade. And I did have to update my video card after loading it as all the sliders disappeared. Topaz suggested on their website to try this if there are problems and gave you a step-by-step guide to follow. I hope you will all enjoy this update. I am finding it to have wonderful results. Hope you get a chance to give it a whirl this week!…..Digital Lady Syd

GET INSPIRED USING YOUR FAVORITE TEXTURES

Digital painted image of a farm sceneLots of times I have found or created a texture I really like that I would like to use in an image but not sure where. So this is a blog on how to create images for that texture, and possibly get your creative mind going. Not particularly a new concept, but a little different approach for using texture. It also gives you a chance to brush up on your compositing skills and try out some nature brushes. The image above is an example of my using a texture that I created in Corel Painter and used in this image originally.

There are not a lot of steps to this process. Just open the texture above a white Background layer in case the texture needs to be set to a different blend mode or opacity amount. Next add elements and/or text, and finally do the finishing steps as if post-processing an image.

That is exactly what was done above – here is the workflow for this image to demonstrate the steps. The texture was added and left as it is. Next Photoshop’s tree filter was used to create this pretty foreground tree. If you have not experimented with this filter, give it a try. (For more on this see my How to Create a Photoshop Artistic Tree.) It is so much fun! These are my tree settings – most of the settings were changed to get the tree effect shown above.  (Base Tree Type: 19: Fraxinus Griffithi which is an Evergreen Ash, Light Direction 85, Leaves Amount 22, Leaves Size 130, Branches Height 94, Branches Thickness 77, Uncheck Default Leaves and select 8: Leaves 8, Uncheck Randomize Shapes Arrangement 21.3.) A layer mask can always be added if you do not quite like the way the branches look – in this case some of the leaves were too dark so a 30% brush was painted over them in the mask to lighten them up. The Liquify Tool can also be used to get the branches sitting just right. A Hue Saturation Adjustment Layer was clipped to the tree to make it more golden in color to match the texture. The texture looked like a golden wheat field to me so a little red barn from PixelSquid was added – a mask was added so the bottom of the barn could be removed and hide it from view. The layer was set to 55% layer opacity so it is looks a little less sharp and more distance. I love the brushes by DeviantArt’s ninelvlsup and her Dandelion Whisps brush was used in the foreground. Some of the edges were removed with a layer mask. The birds are from a Flypaper Bird Set that I use all the time. To soften the effect of the birds, a Pattern Fill Adjustment Layer was clipped (ALT+click between the layers to clip) to the birds and a yellow and red pattern was used. The bird layer was set to Multiply blend mode at 77% layer opacity. The last element is the single bird from the same brush set called Big Crow Fly Birds brush – it was duplicated and the top layer was set to Multiply blend mode at 65% layer opacity to emphasize the bird a little more. The elements are now in place. A stamped layer was created (CTRL+ALT+SHIFT+E) and Topaz (for website link, see sidebar at my Tidbits Blog) ReStyle was opened. There a different color palette was applied – one that was less bright and yellow and created a cooler color tone – the preset was created from another image. (See my Flagler Beach Pier image for color palette used.) This layer was set to Color blend mode. The final steps are what I generally do when finishing up a regular photo image. Not all my steps were used here but a lot of them. A Levels Adjustment Layer was added to add some contrast back. On another stamped layer Nik Viveza 2 was used to shift the focus back over to the bird from the barn. On a New Layer a little spatter brush was used to give the grass a little life – I wanted it to look like little bugs flying around. A soft orange Light Leak was added to the top left for a bit of color in the sky. A Red Channel Luminosity Curves Adjustment Layer was added to pull the whole image together. The last step was to add a layer style to the edge for a soft brown border – just an Inner Shadow set to Normal blend mode, brown color, Distance 0, Choke 53, and Size 29; and Inner Glow set to Saturation blend mode, Opacity 100%, white color, Softer Technique, Edge, Choke 0, and Size 250 pixels. Know this got a little long, but it is a pretty good example of how to pull a composite effect together once the texture is chosen.

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Below are two examples of using basically the same elements in the same place but used with different textures that give a totally different look. Digital Art image of fur trees and a deerThis image used a really colorful background texture that I created using a whole bunch of the brushes in Grut’s Inky Leaks Splatter Brushes, which are fabulous brushes. Here is a link to how this texture was used before. It gives a subtle effect especially in the sky in the above. Here is a quick run-through of the steps using a very similar workflow. The tree was created using the PS Tree filter  again (the Pine Tree 2 was used) and duplicating and flipping it to make a second one. The deer element is from Tara Lesher (could not get weblink to work). Frostbo Grass Set 2 brushes were used. The flower under the large tree is actually from a recent Checking Out the Buds Tidbits Blog. I try to save out anything that could be used again for other images. The flying ducks are also from the Flypaper Bird set above. A light leak was added on right side. A Van Gogh preset was applied in Topaz Impression 2 – a layer mask was used to paint back the deer, birds and tree trunks. Three more textures were used get even more of a painterly look: one of mine which had yellow and a slight bluish vignette around it and set to Darken blend mode at 57% layer opacity (used Topaz Texture Effects in PS to create it), 2 Lil’ Owls (for website link, see sidebar on my Tidbits Blog). The Grey Collection 3 was set to Overlay blend mode, and her Ancient 1 set texture 2 was set to Linear Light at 28% layer opacity. Nik Viveza 2 was applied to adjust focus. Last step added a Color Lookup Adjustment Layer using a Candlelight preset – it was set to Linear Burn at 10% layer opacity. Pretty much the same as above but very different result.

In the image below I wanted to show how a different texture gives a very different result. It contains the same basic elements except that the grass was created using  Aaron Blaise‘s Foliage brush set and Directional Fur and Hair brush set. I was really surprised what nice flowers and grass can be created with these brushes. The texture is another one I painted in Corel Painter. The font is called Winter Holidays. I am not sure I have ever used this texture before but I like it. The reason this image looks so different is that the PS Lighting Effects filter was used to set the lighting on the right side. Otherwise the image was post-processed as the first one.

Digital image of fur trees and a deerThis is something to try when you do not feel so inspired. There always seems to be some texture that will get you interested in creating. Until later…..Digital Lady Syd

Digital Lady Syd Related Blog:
How to Make a Basic Composite Image
Creating Winter Wonderland Effect!
How to Create an Image From Nothing!

SOME FLOWER POWER

Digitally painted image of flower on a purple backgroundJust doing a quick post this week. Thought I would pass on just a couple thoughts on doing a digital painting. I find that when I am painting that either the Color Panel (set to Hue Cube – click the pop out in upper right corner to see other options) or Coolorus is open on the left side of my screen so colors in the same color palette can be selected very quickly by just clicking in the color areas. Coolorus is an inexpensive add-on for Photoshop CS6 and up. The Color Wheel  and the Mixer section Swatches, Color History, and Shades & Tones strips are all kept open so all you do is choose a color you want by clicking in it with your brush. For painting with the mixer brushes, the Current Brush Load needs to be set to Load Solid Color Only in the drop-down toggle menu. Then colors can be sampled using the ALT+click in the Mixer brushes also.

These are some of my favorite painting brushes I am using right now for most of my Photoshop painting. For this image the purple color was used as the major color and the rest of colors were mainly complementary greens. First started out with a purple background color – used a new Paint Bucket Tool preset by Grut (for website see sidebar at my Tidbits Blog) called FI Paper Deeds. On a layer above just drew a rough sketch of the leaves using Grut’s I Qwillo brush (one of my favorite drawing brushes!). Then painted in the leaves underneath using Gruts NM Pans Attic and OI Shiff Din brushes – made the brushes much smaller and just kept blending the colors using both brushes. The white flowers were painted in using my SJ 3 Pastel Van Gogh TI1 brush (see below for settings) and turned off the Color Dynamics sections to paint in centers. My sharp line texture png was added underneath and some green grass with flower were added that I had painted previously. Then a stamped layer was created (CTRL+ALT+SHIFT+E) and Topaz (for website see sidebar at my Tidbits Blog) Impression 2 where Rembrandt Portrait II preset was applied a little. Then on a New Layer the fence was drawn, Jai Johnson’s flying birds png was added and set to 23% layer opacity. Two text layers were created – one used Castile Inline Grunge font and the other a font called Chiller. Used one of my painted borders created a long time ago. Some little spatter marks were created using Grut’s FX Flick Tub brush. A purple light leak I created a while back was added to the right side of the image and one of Sebastian Michaels borders was added on top. Finished up the photo with Nik Viveza 2, and a Red Channel Luminosity Adjustment Curve. See my Related Blogs for more info on some of the techniques used above.

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Digitally painted Purple-Pink FlowersThis digitally painted image above is using the same basic workflow as above. I used a couple different brushes on the flowers and leaves, but overall pretty much the same results. The major trick is to find a brush to remove some of the sketch work without losing the definition of the petal. I used a mixer on this one to soften those lines. The mixer brush layer was lowered to add back in some of the texture in the leaves and blossoms. And definitely a lot of brush size variations to add detail versus smoothing. Underneath all the painting and sketch layers, Kim Klassen’s Dream texture (not sure it is still available) was added and set to 46% layer opacity (on top of a white background layer). The frame is from one of my Double Edged Frames layer styles that can be downloaded on DeviantArt.  Lots of fun but it does take some time to get a nice overall effect. My sketches were so rough looking it is amazing to me that it all pulls together.

Have a nice week and try a little illustration even if you are not that great at it. It is a lot of fun to try different Photoshop brushes and see what turns out……Digital Lady Syd

Brush Settings for SJ 3 Pastel Van Gogh TI1 brush: To make your own, follow my How to Create my Favorite Brush blog but with a couple important changes. First a small square was selected using the Marquee Tool showing a part of the plant Impression layer that showed some nice contrast and brush strokes in it. It was turned into a Pattern by going to Edit -> Define Pattern and name it. (I named mine TI Van Gogh). Next the Brush Panel Texture section was opened. Select the Pattern drop-down (little arrow on right side of pattern swatch) and go to the very bottom where the new Pattern is located. The setting for the pattern I created are: Scale 46%, Brightness -46, Contrast 34, check Texture Each Tip, Mode Color Dodge, Depth 38% and Depth Jitter 12%. Try adjusting all these settings to fit your particular pattern. This brush gives a nice stroke effect at both larger and smaller sizes. Then open the Color Dynamics section and check Apply per Tip, set the Hue Jitter to 2%, and Brightness Jitter to 11%.

Digital Lady Syd Related Blogs:
How to Create My Favorite Brush
How to Create Scanned Photoshop Brushes
How to Create Light Leaks to use Over Again
How To Make Frames or Borders
How to Use a Red Channel to Create a Nice Blended Image Effect

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