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Posts tagged “Pattern Stamp Tool

Painting Acrylics Digitally – Can It Be Done?

Happy New Year everyone! One of my New Year’s Resolutions was to get back to what I really like and learn some new things. Therefore, I did my first project – digitally painted this rose following the acrylic painter David Jansen’s video called Painting a Beginning Rose with Acrylics. I wanted to see if I could actually follow his painting directions to create a similar result. I have never painted so this was a real challenge for me.

The basic flower was done in Corel Painter 2020 on several layers – created my own Acrylic brushes using their Opaque Acrylic Brush and adjusted some of the settings. (In Painter you can go in and change the Resat and Bleed settings easily to change the strokes and create blender brushes to somewhat get David’s stroke effect.) If you want to try this in Photoshop, I would suggest you download a set of free acrylic brushes by Jess Robley – select the first brush and try reducing opacity and adjust stroke angle to create some good acrylic strokes. (I tried size 30, 21% opacity and 86 degrees for angle.) I believe converting it to a Mixer Brush would be great for blending. NOTE: Here is a cool tip for converting a regular brush to a Mixer: select a Mixer Brush whose settings you like, then hold ALT + CTRL and click on the regular brush to convert to a Mixer – Voila! It is now a Mixer! This is a fairly new shortcut to PS. Just click off and then back on the brush to bring it back to a regular brush.

Now that the flower is basically there, the image was saved as a PSD file in Painter and brought into PS to finish up. The bottom flower cluster was created using what I consider a very cool Pattern Stamp Tool technique by Jessica Johnson (see video and some freebies at this link and my blogs listed at end). This image used a Pattern and Brush from her inexpensive Romantic English Garden Set. These are really nice brushes and patterns and is a great way to add in a little color or detail into all kinds of images, not just painted ones – good for filling in those little holes that show up in odd places. I actually had a hard time deciding which brush and pattern to use for this image! The flower was darkened down the right side with an Overlay burn layer with black paint and 9% Flow on a soft brush. Last step was to add the text – it is called modernline by Ef Studio and I really like it.

So the bottom line is that if you were familiar with painting in acrylics, the transition to digital painting with an acrylic look would probably be very easy for you. For me, I am not sure I got the true essence of acrylic paint but as a first attempt, it was really fun to try. I definitely want to try this flower again using just the PS brushes – I believe it would be just as good. I am glad I got a start doing something different and working on a new set of skills. I hope everyone is trying out some new things since we are still pretty much working at home. In the meantime, enjoy the New Year!…..Digital Lady Syd

Digital Lady Syd Related Blogs:

What about the Pattern Stamp Tool? Not So Bad!

Trying Out Some New Things

The Rag-a-Muffins


TRYING OUT SOME NEW THINGS

Image of flowers taken at the Garlic Restaurant in New Smyrna Beach, Florida

The last few weeks have been pretty busy for us Photoshop groupies what with all kinds of webinars and tutorials being released by both our favorite software companies and photographers. I thought I would just go over a few techniques..

Side Note here: With Black Friday coming up, here are my favorite filters: Viveza – still cannot be beat as an overall filter; Topaz (see my Tidbits Blog sidebar for website links for all plugins) AI Sharpen – use it on every photo and can’t live without it; and a tie between Luminar 4 – just has some cool things in it – not sure yet on their new AI, but I happy with this version for now; and Topaz Studio 3 – this program has so many filters that are so useful like Impression, ReMix, Color Theme, Glow and Edges (and DeNoise Clear). If I just had these filters, I would probably be totally happy. Now I will say Topaz DeNoise AI is excellent when the need arises but I do not use it on every image, and Topaz Gigapixel I use all the time as a stand-alone mainly. And yes Color Efex Pro is always great – I just do not use it much.

The above image of the inside at the Garlic Restaurant in New Smyrna Beach, Florida, is a good example of what can be done with the Pattern Stamp Tool. It can create some pretty impressive results and is major useful for creating textures. Used Jessica Johnson‘s new techniques (video and some freebies) at this link – she has lots of newsletter freebies so sign up at her site. I recently bought her Instapressionist brushes and am having a lot of fun experimenting with them. I am finding I can blend this tool with my regular painting to get some very unique effects. I also use the brush to fill in places in my image that needs some soft detail in the backgrounds.

Pixabay image of a violin

The above violin image from Pixabay was used to apply Frequency Separation (FS) to the rather wrinkled backdrop behind the instrument – the link will show you the image as downloaded. I wanted to try this technique out on something other than portraits since I am not really a retoucher or portrait photographer. So in October Adobe Max 2020 had an on-line virtual Photoshop Creativity Conference. Their link takes you to gobs of sessions, many on PS only. (I believe I heard these videos will be available to access for a year.) Earth Oliver, a commercial retoucher, did three classes all on Frequency Separation 2.0: Part 1 – Photoshop FS2.0 Retouching, Part 2 – Taking Images to the Next Level, and Part 3 – Problem Solving Techniques. And he also supplies you with an action to use. He speaks pretty slowly, but he makes it really easy to understand FS. He also uses the Mixer Brush in some of his steps which I found really useful. FS videos were also presented by Lisa Carney at the Photoshop Virtual Summit 2 (created by Photoshop Guy Dave Cross) which brought together 20 PS experts for roughly 40 hours of videos, but these summits are always fun to watch and full of great tips in them – the videos had to be purchased at time of viewing. Lisa Carney did a Basic FS Class for Beginners and one using FS on all types of files, including smoothing out wrinkles in clothes or backgrounds. She also has a Creative Live video called Retouching Clothing and Fabric, which is really good. Using the info from two retouchers, the above image was adjusted. A Hue/Saturation Adjustment Layer was used to create the interesting color of the violin (just dragged in the image with the toggle finger). Design Cuts Blooming Corner by Maria Letta Corner1 brush was used as detail behind the violin after selecting the violin. Last step was adding a Curves Adjustment Layer selecting the preset Basic Matte Effect. I can finally say I understand FS and will now use it a lot more.

Image of a man with NYC in the background

This image uses two free images: etty fidele in Bologna Italy (Unsplash) and New York City from Deeezy (Image 12). Chris Spooner, a British PS person, recently gave away this really cool Gold Action. In the above case it was run separately on each photo and then combined with a nebula image (from Unsplash) added that was also turned to gold using a Hue/Saturation Adjustment Layer. Just sort of one of those fun things to try and every now and then and whenever something gold is needed. This really works!

Same image as above, but this time I put one of my own Corel Painter textures behind the violin and added some sand on the instrument (this was actually a snow brush from Serge Ramelli with a brown color). The colors were changed by using the old Match Color command which Ben Wilmore explained clearly in his Summit video. On Creative Live Ben has this info in his Photoshop Mastery Retouching and Collage videos – they are older but still very good. I have never used this command so I was surprised how good it turned out. As a Source image, one of the textures I had created with a beige color was selected. Then the Luminosity, Color Intensity and Fade sliders were adjusted to get the overall colors wanted. It was pretty easy and turned out nice. To get the beach feel, the PS Lighting Effects filter in the Render grouping was used with a Point light set to a yellowish color and Intensity of 19, a white Exposure of 26 and Ambience of 29 to get this soft beach feel.

Hope my US friends have a great Thanksgiving – probably a bit low key – I know mine is going to be. But have fun anyway. Hope you get in on some great sales – the plugin companies all have good deals going on. Later…..Digital Lady Syd


WHAT ABOUT THE PATTERN STAMP TOOL? NOT SO BAD!

Image of a painted male lion
This week I tried out the Pattern Stamp Tool, one I do not remember using. Since I have been getting back into painting some of my images using both Photoshop regular/mixer brushes and Corel Painter, I did not think I would like the results since it is a “painting” tool that has been with the program for a very long time. Well, if used correctly, it does a surprisingly good job. The Lion image above is one I downloaded a long time ago from Unsplash and is by Jakob Puff. This looks a lot harder than it was and I was totally surprised how nice the lion turned out, especially considering how fast it was done.

So what brought this on? This week Adobe Create came out with a link called Free Photoshop Brushes: Impressionist Set by Creators Couture. Needless to say I had to check this out. Jessica Johnson did a short video and gives you five Pattern Stamp brushes to try out this technique. What is so interesting is that you are not carefully painting each section with your brushes, you are basically just dragging around to lay down the strokes. The image itself has been turned into a Pattern which the brushes use as guidelines to follow. They look like strokes because each brush has a different make up. Jessica’s brushes are really nice and they were the only ones used in the lion image. I was going to do a video, but I think Jessica’s is pretty good and short – if you want to try this out, follow her video.

Her technique follows a pretty standard painting workflow with an Underpainting layer, Base layer, Detail layer, and then some additional layers to finish up the image. Each type of layer has a brush associated with it to create the effect. A duplicate copy of the image was placed on top and turned off while painting. A solid brown layer was used to build the painted effect up on – basically follow her simple steps to get a pretty decent result. For the above, once done with the Pattern Stamp layers and brushes, a New Layer was added to paint in the white whiskers a little. A black layer mask was placed on the duplicate copy on top and the areas that needed a little more emphasis and detail were painted back lightly – mainly the eyes, nose and whisker areas and it was set to 43% layer opacity. (See Lion Image info for final steps.)

Major Things to Know:

  1. If actually using the pattern to paint over the image, be sure that Aligned is checked in the Options Bar. Impressionistic is always checked to get this effect.
  2. If you want more detail with any brush, just make it a little smaller or want less detail, make the brush a little larger.
  3. Can also adjust the effect by changing either the brush Opacity or the Flow.
  4. Can change the Layer Opacity to reduce effect.
  5. Change the blend mode of the image and often a very different look, and sometimes better, will occur.

What I did learn is that it is not that hard to create your own Pattern Stamp brushes. There are a couple tricks you do need to know though.

Steps to Creating a Pattern Stamp Brush:

  1.  First find a brush that you think might look good for painting – there are a lot that will not work well so it takes a little experimentation here. In the PS CC later versions, in the Brushes Panel select a brush and then click the Save as a Preset icon at bottom and do not check Include Tool Settings.
  2. Now select the Pattern Stamp Tool (which is stacked with the Clone Stamp Tool) and then select the new preset. The brush will now work as a Pattern Stamp Tool.
  3. Make changes in the Brush Settings Panel.
  4. Save down as a new brush with the Include Tool Settings checked.

These steps also work on any brushes you want to change over to a different type, like changing a regular brush to an Eraser, Clone Stamp or even a Mixer. Pretty handy.

I did a lot of research before writing this blog to see if anyone else has a better way of using this Tool or better brushes – I could not find a lot. The great PS Guru Jack Davis had demonstrated this technique in his wonderful Creative Live Class called Painting with Photoshop where he used very different brushes (from 2002 but they still work) and an action, which are provided, but my first results were not good. What I liked about his brushes are that they represent Chalk, Dry Brush, Oil and Watercolor mediums. Need to consider this when creating your own.

How I created a couple of my own brushes was to look at the ones Jessica provided and try out similar settings. It was really trial and error and it totally depends on the look wanted as to which brush to adjust. For more on my brushes I created see below in Lion Palm Tree info. This process can be a little time consuming and Jessica’s brushes work really well IMO. If you only use this process occasionally, her brushes will probably be a good set to use. She also has several for sale on her site if you decide you really like to do this.

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Image of a pink water lily at the National Zoo in Washington, DC
This Lily image was created a little differently. Instead of creating a copy of the Water Lily image to use as a pattern and painting on directly, separate layers were used with different brushes to add different painting stroke and color effects on the image. In this case a green Watercolor Pattern was used for most of the leaves in the background and it was painted in using one brush I created. Then on a New Layer on the dark areas in the image a green Glitter Pattern was placed in the Options Bar, and a different brush was used- it created sort of splotchy strokes. On a New Layer the same brush using a Blue Glitter Pattern was added on some of the leaves for interest. Last pattern stamp layer which gave a pretty cool look to the lily was to set the layer to Hard Light Blend Mode and using a pattern called Strokes Gold and Kyle’s Scrape brush converted to a Pattern Stamp brush – the actual flower was painted over. For the rest of the steps and resources, see Lily info below.
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Image of two Palm Trees on the Big Island in Hawaii
These two painted Palm Trees from the Big Island in Hawaii turned out to be a good example for using the Pattern Stamp Tool. This time I used both a Pattern of the image itself for painting, and created a pattern using a small portion of a Renoir painting that had lots of pretty greens and blues in it. That meant that I switched between both patterns when creating this effect (turning the Align checkbox on and off). Just used a Solid Color Fill Adjustment Layer with a bright blue for the bottom. Then followed Jessica’s workflow using her brushes for the Underpainting, Base, Detail, Artistic, and Textures layers. Used one of my brushes and created patterns to apply the color behind the horizon and in the foreground. The foreground layer was set to Color Dodge blend mode at 57% layer opacity to get the yellows to pop. In my Two Palm Trees notes below, I have given you all the settings I used to create one of my brushes that was used for the foggy effect behind the trees. That was about it on this one other than the stand finishing as in the other two images.

I found this technique pretty easy to do and would encourage you to try a simple image using Jessica’s brushes and see what you think. She also gives you some patterns if you sign up for her newsletters which are very nice. She has a few videos on her website which show how to create the patterns like I did on the Renoir pattern for the Palm Trees image – this is really very simple stuff. If you like the painterly look, give it a try – you can always use layer masks to remove the effect from faces or objects and give a really interesting overall effect for your images. Well have fun painting! ….. Digital Lady Syd

IMAGE INFO

Lion Image: I just finished up with my normal image workflow: a white Spotlight Effect on face set to 85% layer opacity, a Color Lookup Adjustment Layer (using Foggy Night preset) at 52% layer opacity, Exposure Adjustment Layer to pop the eyes, a Black and White Adjustment Layer set to Luminosity blend mode to adjust the tones, and a Red Channel Curves Adjustment Layer at 58% layer opacity for contrast.

Lily Image: The Green Watercolor pattern was from a set by Ult Designers Watercolors. I tried a lot of Grut brushes (the best around – check out his freebies section for a free brush every week and his sampler for some more good brushes) as he uses a lot of different types of tips , textures, and edges in them. I finally got a pretty good brush using his Grut – OI Chimp Gimble and another with FX IL Choppy Slop brushes in his excellent Inky Leaks Set. Also used PS’s Kyle Webster’s Scrape brush. To get the free patterns, go to Chris Spooner Glitter Patterns. The Brush Strokes (Gold) Pattern is free. To finish up this image, usually I group the Pattern Stamp layers. Then once again just my normal finishing up process. First on a New Layer I did a little flower clean up – one area was too bright and distracted from the focus of the image so it had to be painted using a darker color. Next a free Matt Kloskowski’s Sun Rays Top Left was added, flipped and rotated to have the correct lighting effect, set to Overlay blend mode at 59% layer opacity. I did not like the white light but wanted a warmer color, so clipped a Hue/Saturation Adjustment Layer to the image and set the Hue to -180, Sat 98, and Lightness -27 for more yellow tones in the ray. This added a cool look to the image. Two New Layers were added and set to Overlay blend mode – one for a spotlight effect on the flower, and one to add more orange and yellow tones to just parts of the flower for some contrast. What really popped this image was a Gavin Philips custom pattern with a bright sun ray in the upper left from his Lightmaster Action.  The ray was moved in the pattern by holding the CTRL and dragging in the image. It was set to Overlay blend mode at 39% layer opacity. On a New Layer was set to Overlay, some black paint was added to darken down the upper right leaf – became too bright from the Pattern Fill Adjustment Layer. Next a Color Lookup Adjustment Layer was added using my Sketch Effect cube presets and set to 71% layer opacity. Next a Hue/Saturation Adjustment Layer to just adjust the color a little. A Black and White Adjustment Layer was used to adjust the tones in the image and set to Luminosity blend mode. And Finally a Red Channel Curves Adjustment Layer where both the contrast and the colors were tweaked just a tiny bit.

Two Palm Trees Image: Just a couple things about this image. I created a Pattern Stamp brush using my SJ 3 Pastel brush as a basis. Since I have released my settings for my go-to brush a long time ago, I will give you the settings I used to create the Pattern Stamp brush. First need to follow the instructions in my How to Create My Favorite Brush blog to create my basic SJ 3 Pastel Brush. Then in the Texture section, change Texture to Extra Heavy Canvas, Invert checked, Scale 83%, Brightness -90, Contrast 76, Checked Texture Each Tip, Mode Linear Height, Depth 23% and Depth Jitter 76%. Then add a Dual Brush set to Rocky (a soft round grainy ball), Size 223 px, Spacing 29%, Scatter – check Both Axes and 123%, and Count 5. Now go ahead and Save Brush, then Save again with a Tool checked, select the Pattern Stamp Tool and then save again with Tool checked. The trick to creating a brush is to look at the Texture and the Dual brush sections. These both have a lot to do with how the brush will paint a pattern. A Color Lookup Adjustment Layer using Scott Kelby Warm Reds preset was added at 90% layer opacity. Last steps here were to use two spotlight layers for lightening up and darkening down areas in the trees. Black and White Adjustment Layer and Green Curve Adjustment Layer were used to finish off the image.


Creating a Healing Brush Background Texture

This simple Amerilius flower image was taken at the grocery store with my Point and Shoot Kodak EasyShare Camera. Not quite sure how I came up with this technique but I loved the result. And it was easy to do.

1. Open image and duplicate the background layer (CTRL+J).
2. Use Quick Selection Brush (or any selection tool you like) to select the Background (or select flower and CTRL+SHIFT+I to invert selection so the background is selected).
3. With selection still active, click on New Layer icon and your selection will appear on the new layer.
4. Create New Layer underneath your object layer.
5. Select the Healing Brush Tool and in the Options Bar click on the Pattern radio button and find a pattern you like. This image used French Kiss Watercolor Expression Set texture called Vivacity – I turned it into a pattern by opening the jpg in a separate document, and going to Edit -> Save as a Pattern. (Note: the size of the texture you are converting will determine how large your repeating pattern will be so try a couple different sizes to see what you like. Also whether you have Sample field set to Current Layer or Current & Below will make a huge difference.) Now when the Source is changed to Pattern, the pattern you just created is at the bottom of the list in the drop down menu on the right of the pattern field. A 235 pixel brush was used which does take a while to paint in – just paint over your selection and the pattern is laid down.

After that you can add plug-ins – this one used Topaz (see sidebar for website link at my Tidbits Blog) Simplify 4’s BuzSim Split Toned I preset with the overall transparency set to .90. I also created an Overlay from 2 Lil’ Owls Bonus Texture 4 (see my Tidbits Blog sidebar for website link) (created a PNG file of just the frame by following the steps in my blog How To Make Frames or Borders – scroll down to the section called “To save the frame you created as an overlay to use again.”) and changed to pink using a Color Fill Adjustment Layer clipped (ALT+click between the layers). A Curves Adjustment Layer brought out more contrast and a Selective Color Adjustment Layer brought more color in the background.
…..This image used My Smudge Texture four times. The hardest part with this image was selecting the feathers from my original image to get a nice clean layer mask – Refine Edge was used to really get the clean edges. Next I put a New Layer underneath and painted in my Digital Lady Syd’s Smudge Texture as a pattern for the background. The first pattern I used followed the technique in Step 5 above and was a very large texture pattern as it was a larger size in Photoshop – the Healing Brush default settings for the brush were used and it created a really clean soft color texture for the background. For all the layers in this image, the Sample was set to Current Layer in the Options Bar. (If you set Current & Below, you will blend the layers together.) Next I created another New Layer above it and used my texture at a smaller size which resulted in a repeat pattern look. Using a 100 px brush set to Multiply Mode, several random lines were created down the layer by clicking with the Healing Brush at the top of the layer and Shift clicking at the bottom to get a straight line. Next a Free Transform was done (CTRL+T) to put the lines on a diagonal going somewhat with the feathers. By double clicking on the thumbnail, the Layers Style can be opened. In Pattern Overlay I selected my smaller sized texture again and set the scale to 37 and the Divide Blend Mode at 56% – this pretty much covered the straight line patterns but still kept the straight lines. A Stroke effect was added with the Size set to 35 and the Fill Type set to Pattern using my smaller sized pattern. The Scale was set to 31%. That was it for the background. The layer mask was applied to feathers by right clicking on the mask and selecting Apply Layer Mask. This layer was taken into Topaz (see website link in sidebar at my Tidbits Blog) Adjust 5 and the Spicify preset applied to bring out the feathering more clearly. A black layer mask was applied and then just the areas where the effect should be was painted back in. Topaz Detail 3 was added next with the Overlay Light Detail II preset was applied on a duplicate layer and set to 67% opacity. Jess Warriors 1  pottery brush was painted on its own layer at 30% opacity. Finished up with a Curves Adjustment Layer to lighten up some of the white feathers. OnOne’s Grunge 04 Frame was added in a yellow and French Kiss’s Glorious Grunge Edging PNG file (a free download) was added using a dark burnt orange Color Adjustment Layer for the border effect.
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Healing Brush vs Pattern Stamp – what are the differences?

After playing around with the Healing Brush technique, I will say it can give similar results as the Stamp Pattern Brush, but actually has fewer choices available. The Healing brush blends the pattern in with the underlying color and texture – the Pattern Stamp lays down the pattern exactly as it appears in the Options Bar. To get the softest edges on the Healing Brush’s pattern, use a soft brush by clicking on the drop-down menu by pressing the arrow by the Brush Size and setting the Hardness to 0% (default setting is 3%). The Pattern Stamp Brush lets you choose many of the Photoshop brushes that come with the program so you can get some interesting effects doing that where you have to use the settings in the Brush drop-down for the Healing Brush, and there is a really neat Impressionistic effect in the Options Bar that gives you some really neat looks for your background. Also, the Healing Brush has no brush opacity setting and only 8 blend mode options, including one, the Replace blend mode, that I have never seen before.  To quote Julianne Kost’s blog (she knows everything there is to know about Photoshop and Lightroom and gives great Photoshop World classes), “Using the Healing brush with the blending mode set to Replace makes it behave like the Clone Stamp tool (in that it doesn’t automatically try to blend color or tonality of the source and destination), with one advantage: if you’re trying to clone high frequency image information, the edges of the cloned area will not appear soft as they do with the Clone Stamp tool.” The Stamp Pattern Tool has an opacity brush slider and lets you use all the regular blend modes for your brush and also has a Behind mode. Try out different blend modes on your brushes – it can give really interesting results.
…..This is a female Palamedes Swallowtail Butterfly (the males are smaller and blacker in color) that was so much fun to photograph – she would wait for me to take the picture before moving just like a model! Totally adorable! The trick to getting the shots since her wings are flapping like crazy was to set your ISO to 1600 and shot at F11 or higher. Got some great pictures of her. After selecting her and placing her on the top layer, Kim Klassen‘s Cherish Set-Cherishscript texture (sign up for her newsletter to get lots of beautiful textures) was placed right underneath the butterfly layer. A New Layer was placed above the texture and the Healing Brush was selected. The brush was set to Multiply Mode and one of my patterns that had a rough painted texture to it was selected in the Options Bar. Current and Below was set so the colors from Kim’s texture were blended with my pattern. When finished filling in the layer, the Source was changed to Sampled (and brush set back to Normal mode) and the hard edges between the two tiling were blended by ALT+clicking in an area to sample from. Using the Pattern Stamp Tool, French Kiss’s Spatter Brush4-01 was set to 1008 pixels and one stroke was applied. The layer was set to 77% opacity. French Kiss’s French Script No1 1876d overlay was added above that layer and set to 64% opacity with a brown Color Fill Adjustment Layer clipped to it. (The color in the splatter brush was picked up from the pattern shown in the Pattern Stamp Tool, which was the same one I was using.) The butterfly layer is still on top through all this. The last step is to add a Curves Adjustment Layer.

It was a lot of fun to try this out and you can use any pattern you want to get a different look. I am enjoying experimenting with some tools I do not use much to get a different look to my textures. Give it a try and see what you think…..Digital Lady Syd

Digital Lady Syd’s Related Blogs:
How to Create Unique Textured Backgrounds


How to Create Unique Textured Backgrounds

This is a follow-up from last week’s How to Create Unique Watercolor Background Texture blog and more Photo Art examples. Below are listed several ways to create  interesting backgrounds using brushes and other Photoshop tools. The above is an example of what can be done using very traditional textures to make your image look a little different. Some clean up and a Curves Adjustment Layer were added to emphasize the sketch lines of the flowers more. Next Lost and Taken’s Remixed Chalk Pastel 03 texture was added and set to Pin Light at 100% opacity. To get the grungy look, a New Layer was created using the Amazing Texture Brush 2 by Nakatoni (apparently these are no long available but any grunge brush you like will work to add some splotchy purple color) – the layer was set to 52% opacity. A little color clean up was done on another New Layer. Next one of my favorite canned textures by Gavin Hoey’s grunge border 2 was added and set to Overlay blend mode. To get the flowers to appear, a white layer mask was added and the flowers were painted back in using black in the mask. This texture was set to Overlay blend mode. Next a composite layer (CTRL+ALT+SHIFT+E) was created and a black 3 pixel stroke layer style was added as a small border line. Next my Cat Painting canvas texture was added using Soft Light at 100% opacity. A Curves Adjustment Layer, Levels Adjustment Layer, and Gradient Map Adjustment Layer (using a bright yellow to green gradient and layer set to Saturation blend mode at 46% opacity). Two more layers were created using different grunge brushes set to 20% opacity in purples and blues were the last steps. The reason I went over all this is to show what a few layers on top of rather traditional textures can give a very different look and be very targeted to get an interesting final result. Below is the Layer Panel workflow as basically listed above.

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This background was created in an interesting way. A New Document was created using the Photoshop Paint Brush Maple Leaves set to 369 pixels with pink and yellow set as foreground and background colors – the whole layer was covered with leaves. Next the Smudge Tool was selected and I dabbed and smoothed the colors together to give this nice blended look using Fay Sirkis’s Watercolor Liquid Mask I Photoshop Brush with the Smudge Brush Tool. If you do not have access to her wonderful brushes, try Alex Dukai Artist Set 01 using the Impressionist brushes which give a very similar result. (Note: the Smudge Brush Tool takes a lot of Ram to run so use a small sized brush like 150 pixels max to do do this.) Once this is created, save the background down as a JPG so it can be used over as an image texture. I used this background and added my sketched layer from the first image. A New Layer using Obsidian Dawn’s Random Swirls 2 Glitter Brush in light pink was added to add texture to the flowers. Nagel rough pastel brushes 3 and 4 were used in the different colors to fill in blanks spots and add some color to the petals – these are really nice smoothing brushes. My Double Edge Frame layer style was added as a last step. See my blog Digital Lady Syd’s Free Layer Style Frames. Here is just a different way you can create a unique texture for you images. You can download my Smudge Texture – see below how to change the effect and colors in this same texture.
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This original image was first taken into Nik Color Efex Pro 4 and three filters stacked: Midnight using Neutral color set, Reflector Efex using Method Gold. and Bi-Color Filters using Color Set Violet/Pink 3. The background came out as black so a layer was placed above and olive green grunge was added on the layer using another one of Fay Sirkis’ textures pastel brush (see last week’s blog for more on Fay). Again a good grunge brush would be fine. A second layer was added and a light pink grunge was painted – the layer was set to 19% opacity. A Curves Adjustment Layer was added to darken the whole image down a bit. Next, the Smudge Texture created in the image above was placed in the image on top and set to Color blend mode at 80% opacity. A Hue/Saturation Adjustment Layer was clipped to the texture (ALT+Click between the layers) to adjust the hue (+14) and saturation (-71) of the texture itself – the adjustment layer was set to 49% opacity. Finally a composite layer was put on top and my Double Edge Frame layer style was added to finish up the image. I believe all these steps created once again a very unique background for these flowers.
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This image used a pattern applied with the Pattern Stamp Tool. This tool can create some really interesting backgrounds. The original image was loaded. Next a New Layer was added on top and the Pattern Stamp Tool (sits with the Clone Stamp Tool) was selected. Now to make this interesting you have to load some interesting patterns. This is one from Princess of Shadow Victorian Dreams Texture 6 but any pattern that has colors you like can be used. I wanted some blues and reds so that is why this particular pattern was chosen. Note you can use any of your textures and turn them into patterns by opening texture, going to Edit -> Define Pattern and it will be in your group of selected patterns. To make this work you need to go to the Options Bar and in the little box where the pattern is showing, click on the little down arrow and load your pattern. A layer mask was added to remove the color from the flowers. The Pattern Stamp layer was set to Color Burn blend mode at 77% opacity. This layer was duplicated which added in the blue and red tones in the texture once the layer was set to Hard Light at 64% opacity. The flowers were painted over using Mixer Brush blenders. Once again I have to thank Fay Sirkis for her great Signature Schlepp n Smear Blender brush and one by Dave Cross – his close up mixer brush. A Curves Adjustment Layer was added where the RGB, Red and Blue curves were adjusted. Finally I a used my Double Edge Frame layer style, this time adding a Layer Stroke effect and setting the size to 18 and Fill Type to Pattern. I selected the same pattern and set the scale to make it look right.
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I thought I would finish up with a couple real quick ways to add an interesting background. Kelby TV’s Ask Dave’s blog has a short video on How Did You Get That Cool Background? that was used to create the background above. This is a really easy technique. Basically Dave Cross (one of the NAPP Photoshop Guys and Hall of Famer at Photoshop World) used the Single Row or Column Marquee tool and apply a couple filters – I did this in a separate PSD file so I could use the texture over again. This time the flowers were cropped and set to Dissolve blend mode. An image that had yellows and reds was selected to create the background and a Hue/Saturation adjustment layer added for the purple/blue tones. A snow texture that Florabella Collections had given away at Christmas was placed under the flowers but above the adjustment layer – any snow texture is fine (it would be easy to create by painting with a spatter brush on a black background on a layer) and set the layer to Color Dodge at 35% opacity. A New Layer was created using Frostbo’s Snow Drops brush with purple tones – this is my favorite snow brush. My Thin Double Edge Frame was used as a last step sampling color from image.
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Hope you are not getting tired of my flowers but they were easy to use as an example. This last image first used a Randomized Gradient – it was originally in bright reds and oranges.

See my Tidbits Blog I Didn’t Know That! Randomizing Gradients which uses four steps to create. This gradient had Noise set to just 50%. The randomize button was pushed several times until I got a gradient I liked. In this case I used a Radial Gradient which was pulled out from one corner of the image. A Curves and a Hue/Saturation adjustment layer were added to change the colors to browns and pinks. The flowers were placed above the gradient layer. (See left  image.) A New Layer was added under the flowers but above the adjustment layers and a Mixer Brush was used to smear the color behind the flowers to get this effect. (I personally like John Derry’s Mixer Brushes – this used his Flat Fan High Bristle Count brush.) I was really surprised how this turned out. Try out different mixer brush settings to see which one does not pick up the flower colors but just those underneath. Now just a little clean up and frame. The Mixer Brushes can create some really interesting backgrounds.

I hope you have learned a few new ways to create some interesting background textures for your images, especially flowers. In the meantime, try some of these techniques and see if you get some good results!…..Digital Lady Syd

Digital Lady Syd Related Blogs:
Russell Brown’s Paper Texture Panel Updated!
Create a Winter Scene with Photoshop Brushes and Textures
Adding a Texture for Flair!
Adobe Photoshop CS5′s Mixer Brushes
Cold Dolphin Fountain in Florida