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Posts tagged “PhotoFrame

How to Turn a Brush into a Watercolor Brush

I just keep learning more about textures. This is one of those little tips that just did not occur to me until I looked at my old notes from Fay Sirkis’s “A Stroke of Genius-Photoshop Art Studio” webinar at the NAPP website and it sort of “jumped out” at me. BTW, if you want to learn how to paint in Photoshop, Fay’s video is full of information to teach just that – she does a great job of explaining all the famous artist’s techniques.

Now for the basic tip: If you want to make a regular brush into a watercolor brush, just check the Scattering section in your Brush Panel – even the default settings can do wonders. You will probably need to reduce the opacity of the brush to get a good effect and also adjust the size. Can try changing the scattering amount and adding texture to the brush for more interest. Just be sure to save it if you want to reuse it by clicking on the Create a New Brush icon at bottom of the Brush Panel. If you use a Wacom tablet, you will get different results using a regular tablet brush and/or Barrel Rotation Brush, besides what you get with just a mouse stroke. My images all used the Barrel Rotation Brush to get the painterly look (I use an old large Intuous 3 Tablet that still works just fine), but I did switch between brushes and mouse to get a little different texture added. See bottom of blog for download link to all the brushes I have created.

For the agapanthas (African Lily) flower image above, these steps were followed:

1.  First duplicate the image.

2.  Place a layer underneath the top layer and fill with white (One way to do this is to go to Edit -> Fill and select in the Use drop-down white).

3.  A black layer mask was added to the top layer with the image, and in the mask the flowers were painted back in carefully using a 30% opacity white soft brush.

TIP: For the flowers in the bottom two image, first the Select -> Color Range command was used before the Layer Mask was added to get most of the flower and/or background selected (instead of painting it all in the mask by hand). The Quick Mask (press Q to enter and exit) was used to fine-tune the selection before adding the Layer Mask to the flower layer – this puts the selection into the layer mask when you click the icon at the bottom of the Layers Panel. If the wrong area is black, just highlight the layer mask and invert by pressing CTRL+I.

4.  A new blank layer was added underneath the flowers but above the white layer. This is where I started experimenting with the above brushes – the watercolor texture was painted in exactly where I wanted it to fit around the flower. I ended up using a Watercolor Salt Brush set to Scattering at 368%, 170 pixel Brush Size at 30% opacity in a light blue. (This will look totally wrong at a higher opacity.) I tried several different colors and ended up using this soft greenish color (R160/G174/B124) in a Solid Color Adjustment Layer that was clipped to the painted texture (go to Layer -> New Fill Layer -> Solid Color and check Use Previous Layer to Create Clipping Mask). The Watercolor Salt Brush layer was set to 41% opacity. (This is my SJ Watercolor Salt Brush Tool Preset brush.)

5.  I decided to add in another watercolor texture layer made with the Round Watercolor Brush set to 30% opacity and Scattering 169%. (See my SJ Round Watercolor Erodible Brush 1.) The layer was set to 100% and the Solid Color Adjustment Layer was duplicated and placed above the top texture layer and clipped (hold down the ALT+click between the layers to get a clipping mask).

Optional Step as shown in first and second image: To get the look that this is on watercolor looking paper, all that you need to do is to add a Pattern Overlay Layer Style on the white layer created in Step 2 and use the same Pattern Overlay Layer Style on the actual flower layer in Step 3. When the Layer Style (double click on the layer thumbnail and select the Pattern Overlay style where you replace the default bubble with the CS6 Artist Surface Watercolor Pattern. (Click on the down arrow by the bubble pattern and click on the little gear on the upper right – navigate to the the Artist Surface patterns.) I set the scale to 536% and the pattern opacity to 74%. For Step 3 layer, set pattern opacity to 34%. You can find other watercolor patterns on the internet if you want a different look.

Those are all the basic steps to get this beautiful result. The hardest part was creating the layer mask for the flowers. You can always work on the flower layer mask more after you get your textures in place.
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This image followed exactly the same workflow above except a different color was used and the layer opacity was left at 100% for the texture. The Optional Step texture is from Russell Brown’s Watercolor Assistant Panel that is a free download for Photoshop CS6 users. It contains this beautiful watercolor paper pattern called Bockingford_rough. Download the panel and try painting – it is a lot of fun and you get this beautiful pattern to use for your watercolor background effects.

I got really nice results with the tablet brush using the new CS6 Round Watercolor Erodible Brush and adding the default Scattering settings, 30% brush opacity, and a larger 125 pixel brush. (See my SJ Round Watercolor Erodible Brush 1 in downloadable set below.) The CS6 Watercolor Salt brush actually generates a pretty realistic cloud effect when set to a soft bright blue color. Try the new Bristle Brushes too – gives a totally different look. I also created a nice Watercolor Brush using CS5 – in this case I started with the Round Blunt Medium Stiff brush. In Brush Tip Shape, Shape is Round Blunt, Bristles 14%, Length 137%, Thickness 37%, Stiffness 71%, and Angle 53 degrees. Then the Shape Dynamics section was checked with and Angle Jitter set to 34%, Scattering set to the Scatter 338%, Texture using one called White Stationary, Transfer  – Opacity Jitter set to 47% and Control Pen Pressure, Wet Brushes and Smoothing checked. (This is my SJ Watercolor Brush Tool Round Blunt brush in download set.) There several watercolor brushes in the Natural Brushes 2 set and Wet Brushes for CS5 users that would probably make really nice scatter brushes too.
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This image used roughly the same workflow except the background color is a lovely soft orange. This time my Salt Watercolor brush set to a light orange was used along with McBad’s Watercolor Brush 37 at 768 pixels using a light yellow. When finished, Topaz (see my Tidbits Blog sidebar for website link) Adjust 5’s French Countryside (one of my favorites) preset was applied (with these changes: Adaptive Exp. .47, adjusted Contrast and Brightness, turned off Diffusion and Vignette, and set Tone Strength to .78), Topaz Detail 3 set to the Overall Medium Detail preset (I use this setting all the time on my images now), and Topaz DeNoise 3 used to clean up noise in flower center only – used a black layer mask and painted out the center. rbcampos Iris Set 01 Brush 005 was used for the center eye and set to a layer opacity of 27%. A catchlight was added to the eye and OnOne (see my Tidbits Blog sidebar for website link) PhotoFrame Dave Cross 13 was added in a matching soft orange.
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Here is a final example that follows the same workflow. In this case the background was created using McBad’s Watercolor Brush 11 with Scattering on and the Brush Size set to 2000 pixels. Just dabbed on a separate document until I got an interesting watercolor texture – then dragged it into the flower image under the Step 3 flower with layer mask layer, but above the Step 2 white layer. Topaz Simplify 4 was applied to the flower layer and the Watercolor II preset applied, except to the center of the flower. French Kiss’s free Glorious Grunge Edging Overlay with the center cleared out was applied and a purple Color Fill Adjustment Layer added. Just a slightly different look using a different type brush.

I have made my five brushes in this blog available for download at my Deviant Art: SJ WATERCOLOR BRUSH TOOL PRESETS. Load them into Photoshop by clicking on the first icon in Options Bar – click to open Tool Preset Picker and open up fly-out menu or little gear on top right – select Load Tool Presets and navigate to where you downloaded the file. (The file is in a compressed ZIP file format as Deviant Art would not take a .tpl extension.) Change all the settings – you can always get back to what they were by opening up the Tool Preset Picker and clicking on the brush tool again. Hopefully you will develop some even better brushes than these I supplied. Have fun experimenting with this…..Digital Lady Syd

Digital Lady Syd Related Blogs:
How to Create Unique Watercolor Background Texture
How to Create Unique Textured Backgrounds
Using a Couple of My Textures


Digital Lady Syd’s Review of OnOne Perfect Effects

No question about it, this has been the year of the great Photoshop plug-ins! I just decide that one of them has got to be the best and another one comes along that is just as good!!! What to do, what to do! My personal feeling had been that the Perfect Effects plug-in was not going to be as good as my favorite Topaz Black and White Effects or NIK Color Efex Pro, but I was wrong! Very nice plug-in with a very good interface. It can be used alone or as part of the updated OnOne Perfect Photo Suite 6.0 (see my Tidbits Blog sidebar to access site). I had a great time creating the images below with just Perfect Effects and sometimes PhotoFrames (by far my favorite border app and it has not been updated for the Suite package).
Above is an inside view of some of the interesting antique items in the Florida Heritage Museum at the  Old Jailhouse in St. Augustine, Florida. This image just kept getting better the more the effects were stacked up. This was a pretty easy image to do – just add and click away on all the different effects and see what you come up with. This image has stacked the following effects (press Add after adding an effect to each layer): Black & White effect Chrome with Blending Option set to Softlight at Strength 84; Vintage effect Honky Tonk set to Screen Blending Mode at Strength 99 – Apply Effect To Flesh Colors and Fuzziness 40; and Vignette effect Grunge Vignette Dark – Texturizer set to 73 strength. At this point I created a preset that was placed in my User Presets group and it was defined as a vintage feel. Very handy and easy to do!
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Just another great example of the interesting results that can be achieved with this plug-in. The image is of one of the beautiful covered walkways at the University of Central Florida, Orlando, Florida. It is an HDR image created from three photos in Photoshop CS5’s HDR Toning program using a preset I had created for dilapidated buildings. (Be sure to keep your HDR presets if you find one you like.) Next the HDR photo was taken into Perfect Effects and once again I did a vintage effect. Started with a Black and White effect Casablanca set to Darken; on the Empty Layer, the Effect Options was opened and Effect Duotone was selected using an Orange Color for Highlights and Blue Color for Shadows – Strength was set to 35, Midpoint 29 and Mode to Color;  Movie Looks effect Urban Sickness at Strength 40; Vignette effect Subtle Vignette set to Strength 47; and Textures effect Scratched Film Light at Strength 100. A preset was created for this stack as I really liked the results. Back in Photoshop, an OnOne PhotoFrame (also part of the OnOne Perfect Photo Suite 6) border Dave Cross_14 was added – the beige color in the image was sampled to make the border that color.
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In the Old Town Trolley image the basic issue was a very plain blue sky. Following one of the short videos supplied on the OnOne website, the clouds were added using the Masking Bug. It does not sound like it would work, but the bug did a really good job of adding the sky with a slight gradient to it. They also have this feature in the Focal Point plug-in and Lightroom’s Perfect Layers plug-in (also provided with the OnOne Perfect Photo Suite 6), and I like it in this plug-in. This is a big improvement! The border was also added in Photo Effects and adjusted using the Effect Options that are available once an effect is chosen. I have not completely figured out how to determine how to use all these effects as they change with the effect selected. This was a really fast and great way to swap out the sky.
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This is a statue of Sir William Wallace over the doorway of an old church in the town of Stirling, Scotland. I liked the way the stone color turned out and the way the statue stands our from the wall. This stack incorporated Dirty Bird (Strength 83) applied to just Highlights (Fuzziness 60), Warm Polarizer (Strength 100) , Rice Paper Light (Strength 77) with the Masking Bug down center vertically, Amazing Detail (Strength 100 ), and Subtle Vignette (Strength 100). The nice thing about this image is that the first effect, Dirty Bird, the Apply Effect To drop-down was changed to Highlights – this makes for some great looking effects. The effects can also be applied to just the Shadows, Midtones, RGBCYM colors, Flesh colors, Vivid colors and Neutrals. This is a really nice addition. A OnOne PhotoFrame was added to this image (no update to this plug-in but it does not need it – still the best out there for frames!) and it is included in the OnOne Perfect Photo Suite 6.0.

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The good news is that Perfect Effects is a much improved program over OnOne’s old PhotoTools 2.6 and it is now much easier to use. Download the manuals on how to use Perfect Effects and all the programs in OnOne’s Perfect Photo Suite 6.0. A good keyboard shortcut to use is CTRL+P to toggle between the original image and the current image. Go to the Help menu item for a complete list of shortcut keys.

Pros:

1.  The interface is much easier to use. There are many different ways to add interest to the basic effects. Many of them are shown in the preset views across the bottom but there are more variations if you use open up the Effects Options button that is available with each effect. The Blending Options are very versatile and as discussed above, the Apply Effect To drop-down creates some very interesting images – I do not believe this is in any other plug-in I have seen.

2. The Texturize Effect section and Landscape Effect section have some very different presets that can be applied including many weather effects. This could turn out to be a lot of fun. Adding the Clouds to an image is really easy using some of these choices. This is also something I have not seen in any other plug-in. And if you choose, say Dark Clouds in the Textures Section and go to the Effect Options drop-down box on the right, there are five choices for clouds besides many other textures to choose from. Blend mode and strength and scale of the effect can be set also. Very versatile and unique!

3. The Masking Bug that was made famous in the OnOne’s original Focal Point plug-in is a great addition that works very fast and creates some very nice results. It works very good in coordination with the Masking Brush.

4. The speed of the plug-in is much faster than the original PhotoTools plug-in. This had been one of my biggest complaints. It works much faster and you have much better control over the brush when masking.

5. Can Invert the effect and by selecting the Masking Brush, the effect can be brushed in just where you want it at whatever opacity you like.

Cons:

1.  It still bothers me that I cannot access this program like my other filters by going to Filters -> OnOne; instead, to get to the program you must go to File -> Automate -> Photo Effects. I am not sure why this is. This is also true for PhotoFrames. If you have the Suite, all the plug-ins can be accessed from inside one interface and do not have to be opened individually – that is a big improvement.

2. When the layer is first converted to a Smart Object before entering the program, the Masking Bug and/or Mask Brush results are not retained when you go back to adjust one of the effects. This can very annoying if you did not takes notes on what you did. All the other settings are retained. When stack is saved as a preset, all but the Masking Bug/Mask Brush results are retained, which is what you would expect since it is being applied to a different image.

3. If you had PhotoTools, the presets cannot be used in Perfect Effects due to the fact that PhotoTools is based on actions inside Photoshop and Perfect Effects has been re-engineered to stand alone now. They are currently trying to recreate all the presets from PhotoTools and hope to have them available soon.

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In this final image the red trees and flag were selected in Photoshop using Color Selection. A layer mask was then added to the layer before it was converted into a Smart Object. I wanted only the background to be affected by the plug-in (the manual said this could be done so I thought I would try it out). I think the results turned out really nice – these settings were used: Black and White Effect Casablanca; Nicely Toasted (Strength 46) and Apply Effect To: Flesh Colors at Fuzziness 53; and Vignette – Edges to Black with Effect Options Brightness -86, Midpoint 47, Feather 56, and Roundness -28. The Casablanca black and white effect is turning into one of my favorites.

Well I believe this is a very good plug-in – OnOne has really stepped it up to compete nicely in the plug-in field – it is so very user friendly. The Pros definitely outweigh the Cons which I believe can be fixed pretty easily. I had a lot of fun working with all the effects and I know I have not even touched on some of the looks you can get if you get your combinations right. I will be checking out the complete suite when I get a chance. I already use many of the plug-ins included but there are a few new ones I want to experiment with. In the meantime, at least take a look at the Perfect Photo plug-in – it has a 30-day trial that is fully functional. I am looking forward to trying some of the other plug-ins – already tried Perfect Portrait (it is in brand new and in the Suite) and really like it. Hope to report on it soon!…..Digital Lady Syd

Digital Lady Syd’s Related Blogs:
Another OnOne Perfect Effects Pix – Got to Love It!
Pseudo HDR in OnOne Perfect Effects
First Try – OnOne’s Perfect Effects 3
“Perfect” Perfect Layers


Clarifying Clarity! Adobe Camera Raw and Lightroom Quick Trick

I ran across this little video by Matt Kloskowski for Lightroom called “The Clarity Super Edgy Trick” but can just as easily be done in Adobe Camera Raw (ACR). The following image is an example of the technique.


To get this nice grunge/HDR effect, the following steps need to be done.

  1. First do adjustments to image and crop size in Lightroom or ACR. Set the Clarity slider to +100 at this time.
  2. Select the Graduated Filter (G) (11th icon from left at top) and set just the Clarity slider set to +100  (In Lightroom go to the Effect drop-down and choose Clarity – set slider to +100).
  3. Click and drag at bottom of image so the top line is totally off the image.  Clarity at 100% will have been applied again to the whole image. Everything above the green line in ACR or top line in Lightroom is getting the full 100% Clarity so make sure this line is dragged totally off the bottom of image. Hold SHIFT while dragging to keep the line horizontal with image and it is easier to control.
  4. Repeat Step 3 by creating a new Clarity Graduated Filter and do this as many times as you want. Usually this means 3 or 4 times.

If you want to apply the Clarity to just part of the image, use the Adjustment Brush set to Clarity at +100. The same brush can be applied several times by just creating New Brushes.

In the image of the cupola on the old historic courthouse in Fairfax, Virginia, I started with Matt’s 70’s Look preset in Lightroom (here is the preset for ACR), applied the Clarity slider at +100 in the Basic Module, and then set two Graduated Filters with Clarity set to +100. The image was finally brought into Photoshop and a rather brown colored sky was changed to a blue color using the Color Replacement Tool Brush. (See my Tidbits blog – “Like a Chameleon-The Color Replacement Tool” on how to do this.) I added some clouds using my SJ-Cloud Brushes Set.

Do watch when applying the Clarity Slider to landscapes – a bright sky next to a treeline can look bad as it tapers away from the trees edge. Since Clarity works on contrast at the edges in the midtone areas, if you do not want the grungy look, keep your setting to 40 0r 50 and do not use this technique.

One of my favorite shooting spots in Mesa, Arizona, is this old Buckhorn Motel in the center of town. In this case, the image was adjusted in Adobe Lightroom and the Graduated Filter was also applied twice. The image was processed using OnOne’s Perfect Layers Lightroom plug-in. In Perfect Layers, the image was duplicated with the new layer set to Screen at 52%, a Shadow Creations Another Mixed Texture Set – Texture Seattle was added as a texture layer set to Normal at 88%, and then the Masking Bug Tool was used on it to get the interesting side borders. This can all be done in Photoshop if you wanted to create this same effect without the plug-in. After opening image in Photoshop, a NIK Color Efex Pro 3.0 Tonal Contrast plug-in effect and an OnOne PhotoFrame were added to finalize the look. The tonal contrast could have been adjusted without the plug-in by using a Curves Adjustment Layer and/or Levels Adjustment Layer. Use Hue/Sat Adjustment Layer to pop the color.

The Magnolia Tree pod image was created by applying my Vivid Drawing Look Preset in Lightroom (here is the preset for ACR) first, adjusting the exposure and clarity sliders, running the Graduated Filter three times with Clarity set to +100 and once with Clarity set to +37,  and opening it up in Photoshop. Three effects were then added on separate layers to get this final result, all using NIK’s Color Efex Pro 3.0 (Tonal Contrast, Glamour Glow and Vignette Blur effects were applied – they are coming out with a new version shortly so I will report back on this when available). Sharpening and an OnOne PhotoFrame finished up the photo. It gives a very different feel from the two images above.



With this beautiful Great Egret, Matt’s 70’s Look preset was applied (same preset as first image-link to download above). The Adjustment Brush was used to selectively apply the Clarity/Sharpening as too much tends to give the whites a very dirty look. The Adjustment Brush was used with Clarity set to +100 and Sharpen +100. I painted over the head and beak of the bird. I then applied one more new Adjustment brush and painted just the beak and eye area. The image was opened in Photoshop, and NIK Color Efex Pro 3.0 Glamour Glow (default settings) and Brilliance and Warmth effects were applied. An OnOne PhotoFrame was added and that was it. Very easy and the face is very sharp using the Clarity technique in Lightroom or ACR.

I just have too much fun trying out this technique. It is a very easy one to do and the possibilities are many. Try using a couple different settings in the Graduated Filter or Adjustment Brush. Save the Filters as presets (they can then be used for both). I have to hand it to Photoshop Guy Matt Kloskowski for coming up with this interesting technique. Give it a quick try and see what you think…..Digital Lady Syd