This week I wanted to say that I will be taking several weeks off from blogging (after 7 1/2 years of this) to take care of a few other things on my list. Will be popping in as time allows and will definitely not be closing my site. Just a temporary break as these blogs take some time to do and my schedule is currently a bit limited. That being the case, I will present a quick sketch tip today that was used on the above image of a Japanese Festive Doll at the Hilton Waikoloa Village on the Big Island.
First began by creating a sketch effect. This was one I had forgotten about from the great Photoshop guru, Corey Barker, who used it in a tutorial a long time ago. This effect was first done on the doll image and then on the background image. This technique can be done on just one image also. Make sure you have all the clean up that needs to be done on the image(s) and also make sure the image is a sharp as you wanted. The background was from an image on Unsplash by Sorasak of Kyota, Japan – when opened in Photoshop, it had a resolution of 72 so this had to be changed: go to Image -> Image Size and uncheck the Resample box – change the resolution to 300; then click the Resample box again and set to Bicubic Sharper (reduction) since the size of the actually image gets much less (though still pretty big). Now to create the Sketch Look.
- Duplicate the background and desaturate the image. This can be done quickly by either pressing CTRL+ALT+U (Image -> Adjustments -> Desaturate), or could add a Black & White Adjustment Layer, or a Gradient Map Adjustment Layer set to Black and White gradient or a Hue/Saturation Adjustment Layer with the Master Saturation set to -100.
- Create a stamped layer on top (CTRL+ALT+SHIFT+E) and set the layer to Divide blend mode. Now you see a sketch effect.
- Go to Filter -> Blur -> Gaussian Blur and set the Radius to a sketch effect you like. The doll was set to 5.5 pixels and the background to 24.9 pixels which gave a heavier look to the lines of the city. There is your sketch.
- To add color back into the image, duplicate the bottom background layer and place it on top. Add a black layer mask to this layer and gently dab into the mask with a lower opacity brush. The color will appear very much like an illustrated watercolor effect. On this layer, other filter effects can be used like from Topaz (see sidebar at my Tidbits Blog for website link) Studio or Nik Color Efex Pro 4 to give a different color and look to the color being brought back into the image. Or add another copy on top of this layer to get even more effects into the image.
For the doll, another 2nd copy of the background was placed on top, then CTRL+I was pressed on the layer thumbnail to invert the colors. A black layer mask was added and just a bit of complementary color was added back into the image to add interest.
To finish the image, the doll was selected using the Quick Selection Tool and Select and Mask in Photoshop. The layer was then taken into the Kyota image where the sketching and light color effect was already done. A stamped layer was created and then Topaz Adjust’s Setting Sun preset was applied. A Levels Adjustment Layer was used to bring back some of the image contrast and then on another stamped layer Topaz ReStyle was opened and the Travertine Tint was added. A Curves Adjustment Layer was used to add more contrast back into the image. Some clean up and a watercolor edge was done to complete the image.
Well I hope you get a chance to try out this sketch technique. It is pretty easy to do and works rather nicely, especially if you want to add some color back into the image. I will be returning in a few weeks……Enjoy the Spring!…..Digital Lady Syd
This week I am taking a break from the technical aspect of Photoshop and am presenting a couple images which is what I consider was a lot of fun create in Photoshop. Usually when I do creative art, I start out going in one direction and end up in another. Many times there are several iterations of an image I really like, which happened in this first image – it looks pretty good in blue tones and warm tones.
The image above is from Palace of Holyroodhouse in Edinburgh, Scotland. I love to photograph the interesting details in the historical architecture that is so prevalent in Europe. The workflow for this image was actually pretty simple. Just using my basic workflow and through in a bit of Nik Viveza 2, Topaz ReStyle and several Adjustment Layers. This was definitely created with a lot of experimentation.
The image below went a totally different direction where the elements were added onto a blank layer.
This Heron had this crazy idea of what he would like to be his playground. I just had to follow his lead and created this rather “groovy” looking image. Started with this really beautiful background from Unsplash by Steve Johnson that had all the bright colors in it.Then just used several elements – some I created and a few are from other people. The really weird line art in this image is from a large Cruise Ship at night taken from a small sailboat – got sort of a creepy result that looks kind of good here but was very scary when you actually are there! My bird chose it anyway. All the elements were added to New Layers also. The sunflower is from PixelSquid. The bee is one I painted. The Tree is also from PixelSquid and the Heron is my pet, the little guy from Graphics Fairy – painted him up a bit with one of my favorite Grut charcoal brushes, Shin Ding which adds great texture on anything, to give him some matching color. The Grass is from Frostbo Set 1 Grass 03 brush. I actually added a little touch of Impasto effect on the orange block on the left using a blank layer set to 0 Fill opacity and painting with the Grut Shin Ding brush to add the texture on it. Last step I added the border using the one I created in my video and blog on my How to Create a Quick Layer Style Border or Frame.
One thing I have learned is not to throw out those really weird images you get – sometimes they can turn into something quite interesting! Hope you enjoyed it! Have a great week!…..Digital Lady Syd
Just enjoying a little Topaz Studio and trying to really understand the program. Bike image is from Flagler College in St. Augustine, Florida. (See Image 1 below to see what Topaz Studio adjustments were used to get this effect.) Will be skipping a week of blogging. Several people are very confused and uncomfortable about upgrading. I understand the hesitation since the upgrade into the new Studio interface has not been easy to understand. From the software engineer’s perspective, it has probably been a nightmare since the various plug-ins do very different things and they have to be retooled to work together. Some of the Studio plug-ins have some good updates that really help the program. Others, maybe not so much. I can only say this, even if you update to Topaz Studio, you will have the Topaz Labs filters still available and can be used on a layer in PS as before. I use them often, mainly for one reason – all my personal presets are still in the Labs plug-ins and Topaz Studio cannot reproduce lots of them. With many of my presets I just have not had the time to update them. Therefore, it is probably okay to upgrade to the free Studio interface since you will still have the Topaz Lab versions available in the Filter menu. And not only that, if you are in Studio and want to access one of the other plug-ins, just go to the Menu and select Plug-ins – they are also all there with their original interface. I find that having the Studio Clarity (the Precision Contrast adjustment) and Detail (the Precision Detail adjustment) available in one location is very handy – together they give some startling sharpness! And oddly enough, the actual Impression Adjustment has some decent beginning settings and the Painting Progress slider gives some very interesting results. If you download the free Topaz Studio (for download link, see sidebar at my Tidbits Blog), any Topaz plug-ins will be automatically added into the interface (PS lists this as Filter->Topaz Studio-> and the different types – while the Filter -> Topaz Labs are not touched). It will look different and some experimentation will need to be done, but there are lots of new options since the different adjustments from the different original plug-ins can be stacked to get even better looks.
List of Topaz Labs plug-ins currently added into Topaz Studio
At this point, here is a list of the filters that are now included in the Studio interface and which filters create the basic filter. If you owned the Topaz Labs filters, all the Studio adjustments filters will show up without buying the Pro Pack extra adjustments. To find the incorporated filters, need to go to the preset pop-out and click on the square icon with three horizontal lines in it. Set the Sort By to Featured. The first preset will indicate the Studio Adjustment workflow for each filter (for example, select Clarity and choose top preset called Clarity Workflow – the two adjustments to create the basic filter will be shown).
Clarity – Studio Adjustments are Precision Contrast and HSL Color Tuning (look at the Topaz Labs version and it is broken down into these two main components). Topaz did bring over my created presets with this filter and they also appear in the My Effects Group.
Detail – Adjustments include Precision Detail, Channel Mixer, and Basic Adjustment. (The Topaz Labs version was broken down into Detail and Tone, the Channel Mixer which is the Cyan-Red, Magenta-Green, and Yellow-Blue sliders, and the Basic Adjustment which basically contains the other Tone and Color sections’ sliders). Several of these I reproduced.
Glow – Adjustments include Glow, HSL Color Tuning, Vignette, and Smudge. (The Topaz Labs version has sections called Primary and Secondary Glow with same sliders that pop out in some cases in Studio, Color which is the same as the HSL Color Tuning, and Finishing Touches which includes the Smudge slider). None of my presets were brought over from the Labs version.
Impression – Only contains the Impression Adjustment. My presets were brought over from Topaz Labs and also appear in My Effects group.
Simplify – Contains Abstraction, Edges, and Quad Tone adjustments. None of my presets came over from Topaz Labs.
Textures – Contains the Basic Adjustment, Edge Exposure, and Quad Tone adjustments. No presets were brought over from Topaz Labs. They have added in new textures from 2 Lil Owls Studio and Hazel Meredith.
This image contains exactly the same settings as the image above except a 2 Lil Owls Studio Texture Adjustment was added at the bottom of the stack. (See image below for more information.) Image from Unsplash and Jon Flobrant.
This image is of some palm trees taken on the top of the Castillo de San Marcos in St. Augustine, Florida – the creative coloring was done in Topaz Studio. I find a lot of the tips for Studio by watching the videos Topaz Labs supplies. Even if you do not like what the presenter is creating, often you can get a couple good ideas for some presets that make for some good results. That is what happened on this one. First a preset that I made from some of the settings in Hazel Meredith’s video called Texture Effects and Topaz Studio that I named SJ Graphic Sketch 1 (it is available in the Community on line) – makes for a very nice black and white image. This was applied and a preset called Cartoon Grid from Topaz that gave the partial colored effect. (See Image 3 below for more information on this image.) I saved it down as a project file .tsp file, but it did not take. So at this point I am not sure this format is really safe to use. Luckily I had noted the settings.
I hope this has helped a few of you decide to try out Studio. It is a pretty nice program overall and it will get better as they add more Topaz Labs plug-ins and new features into it. But it will probably take a while to get it all finished I am sure. In the meantime, parts of it are really good. Have a very good week!…..Digital Lady Syd
Image 1: This image was first opened in Lightroom and just the Basic Panel was used before opening up in Photoshop. The next step was to duplicate the image and open Topaz Studio. These are the settings that were used: Precision Contrast: used Highlight Dynamic Range in dropdown; Abstraction: Used JWolfson Painting Prep in drop-down (Joel explains how to create this in his Topaz Labs video he did this week – I will add link when it is posted), then changed Simplify Size to 0.24; Impression SJ Colored Pencil preset: changed Stroke Width to -78, Stroke Length to -0.85, and spill -1.00, then set Texture to Solid; and used HSL Color Tuning – changed Orange Sat -0.40, Yellow Sat 0.55, Aqua Sat 0.63, and Blue Sat 0.39 and Lightness 0.13, and Details 0.50; Created Subtle Colored Pencil preset which is posted in the Community presets if you would like to use it. Back in PS, used a Red Channel Luminosity Curves Adjustment Layer, Nick Viveza 2 to add a slight vignette in corners, and a Levels Adjustment Layer setting Output levels to 31/255 and regular settings 0/0.76/255 – gives the slight matte feel.
Image 2: The Unsplash image was opened in Topaz Studio stand alone program and used exactly the same steps above except the HSL Color Tuning sliders were used to adjust the colors in this image and a Texture from 2 Lil Owls was added at 28% layer opacity and Luminosity blend mode. It was opened in PS and the same steps as used above were done.
Image 3: Three images were taken into Aurora 2018 HDR from Lightroom to begin post-processing. This gave a really nice sharp image back in LR. It was then taken into PS and the background layer was duplicated. Brought image into STO from PS. First Version Applied Graphic Sketch L and set to Effect Opacity 0.53; Made a few slight changes to Basic Adjustment to Exposure -0.05, Clarity 0.52, Shadow -0.32, Highlight -0.50, Black Level -0.33 and White Level 0.68; Precision Contrast Opacity 0.88 and Multiply blend mode, Micro 0.18, Low 0.20, Medium 0.93, Lighting Shadow -0.31, Midtone 0.37, Highlight 0.47, Medium; Brightness Contrast Opacity 0.44, Brightness 0.29, Contrast 0.91, and Saturation -1.00; Tone Curve – left as set; Smudge Strength 0.11, Extent -0.34, and Sharpness 0.21; Bloom hooked to Smudge set to 0.70 opacity and Screen bm, Strength 0.40, Threshold 0.62, and Bloom size 0.25; Abstraction Color Space RGB, Simplify Size 0.41, Feature Boost 0.16, Detail Strength 0.20, Detail Boost 0, and Detail Radius 0.25 with Radiance set to Screen blend mode hooked to it, Radiance Type Dark, Strength 0.82, Width 0.29, Length 0.73, Curl 0, Suppress Weak 0.12, Sat 0.76, Coverage 1.00, Fade 0.11 and Sat 0; Duplicated this version and set same settings to Effect Opacity of 1.00. Created a preset called SJ Graphic Sketch I. Duplicated this version and applied the settings above. Then applied preset called Cartoon Gold with some changes: Brightness Contrast Adj: Contrast 1.54; Smudge Strength 0.10, Extent -0.38, and Sharpness 0.02; Abstraction Adj 0.58 layer opacity, Color Space RGB, Simplify Size 0.93 and Detail Radius 0.25; Dual Tone Opacity 0.29 and Saturation blend mode; Highlight Color 1.00, Highlight 0.16, Shadow Color 0.34, Shadow Hue 0.05, and Balance 0.45. Back in PS just my regular workflow: a Red Channel Curves Adjustment Layer, Nik Viveza 2 to adjust color on the trees, and a Black and White Adjustment Layer set to Luminosity blend mode.
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:
- 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.)
- Open in Photoshop and go to Image -> Mode -> Grayscale and change image to RGB.
- 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.
- 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.
- 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.)
- 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.
This 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
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Lots 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.
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. This 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.
This week just continuing with my playing in Photoshop – great time to enjoy it when it is so hot outside. Not sure how I came up with the Gondola at the Alcazar Hotel (Lightner Museum) in St. Augustine, Florida, but it happened. What actually happened is that I really liked the wrought-iron lights in the image – taken in noon sunlight on the hottest day – so that is how this all started.
Content-Aware Crop Tool – The image needed to be expanded to the right to make it look balanced in my eyes so the Crop Tool was selected. By stretching the outline outside the boundaries of the image and checking Content Aware, PS attempts to fill out the blank area. This turned out to look a lot like the building set to a smaller size and reversed, so that is what is shown here. Some clean up had to be done, but it is definitely something to explore if a creative element is needed for filling in your image size. And remember that if you do not like the results, just rerun the Crop Tool and a different result should happen.
The result made me think about adding Flaming Pear’s Flood filter, which is one of my favorite plug-ins of all time. And regarding the fact that these old filters will not work in your current PS – my version of this filter has been around forever and works just fine, although the link is to a newer version now available. So do not get rid of your Nik filters just yet – they may last a long time. Back to the Flood filter – I have yet to run into a filter that gives this perfect water look yet – in this case it was set to for smooth water with quite a bit of reflection. A beautiful texture by French Kiss (for website link, see sidebar at my Tidbits Blog) called Atelier Anemone was placed on top and set to Multiply blend mode at 47% layer opacity. A gondola seemed to be needed to create the story for the image so I just found an old gondola image and sketched out the boat and a person. Then painted in the drawing created from the image using a brush called Scraggly Brush (Charcoal Large Smear) by Kristen Palana from a fun short class at Udemy called Quick and Easy Digital Painting. The gondola and man were not supposed to look too realistic but more painterly. The little stars were from Media Militia Particle 018 brush. On a New Layer filled with 50% gray and set to overlay, black and white brushes were painted on the layer to dodge and burn the image. Next Kim Klassen’s Pumpkin Grunge texture (you can actually still download a low res version if you click the “HERE” in the text) was applied, set to Hard Light blend mode at 18% layer opacity. This is a really nice texture to add – for some reason the bright red-orange gives an interesting result. On a stamped layer (CTRL+ALT+SHIFT+E) Nik Viveza 2 was used to adjust the lighting just right in the image. A border was added and color adjusted using a Curves Adjustment Layer. Lots of other adjustments layers were added to adjust several of the layers throughout the image. Just clip (ALT+clip between the layers) them to the different layers if you want only one layer adjusted.
This image is of a Monarch Butterfly that was extracted from my front yard image and placed in this fantasy garden. GrutBrushes has a wonderful background paper called Dee Print that was placed as the background for this image. Then two beautiful brushes by ninelvlsup at DeviantArt called windflower and dandelion whisps were used for the background elements. The Warp Filter (CTLR+T, then Warp in Options Bar) and layer masks were used to get the effects needed on these elements. Aaron Blaise’s Canvas Texture Brush 46 32 was used to get the flower center texture. One of Sebastian Michael’s edges was used for the frame. 2 Lil Owl’s Workshop Texture 1 which has the star pattern in it was placed on top and only inside the frame, then set to Linear Burn blend mode at 66% layer opacity. On a stamped layer Nik Viveza 2 was used to even out the distribution of color and tones. Topaz (for website link, see sidebar at my Tidbits Blog) ReStyle set to the Zinneas preset was applied and set to 35% layer opacity. A Hue/Saturation Adjustment Layer was used to get this final color palette. Lots of adjustments layers again throughout the image to get the final effect. Lots of fun here!
Not sure there is a lot new here other than the Crop Tool which turned out to give an interest effect. I actually tried it on another image and got another interesting result so give it a try. And do not forget Topaz ReStyle if you own it, it can really give an image a whole different feel – another of my favorite plug-ins! Hope everyone is having a great end of summer – I know I am, although a little cooler weather would be nice……Digital Lady Syd
This week I am just taking it easy and playing around with some text and images. Sometimes you just have to let the creative side play and see what happens! Anyway, this is how Digital Lady Syd takes a break! I just can’t get away from Photoshop! I do not usually use other individuals’ images, but for practice it is great – I do not see me getting to these beautiful mountains soon! There are many resources today if you would like to try a few new things.
In the image above a text layer was placed in a new document – the font used was from a CD bought years ago by Cosmi called 04, a fabulously fat font. The Create Warped Text icon on the Options Bar was double-clicked and in the Warp Text dialog, a Style called Arc Upper was selected with a Bend of +50%. A Stroke Layer Style was set to a Size 7 px, inside set to Color white. The Default Drop Shadow was added. Some splatter brushes from French Kiss (for website link see my Tidbits Blog sidebar) were used above and underneath the text to add the crazy effect. A Pattern Adjustment Layer using a lace pattern was clipped (ALT+Click between the layers) to add a lacy effect in some of the strokes. (The Pattern used was a black and white lace texture from a set redheadstock at DeviantArt called Lace Photoshop Patterns.) The SS-Groping 1 Flying birds are also from redheadstock and set to 73% layer opacity. One of my painted textures was placed on the bottom and a Black and White Adjustment Layer was used to desaturate it. On a composite layer (CTRL+ALT+SHIFT+E) Topaz (for website link see my Tidbits Blog sidebar) ReStyle was applied using the Snow Cover II preset with a few adjustments to the Color and Tone sections. The lower text font was called Berlin Sans FB Demi. On a layer above the text, Grut’s FX IL Bottle Topple brush from his terrific Inky Leaks Splatter brushes was applied to slightly cover the text – set to 64% layer opacity (and do not forget to look for his free brush of the week – it is a great way to get introduced to his big selection of brushes).
The original of the woman shows her standing in the middle of some orange colored leaves – I think she looks like a princess! (See Kuoma Stock Haunted 13 for original image at DeviantArt.) The woman was extracted from the background using the Select and Mask Command. Another one of my painted backgrounds was added and a couple layers of splatters were added behind the girl. Color was added to her face and nails and hair added into the image. On a New Blank Layer heart brush was created from the Custom Shape Tool (in Options Bar select the Heart Shape and set the 2nd button to Shape; go to the Paths Panel and click the Create a Selection icon at bottom; go back to Layers Panel and fill selection with black by ALT+Backspace to fill; with Marquee Tool, select the black Heart and go to Edit -> Define Brush Preset and name Heart). Settings for the brush are: Brush Panel’s Brush Tip Shape Spacing 25%; Shape Dynamics Size Jitter 93%, Control Pen Pressure, Angle Jitter 12; Scattering Both Axes, Scatter 1000%, Count 1, Count Jitter 0; Color Dynamics Apply Per Tip, Foreground to Background 8%, Hue 7%, Sat Jitter 2%, Brightness Jitter 7%, and Purity -36%; Transfer Opacity Jitter 20% and Flow Jitter 32% and Smoothing on. Two New Blank Layers were used to add in different colors (white and light pink) hearts – one layer’s Layer Style ws opened and set to Bevel and Emboss to add a little texture to some of the hearts. Topaz Texture Effects 2 was opened and the Breaking Down preset was applied with the Spot Mask used to remove effect from her face. Duplicated the layer and opened up the Corel Painter plug-in (I am still using the old version) – the Flame brush was selected and pink and light color flames were painted just for fun. The old frame is from the Scrapbooker itKuPilli and is in a set called Amazing Grapes (could not locate). The font with the hearts is called Fiolex Girls. On top 2 Lil’ Owls Color Bokeh Grunge Set texture 4 (for website link see my Tidbits Blog sidebar – this is one of my favorite sets) was applied and set to 38% layer opacity.
This is also a wonderful Unsplash photo by Johannes Plenio called Winter. I got a little carried away post-processing this image until it was brought to my attention that it looked like a raging forest fire – I thought it was an incredible sunset! (See below.) Just an example of good intentions that turned into not so good post processing. Anyway, just a little tweak from Topaz ReStyle and now it is a beautiful wintry image. So most of the dramatic changes were done in the new Topaz Studio using Sharpen, Radiance, Color Theme, Texture and HSL Color Tuning sections (I created a preset called SJ Forest Landscape in the Community if you have downloaded the plugin and would like to try it out). For more info, see my Introducing the Free Topaz Studio blog. This created the sunset look, but also created the nice sharp tree trunks and edges. Back in PS, two Curves Adjustment Layers were used to adjust the RGB curve for contrast, and then the Color using the individual Channel Curves. Next a Levels Adjustment was applied as it just looked good. Then a Black and White Adjustment Layer adjusting the color contrast sliders just a little and then set to Luminosity blend mode. And finally a Selective Color Adjustment Layer adjusted the Yellow color so the little tree on the left showed up better – set the layer mask to black (CTRL+I inside the mask) and painted back just the tree. 5 New Blank Layers were added and set to Overlay blend mode and with a soft round brush, various areas were highlighted with white, yellow, and sky colors. The layer opacities were reduced to taste. It was now a raging fire image! Oh my gosh! Okay, here is a small image so you get the idea and see how powerful ReStyle can be.
Quickly Topaz ReStyle was opened and the Snow Cover II preset (once again) was applied with very few changes – just a few Tone and Detail changes. It was amazing how this preset was able to transform the image. In PS a New Blank Layer was added and Grut’s FX IL Dry Grit brush was used from his set above and snow was painted lightly on the trees. My free SJ Snow2 Overlay slight Blur was added at 75% layer opacity to give some nice snow effect. The Shadowhouse Creations Snow Overlay 11 (his resources are the best!) was added to give a little more snow dimension – it was set to Screen blend mode at 70% layer opacity. The last step added Matt Kloskowski’s vignette (see my Fun Photoshop How to Create a Subtle Vignette Blog.)
Hope you got a few ideas with this sort of lazy Summer Day Blog – have a great week!…..Digital Lady Syd