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.
Recently I have been watching many Photoshop videos. This week I thought I would share some quick tips that I am finding to be very handy. These may be obvious things to many of you, but all of the tips below were new to me. For info on the Blankets image taken at the Native American Festival, see bottom of blog.
Add Noise to Bring an Image Together
This really works and looks nice, especially if a texture was added for a background or creating a composite. Just go to Filter -> Blur -> Lens Blur and set all sliders to 0 except the Noise slider which is set to 4 and Distribution Uniform. Very subtle but nice effect.
Okay – this is something that I never knew was in Photoshop, but what a major time-saver it is (unfortunately it is not in CS6)! We all know pressing the SPACEBAR turns any tool into the Hand Tool, but did you know it can be used to also move the image around the workspace? Go to Edit ->Preferences -> Tools and check the Overscroll box. That is is! What a time saver. Now the image still stays attached as a tab, but it can be moved around to avoid panels opening in the workspace or for close up painting.
Rotate View Tool
Here is a tool I have never used much but will be. It is indispensable when trying to paint in a certain direction or draw black lines around objects. The Rotate View Tool (R) icon is hidden behind the Hand Tool in the Toolbar. Need to select it and then click on your document. A large star-shaped pointer icon appears that indicates the direction of the image – adjust by spinning the document to the angle needed. The cool thing to know is this tool has a “springboard” R key – this means that while painting, just hold down the R key and the pointer icon will appear in the image to readjust the angle, let go, and continue painting! To return image to upright, just double click on the icon or press the ESC key. It is very quick and handy to use. Try it and I bet you will like it also!
Printing Out the Steps to an Action
The individual action steps cannot be printed out, but all the actions in a set can be printed out. To do this, highlight the set that contains the action you want to see. Next hold down the ALT+CTRL keys and Open the pop-out menu in the upper right corner of the Actions panel. Do not lift up on mouse, but just scroll down the menu to Save Actions. When the explorer opens us, the file will show a .txt extension on it instead of the regular action .atn extension. Now the action steps will be listed when file is opened. This is really handy if you are trying to figure out exactly what settings are being used or to trouble-shoot a action that is not working properly. Who knew!!!
Preparing Image for Web
A famous portrait photographer suggested this tip to use after saving your image for print. Add a Levels Adjustment Layer to image and set Black tab to 0, Midtones to 0.95, and White tab to 255, then set Output Levels sliders to 5 and 250. Will look better on the web. To create a more matte appearance, set the Black tab to 14 to flatten out the shadows.
When Scanning Old Photos – What Resolution is Needed?
If you want to make an old image into a larger size, before scanning image create a New Document to the size of 8 X 10inches at 240 pixels/inch for example. Once created, go to Image -> Image Size and in the dialog box uncheck Resample Image box and enter one of the dimension sizes of the original old photo being scanned, say 2 ½ inches into the Width field. Photoshop will show in the Resolution field the number needed for scanning (960 pixels in this case) to make this image 8 X 10 at 240 ppi. Set scanner to 960 pixels to get the image to look right for printing. This is ingenious!
Adjusting Skin Tones That Do Not Look Quite Right
I tried this tip a couple times and it works really well. Add a new layer above a person with bad skin tone and set the blend mode to Hue. Hue shifts just the tones when used on a New Layer. Sample new skin color and paint with 100% brush opacity and a low flow of no more than 2% on skin – it warms up the skin just a little. To adjust lips, use Hue blend mode on painted lip layer. Try using the Color blend mode if Hue is too subtle. By adding a little blue tone to this layer on skin that is too yellow, the skin can look much better.
Select and Mask Command
This command (to be used once a selection has been made) seems pretty much self-explanatory, but there a few things to consider when using this dialog. Did you know that if you hold the ALT key down while pressing the Refine Edge Brush, Brush Tool or the Quick Selection Tool, it will switch between the Add (+) and Remove (-) setting. I have been trying to use the X-key and it does not work. Apparently I forgot this was used in the Refine Mask dialog box. This is a very handy tip for me.
Also, when using Output Settings, check out your image with both the Decontaminate Colors on and off – it does not always create a good result. Note that in CS6, the Refine Mask dialog box actually has a slider where the amount of decontamination can be set – I really liked this slider but they have removed it in the Select and Mask Command dialog box. If you really want to use this feature in CC 2017 just click on the layer mask or create a selection, go to Select -> SHIFT + Select and Mask and the old Refine Mask dialog opens up. Now the Decontaminate slider is available. There is a slight controversy among some Photoshop gurus as to which dialog is best. I personally like the new Select and Mask as it has many more features, just not a slider for decontamination.
Once back in Photoshop if you missed some areas while in the dialog, just duplicate both the layer and layer mask several times to build up the selection.
Merging Layers and Blend Mode Issues
Have you ever noticed that after merging layers, the blend mode goes back to Normal? If a color shift occurs after merging, this is what has happened and the blend mode probably needs to be reset.
Sometimes when creating a stamped or composite layer (CTRL+ALT+SHIFT+E) on top of the Layer stack, a slight color change occurs. This has driven me crazy on several occasions! By setting the stamped layer to Color blend mode, the image colors will go back to the original underlying layer color before the layer was created. This shift seems to occur after using several blend modes and layer styles on different layers with varying the opacities. There probably are other ways to fix this, but I find this tip works pretty well.
History Log Metadata
This is one tip I have used for a long time and it has saved me when I forgot what settings I applied. Create a text History Log of every step that done on an image by going to Edit -> Preferences -> General and check the History Log and the Metadata radial button. Now when you a apply for example a Levels (not as an Adjustment Layer), the settings used can be found by going to File – > File Info and selecting the Photoshop section (History tab in CS6 at top) – a list of everything done to that image will appear. In CS6 can be exported as a .txt file, but in CC need to select all the text (CTRL+A) and paste (CTRL+V) into a text editor like Notepad. Right now some of the settings from external plug-ins will show up in the settings , but this is not working on the newer ones. For example, it currently lists Topaz Adjust actual settings, but only lists that Topaz Texture Effects 2 was used but no settings. Google Nik plugins and On1 2017 products have the preset used listed but no setting info. Also, the actual brush and settings being used will not show up, but if a Tool Preset brush is used, it is listed without its settings. That can be very helpful too. This log stays with the PSD file so you can always go back to it, unlike the actual History Panel states and snap shots.
I hope some of these tips were helpful – not real hard things to do, but just handy to know! Have a nice weekend!…..Digital Lady Syd
Notes on Blanket Image: I wish I knew who was selling these beautiful blankets, but I am sure most of the Native American Festivals will have them for sale. In Lightroom used Kim Klassen’s Melancholy preset to give more of a wilderness feel right from the start. Did a little adjustment brush work on the blankets. In Photoshop on a duplicate layer, Topaz (see sidebar at my Tidbits Blog for website link) Restyle was opened and a Cold Frosty Day preset was applied with a few corrections. This layer was duplicated and Topaz Texture Effects 2’s Crisp Morning Run preset was applied next, set to Color blend mode and a layer mask was opened to remove some of the effect off the birds in particular. The Blend If sliders This Layer tabs were adjusted. A clean up layer was added to remove the price tags. Two Curves Adjustment Layers were opened, set to Luminosity blend mode, and one was set for darkening the image and one to lighten – then both layer masks were inverted to black and just areas that needed more emphasis were painted back. A Spotlight Layer was created, set to Overlay blend mode at 37% layer opacity. Next Nik Viveza 2 was added to add a little focal direction to the image. A Color Balance and Levels Adjustment Layers were added. A Red Luminosity Curves Adjustment Layer was applied. French Kiss’s (see sidebar at my Tidbits Blog for website link) Glorious Grunge Edging was used as a border with a dark blue Solid Color Adjustment Layer clipped (ALT+click between layers) to add color to it. It was a pretty long workflow but I liked the final result. These blankets were really nice!
It has been a busy week as CreativeLive has had their 5th Photoshop Week and it was really good! There were lots of interesting classes covering all kinds of Photoshop uses. Plan on getting some new tips and tricks together to present soon on my blog. This week I am showing my pretty little Oleander flower growing in my yard. This flower was shot using with my Lensbaby Composer at F/4 using a Macro +4 Lens, which is why it was so soft and wispy looking. There is a newer version of this lens, but mine seems to still work well, especially on macro shots. I would recommend your trying one out if you get a chance.
In Lightroom just the Basic exposure and contrast sliders were adjusted. Then the image was taken into Photoshop and Topaz (for website see my Tidbits Blog‘s sidebar) Impression was opened using one of my presets (SJ Watercolor like effect on bldgs. – click link for settings at bottom of blog.) Some Mixers and Regular brushes were used to smooth out the background and paint the actual petals. Added one of my textures on top set to Soft Light blend mode at 62% layer opacity. One of Kim Klassen’s older beige textures was then added and set to Multiply blend mode. A Blue Luminosity Curve was created and an S curve was used to increase contrast.
Now to the Topaz Texture Effects 2 tip. In the above image, the plugin was used to only add two stacked light leaks. Presets are just a guidelines for effects that can be added, but this is not where the power lies in this plugin. By clicking up in the top right-hand corner in the box that says New and than Add Adjustment, all kinds of choices are opened up. To add the two Light Leaks in this image, the Light Leak section was added twice, once for each leak added. It was then saved as a preset since I liked the effect of how the two leaks blended. There are 13 different section types that can be added as often and in any order as needed. Only one light leak can be applied and that may be all that is needed in your image. Could use just a diffusion effect, or several texture sections, or only the Double Exposure section for your image. Texture Effects has so many sections with so many sliders and a great masking capability with blend modes, making it easy to tweak the individual sections once opened in the plugin. It is a bit like using Lookup Tables in Photoshop, but much more flexible.
To finish up this image, a Selective Color Adjustment Layer was used to add some blue tones to the shadows by adding blue to the Black color. The flower does really light up! I would recommend you try out Texture Effect’s different sections without using a texture to see what fabulous capability this plugin has built into it. Be back next week with some new tips!…..Digital Lady Syd
I was catching up on some videos from last year and ran across one that turned out to be really interesting. It is called How to Turn Your Zoo Photography into Fine Art with Lightroom by Serge Ramelli. Since I like to photograph animals at the various zoo and theme parks around here, I gave it a go and thought I would share his rather simple workflow. Be sure to check out the link as Serge offers 5 Develop presets and 2 Adjustment Brush presets to use on your images (and he also has some other very good videos on Photoshop at his site).
The image above is of a Sumatran Tiger from the Jacksonville Zoo – this is one of the tigers they use for demonstrating his breed – very nice cat. Once you have downloaded the presets and placed them in Lightroom (his video goes through this at the end), I always create a Virtual Copy to work with so the original can be used again if needed.
- Try looking at all his presets and choose one that looks good. The above image used his Zoo Base I preset. All the settings are set up so only a tweak here or there might be needed. The Develop Basic and Detail sections are where the adjustments are made. You can always go back to these after finishing the steps and adjust them more if the effect is not quite right.
- Now is a good time to Crop the image before you set up the Gradient Filters, but it can be done later.
- Select the Gradient Filter and add a New dot on on the right side of the image. Set the Effect drop-down field to Exposure or try out the Zoo Darken Brush. Now move the Exposure slider to select the correct amount of vignette, he softened the Clarity a little as it smooths the dark areas, and finally the Noise is set to +100. Just drag out the gradient towards the subject. Do this for the other three edges.
- Select the Adjustment Brush and in Effect drop-down, choose Zoo Darken Brush and paint in on parts that need to be darkened a little on main animal or subject. Switch to Zoo Brighten Brush in Effects drop-down and paint over areas that need to be lightened – basically doing dodging and burning here. Can adjust any of the other sliders to get the correct look and can add new points to get a great finished look. Try adding one for just the eyes by zooming in.
- Go back and tweak any of the settings since this is the beauty of Lightroom!
This is when I take my images into Photoshop and add some more filter effects. The tiger image used the Nik Color Efex Pro 4 plug-in applied to it in specific places using Darken/Lighten Center, Detail Extractor (control point on face only), Glamour Glow and Pastel (set to 46% opacity) filters. That was all that was done. Not sure mine exactly fine art but it does give a very pleasing look and the background has definitely been toned down a lot. Serge used more vignetting in his images so check out the video link for those settings.
This guy was definitely watching everyone in the area – I think he is in charge of this part of the Jacksonville Zoo. Used the same preset as above – the Zoo Base I is my favorite. Added the gradient filters and adjustment brush strokes and took the image into Photoshop. At this point the image had a lot more background color and was not cropped to the final size. In Photoshop Nik Viveza 2 was used to do a little more sharpening and brightening in the right places. A black and white Adjustment Layer was added and set to 37% layer opacity to slightly remove the color. Then the final crop was done. The desaturated look seems to suit this guy.
This Giant Tortoise resides at the St. Augustine Alligator Farm and is hard to miss! I think he is eating twigs. This time the Zoo Sepia preset was used as a starting point in Lightroom and more of the Basic sliders were adjusted to get a global effect that looked good. Then the Gradient Filters were added and the Adjustment Brush was used to brighten up his face. In Photoshop Topaz (for website link see my Tidbits Blog sidebar) Detail 3 Highlights was opened and the Highlight Detail 1 preset was selected. A black layer mask was added back in PS and just the focal areas were painted back in. On a Stamped layer on top (CTRL+ALT+SHIFT+E) Topaz Texture Effects 2 was opened up and a new preset was created. Used a rusty edged grayish texture, some edge blur for the background but not the turtle, a light leak that had some turquoise for the shell, and a few Basic Adjustment settings were applied. In the masking section, painted back the face a little. This layer was set to 67% layer opacity. On another stamped layer, used Nik Viveza 2 just on the face to lighten it up a little more. Last step involved adding a Levels Adjustment Layer to slightly flatten out the dark edges – painted back the face so it was not affected.
These presets are very nice. It is an easy way to really set off the animals and remove some of the distractions that are usually inside the cages. I am still experimenting with this technique, but it appears to have some good possibilities. I would encourage you to at least try out the presets and see what you thing. Serge has several other videos and presets available so check out those also. Hope everyone is enjoying this early Spring!…..Digital Lady Syd
This week posting another oldie but goodie from my Tidbits Blog and a newer image with some of my favorite newer filters. I loved the way the above image turned out – never expected it to be this pretty considering it was an image I snapped while standing on the street in front of our hotel. It is Nelson Monument (in center) and Acropolis (aka National Monument of Scotland on left corner) on Calton Hill – I did not get to visit this site but wish I had. This was not difficult to process once I got going. After cleaning up a rather boring image, Topaz (for website link see my Tidbits Blog sidebar) Simplify was opened and a preset I call the John Barclay BuzSim Setting preset was used. I listened to one of John’s excellent videos on Topaz Labs and created this preset which has a very subtle result. (The settings are: Simplify: Colorspace RGB, Simplify Size 0.19, Details Boost 1.00, and Details Size 0.20; Adjust: Brightness 0.01, Contrast 1.08, Saturation 1.03, Saturation Boost 1.15, Structure 1.00, and Structure Boost 1.00; and Edges: Edge Type – Color Edge Normal, Edge Strength 0.00, Simplify Edge 0.30, Reduce Weak 10.00, Reduce Small 0.20 and Flatten Edge 0.00.) Next I added 2 lil Owls (for website link see my Tidbits Blog sidebar) Workshop 6 – Texture 1 which has the beautiful turquoise and light yellow sky color – the layer was set to Overlay Blend Mode. The beautiful text was supplied by my favorite Shadowhouse Creations – his Text Brush 5. I actually clipped a bright green Color Fill Adjustment Layer to the text (to clip just ALT+click between the two layers and the color fill adjustment layer will only affect the layer below) – then the text layer was set to 55% opacity. Another 2 Lil’ Owls Texture – texture 4 was used as an overlay frame. A light yellow Color Fill Adjustment Layer was clipped to the texture file. A Curves Adjustment Layer where the red, green and blue channels were adjusted to get this slight vintage feel. The last thing done was to add a Color Fill Adjustment Layer to the whole image using a soft cream color (#c6c3bd) and the Nelson Monument was painted out in the layer mask so the eye is drawn to that area of the image.
This image from the Ormond Memorial Art Museum and Gardens in Ormond Beach, Florida, used the same Topaz Simplify preset by John Barclay and just used Topaz Texture Effects 2’s Facing Fast preset. This time the effect was removed from the foreground flowers and Nik Viveza 2 was used to add a little vignette effect to the image. Texture Effects does a really great job of giving vintage effects and it is always fun to try out the different presets and combinations by adding new sections to get some great results.
Had a lot of fun as usual – never get tired of this!…..Digital Lady Syd
Basically this blog is showing that filters or plug-ins do not have to be applied on a layer with the second one applied on top of the first one on the same layer, but rather they can be applied to the same original duplicated layer and by using layer masks the desired effects from can be inserted. This image above followed a workflow that followed my Nik HDR Efex Pro 2 and Topaz Clarity Together? Tidbits Blog from a few years ago. It had been a while since HDR Efex Pro2 (part of the free download from Google-Nik) was used so it seemed like a good time to try it out again. The original image from the Tidbits Blog is shown below. This image was taken yesterday at the 28th Native American Festival in Ormond Beach, Florida. The displays and costumes really give a nice variety for those who love photography (and the vendors and show organizers are some of the nicest people!). The focus area of the two teapots show more of the HDR plug-in effect and the rest of the image has more of the Topaz Clarity filter effect. Any plug-ins can be used this way, these are just what I was using for this image.
HDR Efex Pro 2
The image was first opened in Lightroom where it was brightened up just a bit. Then in Photoshop, the background was duplicated, converted to a Smart Object (right click on layer and select Convert to Smart Object), and HDR Efex Pro2 was opened from the Filters menu. Note: you do not have to be shooting HDR photos to use this plug-in – it works fine with just one image. (For info on how to use if shooting with more than one image, see my How To use Google (Nik) HDR Efex Pro 2 Blog.) This is another one of those huge plug-ins with lots of sliders and presets to play around with on your images so the Smart Object allows you to go back and adjust it if it look wrong (double click on the thumbnail in the Layer Panel). In this case the Outdoor 2 preset was applied. One of the best things in this plug-in is the Levels & Curves section where besides RGB and the individual channels, there is a the Luminosity Curve that can be adjusted – this was done for this image. The curve was pulled downward to get a nice overall effect. Then the Tonality section Structure slider was set to 31% and the Color Temperature was set to -20% and Saturation 19%. That was all that was done to this preset.
Now for the Topaz (for website link see sidebar at my Tidbits Blog) Clarity part. This is one of my favorite Topaz plug-ins partly because of the versatility in it. The HDR Efex layer was turned off and the background duplicated again and set just above the background layer. Since the HDR Efex layer had way too much contrast for the softer vintage effect I wanted, a preset that I created for painting was applied in Clarity. It totally softens the whole image but the colors looked really good. (Here are the settings if you are interested: Clarity Dynamics Micro Contrast -0.86, Low Contrast -0.86, Medium Contrast 0.63, and High Contrast 0.94; Tone Level Black Level -0.19, Midtones -0.36, and White Level 0.19; HSL Filter Hue – no changes; Sat Orange 0.06, Yellow 0.63, Green 0.13, Blue 0.25 0.25, and Overall -0.45; and Lum Orange 0.36, Yellow -0.34, Green -0.42, Blue 0.61, Purple 0.11, Magenta 0.75, and Overall -0.27 – all other colors were 0.00. Adjust these settings around if they do not quite fit the effect you want.)
The HDR Efex layer was turned on and a black layer mask was added (press ALT key while clicking the layer mask icon at bottom of Layers Panel). Just the areas where more contrast was needed was painted back into the image – mainly around the teapots where the focal point is. A round brush set to 50% opacity was used so edges were not too sharp.
Photoshop Brushes for Clean up
Some of the background in the curtains did not look so nice, so the brushes were brought out to paint in some colors and blend some colors on a New Layer. It is so handy to have a good Regular Brush and Mixer for clean up. A pastel with rough edges was used to paint over some greenish shadow colors that did not fit the image. The brush can be downloaded from SDW Haven Pastel Brushes Part 1 – it is the last brush or 11th brush in this free set. (These are the settings used for the brush: Brush Tip Shape: I like it as a small size so it is set to 8 pixels but enlarge it often, Angle 137 degrees, Roundness 100% and Spacing 35%; Shape Dynamics: Angle Jitter 42%; Texture – Rough located in PS Erodible Textures (load by clicking texture patter, then on the cog wheel and Load Erodible Textures, and set to Scale 87%, Brightness -45, Contrast 0, check Texture Each Tip, Mode Multiply, Depth 50%, Depth Jitter 1%, and Control Off; and check Smoothing.) This brush also clean up funny colored edges nicely – just ALT+click in the image on the color to sample, and lightly paint in. I usually paint at 67% opacity with this brush.
Then an overall soft Mixer blender was used to mix up the edges. The brush I use is by David Belliveau from Paintable – here is a link to his free brushes and his How to Blend Colors in Photoshop: 4 Essential Technique blog. David does a great job explaining how to use brushes in Photoshop. On the clean up layers, I just kept going back and forth between the Regular and the Mixer brush adding color and blending until the color and edges look smooth. The Mixer also does a great job of softening lines that appear too sharp in the background. I use these two brushes all the time to both clean up images and paint in Photoshop.
Finishing Up the Image
Last steps involved adding on a stamped layer (CTRL+ALT+SHIFT+E) Topaz Texture Effects 2 with adjustments to the Crisp Morning Run preset. A Spot Mask was used over the center pots so they were not affected as much by the plug-in. Duplicated the layer and applied Nik Viveza 2 to further sharpen the two middle teapots and add a little more saturation to that area. Duplicated the layer again and Topaz Lens Effects was opened and a Silver Reflector filter coming from the left was applied – just to add a softer effect and emphasize where the light was. Using these three plug-ins one after the other is an example of applying them onto each other and no masking was involved. Therefore the effects of Texture Effects is in the image where Nik Viveza 2 was applied which is in the results of applying the Lens Effects filter. If you wanted to get down to the original Background effect, many masks were have to be created. Subtle but significant difference.
Overall HDR Efex Pro and Clarity are not a bad combination for getting some nice effects in Photoshop. Both images used the filters discussed above. Each filter was added on its own duplicated Background layer and then the parts of the image to be concealed were masked in or out on each layer. For the top image it just did not look as good when one filter was applied over the other one. This is really important to remember if you are liking the effect in two different filters – they do not have to both be applied over each other – just mask in or out what you like on separate layers. And do try out the brushes – they work really well together. Hope everyone is coping with the winter and staying warm. Until next time…..Digital Lady Syd
For some reason I have been sort of fixated on how to create a nice wintry feel in an image without getting fake falling and unnatural looking snow. This week I will show a couple ways I use to create a more natural snow and piling up effect in my images. Its a lot in the brushes!
The image above is of a pretty red budded plant (unable to find the name in my resources) that was growing at the Harry P. Leu Gardens in Orlando, Florida. In a short Corey Barker video called Corey’s Universal Particle Brush video, a fabulous brush was created to add the falling snow in exactly the places it needs to be. Corey gives very clear steps to creating this brush that uses PS Noise Filter, PS Gaussian Blur, a Levels Adjustment, and Gradient Tool to make the basic brush. Then changes are made in the Brush Panel to the Shape Dynamics, Scattering, Transparency, and Brush Tip sections. This brush was then saved as both a brush and Tool Preset – size is 1000 pixels. Corey uses this brush not for just snow but anywhere that particles are needed like fire sparks and rain effects.
Now to processing the image. Once some random flakes are added to the image, Corey suggested adding a subtle Motion Blur to the flakes (Angle 75 and Distance 11) which makes the flakes look more realistic without doing anything else. Add a New Layer and make the brush smaller (500 pixels) to build up more dense snow around the plant branches. The layer opacity can be controlled for each snow layer to give the effect wanted. Also layer masks can be added to remove flakes where unwanted. A stamped layer was placed on top (CTRL+SHIFT+ALT+E) and Topaz (for website link see sidebar at my Tidbits Blog) Black & White Effects was opened. In the filter, the Local Adjustments brush section was used to bring back the color in the image where I wanted it. The filter’s Color Brush was used to paint in the red buds and using a lower opacity, the green leaves were painted in. This softened the background a lot but color could still be introduced – in PS the layer opacity was set to 76%. On a New Layer more snow was painted in using the smaller sized Particle Snow brush again. This is how the lower leaves show snow building up on the leaves. A basic Mixer brush was used on a New Layer to add dabs of white paint for snow – I used Fay Sirkis’s Pet Pastel Underpainting Highlight Photoshop brush (I can’t seem to locate a resource with her brushes right now). But any small sized Mixer brush (45 pixels) will probably work – in the Options Bar set the mixer combination field to Dry and turn on the Load the Brush After Each Stroke with the color set to the snow color and just paint in the snow. Next a text layer with some icicles hanging from the letters were added on layers above using the free Frostbo Ice Brush 01 for the icicles. The last step was a Levels Adjustment Layer to adjust the contrast. I feel like this plant looks like it is in a “winter wonderland” and not a sunny Florida garden.
This image of the St. Johns Tower Entrance to apartments at Windsor Castle turned out to be lots of fun to convert to a spooky winter image. The original image was taken on a sunny day in August so it has definitely been winterized. First Topaz Clarity was used to sharpen the image overall. Then the Adaptive Wide Angle Filter, Topaz Glow, and Lucis Pro were all used to get a really sharp and correct image. At this point I was just trying out different plug-ins and this is what I ended up using. Now the snow was painted in. A free set of very basic star brushes was downloaded by KeReN-R on DeviantArt and 4 brushes were used to paint in a lot of the snow (Sample Brushes 4 – see next paragraph on how to adjust this brush, 6, 8, and 19). Also Grut’s FX Inky Leaks Bottle Topple and Romato brushes were used to give the wet slick look on the street and steps (many brushes in this set would make great snow brushes). This step was a lot of fun to do! At this point Corey’s Particle Brush could be used, but instead I took the image into Topaz Texture Effects 2 and used the Winter Day I preset which contains a snow texture. A Spot Mask was used on the entrance so it could be adjusted a little differently. Back in PS the layer was duplicated and a Gaussian Blur with radius set to 250 pixels to really blur the image. Then it was set to the Subtract blend mode. The same entrance area was painted out in a layer mask. This darkened the image down immensely. On a New Layer white was painted in the entrance and set to overlay blend mode. Another New Layer for snow was used and some snow effect painting around the doorway in front using the Grut Bottle Topple brush. On a stamped layer Nik Viveza 2 was used to really pull out the lighting effect in the doorway and to darken down the on the street. There was a lot of trial and error on this image and I personally believe that is how to actually pull this look together.
I am using Sample Brush 4 in the KeReN-R Star Brushes a lot to get the nice piling up effect of snow. These settings were changed in the Brush Panel to get a really great snow smoothing and piling brush: In Brush Tip Shape: Change size from 773 px to 150 px and leave Spacing at 25%; check Shape Dynamics and set Angle Jitter to 9%; and leave all other settings alone. In the Options Bar turn on the icon next to the Opacity amount so pen pressure will increase or reduce the amount of snow added. This creates a really nice brush to build up snow in any image.
Above is an image I painted showing how a duck sees the beauty in his home during a light snow that we humans do not get a chance to appreciate. It was initially painted in Corel Painter by first adding a lot of the basic elements and grasses. Just enjoying painting at this point. Then the image was opened in PS and many more details were added. In this case the snow was painted in using Corey’s Particle Brush and the snow was built up using the Snow Build Up brush (sampled brush 4) and sampled brush 6. Many more plant elements were added along with the duck. Topaz ReStyle was used to change the color scheme from a warmer one to a color for a more wintry look. This is a good example of how to use these snow brushes when doing creative painting.
It is very handy to have the snow in brush format as opposed to a large vector overlay. I hope you will try creating these two basic snow brushes if you enjoy making wintry scenes. I am still experimenting with them, and trying out other brushes. I like the overall effect of these two brushes and am using them a lot to just add a little wintry effect to a cooler image. Until next week…..Digital Lady Syd