Oil Paint Filter
We'll paint came along and I believe c s six and I've got a couple images here for you to give you an idea of how you might use this filter let's start with this image right here s o this is when I shot on in rome on palatine hill and this is ancient ancient stuff again, we're talking nearly three thousand years old here and this tachy was really far away, but thanks to that three hundred millimeters in from linz protego dot com I got tio get us close to it as I possibly could but let's say the colors and exactly what I wanted it to be and I wanted it to give this a little bit more of an artistic look, so what we're going to do is use the oil paint filter so let's, go ahead and I'm going to pop open this smart object is to see what's in it very good, ok, so let's say this is our document that we're going to work with so we can shift, click toe, activate all the layers, go to the filter menu choose convert for smart filters, so now we're ready to run the oil paint filter so we can choos...
e filter oil paint and that's just about it you're done tell let clients see you do this stuff they do not need to know how fast you can be at this kind of stuff because they want to pay less and let's face it when it comes to clients it's not just they're paying for your experience however many years it took to get you to the place that you are today so just because it takes you five seconds to do something in photo shaw that doesn't mean that you charge for five seconds because you've got all of that experience life experience leading up to that point and that is a value to so don't don't undervalue yourself at police is big lists and of the day you are very welcome so here we are in the old paint filter it is basically just a matter of tweaking these settings to your liking there's no magic settings for photographs it's just what do you want the painting toe look like so stylization if you drag it to the left get a little bit more of a ref flick looks a little bit more natural in my opinion the farther you drive this slider to the right the more abstract it becomes so it just depends on what you personally prefer cleanliness we'll make thie when you drag it to the right we'll make the painting look a little bit softer because you don't have quite the hard edges I drag it down to the lift and it gets a little bit more contrast e so dig in this depends on the look that you want scale determines how big the brushstrokes are, so when they're quiet small bush is quite large not a whole lot of difference, but somewhat so it just depends on the look that that you're going for I do different things on I used different settings for each photo on this kind of thing bristle detail like that one to the lift that makes the painting look a little bit softer I kind of like the way that looks, but if you want a little bit more detail a little bit more contrast in your edges and could drag that to the right lighting, you can control the angle of the light you can see how that changes as I drag with this slider, so it just depends on where you want that angle of lights be and the shyness is pretty cool, so this really makes it look like you added a lot of white pain in and around the high contrast edges so that's extreme shine looks pretty funky that's just a little bit of shine, so it just depends on the look that you're going for so let's, go ahead and click ok and we consume in two hundred percent here and now we've got a painting so here's our before and here's our after so quite a big difference this might also be the result of this is something that you could sell in your photography business and again, it's also a great way to save what you might consider to be a subpar photo because of its color andan lighting. If you can't correct it to your liking, then this would be that's something that you could do now you'll notice that I did all of these effects in that expanded temporary document, which is totally fine too deep. I had just for gotten for the exercise filed a copy my to duplicate my original layers that's why I did it all in this temporary document, but if we were to come up here and she's file save and we go back to the other document by closing it than all of our changes, their updated there as well. So that's a neat one when you're using the wall paint filter on images that have faces that those paint strokes make the faces look really, really weird. So what I like to do when I run this on faces is to use the included mask to hide just a little bit of those paint strokes from the faces. As we zoom in here, you can tell that some of the paint strokes are still visible, but not as much as they are everywhere else so listens to that real quick, so for this one, I'm going to go ahead and throw away that will pay a filter and then I'm just going to go ahead and convert this layer back to raster layer just so we start over just for the fun of it. So here we are back at an original image activate the layers filter, convert for smart filters, go back to the filter menu, choose oil pain and tweak the settings to your liking. So it just depends what you want this painting toe look like maybe bring down the scale that there we go see how the faces I mean, we are seriously into weird, weird weirdness here, so we'll just say all this is fine. We'll leave all this set the way it is and we'll go ahead and click ok, that is creepy to me. Very creepy. There we are one hundred percent so let's click to activate the smart filter mask we know it's active because it has that little white bracket around the corners, so now let's. Grab the brush tool by pressing b and let's. Take a peek at the color chips the bottom of our tools panel and make sure that black is on top. If your color ships or anything other than black and white press andy to set them to the default of black and white, then press x to flip flop your color chips so that black hops on top once you have black is your colored ship four grand color shit let's. Pop it to the options bar and make sure with the brush preset baker that we have one of these soft edge brushes active so it's this one, that one or that one? The only difference between those is the brush size that we can change that with a keyboard shortcut saying, back out, come over here to the image and use our right bracket key to go up in brush size, and I must have a really honking big brush, so I'll go down in verse eyes oh, this is excellent! I am so happy this happened. I'm really, really happy this happened. So what's happening to me on screen is all semen. I'm going up and up and down and down in both size, and nothing is changing. I can't even see the outer edges of my brush. Her, sir. Anybody in the studio on its one, I guess why you're caps key is locked on. Yes, so my caps, like he is on, which changes your brush cursor to the completely useless, precise cross here. So when I turn off my brush or turn off the caps lock now I can see the edges of the brush, so caps like on cats like off, if you work in a group environment, this is a I feel is practical joke to play on your co workers when they are out to lunch, or when they go there s stream just run over there to the keyboard, pop on cats lock, they may have to reinstall photo shop it's fabulous good times right there. Anyway, here we are with our caps lock key off and just make our brush a little bit bigger, and we're just going to hide the effects from some of the skin areas. Now. This hiding this is looking funky because right now we're painting with blacks were hiding the filters effects one hundred percent, which we don't really want to do, and we've got some weirdness going on down here, so we'll skip down teo, the bottom portion of the painting behind a little bit of that. So what we're going to do is lower the opacity of the mask using that density control we looked at earlier, so let's, go ahead and double click the mask itself, and then you can grab the density slider in the resulting properties panel and just drag it down, drag it to the left until it looks good to you, which to me would be somewhere in that vicinity, okay, so you don't want to hide the effects completely, but you certainly want to tone them down, I would think if you run this filter on portrait ce so of course would be a little bit more careful with that we were doing this for riel but that's how you do that another option for toning things down like that is let's say that I liked the look of this mask but I want to soften its edges a little bit you could click to activate the mask and then run a blur filter on it and secondly filter blur gosse ambler we'll talk more about gaussian blur here in just a little bit but that's another way to kind of soften your mass teo get the look that you really want so let's go and close up the rest of our images here I like the way it looks on the statutes really, really nicely so that there was one question that came in from the internet actually on this picture that you're showing right now with the statue if you wanted to have say two different brushstroke styles one for the wall on one for the statue would you then create a separate maybe mask out the brush strokes in one part and then create a second smart object and then reapply breaststroke? Absolutely absolutely yeah depending upon if you want if you want one set of brush strokes to be visible like in this area and another set to be visible over here depending upon if you wanted these to be mixed in with the second set of breast ropes. If you didn't want them to be, you would do. You would dip, lick, ate your image layer or your layers. You'd make a first smart object, and then you did apply. Actually, make too smart optics. You'd apply once that a paint strokes toe one and a different set of paint strokes to the other. But if you wanted to just add another layer of paint strokes onto this one, but only in a certain spot, then you would absolutely control or right. Click and create another smart object out of the first one grand and run all pain again, and then use the the smart filter mask to hide those strokes from a certain area. It's a great question.