Profit from Painting: Creating Expressive Masterpieces in Photos
What we've got going on today is painting expressive painting and photo shop, and what I'd like to start off with is a few samples just going to give you an idea of what we're going to be working on, but actually, before we do that let's do a little bit of housekeeping as well, because if I don't give you all some presets, um, you're going to feel a little gypped because to speed things up since we only have a bit over an hour, if I didn't give you brushes and textures and actions and all sorts of things, then I'd be really tough to do anything within an hour, but I do so what you're going to do is first off let's actually start off, go back to this page right here and give you some you or else somebody somewhere just mentioned that my twitter and instagram handle is a jack wow davis, my facebook fan pages jack davis, wow, just to keep things confusing and, uh there, if you like that page, you'll be able to download all the presets they were going to use today, so that is brushes, patt...
erns, textures, actions first born male child, everything that I can possibly give to you you can have right there so again, facebook dot com slash jack davis, wow, and like that and I just want to know tate for people that when you do go to that page there's like a star icon and up at the top and that's where it says you can download the presets, so I think that will be right here and that's what you were talking about right here so you've got a like and the star jack's free presets is just for you all. Please do not re tweet or resend, or rename and we sell on ebay or anything else. This is just for you guys just for being here in the class. Please don't pass there's along without being part of it course, if you buy the class, you also get all the follow along files and the presets as well. So that's the nice thing about that particular one back to this. I do have a website while creative arts dot com, where I still things like my light room title that's tomorrow's all day class so we'll start off will actually do a little bit of adobe kamerad to start off our day to tease you into tomorrow's class and at the very bottom I do do one event myself every year, and that's called creative photography for the soul over in hawaii, then with a couple of national geographic photographer so that you are all right there ten u r l c, p forty s two thousand thirteen will give you that access to that personal invitation to that event. Ok, so with that out of the way, the presets or what you're gonna want when you download that that's a zip folder, you we're going to find all these in here again. My action sampler brushes, mix of brushes, pattern, stand brushes are history brushes, a pdf that's going to go over the basics of using the pattern stamp in our history, because, again, the steps it's, we'll be very helpful for you to have that as a resource also a repeating canvas texture, which is useful, and you'll see why later, on the neat thing about all of these. Once you download and unzip that folder, you can simply select all of them either on the desktop or in this case, I'm within bridge to a command or control o, and it will automatically launch all of those presets and the be loaded in photo shop. So that's, what you need, just a commander control. Oh, you can also put them into the presets folder within photo shop, and that will also give them to you, ok, so that is how you're going to get the toys for today, the samples back to some samples that I mentioned before of what you're going to be able to do first off, actually, before we show some samples, why would you paint in photo shop? And why would you do digital painting as opposed? Did additional painting? The main concept on why I'm excited about painting digital painting in general is it allows you to extend the story of your images, and you probably already have great, beautiful photographs. So it's not about doing photo realistic painting or illustration you want to do photo realistic painting talk with burt, okay, burt monroy, the sadistic, masochistic, world's most fantastic digital photographic realistic painter, is phenomenal. Well, I want to be doing here is doing an interpretation of the photographs, and that's really is the reason for doing it either one, because your source image it wasn't great enough to begin with. It had a great story, but the execution of the photograph wasn't quite there or two. It is a beautiful photograph, but you want to do an interpretation of it and that actually can make it more powerful, especially right now. Where there's so much competition in the photographic market in the portrait photography market be able to set your stuff aside are apart from other people by doing something like an interpretive portrait of somebody can just extend what your studio could do, so that's really what we're going to be doing in the hour that we have, I'm going to start off with some real simple stuff that you can do to do a painting we're going to start off in adobe camera which uses the same engine is like room so my first painting is actually going to be a hand tinting effect you can do it either in a doping camera wrong or in light room then I'm going to do a filter effect and that filter is going to be done in the new photo shop for chef cia six has a new oil paint filter which is really cool and groovy I'm giving you an action that will automate that process so that will be another way to quickly and easily do that I've also given you an action that does a little sketching effect so you can do a quick little hand sketch a pencil sketch or a charcoal pastel sketch of a photograph and again use that to extend what your studio offers in terms of portraiture and last we going to go into some hand painting and that's actually would take much longer. Hopefully we'll be coming back up here to creative live and I'll do something like that three day workshop on painting and that's really where we're going to get into the expressive painting which happens to be this right here here's an example a photograph taken by renowned portrait photographer sandy foster and this is the painting done from that this is using the mixer brush technology, but what's exciting is just how far you can take, uh, your imagery in terms of how photo shop can actually imitate kind of a natural media paint strokes and the interaction of brush strokes with things like, in this case canvas. So this is done completely in forty seven that actually brings up another question. There's, another program that does painting on the computer and that's painter been around for a million years phenomenal program actually has much greater painting capabilities than photo shop. The thing is that almost all of us own photo shop and that's why we're spending time there and if you understand the tools in their actually what you can do is fantastic. So that's why we're doing it here, but if you're a painter, uh, artist than that is actually has going to have more capabilities on it, then photoshopped the's air, other little sketches done in photoshopped this is using the pattern stamp tool again will be teaching you these secret mickey mouse club handshake that allows you to actually use the pattern stamp tool to do something useful. If you stumble upon it right out of the can and photo shop, if you've never touched the pattern stamp tool, you'll know that it's only used for tie dye and bubbles the only two patterns that ship with photo shop are absolutely useless and you'll never figure out how to do anything worthwhile in it got some sketches? Is there some or paintings done using the mixer brush? And so these are just some of the things more portraiture I actually have some very nice stuff, but I can't show because of I just did a commission portrait for princess diana for the queen mary down in los angeles, but because creative lives very cautious with their copyrights some things I can't can't share with you this is another sandy foster portrait this is a sketch using this action that I'm going to be sharing with you all that's part of what you'll find if that facebook page of jack davis well and ah with a little hand augmenting to it and here's a color version of that okay and watercolor is this is the pattern stamp you get the idea based upon the time that we have let's get into what we're going to be doing ok? So as I mentioned, um what I'd like to start off with is a um hand painting technique in it will be camera, which is exactly the same as like whatever I'm going to be doing right now going to be done either program, I'm gonna start off with these a real black and white photograph of the world's most beautiful mother. Yes, that's my mom and, uh a great shot by brooke crystal ah, bride that we're going to turn from a color photograph into a hand tenting in the bridge. I'm selecting the two images I'm going to come up here into our little iris icon you could do a commander control are would also open that up. Bring these into little became a rock which of course, ships with photo shop it's actually built into the bridge. The panel's over here on the right hand side that you're probably familiar with are exactly the same as the develop module in light room. So again, if you're likely music, how many of you are like room versus okay, you're all like, so you're going to be doing this in light room? We'll start off here because everybody is going to have photoshopped that for this class, so we'll do that we're getting a wonderful little's, instant zooming that's going in for in and out, so we'll see how that continues we're going to do for this technique will start off with this black and white images, we're going to come over here to the adjustment brush which normally you think of is you're dodging and burning tool, but it actually has a fantastical feature down here at the very bottom called color let's see if we can do our little, uh, zooming in and out so that is our little color portion of the adjustment brush over here in adobe camera or the develop module, then I'm like room and this little swatch right here is what we're going to do to add little transparent color tinting basically, what we're going to be doing is imitating a traditional say turn of the century hand tinting of a traditional black white image which was normally done with very few colors very quickly very soft edges definitely not trying to imitate a really color photograph just add a little bit of flavor to a traditional image this color sweat right here is going to do exactly that takes whatever tones you having a photograph and answer color tint on top of it it's not opaque it's transparent much like a die it's beautiful I'd say this is much better than any hand tinting you could do it photoshopped what we gonna do over here is you simply come over here and click on the little plus icon and it turns it on in the case of adobe camera raw, it also resets all the rest of the parameters in the options for the adjustment brush if you're in light room double clicking in the upper left hand corner on the title of any adjustment resets all those parameters so that's a good habit to get into is to reset your parameters before you start in this case the only thing we're going to start off with is a little hand tent when you click on the color swatches going to bring up your color picker you can come up here and choose like I said this is allows you'd actually save off five different swatches and that's probably what I would do I would recommend that you don't need any more than five colors so we'll start off a little flesh tone you have only human saturation at your disposal there's no luminosity to it it's using the luminosity billy's based upon the original photograph so you're just going to come up here and I'm just going to choose a little bit more of a flesh tone and I'll say ok the other parameters you have at your disposal size feather flow and density the brush these are the exact same parameters he's above here as the graduated filter in adobe camera and in light room it's just obviously they're adding the brush capabilities I like working with a big soft subtle brush the size of the brush if you come over here you can use a keyboard shortcut uh the command option left and right bracket changes the size of the brush on the fly you can obviously use your slider here and what we're going to do here is start off with the skin tone the thing that I would recommend is always whenever you're painting a mask and either adobe camera or light room is view the mask it's just painting just like you would a mask and photo shop there's a keyboard shortcut for that if you're tapping the waikiki the y key as you can see over here over here where it says show mask that's going to allow you to hide and show the mask is you painted it's the okey in light room just tap the oh it's not commando or control oh it's just oh so I'm gonna tap the waikiki in a double camera and that's going to turn on that option will use our square bracket keys to change the size of the brush swift shift square bracket changes the hardness of the brush those you have all the parameters at your disposal I'm also using the walking tablet is you can see here the new into us for and it has a little pop up display so you can also see what you're working on in this case I'm going to come over here and start paint we'll make sure that everything set the mask you can change the color of the mask I'm going to make it to a nice obnoxious green so I can see it if you tap. Shift oh, in light room you can cycle through a few different colors to make sure that you can see what you're working on okay, so I'm gonna come over here and you can see that now I'm painting so I'm going to going to go really quick I'm going turn off actually auto mask let's turn that off like I said, I like using a big, soft, subtle brush and that's it that is the skin tone that's about as quick and as ugly as you can get, you'll notice I went over the eyes and the teeth I don't want to do that, so I'm actually going to shift over to the eraser he hold down the option key on the mac or the old key on the pc, it automatically switches the brush over to the eraser option and see it's automatically set to the eraser over here and now I can come up here and just erase portions that I do not want color let's take that feather up for the eraser as well I'm gonna do that for the eyes and we'll do that for the lips that's really is all that I'm going to do if I want I can clean it up a little bit around the hair or other things, but I don't actually mind that spill and that overlapping of colors actually is going to make it even more realistic I'm gonna tap the waikiki that's going to hide that mask and here's our introduction to our little color tinting, so we started with a color tint I'm going to come up back over here to the brush will have another color, so I'm just going to say new come down here and choose a different one. Let's go over here and we'll choose something like a light blue for our shirt, and I'm actually going to do for the hair. You may know that since there is no color in a, um and here we could do brown but actually to make it look like a jet black hair oftentimes a little light blue will actually be nice. I'm going to come over here in this case, I'm going toe not turn on that mass that you could just see if you really are trying to be fast, you can just do that. So now I've done a skin and the blouse great, I'll come over here again and hit new back down choose one more color let's do a little green, okay for a background you can see how fast this can go. Take the size up here's our green background that's done, okay, and we'll come up here and you can see again if you can't color it. Within about sixty seconds, you're spending too much time it's going to end up like you're trying to imitate a traditional color photograph and that's not what we're going for. We're looking for that hand tending, I'm going to do one more new, we're going to come over here and we're going to set a little red for little lipstick and a little rouge that I'm going to zoom in. Thea space bar and the commander control key command key on the macro control can the pc is going to give us a little bit here, I'm gonna come up, make the size of the brush a little bit bigger, and I'd mentioned that this flow in density is something you have at your disposal. You can't take the density down if I want to do a little kind of subtlety to the cheeks, you'll notice there, I just added a little bit of a cheek blush to it, you can make that a bit more if you want, and I'll take it back up to one hundred percent with a smaller brush, and I'll come up here and do the lips a little lipstick. Now you'll notice that every time I've done this is you're probably already familiar with light room ordeal became a rod drops these pins to show you what you've been creating. Much like a adjustment layer closest thing you can get to an adjustment layer are these little pins and each one this case this is representing the red if I come over here this is the skin tone you can see the color changes over here I can see that I want to change my I wanted do a little bit more around the eyes well I raised a little bit too much maybe I missed a little bit down here on the um skin tone on the neck and maybe up here I raised a bit too much so again you can go back to any pin to fine tune it simply by clicking on it and then find tuning whatever mask you did the reason why I like this and you can hide and show those pins you can see this down here you also have a keyboard shortcut in a doubie camera raw it is the wiki hides and shows those pins in light room it's the h key so slightly different shortcuts but the reason why I like the doing my hand tinting in it became our our light room is that you not only have this color swatch at your disposal but you obviously have all these other parameters as well from exposure white ah shadow highlight clarity everything is at your disposal so if I come over here to that background as an example which is our little green swatch I can come over here and I can take that exposure the mid tones down I could take clarity down that's going to give me a little diffuse glow kind like a little romantic film law you know ghosting to my background I could take it up and hard on that edge so you have all of these different parameters color tone exposure in every single pin so what wouldn't photoshopped you'd have to be doing different adjustment layers in light woman a cr you have it all in one point okay and again we'll hide those pins by tapping the wiki so here is our before after before after makes sense nod your head enthusiastic yes good awesome over here I'm just going to go ahead I've got this I've actually got some snapshots saved so this is again a brook crystal shot around wedding photographer and some stages here so this is the original shot here that was pre cropped here's a little kind of antique ing on it here I think my last one that I ended up with is this one here so again we go back to the adjustment brush and tap on our wiki you can see the little points here so here's our little red adjustment for the lips and rouge our background our blue for the hair and the blouse and you get that same idea so here again is the painting before and after so that's hand tinting became were all that's our first painting technique and that is quick and easy the next one that I want to share with you is we're also going to start over in um adobe camera or light room and for that we're going to use uh a cr as a starting point to go into photo shop and for that we're gonna again to our commander control are and what we're going to do is we're going to set up a painting for this new oil paint filter in forceps yes six and for that I've got the world's most wonderful daughter here and we're going to start off with special effect in this case I'm going to start off with a little, uh affect what I call a selective hand tinting so is before we started off with a black white image we hand tinted in this is a quick cheating way to do another little special effect kind of a painting effect and for here we're coming into the h s l gray scale version of adobe camera same as in light room in there they're develop module and want to go over to the saturation little panel right here portion of it and I'm going to take out the oranges and the reds eds leaving behind in other words, I'm taking out all the skin tone and I've just done a little instantaneous hand tinting effect in light room, where a cr by simply removing a portion of the color range leaving behind obviously the magenta is the greens and things like that so that one little option of going to saturation and we're moving all or some of the colors we're going to allow you to come in here and do this little effect and later on tomorrow, when we get into class on light, when we'll be adding other things like this, you can come up here, we're actually going to lighten the skin tone this h s l panel in light room in a cr is mind bendingly powerful a lot of things that you can do with it. In this case, we'll do this right here. So this is our special effect just simply coming over here to the h s l panel. This is the preparation that we're going to use to bring into photo shop in just a second. I've got another still life here. I'm going to use this one as well. There's a shot I'd normally used for teaching hdr photography. I've got a snapshot in here. This is the original, and this is our tweaked shot. So this is the exact same shot before and after using what I call my five step tango for optimizing your images and again it's. Mohr mind bendingly cool than should be allowed by law and that's because of the new light room built into the new photo shop. What you could do to extend the dynamic range so I've got my two photographs he's, we're going to do paintings on real quick. I'm going to select the two images over here on the left hand side I could do if I was in light room, I would select and the film strip at the bottom, and what I'm going to do here is you'll notice down here at the bottom, okay, there's, a little icon here that says open images let's see if I can go ahead and zoom up here so we can take a look at it. You can say either open objects or open image as a default, it says open images, which would mean it would bring it into photo shop as a flattened, dumb quote unquote rast arised file if I hold down the ship key, I can have it open up as an object, ok, as a smart object, and that means that everything that you're looking at now either in madobe camera or in light wound will come into photo shop intact, you know you can always get back to that raw information, and you can change those sliders. Which is extremely cool smart objects are extremely cool if we were in light room, what you do is you can hold down right click on an image on the film strip and you'll see edit in editing photo shop smart objects so that's how you'd reach in light room, right click down in the film strip edit in photo shop as smart objects down at the bottom ok, so I'm simply I've got two images selected here I'm going to say open objects, actual let's do a little just to show you you can change that if you come down here to your workflow options and a c r, you can have it as a default open up a smart objects, so I've I've set mine up as as that, okay, so I'm gonna say open objects and you're going to notice his icon over here is telling me that this is a smart object, it is different than other layers and photoshopped. It is intelligent, one of the nicest things about his you can apply filters to smart objects, and they are nondestructive mean even change that at any time. In this case, I've come up with a recipe what I called a smart filter recipe of all sorts of different filters that applied in a certain order give you a really cool groovy, as I call it bitchin result and so we're going to go for a bitch and result the easiest way to do this since I've given you a bunch of actions is to run one of my actions and again for time I'm going to just from that actions are going to go over to the actions palate and if you remember I started off by loading in those actions remember I did a command or control o that gave me this right here okay, so it gave me not the's I'm sure these air useless but he's right here davis painting action sampler is what I'm giving you all here for being with us all today you've got all sorts of things that sketch one that I showed you some samples before and here you have painting enhancement we'll get to some of these but this one right here wow smart object painting you just simply click on that go down to the bottom of the actions palate you're going to find your little run icon way down here you little you know vcr play button and let's zoom back out again and run that and what this is going to give you and again this is presupposing that your image is already a smart object if you try and run this on uh the filter gala is not currently available what has he done filter gallery uh I know what's going on it also presupposes that is a default setting that a lot of the filters and photoshopped on ly run what's known as a pitch for channel mode. So the specific ones I'm using on lee working eight bit per channel mode. So by converting this image over to eight bit and then let's go do this over here. Ben, I take it back. It had nothing to do with you, okay? It was the work flow options over there. You'll notice what? Down at the bottom, where we turned on those smart objects, it was set up as a default for sixteen bit for channel. So I totally understand that. So anyway, back to our original image, back to our actions, back to the smart object painting back to the play button. And this is what we're going to get now working perfectly and what you're gonna see here as we zoom in. Okay, is now it has gone from here original photograph to hear. Ok, including and all our little brush strokes are little canvas, the skipping of the brush strokes over it, the hair. Okay, and that is what we call bitchin. Or well, if you want to call it wow it's fine and this is what it did it the action ran these filters in this order and that's what I'm going to go through now and since all of you out in the audience are going to have access to this action, you could just run it on your own files and you're going to get everything so you can kind of dissect it after the fact, but I'll just go through it quickly here I'm just to show you what it is and alex just explain it to you and this will okay, so what the action did is it ran these filters in this order and so for your notes way start off with a median filter in the median filters kind like a smart blur keeps edges razor sharp but simplifies detail whenever you're doing a painting it's good to the first step that you're going to do for any painting in this case an automated painting is simplify the subject matter all right there's no reason to have all the little details and the pimples and every other thing you want to simplify it because a person in reality would never paint those sorts of things, especially if they were going for an impressionistic kind of painting so the median filter does that if you double click on any of these little items here in the layers palate will actually come up here and bring up the filter settings, so here you'll notice that it's the median filter, and you can see how it's simplifying and yet keeping edges still razor sharp, and I'm doing it at a radius of three you confined to in this anything that you want after the fact also, you'll notice here on the right hand side, any time you've run a filter on a smart object, you have this little icahn right here, and that lets you change the opacity and blend mode for anything, just as if you'd run this filter on a separate layer. So basically, what smart filters allowing you to do is bypassed the process of duplicating and duplicating and duplicating and duplicating a layer running filters on it and then re stacking it using blend modes, you can change blend modes or opacity just like you can on a layer, but in this case, it's built into each one of the applications of smart filters in the layers palette. Ok, the next one is this oil paint filter, and I'll just bring this up to show the parameters on here, and basically this is what's allowing us to get our little brush strokes in here, a little excessive zoom right there didn't quite need that much, so it is doing our little brushstrokes here and you can see I've basically maxed out the parameters of cleanliness, scale and brush detail. Stylization is the one parameter that you can change, how exaggerated that you want it in terms of the length of these strokes, so to speak. But I'm going toe max it out in terms of the brush detail. The one thing you have to be careful of when using this filter is this right here shine okay, and this also when you could do that salinization, you're going to see what stylization is doing in terms of what it's doing to the brush, strokes and shine, even though it's well intentioned, is this it's in a boss it's adding a speculum highlight? Teach one of the brush strokes toe raise the surface, which is a great idea, but you often times would not want this impossible effect on everything. Certainly in areas of flat tone. So I, as you'll noticed in the action, it has it down almost to nothing. I do want it a little in boston going on, but I don't want it to the subtleties I wanted only on the extreme areas, and that is why the next little sample over here is an am boss filter and the m boss filter. Now is on ly going to run the m boss on what was left over from that last step each one of these is being done in order and so what was done with the median and then the oil paint is now being in boston and that's and I'll take that up just so you kind of see l exaggerated and it's doing again a little kind of a speculator highlight to the image and that is giving us just a little bit of a race surface to it so again we're adding the embossed filter on top of that the secret sauce that really I think adds a lot as you'll notice over here is this the impression that it's actually interacting with something like a canvas surface and that is where these what they call filter geller's come in and the first one that we're using here is called rough pastel on the rough pastel is actually giving us our little skipping of the brush strokes over the surface texture so that we've added here as a default there is a canvas that's built into photo shop it's not a great canvas you'll notice that over here if you want you can actually come up here and load your own texture and that's why I've given you my own jack davis texture right so in the er file here will do the follow along files and even is part of the ones that you can download for free this is my canvas which is much more tasteful much more organic I really photographed real canvas so you can use any texture that you'd like in here in this case I've given you one that's how you load it but we'll leave it to the one that's built into photo shop the last step in this little option here is another filter gallery and that is what they call texturizing and texturizing I'm also using a canvas texture and that allows me to kind of exaggerate not only the texture along the edges of the breast strokes but also in general teo the subtleties that areas of flat tone okay, so you take all of those together and you get from there to here the nice how the thing that's nice about smart filters in this case smart filter recipes is if you have another file that is using uh a smart object and let's come over here so here we've got the one that we've applied to this one I'm going to come over here and let's find our okay this one and our first one so if I've got that smart filter recipe aiken simply come over here and drag and drop whatever I dio from one document to another one and it automatically applies that without needing to do any other jiggery pokery so in this case this now is that photograph with that same recipe so now you can see it not only done to a portrait but this is this was somebody's your client was their favorite, you know, antique bike you can now do a painting of it. Okay, this has that the same parameters of it. This is also in that sixteen bit mode so let's, go ahead and image mode change that to eight bit and now it's going to take advantage of those filter galleries that only work in eight bit assume as we do that it updates it, and now those have also got their little textures to it. So again, here's our before after this is now using a filter to do a painting. The one thing that I'll add here I want this logo to be a little bit clearer. Each smart filter a set of smart filters comes with a free no cost no obligation layer mask so you can hide or show a portion of whatever affect your doing so in this case, if I come over to the good old fashioned paintbrush, I have it with black paint. We'll take the size of the brush up. Make sure that it's here change the capacity of the brush to something like fifty tapping of course, the number keys allows you to automatically change capacity if you have a brush tool active so I could just come over here and just clean that up a little bit, okay? Let's actually do it a little bit less I'm gonna change the capacity of that brush to something like twenty percent and I'm now just getting a little bit more of that logo because they're probably completely enamored of that logo. So it was painting on the basque allowing mohr of the original photograph to show through we go back to the portrait of my daughter the same thing probably would be done with the eyes. Okay, so I'm gonna come over here and with that mask active clicking on it so it's got a little border on it, I could just come up here and bring in a little bit more detail in the eyes. So it's not quite so illustrative and now that's get bringing in more detail to the eyes so again before after ok, so that is filter painting in photo shop taking advantage of a smart filter recipe. I often will use the this recipe right here as a starting point for doing the hand painting the mixer brush that expressive the indian gentleman that you saw wass started using this so I can get all the detail in the hair in the skin and the lips kind of automate that process and then I'll come back in with a mix of brush action that I'll share with you in a minute and then I'll do really expressive strokes around the outside so I can cheat and do all sorts of detail using this filter but I get the benefit of expressive painting using something like the mix of brush okay makes sense not your head you out there in television land yes. Ok so let's go back to the bridge and I was going to do another one. Yes little baby this is another brooke crystal shot this already has the so just to show you that when this really cute cause a lot of you are probably doing this sort of thing so we turn on the smart filter uh visibility and here again is our little filter. So if you do this as a gallery rap or something like this it's really adorable and as I mentioned before because this is a smart object this came from adobe camera or light room double clicking on the thumbnail fort brings you back right into um dough became a rock and in this case we could turn it into a black and white change it or whatever but as an example I just come over here I'm going to convert this to gray scale will say ok, when I jump back into photo shop it's going to reapply that smart filter recipe and now we've got a black and white version of the painting and so there is a little bit more related to that okay now what we're going to do is we are going to do a expressive painting a little bit more expressive painting using the pattern stamp tool and for that I think what we're going to do is we're going to use will use this little painting here this little photograph here actually know what we're going to start off with another this one right here because the first step and let's actually start off with a little slide to give you some steps foremost painting techniques in photo shop if you're gonna hand paint as opposed to what we just did using something like a filter set this is a great way to start off, so the first step are the zero set why paint we already talked about that when you can do all sorts of filtering effects as you just saw if you're going to be doing using your own hand, then obviously you're each one of your brush strokes is going to be personal to you what you're painting even if used the exact same technique I'm going to share with you it's going to be different for me because how your canetti hk aesthetics work is going to be different from mine a supposed everybody else that does it if you do traditional painting, you're going to be amazed at how much your digital paintings look like your analog paintings I do traditional oils and watercolors and my digital paintings look identical to buy an analog painting because I do it the same way how I work with it how I prepped the canvas how I do my brush strokes how I conceive of the painting is the same, so anyway, so with that okay, so why paint all sorts of things you could do that step one enhance embellish elaborate and that would include collage your image? Um the first thing is to go beyond what was captured if all you're trying to do is imitate a good photograph, he already got a good photograph just forget the whole painting thing and be done with it. You have permissions with paintings to get funky it's one of the nice things about doing paintings is that you have permission to do stuff that you would never do in a photograph. A lot of my traditional photographs actually look very painterly because I exaggerate color and tone and texture more expressive my background is in traditional graphic design, so I tend toward the little heavy handed in terms of my photography. But for those of you who are not that way, you have my permission, my blessing to go crazy and that includes intelligence we're going to start off with that the next step we're gonna prep brushes and canvas I've done a lot of that for you in the process that I'm giving you but that actually is where a lot of magic comes in three is load your photograph into the brush when we're talking about this hand painting of photographs we're talking about cloning again if you're going to do it from scratch or blank canvas and to start painting god bless you if you have that talent if you have that gift doubt upon you from birth go for it okay most of us do not and so what we're talking about when we painted photo shop is how do I cloned my photograph right? This is where painting for profit comes in if you really are painting from scratch there's no way you're going to profit from it because it's going to take you weeks years ages to do it so we're talking about now is cheating the nice thing about loading your photograph that you have enhanced his step one into your brush is you're going to be able to allow the computer to do the mixing of your colors for you that right there is going to save you a huge amount of time and the fact that you're going to be able to kind of trace your photograph is that's going to save your time because you don't need to have any talent okay as as anathema as for those of you who have talent you go do that is just so wrong to say that you don't need talent to paint no that's they're different times I do painting from scratch, there are times when you just need to get the work done the work out, make money from it and move on. So that's, what we're talking about cloning how you load your photograph into the brush is dependent upon what you're going to do the art history as an example in the there's actually, a pdf that you're going to get is part of your download today that will talk about both the art history and the pattern stamp technique. The art history actually uses what's known as a history snapshot in order to load the photograph into the brush. So when you paint with the art history brush, you actually just choose something in the history pallets say, I want you to paint with that paint and you can get really cool stuff we're going to do now is the pattern stamp pattern stamp is completely un intuitive because the only way you'll use the pattern stamp to do painting and photo shop is to do what's known as defined pattern of your entire photograph. So that's, how we're going to load the photograph into the brush when we do this painting right now, going to do a little watercolor is we're going to do that by making a pattern out of our entire photograph, the mixer brush. They came in with forceps he has five cool groovy awesome was meant for smudging a photograph never meant for really cloning it in other words, you can take it and just smudge it really beautiful brush strokes but you're smudging the problem was smudging is you smudge a second stroke you've smudged the smudge and that if you're used to traditional painting means you're going to get mud real quick or you work very slowly with teeny tiny brushes and you just and again you're back depending weeks to use the mix of brush to do a painting I've given you an action which is bitchin which will automate the process of loading your photograph into your brush so you can use the mixer brush without sampling all layers it's faster, it's quicker it's easier you'll see that in a second that's something that will probably come back at another creative life three day class and do some more extensive stuff on that and we'll just I'll tease you with that but we're gonna spend time on the understand step four is what you do a traditional painting block in shape starks and lights what you would normally do with traditional painting you can refine that pullback in details that's we're going to go into the eyes of leaves or whatever you're working on you work from the um exaggerated big areas to the smaller is a detail that's when you traditionally do in a painting and the six after you're done is enhanced the tactile effect since this is digital, what we're really talking about is fooling the mind right? The term in hollywood is suspending disbelief how can you take your painting far enough so that a person actually thinks that they're looking at a painting? Okay you're messing with people's mind so for the canvas that's adding, the texture to it is that in the patina when we do a watercolor that's going to be doing something to add the effect of a wash when you do a wash in a water color as thie washed rises, the water dries, the pigments tend to disperse to the edge and you get this darker kind of edge to your watercolors, so we'll do that as part of this enhancing stage okay, so that's texture overlays pitino's edge exaggerations, density color tone again you have a computer take advantage of it you get to have all sorts of fun the last one sharpened for output a painting if you look at a real water color, if you're doing an output onto watercolor paper it's going to be razor sharp there's no softness to it and so sharpening your painting is actually a very important step because again it it kind of ties all the different elements you brought together and allows you to do that ok, so that's sharpening when we get into enhancing these air kind of what we're going to do right now with an enhancing um tone in color you could sharpener soften you have blurring if you didn't know it you could shorten depth of field inside light room in a cr after the fact you could do that targeted rick color that's what we just did with my daughters painting so you could use that as a starting point using those h e s h es el sliders as I just mentioned you could do the hand tinting you could use that as a starting point as well if you wanted to edge framing I often will add an edge to a photograph like a white edge so when I do the painting it bleeds off to nothing ok so you see that and again it helps pull the mind because your brush strokes go out to a blank canvas in this case we're going to open a smart objects the nice thing about doing that as part of your process is that you always have the ability to go back to the photograph either in uh adobe camera or in light room guys have to fine tune it and again once you brought it into photo shop is part of this enhancing step you can combine collage retouch ok in terms of let's go back as an example a good friend of mine let's do we'll go ah show our samples again uh this painting right here? Ok, my friend ah john hunt burn great friend great surfer not quite this good of a surfer hanging five right here so I removed the front of the surf board to make it look like he was a little bit a little bit more prowess than he actually had this case over here a shot taken over in moriah and tahiti it was no canoe in the painting and so I added that before I started the painting so again, like I said that you have permission to knock yourself out, get a little funky and have that is part of the process here we'll just do another example this shot down in brazil this is the final watercolor painting of it so you can see I did a huge exaggeration this was probably an hour after sunset so color and tone clearing junk off the beach allows me to do this nice little so that's part of this enhancing stage right here that's back up and we're going to use this one right here and I'm going to go into back into a cr or like room could be the starting point and we're going to do our little enhancing here so first off I'm going to be in the basic panel we're just going to do little things like, you know, clarity maybe a little shadow we'll do a little saturation will d'oh a little that's actually we'll just say that that's we'll take that over the top in terms of our saturation sometimes when I want tio exaggerate things like blues and goals actually you saturation instead of vibrance vibrance issue probably knows intelligent saturation very judicious with oranges which in this case we want to exaggerate so things like gold fields or sunsets using saturation as opposed to vibrance is often a really nice tip ok, so we've got that here we may do something like our graduated filter and take down exposure with, you know, exaggerate that sky if we wanted to we could a zay mentioned I often like doing a little frame on it so goes out to white so I'm actually going to come over here and do a white border if you didn't knows that you could do a white border you can actually do white borders in a cr and light group so that little white is just going to give me a little something for the pain to come in so there is my before after by the way, if you didn't know that you can actually khun preview multiple settings and adobe camera just jump over to the snapshots window and then that peaky gives you an all on all off that's the only way we'll get a preview from multiple different features within adobe camera during light room it's thie backslash key not the forward slash your preview before and after is your backslash can like isil shortcut ok, so we're gonna open object as I mentioned now, we've got our image and we're ready to do a painting. We're going to use that pattern stamp, um, feature that I mentioned before, so for that, the first thing I want to do is I want to put this photograph into my brush and for that we're going to go edit defined pattern and again, this is on that pdf that I've given you a swell okay, so defined pattern and it's going to allow you to name it say yes, fine, thank you. And now we have that available as an option. If we come over here to our patterns stamp tool over here on the left hand side hidden underneath the clone stamp we're gonna find our pattern stamp and now I'm going to go up to the options bar and the options bar all the parameters that you can change associated with this and this is where it has the one little feature, the impressionist setting and that's where the magic comes in. Like I said, this is not intuitive. This is the pattern, the bubble, okay, that bubble and tied I those are the only things that it will be things are useful in using the pattern stamp but again, it's mind bogglingly useful here's our photograph that we just turned into a pattern that's, what we're going to select and the impressionists setting is going to allow us to use the color from the original, but not the detail that's going allow us to get expressive and rather than just clone back in or photograph, it allows us to do a what they call impressionist setting. Ok, so those are the settings associate id with it. You have also flow and airbrush settings and other parameters I've given you as part of those precepts that I've already talked about loading when you come over here to the upper left hand corner there's a little teeny icon, okay? And there is the on ly diet. There is that tide I won that I mentioned before he should have I think that I opened let's go back here to bridge and we'll go back to our settings and make sure we loaded them. There's our follow along files here's our pattern stamp. Uh, we've got something set up so it looks like I'm going to actually drag them over the icon for photo shopped to make sure that they load up. Now when I come over here there's all the presets so that's, another shortcut, if he didn't know for any pre set in photo shop, you can also drag it over the icon, you know, the short cut in windows or something in the dock and it force it open in this case. It got confused when I did a command o and it opened it up in text at it. Ok, so in case you don't see them, you can also come over here to the upper right hand corner of the panel over here, what are known as your tool presets, and you come up here and load tool presets and just find what you've downloaded from me. But these air when I've given you these different wow pattern, stamp, chock dry brush, oil and watercolor, all of these you have with my blessing, and we're gonna do a watercolor want to start off with large and that by clicking on this priest that is going to change all the parameters, associate it with that brush, okay? Including we come over here, it's going to set the parameters over here in the brushes palate, including things like texture and that's where it's going toe load in my wow patterns and textures that have given you as well. So that's, one of the main things that gives a brush it's realism is having real textures built into it, so if you're going to be creating your own brushes by all means you're going to be taking advantage of this ability to add in textures, okay? So that's really what's going on also things like the dual brush mode that means you can have more than one tip and the nice thing about that is that these tips are actually going toe interact with each other and it gives you a much more organic tip when you're paying so that I've given those again knowing that the lack of time that we had here I've gotten hit and giving you those precepts for the brushes and they're already applied ok, so we have our photograph is inside my brush, so to speak I'm ready now to paint I could start painting if I wanted to right now, but first, what I'm going to do is I'm going to create a empty layer above this I can actually throw away this layer if I wanted to, the photograph is up here, I'm not actually using this photograph once I've taken turned it into a pattern, I don't need it, but it's going to help me trace okay, so I'm gonna go up and, uh I want to do in advance tip for you guys because I like you and I can already tell that you guys are tracking so well I could create just an empty layer and fill it with white and we'll call that paper but I'm gonna actually come over here to where normally find your adjustments, okay levels and curves and everything else these first three have nothing to do with adjustments they're called phil layers and one is called pattern and since I have given you a bunch of patterns, you're going to find patterns like, in this case, a canvas texture, okay? And we'll actually do this is a large list so you can read the's so I'm gonna come up, we're not going to use great granite, we're gonna come up. Uh, this is the canvas texture that we can use later um that's actually for simple that's actually, I'm going to save this one for later let's actually do what what normally most people would do is just create an empty layer, fill it with our background or foreground color in this case will fill it with our background color white we'll change our opacity a little bit. I think this is even in the pdf so basically it's going to allow us to give us our paper that we're going to be painting on top of and our photograph is below so we can kind of you is it a trace? I could paint on this layer right now, but actually what I want to do is paint right above my paper, which is very difficult to do in the real world. You've ever tried painting an eighth of an inch above the actual canvas it's that takes some serious jed I skills to do that, but in this case, let's call this paper, okay? And we're going to create another layer right above it, and we're going to call this paint, and this is what we're actually gonna paint on, okay, so it's going to allow us to keep the paper and the paint separate, and I've got my water color. I've chosen my watercolor large, I've got the photograph loaded into it, and now I'm ready to paint. I'm going to paint the exact same way I would paint a traditional watercolor in this case, I'm going to do one large wash for the sky if you pick up your brush when you're doing a wash it's going to start drying and then when you do another brush stroke, you're going to be working on pigment on top of pigment and you can actually see that edge sometimes so often times when you're laying down a background wash, you want to do that in one fell swoop. It's one continuous block of water that's what the paper! So I'm going to do that for the entire sky and when to stop when I get to the clouds. So I'm going to start painting and you'll notice the nice thing about the brush. If I stop, you'll notice that it's actually flooding the paper with the pigment. Okay, so it continues to paint as you do it, so that is again the technical term is bitching, so I'm gonna come over here and I'm gonna come and I'm going to dio not gonna lift my walk him little stylus coming from my welcome and I'm gonna come over here and if I come over to the edge, you're going to notice that it actually goes white because that's the sources white, so actually get this nice little fade out as it comes up to my edge. I often leave little teeny gaps in my paintings as if you're working real fast, as if this with a little, you know, sketch, watercolor sketch sketch that you do in the field. So I'm going to leave a little gaps on purpose and there's my sky, I turned that off it's a nice translucent by make the opacity of that paper one hundred percent you can see what the little wash did for me okay, and I'll take that capacity of just that paper texture down can now continue to trace back on there, and now I'm going to do kind of the clouds and just like I would do in traditional watercolor, I would not let my colors touch because if they do, they're going to they're going to bleed if I come down here, you'll notice that the field, the gold is bleeding into my sky, so I'm not when undo that, and I'm going to make sure that my washes okay, do not touch, and so now I'm going to do a wash for that field. I'm gonna not do the shadows and I can come over here and I can actually go off the page. As I mentioned before, okay, I have created because these air what are known as analog brushed tips, they're actually captured brush tips. I created different sizes for each one so we can go to a medium to pull in more detail, so I'm going to do this here, I can let them overlap. I am going to do some overlapping here, and I think if I turn this off here, I can see kind of a little french post, so I come over here and do another one, you're going to notice that it's getting a little bit darker and so aiken just by doing a second hit, I can start doing darker portions of it in the same thing with the clouds were not going to do too much in here just because of our time, we want to do one more, so that is our quick little washes we're done that we've done so far, I could come up and do other little augments to it. Oftentimes a nice thing with watercolor is to do a little like pastel on top of it, coming back with a hard either pastel pencil and do little details so we could even do another little layer on top of this one and choose a different one. So what kind of come up here? We'll do a little choc small, what chalke extra small, and that also is going to use that same pattern that I have set up so I can come over here and let's make that paper I can actually see it. So now I can come up here and I'm actually doing little teeny details as if I was painting a little chalk on top of this, I'm just going around parameters, the the base of the tree, ok, maybe that the shadow I could doodle portions of it, I could come over here and do the post on the fence here, small little details now I've turned on the water color turned off so I could kind of see the photograph below that again that shows you the benefit of working on the computer because you can cheat very difficult to turn off portions of an image if you do that so they get there is my little little pastel on top of it to pull in some detail we'll call that good enough for government work now actually we're going to do one other thing go back to uh my water color and we'll do small and now I'm gonna paint on that edge you can't really a race I see that five minutes um you can't really a race in watercolor you khun blot you've ever done that's called taking a paper towel and I'm basically blotting up the edge now by painting white on that edge because that my original that I grabbed had that white edge that I did in a cr so now you can notice that I'm able to actually blocked the edge and give me my nice little almost a deck aled edge and the watercolor painting okay the last thing because this is so translucent my brushes are so translucent for water color I want to add density to it rather than paint multiple layers on it but nicely in four shop of course is you can duplicate any later so if you just simply drag it down to the new layer icon or do a commander control jay I've just doubled the density of the painting, ok? So that is another nice little thing that you can do there I don't need to double the intensity of this I can actually change the opacity of this went down if I want to make that more subtle, you get the basic idea ok, so here is our original and are quick, quick little painting I'm going to jump to the enhancing stage I mentioned before adding textures and different patina is to it for those again I've given you actions dog made the process because I knew I only had an hour with you guys, so I'm going to go to the actions palate back to the ones I've already given you and paint enhanced subtle paint edge enhanced subtle and this is going to be that pooling of the pigments along the edge of any area of contrast. So I'm gonna run that action on my actions and what that did is it made this little action that you you'll notice if you look up here in our upper left hand corner, you can see that the pigments are now pulling, so to speak around that edge, okay, so that is a little edge enhance that's the subtle one, the last one that I'll do for adding another little patina as it were to it is I'm going to use one of those pattern phil layers and again, this is all in that pdf that's part of being here today I'm going to use that pattern, phil adjustment down here and I'm gonna go and I'm gonna use one that I like and where is I'm hoping you know what? I've got my canvas one here we'll use williams campbell I was going to use my salt stain overlay, but we'll use the canvas one um use the campus you'll notice I've done you've got things like these air jess oh patterns that you can use over a painting when we do oil. This is a great step in here, but we'll go ahead and use just our canvas one because what I want to show you is, as you probably know, blend modes in photoshopped or organized baseball what they do specifically, they're based upon what color is neutral that they work with, the ones that start with the word darkened can only darken the ones that start with the word lightened can only lighten whatever's on that layer can only like what's below it they can't darken it. These the start with the word overlay or soft light are known as the dodge and burn or contrast blend moz taken both light and dark and so if I turn this over to soft light, you'll notice that I'm able to add this patina okay this canvas texture on top of my painting without changing the tone and I'll reduce that opacity there so those air they enhancing stage the last thing that you can do is do some sharpening if you'd like so that is one of the options that you can do there let's actually I'm going to go ahead and just run the action for using the mix of brush because that's where it gets really fun consider this a tease for you to come back to creative life when I do my entire painting class okay if some of you have actually have a painting title that is coming out ifyou've preordered that that's still coming it's not out right now probably getting questions in the online chat that's coming but anyway so I'm gonna take this and I'm going to go image and I'm going to duplicate this layer this is a great way if you you say that this is a great way of doing that and I'm going to run this action that I'm going to give to you all in real quick and it's called davis mixer painting set up down here and you're going to run it and it's going to run you through this process and you'll notice that it's actually automatically adding the white edge it's adding vibrance it's doing everything else it's choosing the brush for you it's watching your cat washing your windows brushing your teeth it adds the patina it adds all the layers does everything that you could possibly imagine for you and basically and has set it up and I'll just do it for you now it's got its named all the layers for you here's the rough under painting it's got the brushes for you and when you paint, this is actually using the photograph, but the secret is that I won't tell you now that this will bring you back. You'll notice up here what normally you have to have with a mix of brush, sample all layers because you're smudging something you'll notice I don't have sample all layers turned on, and yet I'm still able to and I can paint that white in here or paint out. I'm still able to get the colors from my photograph and the great thing about not being reliant on using sample all layers is it's very fast. The responsiveness of this brush is fantastic if you don't have to sample because that's it, the smudging and so will come up here, we'll just do this here what you do with this action. Once you run, it is you basically work your way up the layers pellet so we're fine shapes you come up here and now you're going to come up here and continue to refine it and put in more detail, and this is going back to the original photograph. Okay, you're not smudging a smudge because you're going back to the original photograph you can paint in details and again each one of these you make the brush smaller. The nice thing about this is using the mix of brush it's a it's a procedural brush you can scale it they're not actually bit maps there actually imitating you can see this brush up here, the simulation up here and as it rotates and so it's simulating real bristles so you can scale the brush using those square bracket keys and they were great and you come up here and final highlights this actually I've got it so it actually does a lighter version of your original image, which is again what you would do in the real world you've come up here and you would lighten portions of the image as you work up the layers palate you've got final shadows, so this is going to be darker than your original image, which is really cool what you do in traditional the last step in terms of the painting is a blending mode, and for that is three brushes that I'm giving you the oil brush, oil detail and oil blender, so using this blender is where you're going to come up here and let's zoom out you're goingto have the ability to blend your different brush strokes together, okay? And that really is the final is this there? Is this longs here because it allows you to unify all your different brushstrokes together? Okay let's jump over to the bridge I'll show you a final painting the one that was originally four this one here and we'll turn on this is running in the action the same action that you were just looking at and let's come up here and here is our final painting using just what we were looking at and this includes so this is using that mixer brush here's the rough under painting we're finding the strokes we're going to come up here so here is that original painting we're just doing refining the strokes putting into more details here are highlights here are shadows. Okay, there is that final blending and then here are the school back down we'll turn on our base and in pasta that's running that action there's another one of the actions in the enhance here is adding the jess oh, brush strokes after the fact I've also given you this texture and here is doing a final little color and tone on here. Okay, so here is mixer brush painting in for shop see a six and it also works in four shops he has five but it is even cooler in cia six that new oil paint filter that we started off the day and is on ly available in photo shop see a six and now it's time for questions so there we go that's all I could do in an hour what questions you have wow, yes, that was amazing! I just start off by saying that I had two quick questions once how are you printing these considering you're already putting a campus texture on that's very good question one I've set up my textures since their scans original of riel textures I'll put them at two twenty five p p I for output either to canvas if it's kind of an oil painting technique that I'll do like a gallery rap and you're the textures on your painting will match the textures on the canvas at two twenty five a p p I was designed for that, which is plenty of resolution for gallery rap if you're doing a watercolor technique then printing it out on a watercolor paper again, you don't have to exaggerate the texture because that'll be built into it. So those were the two stocks that I use either watercolor paper if that's the technique or I'll do a gallery rap and the one tip is the two twenty five ok start and just one more real quick is there a way when you're painting a stroked I know the embossing makes it come out almost as you're using a thickening agent with a paint so is there a way to make it kind of fade into that in bossing you know, like maybe you want you're an abstract he want the end of the stroke to be more appears the notice here, looking at this right here that I'm getting that thickness and that is actually I'm doing after the fact you can see that right there. I mean, how that exaggerated what's known as an impossible? Okay, when you're working wet on wet, if you're doing a plan air out in the field, you have to work late on wet, which means you're using thick paint so they don't interact you actually have to use this this impostor technique so they are thick that's a really good portion of the technique some people actually turn on in a bossing layer style as they do the problem with that is it uses the transparency between strokes do the embossing, which isn't really because then if you don't have any transparency, there's no in boston, so I don't use that it's cool. So this action that you're running that here and this is what it looks like, okay, so that's, what is actually doing it and it's using that same? Remember those blend modes? This is over layer, soft light so that's why I can use this and get them the texture so it doesn't give you the subtleties we can say, well, there's no in boston at the light end and there's heavy and bossing at the other end there's really no way to do that you can't actually put it into the brush itself you have to either do it with a layer style or you do it with something like this action but it actually does, you know really a pretty good job but there's a very good question wish you could but you can't can you can none thought network in this you can do that it's a very good question you don't need a tablet but the painting as they say with a mouse is kind of like painting with a bar of soap you don't get the gestural feel to it, so even walking has got the band boost palaces, which are under one hundred bucks even if you had one of those that's better than nothing technically, if you had even a little trackpad, you know you could use their some stylists is they're made to work on a laptop trackpad but this isn't the game changer because this allows your body to get into it and that really one of the things I'll be working in photo shop, you know, twelve hours a day and when I'm done, I'll do a painting still in photo shop when I should be out getting a life but that's because painting even this digital painting is cathartic and part of that that process why is so exciting is the fact that your body is getting into it. It's really the only time so I would save up to any way you can, whether it's a bamboo or the into owes, get whatever you can to get it, because that gesture really is what's going to make your personal you can see it these gestures, how expressive these are mice, gestures are going to be different from yours. So you can. Those first techniques we did with the hand tempting certainly would work fine. So yes, yes, when you were in taking, there was the option that you had turned on and off for masking autumn. Ask what's the main difference between the two auto massing within light room and adobe camera is going to look for an edge, and so will wither while I was doing that soft edge transitions of the different colored areas, if I had turned that are left that on it was actually on is a default, it would have found a hard edge and started or stopped the mascot that point, which is really nice if I wanted to do, say, a coloring technique where I've turned the entire image into black and white and let's say you've got the traditional bouquet that the bride's holding I could, you know, erase the de saturation for the bouquet and would be a razor sharp edge with the painting techniques. I don't want that. Actually, I love the interaction of the colors on that, so I purposely don't have the auto mask turned on. The auto mask feature actually does a great job and it's great, but again, here's another landscape. And here is the painting afterward, and you can see the softness throughout. I'd let the palm fronds go into the sky, and it just it looks more realistic.