Corel Painter - editing photographs into painterly artwork -Digital Painterly | Ania Krzymowska | Skillshare

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Corel Painter - editing photographs into painterly artwork -Digital Painterly

teacher avatar Ania Krzymowska

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

45 Lessons (7h 34m)
    • 1. 1. Intro

      1:18
    • 2. 2. Layout

      5:30
    • 3. 3. Adjust Wacom Tablet

      1:25
    • 4. 4. Brushes

      7:07
    • 5. 5. Downloading brushes

      1:23
    • 6. 6. Setting up preferences

      3:51
    • 7. 7. Calibrating brushes

      2:48
    • 8. 8. Opacity explained

      2:30
    • 9. 9. Resaturation in colour mode explained

      2:48
    • 10. 10. Bleed and feature explained

      2:44
    • 11. 11. Categories on different layers

      2:12
    • 12. 12. Importing brush category

      0:23
    • 13. 13. Cloning explained

      12:21
    • 14. 14. Start (white dress)

      28:13
    • 15. 15. Details (white dress)

      17:12
    • 16. 16. Dodge and burn (white dress)

      8:50
    • 17. 17. Assessment (beach walk)

      5:08
    • 18. 18. Assesment second image (beach walk)

      2:41
    • 19. 19. Cloning in practice (beach walk)

      5:53
    • 20. 20. Background (beach walk)

      22:39
    • 21. 21. Clothes and skin (beach walk)

      41:12
    • 22. 22. Details (beach walk)

      23:09
    • 23. 23. Analysis (flower field)

      2:26
    • 24. 24. Background (flower field)

      8:33
    • 25. 25. Clothes and skin (flower field)

      21:55
    • 26. 26. Hair (flower field)

      4:50
    • 27. 27. Minor fixes (flower field)

      1:45
    • 28. 28. Flowers (flower field)

      18:38
    • 29. 29. Background 2 (flower field)

      5:24
    • 30. 30. Refine eyes (flower field)

      9:35
    • 31. 31. Darker background (flower field)

      3:07
    • 32. 32. Cloning from different image (flower field)

      21:24
    • 33. 33. Hair refined (flower field)

      5:04
    • 34. 34. Petals (flower field)

      9:41
    • 35. 35. Layers (flower field)

      2:05
    • 36. 36. Preparations in Photoshop (generations)

      9:10
    • 37. 37. Preparations in Corel (generations)

      8:16
    • 38. 38. Start painting subjects (generations)

      52:14
    • 39. 39. Hair (generations)

      4:33
    • 40. 40. Crowns (generations)

      5:03
    • 41. 41. Eyes (generation)

      4:47
    • 42. 42. Working on details (generations)

      26:46
    • 43. 43. Using ready painted background (generations)

      10:54
    • 44. 44. Finish with your own background (generations)

      6:46
    • 45. 45. Dodge and burn surface texture (generations)

      9:27
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About This Class

Corel Painter 2019 allows you to edit artistically  photographs into painterly images. If you have never held a paintbrush in your hand- don't worry. You don't have to be skilled artist to create those painterly edits. Inspired by my grandfather's oil paintings with help of Corel Painter I was able to create painterly images. You will learn technical and practical side. You will watch all of my steps. All brushes I have developed over the years are included in this course. Course is suited from complete beginner. You can download a trial version of Corel Painter (valid for 30 days) from their original website.  Ania Photo Digital Painterly.

In course you will find:

-technical section explaining how Corel Painter 2019 works

-Digital Collection brush pack ready for you to download

-4 full edits of different images

-pdf showcase of my work

-source images for you to practice on

-1 digital painted backdrop

Works with Corel Painter 2019. It has been tested for software Corel Painter 2016 and later, for those -all brushes working, except "tree bark" and "rough knife cloner" which have substitute pointed in the course.

What you’ll learn

  • Editing photographs into painting like images

Are there any course requirements or prerequisites?

  • What knowledge & tools are required?
  • Corel Painter 2019 software (trial 30 days version is available to download from their official website) You will be instructed how to achieve those edits from start to finish

Who this course is for:

  • anyone who would like to edit photographs into painterly looking images. Great skill for professional photographers to bring something special to their clients.
  • you don't need to be a skilled artist to create edits like those

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Essential links:

Facebook Training Group: https://www.facebook.com/groups/digitalpainterly/

Facebook Page: https://www.facebook.com/digitalpainterly/

Instagram: INSTAGRAM ACCOUNT (digitalpainterly)

Pre Painted backgrounds, textures (Etsy Shop): https://www.etsy.com/uk/shop/DigitalPainterly

Ania Photo Digital Painterly Website: http://www.digitalpainterly.co.uk

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Transcripts

1. 1. Intro: welcome and thank you for enrolling to digital painterly course. My name is an action, Mosca and I'm a professional photographer at Anya Photo. I am based in UK. I have prepared for you four full edits and one technical section. I always wanted to be able to paint to follow my granddad's footsteps, but the lack of patience has really put me off, and I gave up quickly. Discovering coral painter gave me new possibilities. I have developed my own style and worked on techniques which I would love to share with you . I would suggest downloading coral painter 2019 software first. If you have earlier version, the same rules apply or you can just upgraded. You have 30 days free trial from coral. I would strongly recommend using graphic tablet, but if you just starting out and you only have mouths that will do for now, police watch technical section first. I hope you'll find this course useful and will enjoy painterly Start editing. If you have any question, police feel free to contact me 2. 2. Layout: Once you open your crawl painter, you'll be greeted with this welcome window, and it's an opportunity to see our new pressures and tutorials gallery feel free to browse that if you not interested in anything, switch it off. Oh, now. And we need to set up a little bit our palettes so you can see you can drag that along. You can drop that along, although two books I always keep on that one side some used to. And if you just press it like that against a UN Christians on that was free floating. But if I push it to the side, the blue line appears and it's gonna hunker that so it's gonna be always there. And this is my area where the image will be. So it's nicely tucked to the site on top. Here you have all your brushes, and you also okay can enter old brushes all the categories. Every category has like a It's like a little family. So, for example, what a color stick to what? The colors and oils with oils. So if you press in any of those, they come up here and you have little preview on the window what is going to look like? They all have very different options. Oh, no, not every brush will be. For example, having the feature feature, for example, uh, shows you how that hair in a brush is spread. So sometimes it's clumped together. Sometimes you can spread it out. So this system single hair can be spread out, and not every brush can have it. Um, so that's your brushes. Then you have reset tool here every time you use that brush, and then you change the settings and you want to back where it waas. Just press that one and it brings you back in. We're gonna talk in details about all the rest here and here You have the dropper, Grady, and back it very similar things that you have in a standard software alike. For example, photo shop, razor on selection. So all of these, we hardly ever used to be honest, the only well, most of the time I use just my brush tool. Um, so that's the quick concept, And corals got a nice little feature, which is called drawer palettes. So, for example, I can open and close that, and it changes into that little. A little bit. There are so many different drawers you can open. Are we going to set up it? Ideally, for our editing, the images, photographs and took painterly looking at? It's just to let you know if you want to. Sometimes Pilot drawer won't be working. And my clicking and thinking what's happening or you need to do is take that bit here and I will let you do that. So we're gonna go to window layout and we're going to go to photo art. Okay, Now we have a few more pilots here. What we going to do? We're gonna switch off the paper. I know that's important feature, but we have that on our We can see that on the top here. Once we select any off the brushes you see, that will be coming up here. So switch the paper off and you can always see that on the side. Here, you can always enter paper and easily in that box. Then we're going to turn something's off. We don't need thick pains at the moment. We don't need under painting out painting a restoration. We don't want that either. Clone sores. We want to have the open and we're going to add one more thing, which is the brush collaboration. It's Cory important to have your brush calibrated, especially the ones that you you're gonna see you or in your own input from the way to explain that everyone's got different pressure in their hand. And this is very sensitive, especially when you use tablets. If you don't use tablet graphic tablets in the mouth that it's not going to work, it has to posit tablets to read it. It has so many pressure points, and it can read it very well the way your hand is working. Um, that's going to make a huge difference. So if you go to a window on brush control panels and choose brush collaboration, just free here, so he only needs that little bit here. We can just drag that part down here, and all the rest could be just closed here on top. That's done and just keep it together, and this is our space prepared 3. 3. Adjust Wacom Tablet: If you are using welcome tablets, then it makes sense to set up some properties on it. If you go to welcome tablet properties, you should find it in human. You He'll come up with this, um, window and make sure you have selected device. Go into grip pen and you have to make sure the application painter is selected. Now, the thing I like to have under my fingertip is basically changing in in the curtain clo mold. We're going to Tuggle that tracing paper on and off. And there wouldn't be very easy if I just use my keyboard all the time. I find it super comfortable having under my fingertips. So are chosen that bottom here. If you cook, go to keyboard keystroke and what you have to do, you can clear that. I use control tea on my keyboard just over right. That shortcut, which stands for the taco in your tracing paper. And OK, and that's all done 4. 4. Brushes: Let's talk about Precious. Open a new document. Okay, Anything great? So here in the corner, you have your brushes. You can open that little thing If you ever disappears Goto window and brushed electric panel that will open it. There we go, and this is not going to disappear as it's quite good. I like having it open, because if you just use that one once you select the brush, a kind off closed down and this is staying there. So I like that one much more. Right? So we have different categories, um, of brushes here in this area, and you can see it's notice Brush er's as blenders. And we also have cloners, and it all sounds a bit confusing at the moment, but it will all make sense once we start doing things. So we have to do at this point is that there are different cuts. Agrees. There are hundreds of brushes. Andi age cut agree, has AIDS little family family members I like to call up, so if we go, for example, into due to do, that's Jews oils on and anything's me round is the most known brush, so we have it into color mode. If you press that little stump, that would be in the cloning mode. So let's get back into color moat. Okay? And if I start drawing, you can see this is how it looks. And you have loads of brushes. You can create your own brushes. You can modify them. You can see on top here and down different options. You go capacity feature re saturation and bleed old Does very very ins can make a dramatic difference how you brush looking. Okay, if you want to kind of come back to the settings that you were before, just press reset tool and it comes back to the original size, original size and original settings that you had saved. If you ever want to save that, very and let's say we made we change it very much. On what else would we change here? And you really like the way that brush looks and works for you? Well, you need Teoh could do brushes safe variant hopes say very end, and they will give you smeary round. She can call it whatever you like example one into, and you can either other to existing category or you can create your own. Let's make custom okay and safe and you see appear here on the bottom. We just created a custom one example so you can rename that you can delete them. You can add more off those variations, so it's really, really useful. And that's the way I have created my own set of brushes, which is lots of time spending. Train them on, trying different ways. It works where the background of Dwight it works with skin. It was a long time when I devil up the way I wanted to look. So you going to get those pressures with this course and way to import them? You go to brushes import, and that really depends where you have it saved its proprietary in your don't downloads or if you're on the move it anywhere. Any computers is easy for you to find and you go cut, agree, and you can see digit who painterly collection. Okay, so that's the one you going to get. I have some other bits and bobs by doesn't matter. So just that one on. And just like magic, they appear in New York and your brushes, so you have different ones for a backdrop and old huge. Let's reset that. Let's make it smaller. It's just one Andi, not something else on that, something else. And now I explain. What are those brushes for? Some of them do say some of skin or, you know, hair. That's easy to do. Uh, but I will show you exactly image by image were to use what? It's much, much easier. Just worried about this one, that the bids. I hope it did then change to March because I just have upgraded to. Then you paint her and it looks very different to where they had. Oh, no, I know I did. I did created my very personal DUP, and that's the way it looks now. That's why that's fine. And the one I used to do before, I think it was Impressionists, case artist favourites, and that creates those little looks like a feat on this on a snow, and that's a smaller one. Okay, so another really funny thing is that's not all the brushes you have, you can go here, then you library and you can access older brushes from different versions. So you just rare visit 2016 and they will reload those brushes in. And if you really, really like one of them, just say that variant and you can create your own gallery, your own collection. So let's get back to 2019 on. That's what we have at the moment. Remember you did you do painting? The collection is here, and that's all you need. Old that's going what all I used to create my images. It took me time to reshuffle them. Take the ones I never used. That's very essential collection. 5. 5. Downloading brushes: with your coral painter, you received the collection of brushes. It's a selection of brushes I used for this course, so all of them can be fine. Founder. It's Justus. That selection of brushes I've been collecting over the time have been modifying them, changing and making sure that work for me so they can work either in color moat or and cloning mode. Have a play with them. Have a look. So how to get those brushes into your Karol? And now you have to open your coral painter, go into brushes. Import category makes you just category nup. Just a brush because brush will upload just the one brush, and we want the whole Pack it off them so category and choose that file open and you'll see here. And, uh, and your brushes on the on the bottom. You see you go a new pack of brushes here, Andi, older from variations on the side, and you can have a play with them. Have a look 6. 6. Setting up preferences: after you. It's still your core painter, and you set up your lay herbs and you install your brushes. You are almost ready to go. It's just the last little setting up preferences just to make sure you have a nice, easy right with that software. First of all, go to Aunt it. Performance. Sorry, preferences and General. And here we have a few things that we need to take on and off. I'm not sure what you have already take, Tom. This is quite generic. So this is straight out of a tin. I haven't done anything to it. So in theory, you should have exactly the same settings. And, General, first of all, um, do simplify brush reciting control, legacy style. You want to have that on, um, creep back up on safe. You want to have that off? It's just creates extra copy and uses up lots of memory. And there's no point. Really? Okay. And what else we want to do? This is something I like to bring up. Basically it by how many pixels is going to make you breast smaller or bigger. And if you use a keyboard shortcuts, if you keep pressing, you my weight for ages before that brush gets bigger. So I like the keep its number five. So it gives us a quicker step to make a brush. Bigger smoke, that's all that that's here and what else we need to do in performance. You want to keep that memory usage on 80% or less? Don't bring it up because then you computer is gonna go crazy and they will crash because it does some other things in the background. So it basically needs to be on that number I would never, ever touched up here. That's entirely up to you. What scratch drive you want to use best to use and nice. So it, um, Dr for that one under level starts, but of a controversial one. Some people say, or keep it as low as possible toe one or something like that because once you make a mark, that's it is like in the organic painting. But to be honest, my point of view is, if you're using that digital software, just make the most of it. It gives you the option off. Um, doing those undoes as long as you're not making a morgue taking off making a mark taking off. If you really mess up, you can always get in the habit, work on the layers and also the way those brushes work. And the cloning mode is that you can always come back to, um, toe what you messed up. It's good to have those under levels, and basically I keep them around 40. So that's my thing. And what else have we got? Nothing. That's everything. Small far jerk pork when zooming, Make sure that's on and nothing else is really that we we have to bother it about. Yeah, that's fine off the top and OK. 7. 7. Calibrating brushes: one of our pilot drawers as brush calibration, and here he can see a little icon. And if you pressed up on, I'll show you that you can actually calibrate your brush. Let's have a look without it. First of all, I'm going to write something where the mouse and it's very clunky, very awkward. Looks like my son has wrote it with no disrespect to my four year old boy. This is with E with a tablet without calibrating. You can just be very swirly twirly, and we use it more, more pressure. You put a swell you can see and can either make a wider, bigger line or a could put McCullough. It depends will characteristic that particular brush. And now we're going to calibrate its and I'm going to use how the wife feel today like this . Then it's just finer because the end line here and here and just gives you more more defined. Look ready with you with your Russian if I go back to mouse, clunky the same way, very square. So that's why it's important. Not only the user tablet, it doesn't matter if you use just a cheap little thing. Oh, if you go for something more more advanced, it still will make a huge difference. And make sure your calibrate each time you start using new brush during one session using software does every time reset pat. So if I use of everything, lines are recalibrated. And then for rest of that programs open, I would then know re recalibrated. That's fine. And then, if I go for something else, um, let's I hair and that's okay. That's without calibrating and this particular one probably not gonna have such a big impact. It's more of a brushes that are, um, finer. You can see the difference. Okay, that's old about calibrating your brush. 8. 8. Opacity explained: Okay, so let's look at all those sitting here on your on your ball on the top. First of all, you have free hand strokes, which be warned to use. The other one is straight line strokes. Let's see the difference of free hands. I can just draw like that. Andi. The ones straight line strokes is just basically. It's like working with a ruler. Okay, let's get back. Control Zet. Dizzy or command? See on Mark. So let's get back on that for a free hand stroke. That's right. And first little verbal size. So you can just Mike different size here. And I liked he's my keyboardist, so those a square brackets will even make it bigger or smaller. And because I have changing my settings, the increment, Um, it's every five pixels. So it's not going to take me all day to change them, so I can be very big. Oh, very tiny. You can even see that. Okay, Draws that again to get back. So medium versus oils. It's something we're gonna look at. And the other thing is a passage e on. You can change that one either here on the little slider, um or you can use your keyboard, so if you put one, it represents 10%. If you put for example, five, it's 50% and so on until you go to zero, which is 100%. So one as 10% 0 is 100% on your keyboard and then at 100%. That's how it looks and aren't, say the less than 1%. 1% Well, this is how it looks, so you can see how feigned assesses the difference. And it is quite important setting when we do our I'm cloning, so it's definitely one of the most important ones. 9. 9. Resaturation in colour mode explained: re saturation. Unlike size or capacity, it doesn't exist in photo shop, and it could be quite difficult to understand at first. But let me explain. So let's high those brushes for a second side as much space as possible. You can do it here, actually, to bring your canvas on nicely spread area. So what we gonna do? We gonna reset that brush buck where it waas capacity 200% and re saturation 200%. Let's see what's happening. That's true. The nice red color of high really bright So this is very loaded brush. I just tipped my brush into loads of paint and I'm brushing on. And what happens if I take a different color? Se juicy blue and I'm going to take out re saturation down down to 18%. Oh, look at that. It's only that little paint it on my brush, okay? And look how they indirect. So now when I'm going to take recent and let's just see 100% Yeah, that's much, much more vivid. And if I take it away down to zero, it becomes blender, so it's transparent and it's just messes up the pixels that are already there or pain that was already there, which is super useful for our painting, cause it's going to make everything possible. Can you imagine doing this in photo shop? I know that I don't like photo shop is my lifesaver, but it just opens so many doors re saturation. And this is just a color moat. Um, when we are in the loaning moat, if I pressed that cologne, but here it changes everything. But I haven't gotten image open now to show you I will dedicate especially separate chapter for that. I just wanted to show you how the re saturation works and just can change here. Se see very harsh. And if I take it down who just blend differently. Okay, so that's where saturation concept 10. 10. Bleed and feature explained: lead is one more thing we need to talk about. So it let me show you. First of all, if we take a bleed away, down and if I grab it from one color and transferred to the next one, Look how harsh it looks. Just re. There's nothing here that is subtle. Okay? And if I take it away up 200 and if I grew up but read again, Look. Just kind of mushers together Much, much softer outrighted close up for you. So you see, in the 100% bleed transfer read just the way they work together, As much more Scioto and berate. We don't It doesn't mean one ordered another is good or bad. He's at just tools and you're gonna going to use them whenever and I need it. You just need to know how they work. Okay, so that's the That's your variants here, and the other one is feature which we haven't got on this particular brush for some reason . But let's have a look on the favourite. Um, wonderful. You be able to find it summer. No strength. That's another one. Look, as always, sometimes the barrages get their own special superpowers. I call them okay and strength easy and gives you a little bit of the areas here now and not Kurt. That's interesting. Let's have a look on one off our brushes that I think I know it's gonna have the feature smooth skin. It's like on the heart feature. Yes. So feature is the amount of hair on your brush. Um, there are into stuck together like a mungin. This is very high feature how far it goes you can't even see compromising just the one hair drawing the whole thing. So if you take it all way down, it's gonna be quite solid. And if you can take, it's like the up. You see those personal separating surgery and as more you go more separated, they are. Sometimes it's quite useful to drawing hair or some think like that. Um, yeah, it's good to have found. Definitely 11. 11. Categories on different layers: depending on which family or category Your brushes coming from at my appear on the separate layer. So if we have let's go into what the color form gonna start Just painting. Look here and just created automatically a new layer on the same s with a thick pains. It means that water colors will only react with other watercolors. They not going to interact with what's underneath what's on that kind of us. Okay. And the same s Let's have a look on our thick paint If I can find it determined various. If I start drawing, yes, another layer turned up Hey! And again they not going interrupt interact watercolors Not gonna interact with thick paint What I could do, I could drop them down Trump And this one, it's no I can drop so that they all exist on one canvas, but they still they don't friendly talk to each other the the original paint and paint from our first canvass the oils and those watercolors and thick paint. They don't interact together. So just to let you know, in case you see some funny things happening if you start experimenting with different brushes, this is not going to work, but you still can use them. And and as soon as I stopped, start drawing without think paint. I'll come up with the with this one, and you can do that recon. Just come laps, layers. If you collapse layers, it will also kind of come back into that one count of us. 12. 12. Importing brush category: on the brushes import category. Make sure you just category, not not just a single brush and select that file. It's going to have extension brush category open, and now he can see the collection of brushes important successfully. 13. 13. Cloning explained: way going to open image file open and open whatever image you like to practice on. Okay, so that's nicely open. And if you want to spread it on your whole desktop, that isn't how you do it. So saving up that space, making it nice and clear. I like to open it like this and let's see what we can dio file. Quick Loan. One of the most powerful features off coral painter is source cloning and basically puts off Relais tracing paper, which you can just pick up details from underneath any kinds of co peas. It It's not cloning like, you know, from Photoshopped. It's different. So we are on the soft cloner on. We're going to just you can see I'm going over that image and what it does. It picks up information from underneath and soft cloner. It's it doesnt has many properties of a brush. It just takes what it's there without any changes. Do it some now, grabbing my penn and using right baton. If you don't have have a tablet pen Onley using mouth, you going to use control t on your keyboard or command T on Mac, and you can see the difference. So that's our finish. Converse. And that's our image we working from so on the right here, you're going to see clone source. This is important bed, because if you change it into current pattern, it will take any of those patterns. At the moment. Those succulents are selected, certified start drawing. It brings those plants and which is, you might think, what's happening. And you might be working on your image for some time and your click on something else. And this company, Obviously you can use any pro turns. You like to be honest with you. Um, I never use it. I just work on the image here. Source. As my embedded image announce it. You also have a texture option you can at your own library. Um, you can be more creative, but I prefer to do without way an embedded image. Make sure that selected Tuggle tracing paper. Yes, one that selected If you go so look what's happened. If I have embedded image and I go over, it's like it's no lost forever. If you make that mark, you can bring it back. That's such a powerful thing. And coral, because in front of shop, you will probably struggle a little bit. You have to go back. You have to raise mask whatever. And here you can just go over, especially if you work on details and, you know, happy with something you can just use Different brush or that's incredible was like working , Um, but the real painting in the way, Um, and here changing into color moat. So once you have selected soft cloner, any cloners, family or category, you won't be able to switch into color mode. Onda. We have to go into any of the brushes from digital painterly. Let's go impressionistic backdrop that select that one and you see your color wheel as little as a color and Carla, and this is how you toggle between cloning and coloring, and you're very quickly realize which one you are on, because once you select that and you start going on, this is supplying the color to your converse. And if you change that into cloning, it's basically using those brushes properties but picking up everything underneath. So we have really easy job. We don't have to think, OK, that's gonna be dark blue that's going to be light blue that information is underneath for you. You just go over which whatever brush characteristic you want, let's have a look here. That's, for example, on impressionistic backgrounds on Let's see smooth skin. If I just reset that, too, that's gonna have full. You see, we on the color makes you in the cloning, and that's gonna be very different Luke to the one before. And this is not the way we do it. By the way, I just want to show you difference. Other features. Any other one had brush, for example. Lets reset. That's again, what happened here. The wheel is in color changing interest cloning mode, and you can see that's different. We can make it smother. I'm using those brackets on my keyboard to square brackets, something the settings are very low. So I'm not seeing any. Okay, yes, so 7% capacity is not going to give me much, but if I work on the hair, this is just amount I want. So you see, that's very different. Luca's well, everything has their job hurting. What else we have here rough night cloner, which I like to use for trees. So that's the color. And if we want to go into cloning and look, if I will mess it up Oh, no end of the world. You could always, um, if we go back into which one beginner, one start skinning codes. So reset that, and I'll make it smaller. Kansi were drawing, So I'm gonna tuggle over. So that's one way doing it. And the re saturation is very low words on the zero. So it's just blending. We want those details to come come through. And this is very settle balance between how, how that's gonna work in the end. Because if you walk your saturation to the maximum, it's gonna bring everything through, although the details and it's not gonna look good. So the key is to find the right balance with three saturation and with capacity to war comments. So that's how it how you get that details back. If you want to focus in the face more, more detail, I'm sure you're very much in detail. How work on, um, every part. Don't worry. This is not how we approach it, but just to show you the abilities off this tour se see, it's not lost if you mess it up with the front brush, you can always bring it back. If you want to bring it back to the very kind of original bids, you just go to cloners and soft Kloner. It's already selected fantastic, and the soldiers bring the photograph back in. It's much as you like, the other really good thing to consider as to work on the layers, and this is how you make a new layer. Just put that on, and it will bring this. So just like in front of shop, you have a pass ity here Seacon. If you're not happy with it, if you kind of done you your energy, you want to try something extra, something a little bit more. That's the way to do it. So let's have a look on different brush because cloner is not going to give us much option cloners. Just foreigners. Basic bringing it first, Smooth skin again. Reset. Um, that's okay, So that's Carla, and I can just switch it on enough here. I can take it to the been Do you can bring the capacity down. Also, you have different modes, just like in photo shop, you can make it into a soft light or any other ones. There are different ones that don't exist in for the shop, like jail or some some other options, and default is just normal without any changes. So once you have that done, you can, uh, let's get rid of outs, make a new layer. You can also do that and clone owed, which I often use. If I, for example, work on background, that's my separate layer than another layer would be clothes or next step and so on. So if I'm no particularly happy with something, I can always come back and kind of do it different way. You can see now by Tuggle that now my tracing paper is set up. Have a look. Clone source. Tobel paper. Make sure that's on. That's our finished product. That's what we cloning from their finished products, bringing only up only down here so you can use that slider. But I would just not like that if I had to use that slider all the time. That's why it's set up for 50% here, and I'm using my grip in that bottom, um, button and my pen to see before and after. So if I work in something. I see how that looks. We're here. For example, If I want to bring that in, I go over. Or if I'm working on this bet, that's the final version. The other way. You can do it as control t on the keyboards if you're working with a mouse. But honestly, I went so high. Recommend getting a tablet. Even the cheapest possible at small erste version will make a huge, huge difference. Um, for you or you work and quality of working ready. You don't want to be, um, suffering with mouse. 14. 14. Start (white dress): we have the main image. But I just wanted to use the fragment of it, not the whole thing. And I just wanted to go over in this area, Captain, to here. Initially, I was hoping to do just up to here. But then Edward crop the arm and the kind of awkward shape. So I think I'm going to include about that all that fabric as well. So we're gonna go fall new and my file size will be a free seven hundreds by 5000 pixels. Make sure you just paper Artis canvas. You can change the initial color off your cannabis as well. That's quite quite good. But we're gonna keep it white anyway. And 300 resolution and just okay, that creates a new document. Let's go back to our original image and whether selection last the selection tool, we're going to go over this subject all around. Just cut in here speech to take of it a bit more unless and then with this, um, there are just tools which is gonna drag it onto our converse, which automatically creates a new layer. And now we can easily adjust where we want this to be. so I only think I'm gonna make it a little bit bigger. And this is the transformation tools. If he holds shift button, allow you to change the size of it. So it's stretching her some now. That's fine. Reposition. So where I want us to be in my canvas a little bit bigger Men repositioned, I give. So that's about how I would like this to look and confirm. So remember, this is something with cloning from this is not her final image. The background doesn't matter whatsoever. Have a gang create new layer and we're going to go fly file Quick, clone. And here, we're going to create in your layer, actually, Um, and let's work on our backgrounds, first of all, so I'm going to truce. Did you present only collection Pained backdrop artist canvas. And we're going to go higher in the pasta tink of me Run this to be more visible. Re saturation up. Okay, again, the move from the cloning moat into the column rolled and now it's up to you. But color you want to choose. I wanted something similar for this is quite quite cool, actually were selected, so I wanted something around here kind of PCI. Very faint. Peachy color. And I'm gonna start around here and I keep holding my pen down. Every time I touch is a new load of color coming up. I can have a little bit and then I can kind of smudge around. It's very nice brush, full backgrounds. Um, do any clouds or even some stuff on the fabric just like that? If you go over, don't worry, because he can use white t cutting and get rid of some some of I'll show you in a minute. So let's even they go more great and I'm going to let a bit more now I'm gonna treat wide color. I'm going to go in a little bit, so get rid off I over them. See when my subject won't be too strong Here, someone start in the middle. I'm sorry. No, no still cover. But using that PCI bitchiness hum, I also my use a little bit off blue because there is a blue in her eyes Carini, Victorian blue. And that's worried too strong. And we're gonna go down in the past city very significantly. That's way too strong still. And I think it's too to Violet that shared it with. So we're gonna go get more pay there. That's more like it. It's gonna hear in there just a whisper of it, Um, and go back into our preachiness again. Different shades of it. Very, very faint. Very this saturated and backed very right. Why does it can be captain a bit more like a bit more subtle, like a cloud in a way. Okay, that go back into our clone moat. So that's our background. And if we are not happy with it later on, we can always jump on this liar and adjust it. Change it painted again. That's fine. It's nice to have something started. Let's do another layer. And this is where we're going to clone into. So we have our clone mode selected, and that's true's start skin and codes. Or he said, you to make sure you calibrated well, and I'm looking at my subject. I'm going to start with a very loose sort of clothing area, very good image because it has a lot off shadow and highlight on the dress. That's a joy to end it time, I think, then you can go closer if you wish when it comes, the edges were gonna go there differently. Focus in the main area and just try to choose the directions that that fabric is folding in . Don't worry about skin too much for now that there were face first stage over a mixture. Don't leave any kind of wide gaps in between. So, like here No, major, everything is filled out. I said, don't worry about the skin cause we're gonna do that separately in a minute. Just focused on the clothes, Um, first and we not going all the way because we're going to come enough. I can disappear into the background. So just a bit it's quite strong. Shadows showing all the crisis. See how shallow fold in here? That's the illusion, Doug, What's gonna make a really good good painting could paint in the end. It's rather then, if we want any more details, we're gonna come back and, um, go over that here and available here and there, but not all the way, because it's gonna look straight like and photograph again. We want this to be Painter said that Brad's a little bit realistic painting some still on the same settings and Macon bait Brace strokes in the skin, making sure that's the direction I follow your image. It's just a reference. So with dime, you're definitely going to see what gives you more. That paint of the book and your favorite subjects to work come. That's very, very harsh. So we're going to decrees that capacity way down because I wrote Brush got smaller. That's gonna get greater detail as well. It's and just need to be careful. Then bring that re saturation obs very high to 77% just to bring this ribbon into life. That's quite detailed. It would be nice to have it a bit more realistic. Dan, you want to move in the right direction. Okay, let's bring a busty. Are a little bit preset. Aeration is pretty high. There's much matter of switching now. Rapacity up and down on Do you have to sometimes just feel what works? That's good. A bit more detail here because we have such a higher saturation. Pick up those details beautifully and just from here. I see that would just work on that dress a little bit more. You can still see the gaps. Just fill it up even when they're high. Such oration on the arm. And it's a good time to work on the arm as well. Let's make it on that a bit bigger. So you see more detail just here in their adding on just a little bit. Make issued out hair has done opprobrium. Gonna make this a bit of a skirt a little bit more painterly bit more. Not so. Need to let me just finish those hands here. Great speaking. Just this area. So I'm gonna choose something quite strong pastels within the stuff that's gonna work. That works pretty good. I'm gonna go with hostiles of it a bit more. Here. Let's bring the capacity down. Make it more than cod. Bring a big brush. So this is what I'm talking about. Kind of blending backdrop with E where this Kurt let's change into color because it picks up this trunk underneath back one of sort whites. Such make it very delicate. We definitely the higher rapacity here. Pony boat, my saturation higher as well can actually paint something. What does it look like? One vaguer. Okay, no to that. That's just something else. Have a clothing work. I haven't been eating this one for a while, so it's in the clone moat and you just kind of follow increases and definitely gives a lot of character, Tree said. Until making sure it's, um, right setting. It does give a lot of texture and scratch. Innis. She's fantastic. We want we want no, so just kind of eliminating that fine line between backgrounds and dress. I quite like this unfinished Look here, lovey. Let's go back into our start skin and clothes. He can go back into your favorite brushes here Recently used, um, to reset that again to stop painting. Starting to entering this kin area here just fine. It's good. My bring re saturation up Most safe number Very important. Just following the right direction, you can see is gonna bring a paucity down. Just That's a bit that's a bit more smooth on the skin. So start painting skin and clothes. What I'm gonna do, I'm just gonna do a little bit your area and hair. I'm gonna move into soft skin. Let's move skin, Constable. Same thing. Ready? That's good. We can work on that in a minute. Okay. Too much. It's ring are a backdrop. The direction is the key. Never kind of teeny, teeny, teeny, tiny presses whilst you got you pen. Against that backdrop, it will be more precise and copy the details more faithfully, more accurately. I think we're done with this just general skin, and we're gonna go into soft, smooth skin. Now, how is the hoping looking? That said, I really like the way this blended nicely. That cup shouldn't be here. Okay, it's just changed up much bits. Thing is too much detail because it's coming out of our area. Yes, to touch is just a tiny bed. Beautiful. Okay, that's go into smooth skin. Re sent research operations at the rights level. Sorry. Down on that color mode, let's go back to the cloning moat and we can make bigger so you can see what actually happening. Nice balance to work on the skin. Very crucial is the direction you follow. I always go around the ice. If you have any doubt where you should go with Trey ever confused, have a look online on on anatomical absolutes but painting or just on atomic all reference face and they will give you the idea. How are the muscles on skin looking. And that's pretty much the direction you're going that muscle around the mouth here when we go right around the mouth around the eyes. Big brush, my smaller to work but more in detail here. Eyes were gonna make a pope. - That's important areas. Well, if you make it different, it will look like someone else. Have to keep it very detailed here. Smooth Jake here Line used to be quite defined. Just leave a strands here so we can the bring your saturation even higher. We're going to make a fresh smaller and we're going to. So any work in the army? Small, tiny movement, strokes, same of the other I on the lips were going to do the same thing and just corners of the lips around us. Pretty important. Well, so it's not copping 100% no 100% for saturation. So you might think I was just hoping thing underneath, but still havent impact directions. A use you brush the pressure and everything related and that will give car ctor is both. It's not just coping. I have characteristics 15. 15. Details (white dress): Okay, so we're going to make our brush even smaller and re saturation is 100% capacity. That's bringing up on the tip it and we are just going over the eye and important direction as well around Iris, my light and the Not Too Far, because dark creeds this really win weird line say they don't want to go too far. You gonna have to change capacity if I want to go further out. Nash is okay. They're in the nice sharp edges in the iris. Hey, detail on the lips as well. That would be great and that we can enhance the I. We can go even closer. So back into our color mode, Let's choose D cover what color she's got. That's really interesting that picks up those purple blooms had come into blue color around here. We get tough, too, he said. That, too. Let's have a look here. Paint eyes. Choose that one. Make sure you come back into the car remote and bring a positive, even lower. Just paint a time. Okay, We're gonna bring it into new layer, by the way, so it's easier to tone it down or or change over just a tip. It's little tiny spots. Then we're gonna go darker shade around here and maybe something more into green emerald. Very interesting ice, even of brown. Never really in the distance. That looks interesting. A bigger share, a bit more. And now we're going to use something like oil edges finish. Okay, Power here and every such okay, re saturation. All we don't because we want this to be just the bill and the color amount in the blend over. And those colors make it more realistic. Very cool. It's a home. It's much better We can pick up very dark blue Other re saturation. So we got some paint loaded on the on the brash time, you bitch! Beautiful. Just a bit more creamy. So back to this smooth skin Reset your toe, my kids smaller. So if you pick up what color is that highlight that comes up like this. Nice tradeoff, Blue. We want to live like her and just paint over that so that to highlight in the eye and I would suggest putting one on the opposite side here. So I going to make it much muller capacity. Eric and I just have a little tiny smudge pope so and you can add a little bit in me eyes here. Just open it more. Make it brighter from tiny but Baker put a little bit on the lips. Just follow where the highlights aren't really changing into cloning. On my tone, you bit bigger. I don't like this corner here. What's going on? Fixed up area. And how is that looking on distance? We cannot a little bit of pinkness to her cheeks as well, so back into gonna make it into another layer. Just gets a bit more controls that's without with, and that's top player we're going to do. It's interesting, just the eyes, so the till player is going to be just cheeks. Smokes can pain, um, is great for it. How big we need just to be in that would be here, I remember. Just wouldn't like with make up here Less is more and more layers, more delicate layers. You put on this better. So what she's got at the moment. It's very, very much like a like a skin tone. Take a sample off her lips. That's call my good. Want to go a little bit more That's a beautiful shade and make it bigger earns. Apply here on the apple of the cheek, on the left of the lives in a retiring but maybe but like toe. And it's too much for my liking and also goes over the back drop. So we're gonna use a razor to just to get it off from that of it. And now my can change passivity over. Just turn it down a bit, and that's nice. Nice level. What thing? It's not too much. So the other things we can do with this dress get other little bit more texture and things . The look of us. If we ever want to go back to the backdrop, you just turn everything else or you can have it on if you like, and you see what you're doing. It's if I want any other, um, brush to use. Maybe this one. Let's have a look. She's a nice shade, and I'm just painting on the backdrop. Very, very, You even lighter. It's almost white right now. Here. That a whisper. Okay, I know I can do. I can just bring capacity down in here. That's a much more delegates stroke. Let's find out Blue. I was not going to work. Oh, interesting. Just come back. It's a bit too much. Maybe that's try something with a bit more texture in it. So paint backdrop artist's canvas thing. That's the one where you were using between backdrop and subject is a good one. Beautifully give a texture off the compass for saturation zero. So it just applies that texture onto whatever we have on. But because it's the backdrop be working on its changes. The backdrop player. I'm gonna be very visible. We're going to add a little bit off the saturation. Pick up the pinkness off her cheeks. Well, that's really nice. I'm just gonna bring her saturation. Lowers amount of my pain to my brush. I really like that. Even though were to make it more global. I can take a brush. Remember, it's just painting over a backdrop backdrop area here that's a bit more dimension. Then he can make it lighter, blended beautifully, going back into her dress fire just and back into the trip. Lovely break down with a pair of blue are left is to work just about above here, both here a bit more. Cover It's a very fine balance. Okay, there's going on top player, and we're going to put a little bit off bitten blobs of color into her dress as well. And between backdrop and subject is a good first to do it. The one we have. No great. Let's make it much smaller. It's conflict me a week to bring it down. Don't be fine, just a little highlights. And here, here and there, just a tiny tiny duchess on this other pinkness. I think that was a beautiful in that dress that might be too vivid. Try to keep it going toe to saturated, and then the kids, I'm going to dump it. More texture to that dress. Blunt, blurry. Don't go a nice thing with here. It's a few details. Needs blending and re saturation zero so it doesn't add any cover. Where is that little past or past? ALS? That's nice. That role brush and that's one does carries the colors with it. He's gonna simple and up sample and at, and it just gives that little bit of the texture of a canvas, and it tricks the eye rainy nicely into the looks. Like a painting, especially in the dark areas and we can get super white re situation really high. Pick up super white color and just on that little touches of a highlights and watch when you dress. Where would they be without super lighters? My thing. It's here and on this color here, here, like too much, too strong, very lightly. If you're afraid, bring it on the new layer, go over and then you can just bring that capacity down this course. Sharp line. Probably best to take capacity down. Run that brilliant white under finishing. Oh, this area so tricky. Make a smaller brush again. The paucity down our situation down amount paint on your brush that white has to be super wide. That's better. Let's just look again at the hair because we haven't really done much toe hair, just cloned it, and we have to go back into Coney Moat on a little bit of definition, kid. Three saturation more and you can follow direction. Change into Calum. Oh, I come to the color of the hair when they refused for you by yourself. Find a man a little lighter 16. 16. Dodge and burn (white dress): okay, it's time to move it to the next. Have also we're going to. That was our last year. We're going to create a new one. And here again, the burnt end Georgian burn just basically creating highlights and shadows, and you have the look in your image and just recognize Where is that deeper shadow? Where is it hiding? So we have that Brooks selected. It's nicely reset. Make it smaller. That might be too small now and see what impact is going to have a way. For example, select that shade. But darker thing is just creating those shadows in those areas and try not to guess, because often we think or should be here on there's no going to the goods. Just follow the image, your reference, your photograph where it should be. I think it's a little bit strong, so I would choose maybe smaller rapacity just pre percent, or saturation down just a tiny bit and see how that goes. The brush bigger. The kind of softer good her ass is that shadow. Here, here, here, here it's quite dunk. It's still not happy with the way that face looks. Here is our like a face your hair hanging around, so it's good to have mayor, and that's the last year. And we can just great the mosque, round it and wrapping out. And if you want to get rid of stuff off this mask of this layer, getting a black brush bring capacity away up, so actually has some effect. And if you want to bring it back, if you went too far, just activates a video right brush. But we're going back to the main one. Let's cologne in re saturation. Really high, Um, capacity. That more? What's going on? That's not right. Let's go into our cloning, wrote very harsh lines. The way too strong gonna bring capacity again. How must have hit button on my keyboard? Maybe that line smoother. Andi, Let's get rid of this red nous here. I don't like the way the net clicks around here, and that's just fixed as well. Something I should have been done in the previous stages, but we have. We're lucky that we can actually come back to it, and and that's where the good thing about having different layers, working in different stages, memory notice, things live later. Run that doesn't bother me too much. That here can be a little bit more Matt. See? And the hair definitely don't bring back. But now thing. Great. And now we can go back into our dog, but torching burn, And we can just select lighter hi nights buck into Colorado to reset the brush. Then what can we dio? Maybe Parmalee lighting a nice highlight going on her face. Just every more around here, pick up the color, make it lighter, and then you can work. Okay? That's why we want sort of cover more than anything else. Okay, I'm a stage. Uh, you might want to add even more texture into dress. You can play with highlights and another beds with background, but that's pretty much done. The image is finished, um, or benches finish. He can on a little bit more such a rim learning mode. And just under on, make it even more painted. Try not to give it to the skin, just fabric. And even the little bit of hair is okay. Skin. Where is not a significant around the neck is okay. A definitely not around face area. Complain and play and play all day with this It's just, uh you have to decide of which point is done. I think it's done for me. So I'm going to stop here, and I'm pretty happy with this result, and this is another. 17. 17. Assessment (beach walk): in this part. I wanted to show you what exactly my steps are. How do I start? How my workflow looks like which areas I focus on. And so there it is, the image I chose to end it. And to start with, you want something with a good composition and some sort of emotion. So if it's just a snap, it want it once. Speak volumes. It won't be strong image. So first of all, I looked up assessed image. What I'm gonna do How is that background going to look like? And I was inspired, but by my grandad's What Swofford about painting hears it all. The oil painter on this was the image that really wanted me to edit this beach portrait. He Seascapes are very different depending on the light in the day that he portrays. So he sunsets will look different assertive evening light to the morning one and during the day and depends on the weather. He has a lot of beautiful paintings are also quite dark, but in, let's say some sort of storm or a rainy weather and he still can show that beautifully. So he definitely inspired me. I really wanted sneak those purples in and different shades off green, because when you go into your image and you, let's say one to some pool what colors are in my water? You'll be quite surprised. Different shades off grey. And it's not just him, I said. Yes, kind of greeny blue. It's very different shades, and then the sky would also have This one, for example, has a lot of green. So in my image, I have really mixed lots of lots off colors. Just show you up close. You can even see a tiny bit of purple here, grace and blues and greens, and the more you add to it, the more depth going to help on a better image, going to look like really pale blue pale green. You would think that that's definitely blue, but that goes under the greens. So it's interesting exercise. Sometimes. Just pick your simpler dropper. Sorry and some pool colors that are in your image. There are there were different areas that I wanted to exclude from the picture. So, for example, those little destructing stones and also that little area here, which is distracting and Datz mobile phone, probably in his pockets so I wanted to not include that in the image, the rest of it almost pretty happy to have it in my picture. I really knew I wanted to do here where those reflections that's gonna look beautiful. Let's see up close in our Imagine wanted out of that little color here. So you see legs a smoother. They have that texture but off a canvassed extra here. So if you have interesting background, and if you have lots of clothing and texture on the clothing, you can see there's texture on his hat. Texture in this shirt. Lots of texture in that shirt that's gonna give us lots of opportunities to make it more pain to lead if you have just the skin. That's why it is difficult to make something out off newborn for photographs. Unless you have some sort of beautiful fabric floating or and props or flowers or things like that, because it just face off off a newborn that would be quite difficult to show that painterly look 18. 18. Assesment second image (beach walk): I'm going to share my recipe with you and how I do my painterly edits and it's up to you how much you will take for mates, how much you practice and over time you definitely evolve and you change. So that's fun bit, because even know 10 people will followed exact the same steps on the stuff in exactly the same image, and their work will look different somehow. It's different perception of color difference. Brush strokes the way you feel that even the way you feel on the day. So that will make a difference. In the final image, I have opened J pic image and what we're going to do again. The nicely change into single document view and press control Zero or command Z were for Mark to stretch it nicely for the whole workspace. It does make sense doing or you sit ups steps on the beginning because you have all your palates and tours nicely, Doctor decide. So you workspace valuable workspace is used properly. First of all, I will assess this image. What would I like to do with it? I know. Just like with the previous one, I wanted an assuming lar on impressionistic brushstrokes, full backdrop, composition wise, unhappy with. There are a few elements I would like to hide or do not include on what I mean as this area here. I don't want necessarily to be here on May me, this clump off seaweed. I don't want to be visible. These don't bordered at me. That much will see Lay to run how that's going to look on the image. And I really love those droplets of water. I think they don't bring a lot to the image when we have everything. Luckily, the mobile phones on the other side, so we don't have to disguise that. It wouldn't be that hard anyway. My story, like those little elements, it just brings more dimension revenge. 19. 19. Cloning in practice (beach walk): the first step will be understanding what cloning is about, and we're going to start with file quick home, which automatically will put that overlay tissue paper, tracing paper, whatever you want to call that. And you can moved up to shoot paper up and down on your slider to the site in the clone source area so you can make it completely invisible, completely 100% visible. And this is not our image, which we have opened. Show source. Image this concomitant awful when you do cloning from different images into one piece, which I don't often do, because unfortunately, Koraro doesn't handle too much pressure to Well, this is the image we cloning from. And if I, for example, changed that into sores, let's say texture and it's going give us different texture, like what's gonna happen if I'm going to clone from that oh embedded image. Still current Patton's army and that shoes does. And this is cloning that person if which is different. One. And it depends what setting you have here re saturation. Let's bring it down and that how it's bringing it down, just some of it. And it's a drunken, blurry vision. If we bring re saturation up. M brings 100% off that into our final image. So let's change that. If you ever seen funny succulence appearing, that means you have something not right set up here. Luckily, when you're hit quick loan, they should automatically work just fine. So let's change soars into embedded image, and that brings us back to this one. You concede. Let's go. Let's minimize that image down and the one we're working with a tissue paper. Change it here into single document you and hit control zero to make it bigger. So to start with, we're going to bring those steps backwards. We've hitting controls that because I want to show you from the beginning. What I do that's our tracing paper. And if you follow this set up steps, if you have your tablet under your fingertip, you just toggling this tracing paper, which is super handy, because if you have to come back here and slide out each time, that would just waste some of my time. So let's keep it here for now, and we're going to use soft cloner, especially around people, and pull things around them. It doesn't matter. The whole. I manage. That's okay. Okay, so we haven't really done anything too complicated or time consuming. If my Carl crushed at this point which let me warn you, it does like to crash a lot. I wouldn't be losing lots and lots of time. Like I have learned my lessons few times. So on that note, we're going to go to file, save us, and you will see if any new type riff which is specific to coral painter. And yes, you want to call it whatever you like and safe. That means every time you open, it will be still possible to make those changes. If you have built up different layers, the layers will be there if you save it us. If I let's say, save it as j pic, it will ask me. It will tell me that my, um, clone source images and the layers were not be preserved. The council that. And anyway, if you saving your work your final final work, try to save it in a different former March basis P and G. So it's not going to completely destroy your image. J pic is not ideal to save it. Also, you can save it in PSD. But if you want to showcase it anywhere or you ready to put it on a website or anywhere, P and G is the better choice than J pic. 20. 20. Background (beach walk): So why do I do this? Cloning around the person initially, it's just to avoid little holes because your brush will cover some off the area, not 100% so we want to avoid. If you go up close and you're going to have some area covered and a little see through elements that are not covered, it doesn't look good. Finished image is completely 100% covered unless you have some beautiful paper underneath and you're doing that effect when you're painting and there is a little bit painted and there's a little bit off a backdrop. Background story, the surface of the canvas. That's not what we're having in here. Oil paintings are fully covered. There's no converse showing our next step will be creating the background. So what we're going to do, we're going to create new layer and it's that furred Aiken here New layer and you can see you can close their underneath one top one and then, if you if you finished with it, you just go drop and it collapses into one so I can open new layer and we're going to go. You will notice that with cloners, you can only clone you can only bring the image from the bottom of your pile of your papers . Imagine your papers being stuck one to another on the bottom as your source image the image original. Then you have a tracing paper and this is our tracing paper. This is what we end up with. So here it only allows us to clone. I cannot move into the color mode and we're going to go into digital painterly collection. If you import your precious, which is explained in earlier episode, you purse that one on and 1st 1 is impressionistic backdrop. Okay, reset your to it should be reset anyway. And then it's really important to set brush calibration settings, especially a few are on your public. If on the mouse it doesn't matter, is not much you can do. But here just make a movement how you feel today It will be depending on your mood on the strength in your hand. So typical one. How fast and how smooth your painting. Today he took a and look what's happening. This is bringing things from underneath into our talk player. Okay, Uh, Tuggle, that's our original image. And that's card final image So with a nice big movement. Also before Michael. Very, very gently, very faintly Touch my tablet with the pen dance the size off the strokes you going to get And if I press really hard, he strokes are becoming larger. So another really important thing. And I see a lot of people trying Teoh use different brushes, which is fantastic. And the other important thing is direction. You're going to move your brush. So I'm trying to create something like a little bit more. Oh, go like this Not just in that line or not line because no, no. Look the way I wanted to end up with the controls that will bring back those steps. And don't be afraid to go around the subject. Oh, no, she must up. No, it doesn't matter. At this stage, we only thinking about the backdrop about your so try to keep them up the medium level. I'm no short from going to carry on with a whole image. Just want to show you those areas. So whether it's see, yes, I want to see to flow that direction. Definitely. But then the sky around dropping a round of people and it's really important. This is always bugs me later and said, Oh, I really wish I paid attention. Make sure you get into those little areas between because then if you try to paint over it face and it looks so different backdrop and you cannot cover with the same brush without making mess and make so much more hard work for yourself, it's just easier to do it that way. Okay, Blues and Grace. And that was the area we struggle with no compass little patch here. So if you want to make any correction in here, or if you want to add any color, you switched to color moat. This wheel is now in color, and you can sample. You can either use that I can come back here or if you, if you still own your brush to just hit old and it changes into dropper and just simple from anywhere on your compass. So we going to cover that way in the sample, live it more just to get dimension, and this covered pretty much more different colors. You're going to earn that, we said. We're going to cover that horrible see read clump here and again I'm some plain and I'm gliding here. Wonderful. So that would look really flat if we had just that. Here, get back into my Chloe moat. Look how much more you get. How many more colors and tones. So we're gonna deal with that in a minute. That's here. Sometimes it's easier to kind of push two words the subject, rather than out because then, if you go out, it will pollute our background where the color off the subject. So let's get the room. You can't reverse all you can actually moved back again so that no fix it because the beauty about Coro is that you can message hold up and you can either go back to your cloner or different brush that you're going to use that. Let me show you cloners, and you can just springing back with the matter. They can make lots of different brushstrokes, and it's not going to make a difference if you make a mistake. It's like needling the dough he can always kind of. If you mess it up, you can always redo it again, or reform change the shape. So I'm using a big, bigger pressure here because I want those to be bigger brush strokes around this area does not smaller here. It just gives a better elected perspective. So you go larger at the front. I know small strokes that they buy a copy in. We're gonna work on the R V 1/4 in detail here. It's just between the park ground and the subject. You do want any kind of empty white host and try to keep thoughts, direction as well. We don't go before I keep going horizontally. I then don't change that direction. It's really important that what makes picture really, really work If you're figure out what direction it should go your your brush strokes. It's half of a success, but I'm still moving in the horizontal. Even it's very tempting to go around the subject like that in here. No, this guy is different, but where The water. I rather keep it. Poverty gently. Some. My pressure is lie to know. So my little dots, my little brush strokes are smaller. Does take a long time just to do your back drum background sometimes, and I know some people use automated way, but it does work for me to be honest, because it doesn't go in the direction I wanted to go. Let's just work here, literate more. You can change the site of your brush one, but still it depends. What? What pressure. Using basically more. You go around it more you do, the more depth going to get. It's going up so that a beautiful when you have those strokes on the strokes and the strokes. So let's see before and after. We're gonna have to get rid of those clumps here in a minute. Just gonna make sure all around it we are happy with here. And I'm putting my brushstrokes very, very likely because that's where the war to end. Well, we definitely one. Those beautiful reflections painting is organic. Painting is all about creating that illusion. So in the way we are trying to trick the eye that a line. It's a reflection, all right, that white sport is a spotlight in the eye, so the smaller do it here better. It's going to bring more detail. Don't worry too much about those little stones and things. We are going to come back to it. We are going Teoh. Treat it slightly differently. It's just blending now for the smaller brush strokes and pushing into the subject rather than on the river. So we have a messy area here because that was no, even from that just to tie toe touches you to fall. And that was the area we didn't like. So I'm going to move into the color moat. Sample that. Just cover that slightly. Was it easy? Beautiful. Those little colors. That's where farmers and we're gonna go back to our clone moat. It's gonna take me a little oil, some changing directions. Likely because you see that create this little shape for him. Okay, again, this is just a very base of our painting. Questing harder. But I need to up the size of my brush. Here go. It's bad and what I'm talking about those holes like this little gaps between the brushstrokes. We definitely definitely want to cover everything up, because at this point, it's not a problem. But when you nearly finish your image and you look up close, you start to notice them, and they look awful. They definitely want to cover them with every brush stroke as early as possible. And here, so we'll show you so that would be our final image. And if I, for example, worked on his face separately, this is what we would have between those horrible just just image. Just picture in between. We don't want that some. Make sure you don't leave any spaces, any gulps and push into the subject rather than out that will pollute our background. It's important stage and I have made mistakes many times and then kicked myself all by heaven. I really pay attention and made it work, and that's blend even more. Bring that beautiful colors in the water. So so here. OK, so we just keep cloning on. You can make it smaller turnover. I'll produce that tracing paper appearance here because I want to see more of my original image, and I really liked the way it looks. Little sparkles off on the water. I wanted that that on just making sure beauty that you can see little holes in between. I want to make sure that doesn't show everything's nicely covered around the leg as well, because that will be smooth line from the leg. We don't want any homes announced, nicely covered. What we want to hind on what about the sea with here. We're going to just color change into color. Mount sample here a few strokes sample different color from the same area. The more layers you, dude, and more different colors. More natural was gonna look more believable. Come. We are in the color moat That's changed a clone that's easily done as well so many times what's happening? But why? All those random is colors coming up and then you discover you haven't actually changed over. So remember, this is your cloning mode were it's picking up the colors from underneath layer. And this is your color mode when you're adding more colors to it and we're gonna have fun. Now, have we cover all the area? Wonderful. We're gonna have fun. We're going to art boulders. Little holder, Come here. We are now and it kill mold. That's it. Now we're going to add a bit more look different colors to make it more more exciting. So controls that. Sorry. Control zero change into color mode. Are we going to turn capacity down just a little bit? And look how beautiful that already looks on that water. So to make the picture, Harmonia harmonious and really pleasant to I. We like to sample from different areas off your image. Let's just save that just in case, because it looks like it's having its moment coral safe. No, I don't like what's happening in this area, so it's good to take that pull buck and assess it again, because look, those lines running that direction and those running that direction, what have we done here? So let's fix it. We have the right layer, change it into clone mode and, uh, brush reset toe slightly, make it just a bit smaller. And now we're going to, right? Let that way that direction. What is this? I see. That's the shirt. That's fine. Then we are just pushing in a little bit. Make it bigger. Appreciate it the same direction. Old Make sense when we have. When we go into painting this subject, I don't want to see like a massive patches over brushstrokes. You want everything blended beautifully together so that will distract. That will destruct too much. Keep lending, keep moving. It's not a quick fix. It's definitely takes time. Every time you move around the image, you'll spot something you too repair. We're nicely in a clone mode. So tomorrow worry about changing colors. It's a clear, very up here. That's it. Tongue gold, No license. You don't want to make it to smooth, because then it just looks back like a photograph again. It's just that probably problematic diarrhea here, making sure following the right direction. 21. 21. Clothes and skin (beach walk): At this point, we're going to move to the next part. Remember, this is not completely finished background because we're going to add on the color to it for the time being. That's dumb. So we're gonna open new mayor and will not layer. We're going to work on our subjects. If you go under digital painterly collection, you'll find start skin and remember, reset you, too, because we don't know what was left on last time on and calibrate to your brush. If you don't calibrate your brush, it will give you just a default setting. But it depends on how strong how fast to your hand is moving. It will adjust that to you. So we're just going to restore to put the brush, and I'm going to start working anywhere, image and way I work. I touch the brush to the to the image, and I just move around. I don't pop, pop, pop, Islander those movements. I constantly move around. It's difficult to see, so we're going to put Taco on on. There we go so we can see some of it. You can getting closer if you like. You can see it's a nice brush with lots of feature. It's a feature. It is how much bristle shows on your when you've rushed and more you are. Don't more hair will be visible on the M brushstroke. The tricky area here was very, very light. We re set up because I have changed it. Let's make it smaller, so the feature does changes with your brush. If you make the birth smaller, the spaces between the hair in the brush war get smaller, too, and it's a loaner setting. So that's why it was so essential to do your set up just going around not so neatly because we don't want this to end up looking like a picture that we started with. There's no point doing that. Let's see how that looks pretty insurgency, those brush strokes. And this is just outlined just the beginning, because we are having a special brush for clothing at that super texture. But to start with, it's a good one on it. This brush, you got a few different controls you can do. Obviously, the way you're lead be or brushed direction is very important, because imagine if I was doing that, it's not giving me anything. It's not giving me that texture of this shirt important direction, your brushes going and I have constantly I am constantly pressing it down. It's not lifting, and hitting the comes again is just constantly gliding on the campus. So the other thing is re saturation on. This is 20%. That means it's picking up those details only 20% for words underneath, so it gives us some sort of idea. So translation into that canvas from underneath know exactly everything. And don't be afraid. Just experiment, and having fun on sometimes takes a little bit more blending. This is a bit more work. Luckily, we can always come back and re do it, so it doesn't mean that set in the stone and some of the organic painting my quarter colors , I would really, really struck struggle with that technique. Once you put a statement, that's it is difficult to get it out. Even if you used a kitchen towel, it's difficult to get it completely back, so it's not probably medium for me to work with. Oils are goods and then the organic painting, because you can actually redo things while they're still wet when they still haven't dried off. Go and just be careful not to go over the line too much because let me just show if you go over that's going to create that undesirable lines. Tiny Bit is okay. It is what we see on there rial organic paintings. It's OK. So if I, for example, have this large area, I would want Teoh just like an organic painting. I would grab a bigger brush and cover that roughly like that. And then it is OK for me to go into little details and finish themselves. Remember, starting from a big areas I did, obviously did the outline There You see how lovely it creates those Burruss strokes and then focusing on the tiny, tiny bits. That's the whole magic granite that we're gonna work on those tiny bits later. Rome. And this is what naturally takes a long time just to cover the area, gently smoothing over. If you have a large group of people or lots of subjects, that might take a long time. So the way to control that re saturation Sorry to control your brushes, not just re saturation as the pressure from applying as well that makes a difference the founding. Very gentle strokes Go from doing something really hard. Let me show you. This is very gentle and this is very hot. So what happens if I change that re saturation up to 92%? It will bring me detail much, much more detailed. Still, if I move my bra sheikhoun, see those smears? Good luck. It is okay to use high re saturation, but not at this point. At this point, we want to work on the larger areas three set about. And sometimes I like to bring capacity down. Just a touch. So it's easier blended. It's It's not so harsh. Let's go over that. You don't want to have half of image, which is painterly and half of the image dies. Photographic. Which is it for talk photograph? It's not going to look it Just go over the face and the important again, we are following the shapes. You don't want to just do that to make sure you follow the shape. All these vice. We can revisit those areas here and work in the higher saturation. No problem. It's just that initial. Oh, my maiden Hot extra here. No, no, no. That's follow the actual image. So let's go here. It's me area that's gonna look already nicely painted and the other thing you can control, that's once you hit you, Penn and to York. Welcome tablet. You make those teeny tiny movements teeny, tiny and that would make sitting looking more precise. I see. So it's still painterly look, but more precise. If I was doing bigger movement like this looks kind of smeared, so there are a few options. You have this brush that is bigger. The area to be covered change again. Fall over the shapes. Number one mistake I've seen is not following the shapes carefully because, yes, you could probably do it in 10 minutes, but it wouldn't look good if you don't follow direction. Subject is going. I think we have a bill of a pollution here from the hats on the background, which is easily adjusted. We're going to change that that for me, so going back to our it's just fixed that little bit getting back to our height, the person go back to your background layer and let's go back to our impressionistic backdrop. You can see some of your recent brushes are showing here. It's handy sometimes, but it's easy to find out one anyway. We're on a clone mold on just pushed down just a few, so it's nicer, cleaner line between that background on the person been turned back, this one just a little bit more. See smaller? I don't know, Probably when that's what happens. It kind of pollutes from that person. The color goes into the background, which we don't want. We wanted nice and clean. Yeah, that's but, uh makes it different. Let's just save it, just in case you have to get in the habit to save your work Because, like I said many times before, Carl tells, like to crash in the worst moment. And yes, I have Bean. There were spend lots of time working in something pretty relieved. I gone over that bit and unfortunately, it crushed. Let's go to our start cloning subject Brush that's re sent up. Make it smaller. Wonderful. Make sure the right layer the subject layer and bring that hat about because he doesn't matter if that's a little bit most much Why so no, to reset that. All right. Okay, let's bring that re situation up. So it's a jher to get those details. Guys, my painting looks too much like a child's painting. There we go. That's too much. No, think it down and take capacity down just a little bit. Marking the skin here knows you have to be really careful because that's coin important element. It's such a clean edge between our background and nose. Nice and carefully and again in the shape live two circles. Hopefully and again that's been polluted. Background here. Let's get back to our background area. One of the laters brushes, impressionistic but were and let's clean up very good. So having those on the layers, it's incredibly important. And so handy. I used to work on just one layer, and best just makes gives you extra safety net. In case you feel like you massage boy using very different brushes and different elements. So definitely good way to do it. And that's get back to our start cloning subject branch. Okay, so this area needs to be covered now around shirt. I want to know why it's not responding so well. Okay, bigger strokes, and that's a bit more brave. Can we get focus on those micro elements later said. Don't worry too much about it, covering everything hand important. So what you want to avoid is working on one element and then just leaving, leading hands completely undone. That wouldn't be acceptable. That would look really pants. That would create a bad painting it over you to ful great and adding on it's trousers. Bigger brush. Don't be afraid, because again, if you do something once I've done the, um, one image I edited. It was really, really, really careful everything from the beginning and really fluffing and and focusing on old tiny details. And it just looked like a photograph for Looks like I haven't done anything, and I spent so much time on it just wasted all that time. But never mind. You learn. It's a good lesson. It can save you that mistake, so make sure you are not layer on the person on your background. What happens if we on the background of not the person it doesn't affect, so you wouldn't be able Teoh anything? Okay, and it's a bit more careful around and shoes you can keep going again. Notice the shapes. What areas is it painted in? That's in one big chunk fire you. Thank you. Bursts, Mother, How do I make my bar smaller with those brackets? That's where brackets don't leave any area on that. It it you doing this to look like a soldier? Gruff. It's a bit beautiful on this side and we'll finish it now. After the legs, How much were saturation? Will put beat. Drop it down to 2020. Something on on those movements down. Okay, I can take her. We have bigger areas. We would and the organic painting. We would switch to the bigger brush and work with a small brush on the details. Also, it's not the area safe for area focus that we want to really, really make that distinction. This is just the leg, so it could be a little bit more uneven than even that not a little bit more painterly. Great. You switched to your creating paper view. You conceive it more detail. That black thing is, I think, is just the stone in the park. You can follow the shapes. Sometimes the light will show you the shape of it. So here you can see that call here. That's distinctive shape. That's a distinctive shape. Everything is running kind of that direction. You can see that. Definitely. That's great. Am I crazy about this little black thing in the background? My thing is just a stone or something. So back to our color moment, gently hide it. So it's not distracting because we got those droplets to bring out as well back to the cloning. Lovely, not line. We need to make a bit more smooth. I'm even and straight straight from the leg. We would do the same thing. Okay, so that's done on the body on the shirt in hand. Okay, so we have our backdrop painted and we have our subject painted roughly. It's not over yet. Let's just tidy up a little bit here. And I don't like the way it looks around the shirt right here. So what we gonna do? We're gonna bring just a little bit off that body on the layer Subject player. A nice, smooth movement makes you follow direction as all waste. Nothing there was right. So that's the shape on this farm. But that's the image you end up with on. We wanted Mitt with a nice smooth lines. Finish those little details later. There's no need to worry about. That doesn't work around here too well yet just moving out. It's a bit bigger. Bigger the barrage, more blend Adobe. If I make a really tiny you can see their strokes. In this case, that's not what we want. Let's go back to a bigger brush, just stroke it bit more. If it's been problematic, it's a good idea to bring a passage. He down a bit and smooth in the area a little bit more. Just work perfect, and it looks a little bit clumsy here and messy. So let's get back on our backdrop area. We can have that one switched on. Important thing is that the medal backdrop layer is selected. Let's go back to impressionistic backdrop, brush and just cover up. If kids messing up go to the color mode. True, similar tone and paint over that words. It's a cleaner look. Okay, go back to the cloning. That's much better looking on, and we don't want to anymore. Picking up from his shirt to the back ground, it's better. Let's extend that look about the whole great. Another little brush I love using for clothes, adds happy clothing. It's reset that right. Very responsive to the way you hold your pen on a calibrated. So we start around here a key moving and keep moving a creep moving gives the most beautiful brushstrokes and those you can see that the head of brush on this image now. Okay, so we don't want to go up, Um, maybe kind of used. It's a motion that the same move and staying with then the areas you want to cover. Rob that thing going up here from here, that's going to just create mess. So you want a little bit more for a stroke? That's fine. Just make sure your you know what you're aiming for. Well, missy here and that's fine again. Are you going to accentuate those colors a little bit more in a minute? But I just wanted to show you that it's a possibility and looks absolutely stunning. That brush if you have a massive dress, whether lots of creases who are but more vintage looking down. No, that's a little button here, so I'm getting back to my, um, start skin and clothes. Bring the re saturation up, bring the passivity down because we don't want this to be super super sharp who won the detail but nicely blended because what's gonna happen? What's going to happen if I have my capacity high and my were saturation high, it's going to create that very visible lines around you can do if you make a brush really small and just work within the area, Go over. That's going to create this horrible, bizarre look. All right, edges. So let's reset up again. Color a little area you make tiny tiny dining movement. The doctor I'm topping gently. It will bring more detail out. Oh, that's such a nice detail. Cross shadow from it all. Those little things are done to the image. Face is fine painted like this. We are okay because the face is not in a huge close up. You can really see the eyes, so that's OK like that. Just give a bit more. Still, that mess here. I don't like too much dog. There we go. Let's have a drink. So it's looking better. Trials are still shorts a little bit too photographic, so the other idea is to use. Let's have a safe first safe, safe. So we're going to add a little bit more color on but more texture to clothing. We're make sure in the right layer between backdrop and subject. It's a nice finishing brush preset. Make sure you come a great your brush, and then let's make it smaller. It's beautiful. What gives you that texture? So somewhere around just in the Edgers on not everywhere just a little bit here and there, just like trying to catch those little commenters. So that's a bit too much. We don't need that here. Where would I put it? Maybe around the heart? A little bit. Just a little bit of both extra texture Because you see, this is what we see underneath paper texture. If I choose different, for example, that one that's gonna shine for but the favorite ISS artist canvas. You can change that into color mode. If you like a swell. Just choose out on that a bit. Well, I love to do with brown colors. I like to just throw a little bit off red where the light is, and we're gonna change the brush for that. There's a nice little, very thin lines. It also has it the undertone. No undertone on the texture on reset it. Calibrated brush on. This is the color which exist here. Very dog. We're gonna go into much lighters of it like a terracotta, just to kind of give it a little bit over stroke over that into orange. Very tourists, those little wisps off line. They really make it stand out and make the picture. You just have to understand where to put them so you can see that's where the light place the heart is. A bit of it here and on those trousers. Nice and light, lighter and more saturated. That's where I put it. That's too much and too light to be going to sample that. Keep trying convicted lines that would make really makes a difference at the end. And now we're gonna out even vote color to that shirt. So we're going into between backdrop and subject. It's a nice brush by the lots of texture that's calibrated. First, change into car remote, and you can see around here read you up close. These are nice, but I do wish purplish definitely see that work rated painted white or close to white. I know the shirt is blue and original, but it looks as if it could be white as well. It works the same way we want to use do friend shade of blue, different shades of gray. And it touches off a little bit more saturation from colors like purple on two from blue. So I would be looking at something like this. Adam, Hear that little hand? Not little handed. Charles too. Here and there to Adam. Maybe not here. Just a tiny bit. Sample that one. See that close to interesting sample and apply. So that's a nice blue weaken sample from here on out on a little bit Right here. Now go into Dajun. Does Jin Bird should be here? Dodge and burn at the very end on this is a brush with really recognizably in. It's a very low capacity already, and I suggest just have a play with it. So the dark areas, we sample the color when we go a little bit darker and then we apply more and those creases and try not to guess and think, Oh, that's gonna be here. Look up your reference image because sometimes it seems kind of obvious. Okay, that's going to be light or dark, but actually your image will suggest something else, So that's a bit here. And if you do listen to your references image, you're going to end up the right colors. Let's give it off that darker. Where else we have Gento. Okay, and now lighter light of its That's far nice night area. You can even go closer and smaller if you want to work on your details. More hope. Hope House with a tow lines make it really stand out. And if you have messed up too much, although I think this shortly good father, it's quite painted Lee. Maybe that little bit here is a little bit. That's how it looks, actually in image. The problem is, if you stare at something for such a long time, you start seeing things differently and you know no noticing some things. Let's just move to those shorts so you see that dark area out. Sample that and I'll go even more saturated. And then that leg. I'll bring in a little bit more saturation a little bit more here that hail is telling me more saturation and that lovely reflection as well just bring in, just get it a lot of depth you don't have to use that same color. Go but more into reds or every girl on a great way to now blend to make it work with background on our subject, we're going to sample. I don't quite that close you. We're going to sample some colors and inject it into the background. So from him trying to take maybe this nice blue backdoor background and choose impressionistic fact practice just a tiny bit more remember, that's our area, which we deleted. So avoids is, But I think here in the from the shirt who Okay, so we can just sample colors from his shirt from the short because you see all the blues, all the kind off sound colors you have here. That's why it is picture work so well, the colors just very, very, very gently. Problem with the boys shed blues and not forget purple, which we might have to serve somewhere here. It just gives the extra I mention. And what about the Sund to be? Want to sample that from he's shorts? We might want to make a bigger because these are quite big and this is not finished yet. Don't worry, we're gonna get those details as well is just creating that extra colors. Okay, I might be a bit more from here. 22. 22. Details (beach walk): that's a little bit more color into this guy. Make sure you on the layer. But true and call asking. Sorry color mode. Sample from the sea Found on a bit. Now we our own way. Too big Russian. It's get dark controls that Howard something in between. Great, that's wonderful. I'm just add all especially dark around here and get back to your cloning room. Oh, what's happening? Where it was coming from, Right, guys, this is a good example. So weird things happening and coming up. Now you can see in his window on the top. It says, cloning on it Currently, clones from Pattern. Sometimes it just skips and you feel lost. What's going on? Let's make those buck steps first on cloning, you have to choose embedded image. Okay, and this is why you should be cloning from That's much better. It's just example how it can sometimes go per shape when you don't really know what to do next. Hopefully, and that's just sample. Another purport band may be modified it, but really light my love, purples and the sky as well. You could see in my granddad's picture he had some purples to really really, really night kids. And now let's get into pain. Backdrop artist Converse. Okay, change into cover, moat changing to clone. And that's just married. Just to touch it will give you that canvas texture. It will soften those brush strokes a little bit, but it won't affect our subject. That's good way to do it here and changing a little bit. Great. So how to bring those details? A list of it more. Let's have a look. Go into your again my favorite brush. Start skin and clothes and put in a very real opacity, but quite high re saturation. And let's find those little items. But hope back on this, this one see very, very gently. You'll be touching up literally here and then know everything but just a touch just a little bit. This will bring having that foot down, but let's see here it will bring it nicely back, but not harshly. This is what gives it this beautiful effect, and it takes a few steps to get there. You make me blush bigger, Gently touch. Remember those Reno going to bring them up because they are already quite blurry? You have to okay, Full wasn't nice colors here and I love those waves going to bring them back a bit. I already quite plaintively on the image on the picture, just gently touched a touchdown. My bring the capacity just a little bit more. My skip vented in background layers. I'm not affecting my models leg. Not too much chest here. You can always up colors to it. Beautiful. And that skyline, Well, that's soften it up. Even Vago. I don't want to paint a subject with this brush. Just talking about here doesn't look so harsh. What else we want to include in here? So we got that lovely reflection, especially those ripples on the water that looks good. This finish else we have here those little Aereo's and here and there just hearing there water elements. That's just his amount. Look, it all started making sense here, but if you just got it from the beginning like this, it wouldn't be good because you have to take those steps off impressionistic background and then subject separately, adding on colors or haven't really played with color so much in this image. More on the background, good, just tied up. Fantastic. So it's starting to look more like end product and finish Mitch here in just starting on Blanding it not too much, because again, unity. If you came going like this for a long time, you would just end up with your photograph, Mr. Around the Body. Look. And if you really want to focus on those waters because I'm going to choose just reset back brush, make it smaller to see them more in It's that post literally. You paint over them So recent curation really high because we want to bring those speckles on. They are. I mean, probably gonna other wide to it. Well, very sharp. Salomon's like the closer to to the view work. So it has to be right. Balance it. Fight, press like this. It looks like a hole in the painting. We want to avoid that. Make it a little bigger, pass it down capacity even lower there. That whole thing we go, I haven't up over and done it little area here Too much here. Time to save. I don't want to does it. So let's move to that top layer. It's have a look what that involves. Okay, so let's go in the top one and we have start cloning subject brush that's reset that and I'm ready to go. So we're going to cover this area here. Hope Serie. Make sure you in the clone mode. I don't think I'll ever stop making that mistake. And what's the research operation really high? Gonna drop it down 2 50 around 50. Make the brush smaller just around here. Be careful. It's just watching the edges and things working around it, his ears and very football. It's moving, not area a little bit. We don't want to a shirt to destruct. No pretty and work with the tiny strokes face. We're going to do a little bit higher. Re saturation here has drop it down. The bedroom fell 20. I mean, working on the KAL oats and and all the areas even lower. I just moved a little bit more. There's no sharpness like, yes, Muller again, I'm using my keyboard for that. So in my right hand, on holding pen and on left this my brackets, It's Gramp rockets. Just follow his clothing. Nice and easy doesn't have to be very precise. So, having that lower saturation help us, uh, give more painting the look That's our finished image. And that's we Koning from half on the half capacity from finished image. That's when the details ready. You have to come back closer and then you don't have to make that for saturation higher. Just need to make a tinier moves to make him more faithful, but still having that painted Lee feel and now we're gonna focus in the face. I'm gonna zoom and here to see back in the brush and let's make every saturation just over 17. They see it. It does makes it so much more fried. Both, um, just brush over his vice again followed early. The lines, the right directions not just randomly like that little head on the hook. Just while here just a little bit. Not everything. Completely these lips. That's important here because that's a guy. Hi, I can trust against that backdrops and to be nice. And there's a bold let's have a look at the bigger picture. Yes. Oh, that looks good. His shirt still got those property off from Perec know, very precise, and that's dropped that saturation back toe. Roughly 40 just kind of his legs. Perot. Their strokes Follow the fabric and his trousers. I love how that reflection is showing my thing. The re saturation is bit too high for that. Drop it down a bit so it doesn't show everything to faithfully and why it's gonna look like a photograph and just a little bit more. Shadows are very important, Um, and painterly against our will give you that three D effect of some things. No, Hasn't got shadow where it should be. It just looks like it's floating. It looks very flat. Very two D. So I'm just reading that letter. Bill shied Shadow and I might take or saturation even lower. Remember for you We were and cover modes and every saturation weight went all way down to see Roe that were just moving, um, pixels around the screen. Who wouldn't be adding any cover? But if you the moment you add any percentage on your re saturation hopes then and all of a sudden ads on that pain similar in our club mode, it's just kind of copies from what's underneath and that shadow super important on those darker bits ever so gently. Just observe what's there already. Make that work. Remember, we have hit in that area. I don't want to re show that again. That's gonna look a bit messy around these kids. Let's go back. I'm gonna change into color, see on and just simple little bit. That's why it's so important to do you background first. Well, back to the cloning mount members of every the over saturation. Everything will be very sketchy. Very patchy, very painfully. We need to look up the hunt now, so we gotta bring race saturation over 18 0 and just gently dup dup dup dup dup Just to get that, Hondo, I don't have to exactly get the whole hand, but it helps just another bits. Remember, if you want to get a little whisper, a little texture from anything, just walk. There were saturation up and bring the paucity down. So it's not going to give harsh Pausch edges. Just gonna pick up those very pieces that we want makes it go just that it's called last softness, but it just pick up the detail just from underneath. I like to do it for their little buttons or and just a clothing. We still have that like to do just like that on the thing that little boy is pretty much done where you can. Odd ISS, for example between backdrop and subject reset bouts. That's pretty big brush. So I'm gonna take it down on the size and change into cloning mode. Just adding a time. You little see. Let me just show you up close. It gives that texture of a canvas in just a little bit extra more. And you could maybe sample groups backed color mold. Maybe simple that blue and I won't go more into kind of purples. Go lighter. I'm just telling you about here in just a whisper that and make sure you put ahead of over saturation. Otherwise, you'll be just mushing those pixels around the screen without any effect. So maybe a bit more just to see. But remember the more kind off, delicate strokes he going toe ad? Um, better D effects. So that straw hat was making lighter just a tiny bit. And these trials is next, like it's been painted with pastels. That little tiny area and Daddy's trousers. I think we've done that bit has just so you see you have done something similar, whether shared and I can pick up. He's blues from the shared got lighter and, uh, if I want more, that's done. Eso we have got left is just that like to do, and that would do it exactly the same way. So with the sky, you can leave it like that if you like, or you can just go back into pain, backdrop with artist's canvas and reset that you on the color mode, which is fine and just pick up something in the middle. Make it smaller. How funny that came. Awassa sort of green family rather than the blue. Very funny how we see the colors I could hell that wasa Greer blue rather than green Simple and just go over just a tiny bit. I'm just touch touch, which just a little bit don't go too far again because it's gonna look back. Luckett like the picture. So just like that. So at this point, I think I'm going t o leave it pretty happy with that. Obviously the leg is still to do, but that's pretty much image done, so I'm not going to keep you here just to do that. Like, um, the image is now finished 23. 23. Analysis (flower field): we're going to do, add it on this elder image. It was taken in the golden hour. And those flowers, Lou pins are very nice to end it in the paint anyway, because they have a lot of detail, lots of color on beautiful light. So that just assess the scene. And what can we do in this image? So there are certain elements off the whole image that we can change and paint over warts. Are we going to change is definitely that handle. That's easy to do. You just paint over with a color. Then we're gonna bring for those still too flowers elements we going toe also fix their hair here. Unfortunately, the sun has burned. Um, that area here. So we lost on pixels. Lovely. And, um, in coral, we can just brush it with our hair brush and fix it. So we're gonna work on those little bids we can out of flowers, color and what else we're going to do. I really don't like this. So litter flower growing right in this area here, it looks very strong. So I'm going to do I'm just gonna get rid of it. I'm going to paint over. Paint her dress and belt someone be visible. We're also going to tame dose little, um, hair around her head. So that's the plan. I'm going to kind of make even Loeb. Okay, make nice soft background on Bring the foreground The flowers in the foreground. Nice and strong and painterly detail has gorgeous face. Lovely, lovely eyes to work on Andi. Everything has a really nice harmonious tone. What are my day on? My add a little bit off kind of dark color from her skirts here and there in the background . Just touch. So everything closes in the one harmonious whole image. 24. 24. Background (flower field): Okay, That's open, girl. Fine answer. And close that welcome window. So after assessing our photograph, we know what we're going to do. Festival gold file clone. And I'm not going to bother with stuff. Cloning. First of all, I'm gonna work on my layers, and I'm going to work, um, straight away. So let's create new layer. And this is going to be our background layer so you can if you want, you can rename it. There we go. And we're going to go to the Did you printed collection? Start saying from the top impressionistic backdrop. It's my version of this brash I have changed it, so make sure you switch into the cloning mold rather than color, and we're going to just go over give such a beautiful finish. This is our final final image. It's not lads you might be painting, and you still see that purse earn and everything. It actually looks good. This is what you end up with. Okay, Try to stick it onto the canvas and without moving without lifting your pen. Just brushing the big brave strokes, trying not to press to heart. And it's gonna give that broke a really beautiful, beautiful look. Don't worry about those petals, because we're going to work on them individually. That's going to be fun. Just go over. Try not to miss any honey spot that's left the pen up. See what it's looking like Crazy. You can see there's a bit of a white beds here. Make sure that's already well covered and go over the whole image. Ready? We're gonna figure it out our hands in the minute in a while because this is just our backdrop. - So that's our initial initial part. Next step on our background. Go into the brush paint backdrop, artist canvas, texture and you shoot. Select here favorite paper, which is our discount. First, you can always choose different ones, but this one case gives a beautiful grain underneath. So here we go. Make sure you reset the brush. At this point, it doesn't really matter if you do calibrate it, so don't worry too much. It's the detailed one that really matters and go into clone moat. Once you have that, gently blend those areas, you can bring the capacity down so we'll do it more subtle, but just go over. It's not about doing the whole thing, so we still see some underneath, but we've done it before. You can go over that person because you don't want to. Then have that little gap between the person on board flowers. Sorry, background and person. My amendments. You see that Hunt doesn't even show anymore. The more layers more, more you do, the better. It's going to look because it's painting is all about creating that illusion. That's the shadows and colors that it's there. And if we make it beautifully harmonious looking, that's even better just a bit. What's happening here? Okay, I don't worry too much that it's looking quite vague at the moment. It's fine. The mistake I used to make at the beginning when I started during those edit was that I was spending too much time on the detail. And then what happened? I spent so much time and it started looking like a photograph again, which you just kind of defeats the object doing the whole the whole edit. So now I would go for Carter Modo, switch over. We are still in the same. They're here because we working on the background and I'm using my some playing peop it's nothing. It's called on its other a little bit tiny bit off that round here, breaking down those dog areas. Just a touch. And because it's in that I'm gonna simple this color because if I sample this, it comes back into some sort of great yellow. And I know that was more like a green. So let's go here. No super super super such rated, and I'm going to break it here. Just a touch. You see how it just gives the dimension little bit more. That's it. Go back into the cloning mouth. Cora Painter is very well known for crushing in the worst moments, and once you have made the masterpiece, it will just shut down or have a history feet and kind of stopped working. So best thing is just on the early on, even before you start painting background, it's good to go save us and make sure you save it as a riff file. You have very different options here, and riff is the one that's specific for coral on. Basically, it will save you layers. It will just be able you will be able to start where you left off, so I already saved that version. I'm not going to do that again. But you per safe, and it will save that file. Then you can open and just continue working. 25. 25. Clothes and skin (flower field): it's time to paint a general subject, which will be clothes and skin. So we're going to create new layer and make sure you have that sicked on, sometimes its own. Sometimes off, it's basically picks up underlying color and select your brush. So in your digital painterly collection, you'll find start skin and crowds. Make sure select heart reset on the re saturation is on the 18% which is a good number, which doesn't give you details exactly, but somehow similar. And you see what happened when I start painting in port in thing as to move in the right direction so you don't want to do that hopes, because that's how it's gonna look. The whole point is to make movement within the in the same way, same direction and don't worry about those highlights. Yet we have short in minutes through. Pirbright was such a sunny, beautiful day, so the two ways you can control over saturation it's not just that number, and that's it. Let me just show you Maybe on those flowers, let's make it closer so I can make that broader strokes, and this is gonna be give me only 18%. Oh, I can make those tiny that movement top top top top top tucked up, and that gives me more faithful picture. I'm topping many times saying, And if you make that brush even smaller and make that movement really small, you see how different it looks to this. It's very, very important in the whole process. So if you know, sure, if you can see very well, just bring that tracing paper over a bit more. So with those tiny movements, even the re saturation 18% you can see more detail. You're focusing more on that. That's how we work on those smaller areas. Because if I turn that Cyrus saturation away up to 19 that will give me way too much photographic look and you see what's happening on the edges here. They are getting very harsh here. That's too much detail. So I want to bring it down to back to sort of 18% very gently putting that on. You can make the brush bigger, but then you're going to have different look, the more detail you work smaller, you brush will be tree play with that tracing paper over it could bring it up or down. Don't forget to look the actual image. What's going to the like? So, with the body over subject, I would just do those strokes very care from the sort of direction. And then, if you hold it and you kind of make that teeny, teeny, teeny tiny movement, it will bring you more detail in face around here. Sometimes it's too sharp, and then I'll play with capacities of bring the passage down and just work, work, work on it a little longer, more movements and make it look more natural has to have logical direction. So the strokes have to be really believable. Um, that's bring apart city up and makes you don't leave any empty space, so there's no paper shining for it's easily done. Look at that. I feel like in a super close up, there are some left that's going in a certain direction. Don't neglect of shadows here, because otherwise your picture will look flat. Shadows are super important, probably more important and highlights in the ends. They give you that Freedy dimension, a shape, pretty ring, and hands are. It's really good to spend some time on the hands. Hands are quite expressive, on, and our I will eventually girl to the hands. And if it's something's not quite right there, we will automatically dismissed the whole image shadow roughly. So I stopped looking in That looks quiet because we made that brush very small. Now we're gonna make it, and they go and work on that dress. They re coming closer to that flower that we want to change. Looking ready goods belt and we're going to change up into the no clothes fabric is something that you can have quite a lot of fun with, and you don't have to be that super precise. The skin is the one that you want to keep smooth and battery battery. Think about clothes. He can go a little bit rougher. Make sure you cover that area between flowers, wing in the work of those flowers in minutes anyway, and direction is important. I will be even tempted to take the re saturation down for clothes and make it painted more rough. Like I said, it's easy to make that mistake and make everything looking very precise. It's going tempting to, or I'm gonna work in that detail in that detail, and it's just you spent a couple of hours coping the picture that looks like a picture, Unfortunately, so that's how it's starting to look work skin, but more. Just be aware that the lower were saturation. You have more painterly. It's going to look less like picture. That's the area we wanted to paint over. It's a bit of a probable, So let's go into our color mild borrowed that come out on that little stroke, a smaller brush just like that. And now with a belt that's not so simple. Back to cloning. And let's bring the over saturation up a bit so it can get those details. We're going to fix that. So our area in two minutes what's happening here? You don't want to have empty spaces that it's very difficult later to fill up and work on. Thats going hiree saturation down. Yes, to a little bit of those details, not all of it. There we go and I'm going to change into color again. Bring the capacity down so we on the night we can build up build a buildup buildups. There's no flour visible here on over and over and over and over. It's kind of Grady insist. Darker here. Lighter here. That's skirt. Um, I would carry on with this. I want paint. Here is well, that's recent re sent this brush. Do that a bit more work on it. It doesn't have to be super, super clean and and tidy. So you see, even I made a mistake here. I could go over fix it, which you wouldn't be able to do in photo show. You have two ready go must gang war coping another layer? Well, here's but more like a real painting. No water colors. You make a mistake with water colors. It's not easy to fix it. It's like a big brush, making sure we're gonna work on that hair with a hair brush brush. But just for now, just a general skin and shape. So we have that and watch those details here in the shadows. You don't have to be a very skilled artist painting once over that, every I too much to take it back to create these. Just such a helping hand my co pay for tracing paper. Just carry on with the skin so we don't want to include those fly away hair. Just base. We don't want these higher in Trump, simply no crowning them in. Be careful not to create that. If I make that mark here to fall, you can always bring a Prasit E and to stroke after stroke after stroke rather than one final one. See how few safety notes with you that will help you. You're working on new layers, so it's always easier to to do that, fix anything. She quite like this super buried there. Now again don't work to launch on Oddo, which only make mistakes so often. Smaller movements bring more detail. Even though you re saturation is on the low work, 18% the smaller to detect movement. You make no detail. If I make that, it's not much detail when they beat protein shadows. Remember these too much worry. Worry about the eyes and the area just generally, because we're gonna work on that things like clothes on background flowers. Generally, we want Teoh make it wider, biggest strokes not so detailed and then, like ends off tiny bits of flowers and honesty face eyes that's gonna be super detailed. Okay, let's make I'm slowing. Need bigger. Remember, I'm using my keyboard with a square a square, her brackets okay, All was going with the direction. You would do exactly the same painting on the real life on the rial. Converse where the real paint You want to follow that direction, creating not texture on the real canvas. Okay, let's bring every saturation up. Just a touch on bond. A positive down. You have to be really, really careful with face. There's no guessing game that you're gonna Oh, I think she's gonna happen. She's having longer corners here or something. You have to really meaningful. Follow what you have. Otherwise you might accidentally make someone features different, and they know gonna look like them whatsoever on the steps. Your project And you want to make more like a fund to see thing and it doesn't matter. Your model doesn't look like herself or himself. Going over and over in that direction. That's better, is that I was not looking right. It's a shadow here gonna bring re saturation even more very little capacity. So there's no going to be harsh nines. Just a touch. Just a touch. That's what makes that likeness and the shape of the nose lips all the area here That's what makes that person how they that kweik. You see, that's like a different person. Just break fixing the I huge foot girl. Okay, go. Just that little detail here again. Don't make it too to detail. Let's choose that the hair reset and I would like to work on the separate layer with this one. 26. 26. Hair (flower field): okay. Our next step will be head that's creates and you layer and choose your hair. Brush her brush. Um, you have to hair and hair brush. Let's see the hair. Okay, that's very strong. Nothing. That's just that's good. That's the hair. Brush me off, too. Reset and make that brush smaller cloney mode. Still, I just go over. It's gonna give few strokes. It's not very visible. You see here on the separate player who gave you those strokes nicely, especially in this white. Everyone is very, very, very light, almost like Burns textures. It's not just a blow off color, there's more to it, okay? And we're going to go into other moments. We're gonna choose like this, that we're gonna move it into curl mind to most saturated. So it's like that even more golden. My lights still highlights, but it's not just strong. Now we're going into start cloning. Subject on that's true is quite high. Re saturation 72 is great. I just want to fix that white area here. Some of her, um, that's great, but we're gonna turn a positive. Don't even more very gently. - That's looking much better because we go home here so shining for very I really top just a little bit. It's fine because it otherwise is gonna look like a helmet. It's a little strands way. Doing too many flyovers like these. That's great, Okay. 27. 27. Minor fixes (flower field): on this point, we haven't got that much, um, clothing toe work for. It's just gorgeous goods, but we're going to do anyway. So choose heavy clothing from digital printing correction, and we're just going to make it literate. Smaller. I just go over it. Just emphasize, careful not to go over that flower. Just emphasized those shadows because that's what's gonna make it more free. D my new ones. No, they and change it into a column wrote, Take a little bit here, just make it feathers. So it looks There's no problem. I just made that Shut up. Let's move over. Come up. Take that shadow, Make it smaller. Otherwise is looking like this big blow up here is creating. Okay, Creating that rich here. There we go. So scared just fixed. Go back to the cloning. Just a bit perfect 28. 28. Flowers (flower field): we're going to move back to the background layer and we're going to choose Rife Knife Kloner Okay, on your new collection. Andi, that's just are the little bit and the foreground. Just touch to make that you shape. Okay, when the with tapping gently because if you don't make enough layers and different textures , it's going to look just like a bill like a one piece off blow up. And we want us to have a dimension, and we want it is to have life in it. It's just tough paying. We are definitely on the A cloning note could go over scared just to touch what's underneath. It doesn't really matter, because we're going to get those details out anyway, just a little bit. You don't want to mess that bed here because that meant to be very soft, like a shallow depth of field. That's better. Now we're going to go into general skin. Start cloning subject. We going to choose very big brush on the very low. Let's just reset that can a very big brush on the very letter capacity, and that's going to clone beautifully. We're gonna put that re saturation high, and that scene where are subject so and ever so gently. Right? Sorry. I'm on the room. Remote. I am basically on the color. You see, I still make those mistakes back into the cloning. And now look these details popping out. But day not popping out in a harsh rate. Because if I had that capacity high, this is what happens. That horrible edge on it doesn't look good at all. So make sure capacity is low and then you just work a few times. Brushing over a few times can make it smaller. No, the area here. And if you want anything else and more vivid, we could never work in a close up on those things. This is something I I worked out over time. And it just brings the whole texture beautifully. And you can see here that of a er with being working on. That's great. So I'm just tapping, tapping, tapping over and over. Looks very dreamy. No literal kind of something's there. What's happening here? We got those beautiful likely building that meadow slowly, you make it smaller. So there we go. We can see a little bit of that murder elements here and there And it's not about bringing the whole scene back in because that's not going to look like a painting and that harmless appearing. So let's go back to painting mold to color, mode and color over. That hums because we have such a low capacity. It takes forever. Let's bring it up, that's good. And now we can focus on Lord Save it, uh, flowers. Oil. Just finish. Which one was that? Blend? Oily details. That's a good one. Or flowers and gems. Let's do that reset. And we have our public drawer with the calibration here, okay? And you may I ask, How hard should I calibrate? Should I push? Will I calibrate just whatever feels comfortable for you? That's the point that the computer is going to read it. What's normal for you? Okay, so we are on the That's the settings. I haven't done anything to the settings and gently just go over, try to stay on the petals and try not to do the whole thing like that, just the pits because somebody forward some bits off far back. It's definitely one. Some of it my life headsets you want definitely those in. Okay, so you have to move into the other layer. Now let's go on on the top player. It doesn't really matter that much anymore. We need me done with this image anyway. Germs and flowers, and I just gives an extra oil oil look like when you put you highlights in the oil painting your final little white paint on top. It just gives that extra finish. I was that looking again? Don't make it too literal. You see here it's more like something's there. Something's not their necks better than doing very faithfully stands out so nicely going instead, skirt roughly. You don't want to make it to to need. You can always bring it back. Well, you can raise it from your layer now. It's a nice one that we want. It's one, not all of it. Just that a bit messier the further back. They are the Monsieur look, I want to have on the no closer or if it's eyes or face feature on them. Super faithful. Could you spend all day doing this and then you look at the pictures it alone. That would be nice to pain. That would be nice to edit. So it's a good habit to have from time to time. Take it back. Look what it looks like. Okay, so I have to work that a bit more here. Maybe on those green bits that more global rather than the same brush Sounds like a whisper Summer in the background. No, Everything is being cloned in. That's the pain painting. Really want to put a little bit And the rest of it, your brain will kind off I've done. That's how best paintings are made. Definitely want some here. Full grounds. It's very strange painting in the and the silence I always always have music on. And it does help me to focus on and just relaxes me. And no, obviously, because I record for the scores I didn't want to Any noises sound. I'm gonna make it bigger and take capacity down of it. There's a little bit more happening here, and it's the can important. Just follow the lines. People fake hasta be very, very detail. It's almost like where they put that knife. Yeah, painting again. Make it even think of and there were capacity generals to fill that space. And while I'm moving like image, I'm pressing space ball and moving so working more in details on those areas. It's very helpful. No, stop it Here. Nothing stops you grabbing a just color and copy that in the background Summer outing or more flowers? If you want a fun with it, why not? Oh, look, I'm having paint. What am I doing? I'm I actually add some color. So copying that and I'm going to go more blue, very light just breaking it out for bets like that, make it smaller. And just about those tiny hands of color here in the coral again. Don't make a mistake and make sure you look back on the whole thing. Wow, that looks quite spectacular. I my art kind of orange in. You think I'm missing? There's a bit over oranges here. That's it on because there's some orange everything naturally in her skin. I think it would work would work quite harmoniously together and not just coneflowers. Just gonna end this. It's when you get here. I love this brush So rich, very rich pink. Let's go there pink. So where would light hit them? That's where I go Pink, like this is the image, and that's where the pink, so you're not sure? Gorgeous. So let's not forget about this bouquet that is in the middle of a shade. I definitely want some color on this as well. Hear those ends? How beautiful we just brings up. Brings everything up a bit of a pair. Let's take cover off address. I don't feel like my eye doesn't see it as that. My eye sees us. That what? Mommies to braid. It's a pumpkin. Just a touch of this one. Look about richness when you can play with it for old already. RVing from colors. It's important to build that harmony, and I think I like to other build a darker blue something like that very rich. But here in the shadows, it's good to other rum randomness. Don't be like oldest Lover has that this power has that. It's gonna look very fake if you do that, and that gets a bit more of a natural look. How do you like that so far, we're going to move to the next step them 29. 29. Background 2 (flower field): Okay, let's make nothing that your new layer. And I'm not sure I don't like how it looks around here on the background. So we're gonna take care of this one now, goto background in the year and choose brush, which is, um, between backdrop and subject. That should be fine. He said that just to make sure we on the same settings and we on the color mode now, which is absolutely fine. And just sample that color here and go a little bit. That said, they will even out some. Now you see white, why is a good idea to have the subject on a separate layer? Okay, lets try here. Sometimes I'm not very strict with what is water than it doesn't always work perfectly. But let's get all might get more disciplined and it will pay off Definitely just a little bit here. Okay, I'm happy with that for now. Just maybe around the flowers, there's not another one just here. Too much tiny little strokes. So we want this to make give it a little bit more ntep three c there on darker here lighter . Stay here. So if we keep that lightness in the middle and darkness a little bit out that will draw the eye automatically into the center into our subject. So let's reset that again. Nice, big, brash and we just some playing different colors and we just propping it down. Now let's see what underneath. Maybe I can cone it. I rather do it manually. Sure, its gonna pick up. I'm just here. So it's a nicely blended between this yellow grass and dark of bushes in the background. I'm just a little bit more here. Don't go orange a bit more dirty, darker green re saturation. A zero sum during dropped from nothing. I'm picking those colors on. Basically, those pixels gets mushed about. So it happened. It happens to everyone once in a while, so we got to bring that re saturation and see the difference. Now I'm applying the color, actually, because before there was nothing happening, that's why I was wondering and come see any anything just a little bit here one bit here and something that and I would also some Bulluck orange summer here. Let's take a darker shades off wrecked, nice rich dog, correct, And just out here and there just break it down a little bit because it's too similar and missed a bit off light. Agrees. It's very green. Gonna go even more blue. What? There's more to the I way. I still don't like how lied to this here. Turn it down just a bit. It's area, that's much better. And now I'm going to use some nice light, something between yellow and orange. Rich chroma That's not so rich. Chroma on that kind off feeling off some that was too strong. Take your capacity down and make it bigger, Big circle around the area here. 30. 30. Refine eyes (flower field): We're gonna work on the face features and eyes which will definitely adult off life and to and this photograph. So let's make it close up face. Okay? Fantastic new layer and choose brush riches. She pieced skin, smooth skin. That's the one. It's fantastic brush. I did think my paintings before where 90% was just with that brush. So we need to change your letter Bed were saturation and nice and high. If I would start painting the A face or body with his brush that that's no problem. Just make sure you bring that re saturation nice and low. But once you get into details he wanted really high, so they're very faithful. Let's go back and to clone mode. I'm gonna make that mistake about a 1,000,000 more times, and you see, chance does little little bits, so I don't like the way it creeds. You can see edge of that brushes thing. I'm gonna bring the capacity lower. This is something I discovered probably last year, that if you bring a paucity down and you just keep keep going, it as much more settle way. Just that I topped up top small movement on the lips. Let's make that brush even smaller. Just here between lips is important as well. On here. Try to make it as faithful as possible in the corners, trying not to over do it, but what it really is because you can make it. Make it look. Not very flattering person. We're a pretty good eyes right now, an important here, top off lips. He's got a bit of a shade. Your shadow. That's important. So we get all the features. She looks much more like herself. Now leave her ISS here. Okay, I'm getting distracted, just fixing bits right now. But you see, you can go into those little edges and it's they are not perfected, and you can just go over and fix. It is starting bigger areas and then war working you way too affecting them. The danger of that is that you're going to end up cloning the whole image, and it's gonna look alike a photograph. So to resist. To do that, it's very easily done, some from time to time, back up, see how that looks. So see that hand looks quite photographic and what we're going to do, we're going to add on a little bit of catch lights in her eyes. So way Still using smoke skin? That's fine. Capacity. Finer saturation. Exactly the same. And let's sample hopes get back to color mode. Let's sample what color catch lights are. Look how dark. So if you lift up even up to here, that's going to make a huge difference. Let's make it pick up because she's so far away and the whole image she is not. It's not a very close up portrait. You don't have to be super duper, um, particular about hey have features her eyes. I would normally color out color two eyes and and then work cloning button. This case, we just common at little catch lights. So for country rights themselves, I would definitely do separate layer and just make a title Strogatz too far and just try to follow what's already there. Then we can other tiny bed on the opposite side on the bottom. There we go, just a little bit here, with and without very subtle. We can other little bit more brightness just touch because it meant and look painterly. We are allowed okay, even why took add on the capacity of their bit and then we can brave move. Whoa, that's worry too bright. So what you could do? You could make that going bold. Don't be afraid. And then you can bring the capacity down here on that layer. You can either either use of razor tool to shape them. So the most subtle changes he going to make over and over and over and over, the better. It's going to look, you don't want to make it very obvious and then regret. So we can another one into her ring here from for a statement that's already going light right? And what we have left another there is Dajun, burn soured. Go Dajun burn brush and I'll choose her skin and go and light Not super super, Not much more. Just a little bit. And look where those highlights are. Really Don't gas. Don't think OK? Yes, here and here. Just watched them and apply. Gus wants you start changing them where they don't really exist. You're gonna change her shape called the shape And I like Teoh emphasized on the hands as well. That gives so much more when you do it properly. Maybe not so harshly. Lovely and may be tiny but lips just to give them shape just in the middle. It makes them a bit more plumper, so that's without and with. It just gets a little extra so we can add some highlights on that blouse as well. Can have the extra capacity for that. So let's choose. Sample that color on, make it brighter and we can see here is a nice highlight here. Just follow basically, what's there. She got lovely little highlight here as well. So sample the skin. I make it a little bit lighter. That way you're gonna get a nice natural tones That's a bit too much. He's and be done to overdo it. Just it's much that's come out. Yep, that's right. Okay, that will do for now. 31. 31. Darker background (flower field): Okay, let's add even more depth to this image. So I want to have the middle lighter and outside a little bit darker. So there was no attention drawn of the eye. This side. It's just in the centre to those incredible eyes. So again that we're going to make another new layer. They look at those layers are just they multiplying by the minutes, but it's worth to have, um, um used to color in the color mulches dog brown. Something like that. It's fantastic, and we just we can go with and dull. I think there we go. Just go over. And don't worry. That will all make sense in a minute. It's like even bigger, blended dark and go over. And that's important. Bates to kind of cover those super yellow areas, light ones just like that. Very strong capacity. Let me bring it down and build it. Failed it up. It's better. Okay, right. Smirking, working together acted and what we're going to do, we kind to change that mold here into soft night. Look what happens. So it gives that richness and a little bit of darkness, just perfect chickens. I'll lend a bit more It just gives you extra options here. That looks like a really big Blunk space. So which is going to don't? Okay, that's fine. That's much better. Be careful because that top one you are on a soft light and here you back to normal. Moritz blended on many layers, the better. It's going to look. Okay, let's leave it at that and most of an expert. 32. 32. Cloning from different image (flower field): okay to this image. We're gonna add some more flowers because this medal was just incredible full of flowers. And it happens to be that I took a serious off from the scene. So I have flowers and kind of from different area, slight D, um, different position. And that could make it really beautiful. Fill up those cups here, so let's have a look how you can kind of clone from different image. So if you go here on the clone source, go into open source image. So the image you're going to clone firm even they look similar. That's something else they have. Make sure toggle your tracing papers. He can see that's a new one. Okay, that's the one we already working on. And that's the new image, and you can see nicely how that's gonna fill up my my area with flowers, so I definitely want to choose flowers and gems. Make sure you on the right layer. I'm too slowly and start. Actually, do I have extra new layer that's open you layer and I can aunt and even more so that's very , very gentle. Let's take a pass ity down very low and now we can kind off. I don't knows a bit more background. Keep looking. What's happening? Last painting something here said like a whisper in the background. And then anything that isn't a full ground, he want a bit more. I'm more visible. Even if you do that without lower capacity at this coin. Quite a statement. Still, just beware. No. So leaves. Oh, makes it a friends. I'm going to bring up the capacity and bring my brush down. Just touch. I was not looking. Are you happy with this Stephanie one that in throw ground. So we quite happy. We quite fortunate. Fortunate that the flowers were aligned where, exactly, we wanted them. On the other video, I'll show you how you can aren't elements to your image from different photographs. So it's nice to have the library for your flowers or bridges or whatever you really fancy adding on. It's definitely more of having It's too much because it creates a horrible But, uh, you don't have to be very, very precise. Just rough, really remember, for you do its more pain to needs gonna look good on the story, don't we? Missing anything? I love days when they opened it and to love a structure just a bit. Here, I want to avoid adding the whiteness here, Charles the flowers. In that case, I would have to take my brushed down on the Tibbett. I'm just gonna getting closer so you can see better. Just flowers here to touch, touch, touch gently. That's touch, touch. And then no, you know, literally not during this all way down. We want to do a little bit here a little bit there just a little bit. No sneaky lines, not a life from top to bottom. Like I said, we cry. Naki is aligned in the same position pretty much. It's job done for us. Imagine how creative you can get. It can get you favor to occasion, and you blend into different two different model. Just it's much easier to do those composites and painterly because he can blend it. And as long your shadows and highlights work, you can really make it. Mike. Incredible composite images made from different pictures still together. No, that's Maury. Too big. What else? We got something in the background here. I just see if there's anything else in the foreground that goods richness. They amount of those flowers. It's beautiful. Hunts make more, more, more. No flowers. Hopes control. Zero brings the image in the full, have you? And these are very, very whispery. They just It's just a ghost of them. So I'm gonna do exactly that. I'm gonna take into cloning. Was it more soft Skin weaken their smooth skin. So the skin Sorry. Reset on make it bigger around that size and capacity through below Oversaturation high separate jazz brings the whisper buck in. And that's way too apart because he can see the outline off the circle. Some braying capacity lower on the size of a brush. Bigger. So just a whisper. There we go. Okay. I know I'm doing wrong. And this is for 10th time. I'm doing it room because he haven't seen the bits I already recorded and put in the bin this desperate. Here I was in a painting mode for a letter beds because I choose choose different, uh, brush. But we back into where we should be just clone. Nothing. Um, I'm just a bit more capacity to do a with a long there. You here? Dad said just a little tiny tiny shade of that ping. That's been to Bride because our I will go there. We want keep that lightness next to the subject. But we still want to show that the full field off those flowers. So what we could do, we can swap over and choose this clutter. Pinkness. Let's darker because it's in the distance, so we'll be just a glimpse of it just like that to my brushes. Super slow now. So I paint and it takes some time for it to happen. I'm reversing it now. I'm gonna make it slightly to friends. Paid your size and different cover now. Whoa, that's quite strong. Way too strong. I think I'm in the wrong brush. To do that, I'll go for a paint. A paint back Trump Recent. We are in a crawler moto, which is correct. Just a tiny bit of you're in that now It's my big it time to experiment and you're different. Uh, paper. Let's choose the cold press shows like that se seen it texture happening. It's different. Fine. Make smaller makes you save you work from time to time. I do, but I don't really record up it because that would be boring. Waiting for me to save. I was worried for a second is going to crash Bots, fingers crossed hasn crushed ship today Yet how optimistic in my and you can have that purple in this guy. Just touch just to make a harmony So it's not green. Yellow, Purple adds kind of works altogether. The simple, different shades of green. Sometimes you just have to go for it because what looks like green is different because of the way our brain plain tricks on us. Because it stands next to different color and my look like that color. But something else. Okay, let's get back to our gyms, jams and jumps and flowers, flowers and germs. There we go on into our cloning mode. Let's see what else we can do. A pretty happy with that a bit. I want a bit more detail. I am. Spread it nicely. No, start looking, getting shape. Something's missing here. Trust of bits. Okay, let's sample some awesome colors. Some really hot banks go into the color, wrote this bank, but way wilder and make the bursts mother So again, the kind of it's put it around, making lively, special ones in the foreground. You wanted come to life and just pop out for your computer screen. And what's opposite that color that green. So we want something but more crazy. There we go. See knows, little of strokes. Maybe that doesn't fit here. No, too much. Come on, focused. It's not so easy sometimes you think, Oh, sculpturing few. A few drops, No rating. I think that's starting to look just just right. It's getting a little orange, nice, rich orange. And that's let's just look on the flowers she's holding because there's lots of attention. Then Andi into clone mold. First of all, Oh wow, Look, we got some extra flowers here, but I don't think we'll be cloning more, just gonna make just the original image way when a clone from make sure you swap over. Otherwise you'll be cloning from that new one. That's not going to make much sense. So come back to the old image and flour and germs and stop clowning that more nice and live it detail detail as the key. It just makes a second massaged the ice. You look at those little bits you don't even know you're looking at them. But that's what makes all the difference. Attempted to fix that blouse here, but not with this brush. It's a little bit more here, permanent on. And how do we make that area? That's fine. So these are quite shadowy. Yeah. See your in the darker bits. And if we want some something to make free D, we would go for color. That's select that color. Are we going to go for very rich on a lighter? So that was closer to the surface. Maybe Something more. Pinky. There we go to talks, really vivid in life and change the color of their bids. Don't keep it the same and lower ego in the shadows here. Lower. I'm going to go here a swell much that I'm gonna go even darker. There we go. So give so much richness on that the very tips very ends. You can choose more purposely and more Kromah and nighter. So that will be our our option. And whiter. It's incredible how difficult discreet those white beds and a riel oil painting in the organic. Because once you kind of touch any paint, Um, you just keep I keep getting dark. One. Don't color. Very difficult. Get pure white. I tend to kind of do it at the very end, even lighter, even whiter. You are starting those little bits. There we go. It's that everything. Maybe over them here a little bit, because starting to the flat, we're going to come back a little of color. Really rich. Just blend it with that. That's better on Let's get something more year. The we in the orange Let's break it down. Beautiful details So you don't really play within endless game. Weaken. Add on bits and bobs lighter, Creating that Freddie de is having daugher in the background and lighter and more vivid in the full ground. Let's have a look. Okay, that's looking fine. And then I would just like this background to to work just a little bit more. I'm going to come back into my impressionistic park grounds. Oh, rial Kirm Klum. People Purcell. No, the impressionistic background reset. That's and it's so we looking for this sort of this sort of color, and we just wanna break in worried too strong. So let's bring a paucity down on sneak in here and there that even though it's bitter, Strong's bring it way down. Redd's just bringing it to live. Just mixing those colors on. Sometimes it's not obvious that purple, purple this play with it in the corals because it works with the skin. That would always look gorgeous if you want to blend in anywhere. If you have a human being often image that will be always a a lovely thing to blend into your background. That search for that purple on blend in. Look a That's alright. Always there are positives us. Nothing happens there. We go better every year. That's much nicer. I don't cook too much. It is. You have to keep an eye, not doing it completely. Poll. Bring those blooms okay? And we're gonna add a little bit of details at the very end. Let's move into next video 33. 33. Hair refined (flower field): that just fix a little bit here because it looks but random. Make sure you have selected the right image. Flowers. Yes, that's the one from that. Done boards and finishing touches you could do as those single little Strunz. And I think it gives a nice, nice detail, right? Let's find those brushes for selected panel. There we go, E meal and a I'm not going off for hairbrush pot, very thin lines and just reset that, too. We want this on a new layer one. Select here and go for darker and more chroma. Just don't be scared that people read. Maybe the sun is hitting kids. Shan knows. Maybe too much. Turn that simple here and got a little darker. That's quite safe thing to all that hard. Work off the hair that is incredible. Couldn't be difficult to paint a realistic hair. You have job done, and just to give that effect like it was really painted by you, you just something the color and go a little the lighter or darker from being loiter. Here. Just paint your strong's and it looks like you have done all the hard work. Incredible. Make sure you don't work on the straight line like this. Just follow the curves cause these hair are just dropping on the body shape. And it does take some time to be brave and just go for it. What words that can happen. All you're going to do is delete the whole layer and start over or digital can just have fun with it in practice and very often the best best work I don't ISS When I was just practicing and messing and no being afraid to mess up. Okay, let's choose different brush, which ISS past owns it. So reset that's true is different paper. So our textures nice, invisible and choosed cloning and just a little bit, you see, gives that corgis texture over just here on a belt. I don't have a C for areas to be on that skirt. Oh, that's because the flour used to be here, remember? And we kind of painted over that. Just do in different area, making that hard here in the okay, we can bring their situation down. That's more blending. Few happy with everything, and you just kind of want to smush it around, bring the re saturation all way down and it's just gonna apply that texture and without fetching anything from underneath plant only details. That's a nice barrage, its recent that one. And it has a very similar effect. But without that much Dexter, So just a little bit more oily, especially here. You don't want this to blended. I see it. The whole picture house that's starting to look. That's kid. 34. 34. Petals (flower field): Let's little bit left. We're going to paint of those petals on. Um, it doesn't matter which layer on, Let's go on top one here. We can easily used that one here on. We are on the right player. It's just a preview. And that's the petals were going to use if we used the other one that's over the head and it looks like a swarm of flies. To be honest, I didn't like that. So coming from a side, it kind of like a whisper wind so sort of thing. Eso Which one we're having the flowers and gyms can perfect and reset. That brush does nice and small. We can go in the river, close up now the make sure that brushes small enough not to we want to avoid. That's that you are doing the background as well, and it looks kind of cut out. So nice and small might take some time. That's much better than I wouldn't watch is gonna make it slightly bigger. Muller. I'm going to speed this but for you because there's no point you're watching me coloring in those petals, Okay? And then at this point, we're going out some artificial ones or painted as well. So let's go into color mode. Begin a sample DACA color and just pop, pop, pop, pop and much, much, much brighter color On top of it or next away, they're just handing Let a bit off speckles and a super bright purple e doc something in somewhere in a background lighter. One's closer to Ross. It just creates the illusion because feather away it is from us. It's gonna be darker and duller. And if it's gonna be close, it's gonna be kind of more civet and lighter. Some of you want to create that three D effect right on what we can do. You know that stock gonna make that dark and dull and then off brighter here. I still wanted about a few of those guys. Fuchsia Bright Future Pink repeats itself on the repeats itself Summer here so work so nicely together Group we don't want not petrol here. That car role was well, that was beautiful. Full of life. That's just magic. Be the blue of it blew from the dress again. I'm gonna guess it around. Here are the few view bits and literally a couple of spots make beautiful, Great. It's like looks but like confetti or something like that. And seven, their experiments are a new brush palette. That's the kind of version here you have something like sparkles that on the better sparkles that's open and other layer because we can always raise up from the person. Underdone sparkles. Let's make it smaller, beautiful and like that so we can get creative Weiqing in different colors or read it. Start with a lighter blue and a paucity down its place over her that way, like a wind off from those flowers pink. Now time for pings capacity upper think. Otherwise it won't be visible there. We kill more so we want to create a those enough. The wind has blown Andi Magic is going away with and the wind Whoa! Very strong and bold. Different colors. Different. Shane's like that Bill Pink of thing missing here too much. Don't go here. That's make it and variety vivid here, so it creates like a illusion of a cloud even lighter, dark and on the back here let me ggo pretty happy with this ready that see before enoughto just that little bit off speckle. That's funeral drops and it kind of brought it to life. Justine. A kind of year, the week of us. Not this horrible Norris and nice and warm Rico. So the wind has blown on at blown few petals and from all that sent off from this medal. Well, I kids and that's hind. That four minutes and see this is the finished image. You can still play with highlights, but try not to overdo it. It's just hold on a little bit off flowers and germs. Cool. Colome, Ugo, Doc, Doc, Doc, Doc and Dole here on beautifully vivid right there. Lick it just brought it to life. That simple is that I love this very strong flu share and you don't want to put in every single plant. It's enough the way and breaks it down. Okay? And that is my finished finished work. Unless I want to start fussing with it. And other, more, more, more. I think I'm happy with it. Must purple. Not that. Let me. That's finished. I hope you enjoy that. Dorial 35. 35. Layers (flower field): and that's a little bit. I have left those layers all open. You can save that image, and you can always come back here and make changes. If you want to make specific change to backdrop or any element, it's much easier to work in those layers. We can just select from top holding shift. Select all of them. If you want to uninsulated any off them, you just press control, command any de select. So I have let everything go. And now choosing here on the bottom, I can drop, and it basically and kind of drops all those layers into one canvas on the bottom. You can still make a cloning. You could still works. Um, but it's all on one canvas and this is done so I would save this image. I will go file, save us and rather than J pick, I would highly recommend saving it as p and G if you want for any Web use or just final image. Because a PNG, unlike J Peg, is not compressed, so we won't have any loss of quality. Then just save it. Whatever you're like. Yes, we know that, but we losing that ability to clone. After that, only a riff files will contain that image that we cloning from. So okay, we happy with that? And this is all done. So once a safety, you can access it. 36. 36. Preparations in Photoshop (generations): in this tutorial, I wanted to show you right from the beginning. What am I doing with the image when I have it in the photo shop? So this was photograph in my home studio where I normally do newborn session. You can see all the little blankets on the side and props, and I decided to photograph this beautiful family generation of free women in more like a vanity fair style gowns on give him something timeless and beautiful. So what? I thought that will be good image to do painterly at it Because look at that texture. You have three different fabrics. We have flowers. We have some germs. Um, we have skin. We have this gorgeous dress that will really nicely paint. And also we have a couple of challenges which is removing all that stuff around. And here I wanted to make sure that I show you something extra, which will be using the backdrop which is separately painted on this backdrop will also be option for you to experiments that you can paint your own or you can get backdrops from different places. So we're going to start with control J or on Mark. I'm not sure that comment is. Basically it's copying that layer. So you can just drunk it here on the copy bids and that copies extra layer and and here we're going to use. And don't get scared because this will be moved into a new backdrop. I mean, we're gonna use the painterly backdrops of roughly just painting over in the area. And we got corporate anyway, so can't. Don't worry too much, just trying not to get into their skin. Um, a dozen matter efforts slightly different shade because we're going to use completely different back backdrop. It's just so it doesn't instructors. It is lettuce plain and easy to two years. Do something closer because it's going to bug needs to light. So go over that and make it brush bigger. If you wish again, there's the same US and coral painter, and again, it does not matter that it's a different different color turned. That's making that a brighter because it's not gonna be Pleasants to work with us just for our sanity. Okay, roughly here, and we can closer magnifying glass on bond. I'm using old just to sample the color so you get extra Photoshopped blessing as well. And his go ever so careful here. Just like that. Painted over control zero just to see the hole in it. Fine. Onda, we are going to crop it. Just a bit of it. That gives us nice composition. Good. They're nice, but maybe too tight. You can always come up at the very end, so you don't have to do it now by it. I told if it's crops, you're going to see things in more in detail as well. So we have because we have those true layers. The good thing is, we can always brush things off. And you see, I went over, um, this lady's head, but too much So I'm gonna turn a mask on here on the bottom and using my black brush armed is going to take it off. Make sure that selected Not that otherwise you'll be painting on them image that the mask will take away that pained from her face, which is fantastic. Okay. Anywhere else. If you're not sure, he can turn it on and off just to have a look. Any here. Fine. I think we ready to run our coral, so I'm going to double check, very just a letter on her forehead. You can see it's not end of the world, but we want us to look really, really good without anything extra on her face. Brilliant popular that Is there anything else I would like to fix? I think I'm happy with everything else. So those single it a strong is that could be just no problem. Or you can fix it in here because it's going to bug you. So layer flattered image. It just brings those layers together and choose hoat Spot healing brush for my saying it's not sure. Very, very tiny and tiny little strokes. It just removes those hair that will, no doubt Bargas later. So we want to make sure we do it now. Sometimes you just need to make in the tinier, gentler strokes to get rid of it. And this is something that is this girl feature. So I'm not going to remove that, Um, if I'm making something just for myself for competition or I'm, I remove it. Efforts for a client old definitely leave it because it's part of her. So, um, especially Children of she noticed a Where is that? Garnett's she might get quite upset, so we don't want that to happen. Okay, so that's already maybe that little hair here, because the more you gonna do here, unless you're going to struggle later and try to fix and hopes, Look, don, that's getting back. And it's always good idea to work on that extra layer. So control J. Again oranges drug it down to coffee just to make sure you got that, you can always, um, raise that. I think that's a sport. I've got rid of that. Where the cloning till. So it's easy. You just select here if you have a news photo shop and over there, and this is easy when you look closer and closer, there are little things in my my want to fix. So that string that's extremely extra, no extreme feel closer. It is, um, destructing. That said, it's taken off. That's fine. Let a tiny bed sled tiny beds. I think we're pretty much ready to to roll. That's our image. We're going to work, um, on a layer, flatten the other things maybe only would do as filter camera roll fielder and you bring the shadows. Just touch and exposure just a little bit, okay? And clarity. So it just gives us a tiny bit more. But we going to work in Karol anyway and bringing the life into the skin, working with them. Burton Not sure what What was the name of that brush bite? Just highlights in them and shadows. Okay? And take UK. That's done, and then save it and open and koro. 37. 37. Preparations in Corel (generations): I opened the image and coral pains, er our image we're going to work on. And also I open image that will be our background. So these painted images, you can get them separately. Oh, you can paint them and just use them for different images, not having to paint them every single time. So that's really useful to have the whole library, because I wouldn't probably use blue or white background with this one, so it will be so much easier to captain and musket out. So what we gonna do fast? We're going to go to our image. We working on, Make sure you got that selected No background. How again? The go quick clones. The file Quick clone. Okay, so this is what we are ending up with and self cloner just want more suggesting, and we're gonna go over the whole image, just go very thorough. So there's no gaps. Nothing in between. Especially I know what I said. I've been in the previous videos, but you don't want anything in between kind of here, and then you have to struggle to get it, gets it in. You might feel see some banding some funny shapes and here. But it doesn't matter. I won't be visible later once you add on a lot of textures and things. So that's cloned. Let me just have a look before and after. So there's a few more missing here. I can't. I'm using on my pen pattern just to go cool between my finish image and one cloning from So at this point, I would hardly recommend getting a color that will be around this ladies and using our backgrounds here, go back into your brash and into your cover moat and pickup color from the middle referee somewhere here on. And this is the color we're going to use here on our peace. We're going to choose one of the 1st 1 So either impressionistic backgrounds backdrop. That's it. Oh, pained backdrop. Artist's canvas. So impressionistic Backrub. 1st 1st for we on the color mode. Fantastic. So just paint paint paint over nice and easy. It's just gonna be so easy to blend our, um, digital background with this. And don't worry, because we're going to clone back those people. So it's not like you're losing it so much easier and maybe pick up just looking different color here, but darker just to make it no dimensional Hanigan lower don't. Here you can always bring things back, so that's not a problem that's slightly darker. Sign around here, back into our middle, because this is the key me want this night. Light color around the ladies. Okay, a major. That capacity is higher, saying Get truly that color that see what's happened when we put re saturation up as well. It's not going to be there on the brush. We using some. Make sure make sure e cutting so I want to avoid is this. This gap can make sure you fill it up. It's going to be so hard to do it later on, and we want to do easy version harder. That's great. And how the barrage as are just become Bus One. Okay, and how is that? It will make it a little bit more bit softer and bled out, which is fantastic. So pick up again from here, and at this point, we could see, maybe make it a bit more exciting. And Adam, uh, that's a bit more chromosome going, that direction more saturated and lighter. There we go. Kind of PCI lovely tone and that always works nicely. Complementing the skin at Rainy does bring everything beautifully. We can pick up the pinkness from that flower, just somewhere around here. See, I'm gonna end up painting that background. Just that will apply that one even. It's looking goods. It gives you idea. So if I want to, just to work on the background without outing the new one hour ago Daka, Daka, Daka and build out those tones, maybe pick up some tones from flowers. From from that and maybe that dress, I will pick up the dress and go opposite around here and maybe just put a bit more in the shadow summer here. Make it really beautiful with your working with cola's. And if you ever want to find out a little bit more, you can, um, rather than looking at for taco free, look at the painters guides. How did they trees, colors, how to connect, subject and background Color wise, he can explore that topic more, but with flowers, Daring Girl just makes it so much more deep and rich. Lovely. So that's our sort of background around the subject. Down some of the neck, okay, and we can mush it even more. So we're going to go back into our brash. But I like that so far. Capacity down halfway. Um, just pickup that color again. Pick that color are use old, lovely and just much up. A bit more brilliant. Very painted. Lee, Remember, when you start, you can go crazy. And then once you get into more detail, that will be more more Scioto. More concentrated. But that's good. Lovely blended. And now what? We need to dio smoke to the next pit. 38. 38. Start painting subjects (generations): So at this point, we don't need that one. The background. So we're just gonna hide it and focus in this one, bringing up in the full screen. We get that selected. There we go and control the road. Brings the whole image Azaz much as possible. So what I would suggest at this point it will be creating a new layer. And this one will be cloning pretty much the whole sub subjects and dresses and everything . So it's nice to have that separation off subjects from your background that we're going to go and choose between back backdrop and subject. Not that one a start. Skin and clothes that could be good or start cloning shop subject. They're very similar and you can choose either of them. I'm gonna true. Start skin and skin and cold. Some make sure got your brush selected. You reset u two and then go and cover Break that brush here. You're not sure? I'm talking about to get back into technical part and you can see it's so see it's simple, but it's important to have that done. Okay, so it's nicely calibrated. Let's see what's happening when we start cloning. Okay? so nice and not very defined for really. And even if you go tiny but over a dozen much already. So, um, you don't have to be very, very precise, because at this stage we want this to be very painterly. So the skin here adds important. I said that over and over again, Mr Kind. And to that direction, If you look at your subject, there are in a certain certain shapes everything's build where the shapes just strokes. Now we go. Was that looking good? Make sure you also save you work because you don't want to start from the very scratch. Sometimes the system does crash and you will lose. Everything started from the beginning that was done looking pretty in just generally following that shape. Make sure there's nothing left between. Okay, I'm gonna bring that re saturation opera just too big to 42 to bring more in trying to avoid cloning more than just a skin want to. You can always raise it later. But, oh, how much time you're going to spend on this Best to get a good habits from the beginning. But it's not too bad if and if I touch that little edge. It's not not to that, because a positive his solo allows me for it. I was more smudgy Monday strokes because we have cloned everything. Very faint faithful. We need to bring it back to painterly look. So why is it good to clown thing things on the beginning? Basically, you're not gonna have any unwanted grabs or missed pixels, which you might not see it now, But once you're printed out or you see up close, you will notice them. And I waas was bever challenge to fix it and find them all. And you might print something bake and then you notice it and it Oh, I wish I checked Vega Braasch. So I kind of know what I'm doing already. Nobody. So that's still dress. It's just that direction is good. Good is not picking up everything in detail. But I just in that kind of direction, see, because we don't really want to have that lather and any visible. And if you want to even more paint in ages bring that re situation down. Look, if I put in 14% totals much beautiful and just change bigger and smaller, bigger and smaller brush depends with which area you covering? - Marge , It's It's a bit as well. I don't want anything left. Photographic. It does sometimes look very virtual people with no heads. You'll get used to it. You just keep painting in the head Reappears just great. Just roughly every gonna do faces separately from brush. Lovely on even smaller re saturation. Even smaller capacity. We're going to go here Endo's because they further waste. I want them to be even more kind of blurry, and I like to call it like a just the whispering in background. I don't like this and hasn't been very well painted here, So I'm going to come back and to my background, what was one of my latest brushes here On top, you can see skin pain backrub, artist, canvas, texture. I'm going to come back to that one. It shows you if you laters brushes you've used, which is quite good. I'm on the color modes and just gonna pick up the brush here. Not too strong. Gonna make sure of them. Maybe a bit lighter, but more fantastic. And let's have a look. So that's really, really good to have that, um, separated from your background. Make sure you back on your layer. Were you painting a subject and then heavy clothing? This is what we're going to apply now on. Just reset the brush calibrates. Sorry, guys. I'm on the color mouth. Change over and get the brush bit smaller. There we go. It just gives a super texture to it probably won't be able to see because on the fortunate , it just crushes quality. Quite a lot less video. I'll show you a very close. Maybe you see it? No, it's very subtle. Re situation low enough, especially if you have a way. Go really nice. Make sure you make him nice. Big moments, that dress and then on. But it's not. Forget that bent here. Turn in town. And don't worry about going over her face because that's gonna be redone. So no problem. Make sure that's done that pit Nice, heavy brush. I love it. I used a lot on the image off that newborn new more baby that was quite vintage without vintage born. Yet I used over and over and they gave you BU to fool result gonna do hair separately, but just roughly we own it it's going, especially when you have the rate rich as a dark rich. Here's just emphasize its emphasize the light areas as well. And because I knew you're on the cloning mount, you don't have to worry to swapping colors over you. Just go over an address and it picks up the colors from underneath. Okay, Appointments of here. Um, I'm happy at the moment. With this firestorm texture, I could see and you need to see where you start and finish, because when you start and those creates that little brushed up or really balky, it's not gonna be appreciated. Um, okay, there is no you see what I mean? That kind of tale. Um, that's okay. We're going to change a little bit here, but that's starting to look more pain to me, and we're going to go into That's most of it. Okay. Gems and warranted flowers and germs. That's very anyway denies brush. Um, Tom, it's and make it more. And we're gonna pain those flowers now here and messed him up, scrunched him up. Make sure you follow direction again because the time you find details will be brought up later. And this is what's going to make it magical. I wasn't hope. We don't any curve of photographic details, and we just want to paint over and over. Okay, We got flowers here, and it doesn't really matter if it goes a little bit over. Don't go. I loved over in just a tiny best. Okay. - Nice case. Which into color moans. And we're gonna pick up this one. Go more into chroma. Okay? You need to turn down a passivity and a lot. Just 8%. How's that going to be? Better? Sort of pink. That's two fluorescent gonna go back to those Salmoni salman colors. Light. Trump's nice. Okay, let's go back to saturated Marine Lighter. Gives a little bit off life to it. Uneven darker to create that step. Let's get a nice and light. What's the opposite to that color? Okay, that's in light. And take the size down. It's a few. That too. McCracken layer plan. Sort every go more purple. Looks like extra plant here. Oh, okay. Maybe having something Mordor tone it down of green. Okay? And let's get back. And Teoh, um, start cloning subject When the cloning note, everything's good, so just very, very gently and re situations and super high. Let's take it down to about 40. It doesn't bring too much detail, and it doesn't all of a sudden start looking like a painting. I think it's still quite high. No, it's OK, capacity. So it's just like in there. So we're gonna look after that. But later let's make it more paint elite or a saturation down there. We go here, guys. Very, very, very gently applying that fresh following shape of ahead, Charles gently can make even smaller over and over. Zeger. I've got to do a little bit more work on subjects and start groaning subjects. It's fine. Not sure what's happening here. That background. So again you can go. Always come back to your background and back to now brush. Oops, wrong color. Sorry, just paint over and then open that month. No problem. So, um, start skinning codes. Make sure in a right layering. It's easy to make that mistake on bond because I reset cloning. Okay, very low research a racial and will give us more painting. The looking some James. It's tricky to see sometimes if you have already background, but them you can always change here so more support. That's a bit too much. - It's our probably make it bigger on and, um, smaller capacity and hire a saturation. Just bring but off that floor back because we don't want her to be up and they on the you can. Then that's absolutely fine. Make sure you kind of nicely level that out. Otherwise, it looks like they stuck onto the background. It's finding that good balance. So it's that brush is not very harsh on the edges on yet you cloning just as much as he warned, wanted to. There's a shadow here, and we wanted to keep that shadow. Always, this arm would look very flat, very on unattractive. Make sure you don't get into that trap when you work on a close up and then go over and over and over and then you pull back and you see that it looks like back like photograph starts easily done. Celery saturation down significantly to about 20 because we won those arms quite painted me has to face the eyes, the lips, what we want to keep really resembling the rial photograph, and this is where we going to make real impact with the high re saturation. Just a little tops hands or something. People, um, distinctly pay attention to Andi can be very expressive. Hands and face, swell face, first of all, and then hands. We'll tell you a lot body language and about the photographer he can. He or she can pick up that that language. So I would like unless oversaturation my game and more pain to leave. You look lovely tonight. The working in the in the direction off that's is the key ready? Pull back. Probably need todo that a bit more here. I really lower saturation. So is going Teoh just calling the whisper of it. Be aware of pounds. Now I'm gonna walk over saturation, really high capacity down, and now I'm going to bring those details in Okay, edges here. That's helpful going dunk because it creates the shade, and I think that's a dress still behind her. So that's fine. And that could be going whispering. It's OK, a bit more definition here. Nothing gives better depth, and the docks emphasized more Freedy to work on the face in the minute on here. That waste as well program is it's going to create a coin dark corner here. We don't want that dog because that's it's a bit of a Bruce. Let's paint over it. Going to color mold branches using pain. Basically work that capacity just a bit more. Sit covered it goods. Go back to our cloning. It's lovely if you have a room light. If I have a light coming from the back here heating here and this could be so beautifully painted and just give her a bit more separation and just makes makes it very, very pretty. How would stop caring goods? So I just gently starting on her face and working that just the general shape, not worried too much. Just make sure you go over and over a few times because the capacities low. I'm gonna bring out just a bit, making sure we cover everything. Re saturation. Let's get down to 60 So face could be still painted Lee and resemble that person, and we're going to work on and face separately on eyes and that's turned a hair Comme pretend she has more hair. You okay? So make sure that skin is definitely filled. It would would look but weird if there was a background picking fruit for saturation really high so we can just fill up in. And now take your capacity down, re saturation very high about 90. And I'm gonna close up so I can see what I'm doing. Seeing very smurray smudgy. That's fine over Joe's to give that bit more definition where the shadows should be, I will go shape of a face, Sarah. Saturation away up 200. Make your brush smaller and work on the eyes. So very small movement, because even you have 100% capacity if I go across oh, still create this much. So that's why it's important what directions you're moving. If you moving nice and control small tapped up, stepped up. I'm just topping lifting my pan constantly. It will be more precise and more faithful, but if I was doing that that I will not be very clear. Matri always, always, always spend time a little bit extra attention on the I. That's the first thing you, our viewers. I going go to and faces a while. Old owes a facial wrinkles and creases. Double makes up person on the shape. A thief is wealthy for always tricky when the futures clone them. They are. I do prefer when people have their, uh, lips clothed and it looks more aesthetic are think generally nothing against this lady. Okay, so we've done here and I would move now to the next head, re saturation down, capacity up And you might ask, Oh, how much How much You just have to learn to, um, play with it. So bring the passage down if you will. Brush is too harsh. Bring You were such a ratio and down if the older feature has come up very photographic and you have to just try and practice and you see over time I don't know off by heart Which one will suit You just have to kind of try and test. You see, that's too much. It's too harsh. So I'm going to back up, back up, back up controls that as thank God for that too. Can I take the capacity down Even more and away I'm pressing mice My pen. It is also more gentle. Okay, it's bring the every saturation up. Now the more economists came. That's looking really nice. I love her hair, the shape, the color and really works for their painting nothing. You find people, you'll be painting people with different texture. High approach, slightly different the curry, the Curries, all about finding those highlights and the girl and just emphasizing them and tearing, turning shadow deeper. And that creates that more free D. On the other hand, he don't want to go too far. Let's take a look very natural. Finding them that right balance is important. So I'm just clowning over her face. That always breaks me out when the I work of her face and it's not done yet. Quick, quick, quick. Let's make you into friend Me. People with no ice look very scary. Okay. On And that neck way too much. Although you could add a few kind of free strokes like that to give a bit more. Brian tell you look, but I don't know, I prefer it, but quite clean, remembering that re saturation even higher. We got nice low capacity so we could just go over and over and over. Come back here. I don't want too much off that brought back in. - Okay . And away up 200. That's have a look, or for eyes. If you really want faithful, faithful, allergic and go to cloners and soft caller. I think it's going down. Okay, you re saturation 100 then we'll bring you beautifully that I It will also bring that texture around the eye. So just be careful. It's nice and safe to go within the that area here. Don't go over lashes in the same teeth just a bit more. Maybe too much. I find it too much. Rather have that bit more painterly, but eyes yet by any means go for it. And it's easy because it show you really well where they start and finished. And so the luscious area. And here we could let gold. She's no even touched yet She's all photographic. It's the best. His ground, Ma, this is Mama. Anise is a baby, so we're gonna work on her phrase. Now we're gonna go into maybe back to back to digital parentally and let's go for us. Move! Skin reset. I don't think I calibrated that one yet, Okay? And we have a quite high saturation. We're gonna bring it down re saturation, Zari and nice. And though capacity Onda will be helpful if I go into cloning molds. Brilliant. Just tidy up in his hair. It is a lot of work with a lot of area needs to be done. And then you start going around the image and you see a we need to fix this. And I need to fix that by that. What makes it really while when you have it? Oldham. So I'm just making her skin more painted Lee. And those proportions seems to be working the moment. So we are on the 18 capacity and 43 saturation. You can go lower and lower saturation and a few brave and just bring up bits later. Better to start up Messi and then working your way up to being more precise. Be careful around mouth. You change it too much, smudge it too much. That will change. Um, the way this person looks and her expression and she might look have Pierre Well, it's good to be looks happier, but my the grumpy or older, that's no good. Lovely covered. Okay. And we're gonna put a re saturation 100% under the eyes. Okay, I'm just going to go around the image, find the areas I really need to work on bringing re saturation ray down very low 13%. So makes it more smudging. Don't go overboard with smoothing everything. It's better to make it more train toe leavin smooth and okay, we're situation on for the actually going to use a hairbrush in a minute anyway, so don't worry too much about that. Just looking for any loose ends or any beds that needs rainy fixing. I think that's it's like a bigger picture. Okay, Still here. All right. See, that's the dress. So we gonna go, Buck who? Pain backdrop, artist Canvas angle back to that backdrop. Go smaller. Okay, so go on the top because that's already being painted on the top. You don't want us to be a problem. This mix up and then a bear pick up the lighter, make it more blandy blended and good. You can blend over that tres a little bit, become the covers He can go more into chrome aswell so a bit more such rated on a lighter. What else I would like. I would like to pick up something from those flowers. This peachy nous we're going to blend oily detail, so go back in the back, go into that brush because I don't think we used it today on it's good idea to color bright us usual. Okay. And we are on the cloning mode. Let's see what their brushes doing. It just makes it a little bit most smudgy. Um, that's a bit more oversaturation is very, very low. So just moving those pixels around and I want to focus on those little little details here , I think they gonna work really nicely with a barrage. Just come over like that. They can always particular on and off. And that would drive me crazy if I didn't have my my baton set up and the in the pen just getting rid of that pain toe. Sorry, that photographic look, just make it more more painterly. They're that good. Okay, bring it bigger on you can nicely blended to the floor. That's a good brush to blend ill. Just leave. The little marks will be aware of that. When you're starting, you could go up and constantly hold that brush on, and that's the way to blend. Or let's be careful with it. Easy gets on the cloning mold, but you can go more adventurous, and we could basically add more color to your work, so change into color mold so re saturation into 5%. And this is how we're going to Adam. Cover what we're gonna do here. Beautiful, beautiful bids here. We're gonna sample and go lighter, and that's a bit more Koroma. That's make it smaller. And you can add that at the tiny tiny bits. Not too much here, because that's more darker, more in the shade, but maybe just tiny but single bits. Little lighter. Not no Koroma other just filling it out here. And this is where we can go crazy. It can go cooler with that in the shadow you want cooler, cooler, cooler shade Quite the saturated and cool Onda highlights. You want lights lighter and more towards chroma, More saturated. So where are those highlighted? A goal. Just one hears he can Just out thought here palms up here and you don't have to do the whole stroke from the start. In the end, it could be just about here. Just a little of that, weren't a whisper of it. Okay. And maybe changed slightly shade on showing shades that might be to cool where I could be pitted round here. Let's have a look in the pick a picture so that instantly that gave us much more interesting. Look, I wish I had made it in the separate level and show you before and after, Um, but now we're going to maybe just other couple more cause that such a statement that, um sleeve just gonna make it smaller. I don't want to make it overpowering, so it takes over the whole image. So let's sample that and just a push it up. And Koroma that said that PCI nous I see just all that needs all that needs, Not a little tiny bit. And here we're gonna go into cooler. Here we go. And cooler. Okay, you can do here is well, you could just spend all day doing the house. Um, I hope you go that cooler shade selected. This is what makes makes it look really deep. Okay, 39. 39. Hair (generations): now we can have fun with her. Um, again, this video is very compressed, very tiny. But if you do have a look a close up in your in the original fire on the big size file that you can actually view properly, you'll see those hair are made of single brushstrokes, especially here. You can see really nicely separated. And I have made this brush isco, hairbrush. Um, just reset that, Andi, that's calibrated as well. And the phone mike, it's smaller. It's in the color now, and you can use it in both and color and cloning someone cloning at the moment. Um, that's bringing capacity up. Just a touch so we can actually see something. And you can see an adult if I show you here. You see, it's like a hair texture. They can go over and over and over, and more layer. You create the richer, the better looks. Um, so the fun you can have with it, you can see this lady's got this area is in the highlight, and it creates beautiful on color that go into color modes and see what color is that very dark thought abroad. Even those lightest highlights are crying dog, and the darkest is very like black. So we we don't have to go very far to make give her give her but of the highlights here. So we're gonna go up the way, the light and up with a Kromah and see if I add on just literally two strokes. What doesn't make that her, but you definitely to watch were the highlight where those highlights are because if you added here, it's gonna look very bad. So just watch it. You can choose another color. It's like anymore warmer, lovely on this lady's her. Even those lightest Wani seeds look a dog brown. It's very, very easy to pick up to light on. Then it won't be working. Just a little highlights here here, because the light is just hitting that area, and I think she has a tiny bit of highlight here as well. But I will go a little dollar so smaller brush, um, hit here too much. That's better. How is that looking? And then you can just pick up color and brush over brush over, and she's slightly different shade, Dis observed. What's there underneath? And this little girl has gorgeous highlights. Let scene. She probably has quite bright because you got lie to her and also lights heating really strong. They can go like this. I would go even lighter. Just make it stand out like that. What? I worry too much. Too much. A few working on the hair or anything like that. And you know it's gonna be a struggle to find just the right. Strengthened it. You can do this, find another layer, created another layer. I'm making that stroke and now you can work with capacity. Here you can just take it down. You can use a rubber just here on rob off just a tiny bit off. So it gives you much more precision More? Yeah, I think a more precision and you can do more with it. Too much. Wonderful. There just a few highlights make such a difference. 40. 40. Crowns (generations): So I'm finished. Not without layer with the highlights. And I created really nice effect. Concede the difference Where on earth a girl leased. So that layer is selected, and I'm going to choose collapse layers and it just brings it down. Still got that one. We worry King home. So what we gonna do with hair bands? And on this mom has got a little flour ground as well, for our gyms change and to they're just going to bring it in here too full. And this gorgeous hair pizzas Well, and this is gonna come up already nicely. I think so. Just to give it, um, you can see here is well, you can change that one. It works really nicely on any embroidered it areas that's been too harsh, no caress. And we're gonna bring that of ring as well. And now we're going to add a little bit of extra sparkle and all of those pieces. So we're going to start with the ring change into color mode, go into a white, and I'm gonna get a few white bits. Here is wild. Maybe too much, maybe too strong. Maybe something like between blue and white. Mary coat, but I wanted on white to those flowers. Don't find it bright just a bit brighter, Just a little bit. Ugo brings it to life. That's gonna be really, really pretty her bond. But we can go in the super bright white because look, um, which is very white. That's not even very white. It's gonna be too strong. We need to find something in between can source that cover and go up. And now we can other little bit on. No, they said, Looks like extra perils ism. Something like that. And Mommy needs a little bit here as well tiene units a bit and definitely need very, very bright sparkles here on those rial ground diamonds. One wish it was a really diamonds. Um OK, so that's done. I would say maybe a little bit of red. And here in that bund, it would bring it even more to life. All that takes is a tiny tying speckle and just makes it more likely. Okay, so in the move to the next bed, where we gonna work on the eyes 41. 41. Eyes (generation): So what we're doing with the eyes are this distance, people being this far away is very simple because if it was, just imagine one big portrayed with the Paris not closer than you can really go creative of colors with light. But as people was that far away or you're going to do is and hands that catch light. So make sure you look when you choose the images that are definitely hus. No, I Miss Hodge has a good catch light and some other white light. And the and the I we just going to run the clone or quickly before we go. Any feather self cloner of re saturation, 100% perfect. Just going to run it. Making sure it brings that I and we need to do is up to here. No feather. And let's move to the next pass. I think we've done that already. In her eyes. Last bit se see. It brings a little bit more while she's got amazing ice. Don't go any further than that, because it will bring too much too much texture and that skin that is more photographed, then painterly. Okay, So into ah were soft skin brush which is good for so many different things. I think I need to make a challenge one day and paint everything with one brush, smooth skin. I think I could do it. Right. So we're going to create new there because it's easier to control that way and brush if you see my increment. ISS five. So from 1 to 6, I'm gonna choose something around free. It's a good size. I'm going to Sorry. Going to go for a color mode. Sample that white and her. I look, where was that? It's gray. So we can bring it away up to the white that way. Just can't bring that light in her eye. Bring no life. Okay, Andi, we're going to put a little smarter here, but we're gonna bring that capacity to 7%. That might be too high that you're right. Too high. Really, really minimal. So 4%. Let's have a look. That's about it. It's a chest up a little Tinus much far away. Okay? And we're gonna do the same with another ladies. This lady has very strong catch lights here. One 11 workers light was hitting from this way one to and one more lighted. The catch lights that one. Another one. Just a little smile. Well, on that. See? Right. So if you think it's too much, I think it's fine. You can always take the capacity down. Yeah, actually, you take away, down disappears. I think it looks good with a slightly work. We will lower 100% especially in a girl. Looks very fake that we wonders to the very sorry kids. Lovely. So that's the eyes done, and we can at, um okay, that's been done. 42. 42. Working on details (generations): So let's just collapse that liar a press here and collapsed layers and just joins to that one in the middle that we working out. Um, So what we gonna do now? We're going to bring those fine little details that we adore to see on DATs why I said go a little heavier, where the painterly effect, and then we're gonna bring some of it back. Case on the words the time you see the magic. This is what makes it really stand out. So we're gonna go to start cloning subject and a paucity Going to be super low is gonna be around 4% and re saturation around 70%. Step in zero, right on the precious lightning Bigger. So what's gonna happen now? It's just gonna bring annoying me that have been up for our rights to blue. It's gonna bring those far in little bits buck in especially frill Welcome worried and wait to work on this one back to smaller, seeing that sherry up close What I mean So if I want that frill to appear, let a bit more just go over. So I made it quite painterly, but nothing I need to bring that posse d up because I'm gonna be here. Hold a 7% and don't bring everything up. Just a tiny a bit. Here and the school. Beautiful details here. And definitely one that not back in my need to bring capacity up a bit more. This beautiful dress was Handmaid's, especially for pregnancy sessions. It's gone toe lovely, lovely under government. And this is the altar layers. Easy. You have to be careful when you go with capacity up. It's gonna create pre that my shop So we don't want that. I want to get back. Back, back, back, back, back, back, back. Um, that's too harsh. I went too far with capacity. Unfortunately, I'm gonna have to be here all day and just brush it over over and over and over. But this is very worth it that bit. It's close to her face. And very, um very pretty. Here is Well, shadows, make sure you get those as well. That's what makes this image work too much, too much Here. I want not bit. I want this kind of disappear in the background. I do like that. Just a tiny, tiny, tiny bit much. And those little edges off the clothes rim. Not even the whole thing. Just a tiny bit. I think it's a bit too strong here. I'm just gonna turn it down, bring it back to Original a little bit. That's much, much better. I was driving me crazy a little bit on Dhere. We need to fix that edge. So again, not the whole thing, but a little bit of here and there. It's what else? I would like to bring along those little creases you could absolutely beautiful. And the end of that's current a little bit off here and a tiny whispering here. And if I see any shadow sort of in the area, yes, I want to bring in and just gives definition much here. And you see that legs are can't very vainly just there in this hand on. That's fine. It doesn't bother me as long as face on and face and hands are quite pronounced. I'm happy. That's that's nice to have legs like that, a tiny, tiny bit and those little creases here as well it's gonna give a texture and definition on . This is gonna be beautiful with older gems, so we're gonna bring the saturation even higher and just choose a few sparkles Teoh to bring them in. Remember, have a look at the whole piece. How is that looking? And bring it closer again. It's good exercise here to have a look. Start here. The edge. I don't want the whole thing to be sparkly and broke bug, but it's nice. Just a least here. Too much permit. How many times did I say too much on this video? Easy to go overboard. I think everything's looking good. I'm going to bring just a bit more here and that caressed pump. You can see that. Okay, on the detail on this dress, just incredible. I got it off eBay. It's, um, traditional Victorian gown. And actually, if you look at the back, it it's not even tied up. So we're just pretending. I think it's for two year old child that still fits. So I'm just using it because he can send it back and maybe bring a little bit more information here about that leather. Gonna make it big, big, big brush. It's more subtle. How is that looking? Without go, my goodness, House up. What's going on now? Floating. I think I prefer it. One. It's a bit more on done. There we go back to this one, uh, on the her skirts. We need to put in a little detail here. What would we like to emphasize? This is beautiful area. So make the brush smaller and just here bring down the dusty. And I think Ari saturation down a bit as well. Those decreases. And if they have some sort of light again to seven, if they have some sort of a light bouncing off, that's car always look good. But we have to constantly change the size of a barrage. Uh, tweaking. It's never going to be the same setting. Exactly. That's I love that pit. I can't believe I haven't tried this dress on the ends. I'm really surprising myself. It's very good because it will fit different. Different sizes Dis coins. You can change trade size. Okay, I am happy with done again. Don't want to brush it too much because we wanted beautiful, beautifully done right. I'm going to create a new layer just to show you how much difference this next step going to make. We going to go to pain backdrop, artist converse brush and we're going Teoh just out some texture to the whole images. So we're going to start adding color, right? We are on the right layer. Wonderful. Just reset that brush, going to calibrate it as well and make it smaller, He even smaller. Okay, so what is? This brush is basically giving you this beautiful come of us texture. You can see compass paper here and here. And you can change it at any point you like so he can apply this this texture. Or you can apply this texture or you can apply any texture. Like from here. If you get more advanced, you can even add in your own textures. I To be honest, I never have. And I don't think I ever will. Because this canvas one the artist canvases so gorgeous. It's the one you can see here. I don't need anything else. Ready? So what we're gonna do? We're going to start on this girl's dress, So pick up your brush and let's see what colors are in her dress. Look how dark addresses. It's incredible. You would think Yes, White. I'm gonna choose White. How dog? So we're going to pick up some colors, like the shade shadow. And we're gonna add on the two bit more just a bit more. We're gonna go dark and we're gonna add Oh, wrong story, guys. Stay in the artist canvas because that's going to give you that gorgeous, um, texture. OK, change of plans were going to choose cool shade here. So go to any kind of blues and make it dough and they saturated. And, uh, Andi, I think my capacity might be a bit too high now, actually, is okay, I'm gonna go even close or seek and see what I'm doing. Just adding I think it's been too right. Even dollar better and darker. It's probably too dark. Now find in the right shade. Okay, let's get into that natural color so you can mix over it can go over it more into kind of purposely on and in the light area. I want to see vai that warm Find that sort of whoa, that was bright. So we're gonna take capacity down 2 16 Let's say Okay, that's nice, but it's a little bit too bright. I'm gonna dole it up, make a dollar to the site. Let's see where all those main highlights here, here, just like that. And let's chew something similar from the warmer color Starts at like a PCI always brings a white so nicely and you can even make that brush tiny on. Make a little stroke here in the just like that. Uh, and let's go for a super wide back to normal sized brush here and there again where those highlights all tiny high night here, You don't have to only make a stroke. You can make it more like just like, um, scribbles over grand following directions. Always goods super bright. Here, let's see you in a full picture. Great. I'm gonna take it often Done. No Can see other just a little bit. Okay. So we can add on more to Grandma's a gown and we're going to choose something kind of bluish but very door. No Koroma whatsoever. No saturation. And I think we're gonna have to take a paucity down. But let's see more treats. Okay. On Dhere. Maybe just a little warmer here. Just shadows. See that dress somewhere in the middle? Beautiful. I wanted to create something for you Guys say can see old different textures and and you can work a months and let's go on a PCI. Beautiful Sadat gives the highlight highlight highlight here, make it smaller and just work on those individual can not all of them flowers taken up to flowers. And then if you pick up color from the flour and other here, that's gonna make it harmonious, maybe too much maybe pick up from a flower on your visit here, that's not too close. Lovely And again, I want to use flower color light one PCI one. It's such a nice color. And just use it here on my me skirt And maybe here on the edge gonna make it smaller. A couple of highlights here. Not too much, because it should be darker in the shade. So keep that in mind again. You can play with us all day. You can do so much little lighter. We're gonna push it even more. How about here? That's such a pronounce highlights gonna make it big and white too much. Okay. And if you're if you're not confident on adding color, you can always go into, um, cloning moat four. Sorry. You can always take a re saturation down to zero, and it doesn't apply any color at just changes what you already have. And that's this gorgeous canvas texture. So you can do that. But it's good color, additional color. It just makes its Wow, that helps you. Working on the harmony in the Spectra is well, because the way picked up some of those blues. We got those blues here. Um, so definitely good. Good way to do it. I want to add a bit more kind of dark blue in tow, Her dress still. So here, boom, Very dark. Worry very Dole. There we go. That's the one. And that's make ID bigger. I see very or saturation is not going to do much. So bring up. Don't worry about here. We can always bring it back, okay? And bring re saturation down again. And just about on those little die you strokes and that fixed that dress here. It's very simple. You go to self smooth skin. We said we have higher saturation on low capacity that will bring your delicate features and obviously on cloning mode will be great. Now you want to fall, you can just come back. No problem, so you can see before enough through, and I switched out layer on and off for my not seem that big of a change. But if you come up closer, it is definitely were of those few stroke, just like a cherry on the cake. And there's a few things were going to tie the up so you can see here behind this lady's head. There's this little mark, and luckily we have been working on layers. So that's that. That's just get rid of this one. Collapse that top one in the middle, and now we can use a razor if you like. It's probably the easiest, quickest one, and get rid of that. Bids very, very gently. Take your time so you don't go over her skin just here. Andi, I think we need to fix that little bit that background. So let's come back into, uh, pain back trip. We use that one a lot today. I'm just gonna make it smaller. I think that's round words to pass it. It's just a bit to Paige. See that? Come. Okay. I don't want to have that texture, but anything else? Um, probably that area here. So when you Teoh arrays, that's a bit. Sorry. Wrong layer. A top one. Make sure your own the right layer and probably I'm gonna add a little bit background of here. Some of the, um background player and true nice and light cover lighter than that blended toe ring song . It's transition on and see from the run distance. Peru bit too white. If you make lighter area to automatically bring attention to that supports, I don't necessarily want people to look at the lab. I want attention to the faces. First of all, for the connection. That's good. That's much better. So another one we can choose s oil edge finish and go back to your layer. We working on? Sure. My brush in on a razor preset and see. It just gives that extra little I'm gonna go with, um, Koning wrote Texture. It's very similar to the one we done earlier 43. 43. Using ready painted background (generations): the next step will be inserting. And that backdrop that we have saved up, uh, to our image. I wonder how that's gonna look. It does seem, but brides and you can always go into effect and tonal colder. It's not a scooters photo shop, but you can always make a little adjustment. So I'm going to and bring it down just a touch or make it lighter. So this is curfew can bring out brightness here. We're going to see how that one fits because it does seem quite, um, saturated, and this one is a little bit more washed out. But we're going to have a look what it looks like when we put it on and then eventually weaken. We can just adjust it to taste. So go into select Oh, on control, see or command, See or copy the whole thing you committed, admires it and press on this, then control V or command be or paste it. And now we see you change from brush into that cursor which allows moving. I'm just gonna spread it on the whole page. I can see really well. And now if you want to change it, change the size of it go into this tool. Transform. Oh, allow you to change this, um, to the size. So this one, If I was holding shift, it will adjust it to the proportion. I'm not too bothered If that was the photograph. Yes, I would be worried to stretch the features. We don't want Teoh change that, but because it's a painted so just a tiny bit off stretching, it's not going to course too much pain. So we're going. Just say yes. Okay. And we're going to change the capacity so we see what's happening underneath, and you can adjust capacity to taste or you can 100%. That's quite strong, and that is couple of ways you can do with this deal with this layer. First of all, you can just I used a razor tool from here, and I would suggest to take the capacity and down just for now so you can see what you're doing. And because we made our life easy by filling out around them with a similar color almost identical, that's going to be easy job because we just doing this raising That's and it fits so prudently, so you don't have to really worry about, um, going around them. So that's the first method. And it works pretty well. And that does bring them all nicely. Are the other method would be the mosque? Oops, Went too far. Ah, which is here on the bottom. So if you persist and you layer mosque, you can see you can have selected either that image and then I'm painting over that image. Let me just show you. Make sure you in the color mold on that same black brush. So if I just paint on the image Sorry, I have the room brush smoke on my too much with a little, um, start clothes we're going to go into simple. And did you do airbrush and look, if I apply black one, it's just painting on my, um, backdrop. What's roaring it? You're ruining it ruins it. But if I go on the musk layer, it is actually working. If you worked in photo shop on mosques, you understand that the black on the white background were revealed odds. And, um, if I use white brush, just toggle here. That's impossible. Okay, Always in clone mode. There we go. White spent takes it back away, okay? And it's a nice tool. That's digital airbrush, because it does it softly so he can do it in stages. It can go around first. Let's go back to that black, uh, color, and we can bring capacity up. You can take a brush down that's getting closer to our subject so you can see we're really well I'm doing and you seek and just get them out so gently. You have to be careful when you mask so you don't leave any paint over the skin or classes not that noticeable but hair and skin. And, uh, that will be very now to support so much easier when you do good preparation and your painting it of the same color that you have a middle of your off your backdrop, such as going ready without hesitation around here. I'm leaving that section just for a second, making sure that's done nicely. It's a bit too light here, but we can always correct that. Don't worry, it's not set in the stone. That's the beauty of masking. If I was doing the A razor to, that wouldn't be great, because I can go back and food so I'm gonna change back into whites and I'm gonna bring the capacity down off those brush. I'm just gonna bringing very, very gently around this hunt that one too far and that one too far. It's a blur. Ending very, very gently is important. Let's go back to the black brush. Hope it's not too confusing, jumping from one another and just going to get rid of here to set them on the floor. I don't want to take off too much of that draws because that's the whole effect we want to keep. I want to make sure we can see see him quite well. And as we have such a soft, my brush delicate, we can go over here a bit more. Panel blend hopefully nicely as much here, so I think it works pretty good with the It's not to live it. That's without our new background. That's with it, and it's only at 65% capacity. You bring it up comes stronger. That's 100 percent capacity that covers quite a lot off that floor we can under that we wanted to see some of that floor warp sing, and we're going to take it off her skin because that's deafening. Not what we want on our subject. Oh, my goodness. - So that's the version with digital painting with a digital backdrop. Sorry. Um, and you can see it's blending really, really nicely. So as long as you start, uh, with painting around your subject with that color and will the gorgeous and I'm gonna show you how to use this backdrop, so if you don't have any backdrop and you just want to finish this one off 44. 44. Finish with your own background (generations): So we're going to paint our own background. It's going to be very basic because the background you can see here with all the details. It's bean made from scratch for many layers, and a long time it took me. So let's get rid of that one. We going to put that in a bin, and we're just going to stay with this one. For now, we can add a new layer. It's always, um, it's always advisable. And let's go into our digital painterly collection. Pain backdrop artist Canvas. Surprise, surprise Way back to this one. It's a hero. Brush off this image today, um, and we going to work more around here So we could really nice palates all around Charles going to pick up that brown unready start painting over that. Simple as that. It's not very difficult just filling up. I come pick up that, um, the Amos to have basically darker at the edges, lighter in sight as quite a big contrast. So we have to find something in between. Sometimes I noticed unless I trying, the better it comes up, it's really old. Okay, we can are a bit of redness that so go into your reds on a cooler, maybe a tickle thumping in betweens purple and back to Brown's again. Mush it all up and get back to those Brown's. Make that brushed smaller. We need to work on in between areas here like an easy task just to fill up the backdrop. But on the goodness. Sometimes it's a struggle and decisive as my biggest problem. Sometimes blending it is the key re need to make a nice transition with their by the old. Now we're gonna pick up color from the dress. I'm gonna add a bit more here, break it down with a dress cover even here on the edges. We wanted dark, but we want it all. Hormone use as well. Break it down a bit. Take it from that dress. Take it from mistress because these colors are not what they what they seem. Sometimes that's always gone. Look good, because we got that middle in the flowers on that I would love it. Your eye that you we'll be looking at the image even darker. Oh, that's black. That's no good dog. Brown PCI. Let's just break it down. Tiny myth. It's been like clouds is a little bit of here a little there, and that creates the whole image. Okay, so our background is done. So that's the one that we have painted that seem. And we could go even darker. Aucoin liked, like the dog bit from here that a simple that bring it up here. So create that step. Just the edges on again. Not everywhere it's in. Some points. Don't make it the same shape that is going to look the same. Not too strong to be just the right mixture. Okay, so I'm happy with this background. It's hard, 100% capacity and our perfect Keep it like those, um, so just collapsed layer. And that creates this one. It's now together. I'm going to collapse this one as well, so it's on one layer. 45. 45. Dodge and burn surface texture (generations): several next challenge. You're going to choose another Barash. It's Navy that finished, guys. So, Dutch in Bern, your layer and this is where we apply but of light. We're going to have to watch where the light is coming. It is coming over. See that direction? And what is it? Gliding up some of that stress got very beautiful soft lights and gonna add that on. So we're gonna choose the color here and going to go lighter on our wheel like it's my thing. Bigger, Let's see. And we are on the layer. So in case it's too much or we want to changed, it doesn't not. So we can always adjust the layer as well. Great. And if you want to do Dorge of you know darker, just choose a dog and go even talk on your and your palates and just increase those shadows . Have a look which are the most pronounced. This is the most for re pronounced on here on this into your reference image, because sometimes is easy. Yeah, here, here, here. But when you look at the image, actually, that's, um not where they are. You just guessing and then it's not gonna look it so that's here. Done. That's very dark shadow over here. You can make it smaller. You can pick up from that area and go. That's pretty much the same. So not to worry. And, um, can we gonna do some highlighting? So choose nice like color from address and walking up to them Nice and Freud area on the wheel and just get a few strokes. There's a nice light distribution here, so that's a dog on the lighter. And then hope how the actress still Lincoln C and you could play it can make all of that highlight it if you wanted. But again, you don't want this to like to photographic and skin always sample skin from to highlight. I don't want a white skin just a tiny bit. And be careful because if you go to too much on somebody's face and my really changed a feature the way that they look OpenTable darker shade here. Okay, the only area that bugs me at the very end is here. It looks like a whole because it's the same as the background, So I'm going to go back to soft skin, pro green, smooth skin always get there and cloning moat re saturation, lower and paint, but so it doesn't look like a hole in her dress. Perfect. Having this image is finished, you could leave it at this point. Just drop your, um, collapse layers, and that's finish image. Let me show you up close. - You can always add additional texture to this image and let me show you. Uh, I haven't surely that in the previous to Taro, so just have a look. You can always save us this version without it, because when you print it out on the artistic paper, that's what you're going to get. But if you print it or save it for online, it's nice to have that extra texture. So effect. Um, surface control. Apply surface texture. That's one. And this is the settings I like to use. You can play with them. You can see what other things you can do. You can also change the paper so it will give you a different texture, depending what you would like. So there is the library of papers again, Artist Compass is ready. Lovely, lovely texture, literally paper. There are two types paper and artist canvas. Sorry, that once called Ghost Conversed. And this one artist can, um, artist canvas. I think they just running different direction. And these other settings I like to have in my when I applied are extra texture. So 7% amount picture, 100% shine, 100% reflection zero. And then you can also add additional lights here, Um, and thats decide settings for light controls. I have only one light here. You can move it around. He can add more or take them off. It does give you quite a lot off. Um, a lot off options here and brightness is 0.86 concentration for an exposure. One point for one. That's the settings I like to use. I always have the same ones and okay, and let's see, it just already hope you we would see that, um, this just gives her ex truck extra beautiful canvas texture all over their image. So that's with it, and that's without it. But if you're going to have that printed on their artistic paper, I'll definitely advise having without because that's gonna be overcoat. Was just gonna be too much on to redo, apply texture that's nice and gives above light as well, I think so. That's done. That's our ended to finish