4 Ways to Digitize Watercolor Art in Photoshop

1. Introduction: Hey guys, I'm Peggy Dean. In this class, we are going to be going over four different ways to digitize your watercolors. This is a question that I get a lot. I'm really excited to share with you some really easy techniques. There are different ways that everybody works. There's bound to be one of these that will suit your fancying and then you will have a beautiful piece that you will be proud to show off because you won't have that nasty brown texture that we all know and don't love. Let's get started. 2. What You'll Need: For tools in this class, we're going to be going over one watercolor painting, and that is to show you just basically different hues and things that you can play with. If you don't already have something to digitize for watercolor, this will give you something to digitize. You do need watercolor paint. You don't need anything spectacular. I'm going to be using Daniel Smith watercolor. If you're familiar with that, that's what I'll be using. I also have some basic ground brushes, size six and eight. Then a jar of water will be good. We're only going to use green so you don't need two jars for warm and cool tones. Some watercolor paper that is at least 140 pounds, which will make sure that your paper won't work and it's going to take, well. But the main thing to focus in this class is that you do need to have Adobe Photoshop. I'll be using Photoshop and Creative Cloud. It's the newest 2018 version. It doesn't matter if yours is updated version or not, though these tools are pretty standard. Other than that, obviously a computer. I'm using a Mac, you can use a PC, it doesn't matter. That's it. Okay. Here we go. 3. First, Let's Paint!: The first thing that I want to go over is different shades of green and this comes in handy when you're doing different types of plants, like you'll notice that tropical plants sometimes have more of an undertone of yellows, while there are more like for trees and things like that. Olive branches, plants, and trees, and greenery that might look nicer if it has a cool undertone, which has more of that bluish to it. Let's assume that all we're working with is just a basic grass green, if you will. I'm going to pick up some permanent green from my Daniel Smith watercolors. Let's say this is what this color looks like on its own, it's a pretty basic green across the board. I see this as being a little more yellowish than bluish, but you can definitely brighten that up with some more yellow, that's what we're going to do first. I'll show you that in a mixed way. We're going to put this down and then go ahead and grab a yellow and I'm just going to grab your standard yellow. This is going to be also by Daniel Smith's cadmium yellow light hue. I put this next to it, but then I'm going to rinse my brush off and use just water and get these to blend together in the middle. I'm doing it this way so that you can see the color it's creating. If you were to put this down, like let's say you pick up your yellow firs, I always pick up my lighter color first, put this down and then because the yellow is so much lighter, I'm just going to take a little bit of this green and dab it in here and then maybe rinse my brush and start to mix those two. Then you can experiment with adding maybe a little more green. See I'm just dabbing it down, I don't want to overdo it because I don't want it to get too saturated. But see how this color right here is a lot more yellow green then that first permanent green that we started with. So this is how you can mix the color. Let's take that same permanent green, lay it down and, we're going to make this a lot cooler now by grabbing a blue color. I'm just going to grab some cerulean blue, put this down on my paper, and then rinse that off and then start mixing the two and you can see, and I'll show you again on a separate sludge how this is creating more of a soft green. I'm going to grab that blue first. You can grab either color first I'm just grabbing this cerulean blue because it has a little less pigment, so it'll be easier to add the more pigmented green once I get that down. I'm just setting that in there, rinsing my brush off so I don't want over saturate it, and then mix that together. Now you see that you have a much cooler tone, actually adding a little more green would be best because we are working with green. But you see how it's definitely green, but it is a much cooler tone than that yellow green that we created. But I'll grab just the permanent green and set it right next to it, still definitely a different tone than this one. If you don't have a ton of greens to choose from, let's say your palette only has two different greens. One's kind of a yellow green, one's a basic green, this is a good trick to play with. Just know that these undertones like yellow, it's going to brighten it, get it a lot more of that yellow green, whereas the blue will cool it down quite a bit. Granulation also comes into play. It probably wasn't my best choice to use this cerulean blue, or at least this one because it has more granulation, so it's not going to be as vibrant. But you'll find that out with the colors that you're using because you might not necessarily be using the same brand that I am, but I'm going to show you also how to dirty up your greens and this is my absolute favorite thing to do in my greenery. I like my greens to, for the most part, have that moody undertone so we can darken it and we can dirty it up. I'm going to show you how to do that. I'm going to take this permanent green again, lay it down, and now I'm just going to take a burnt umber and put this down next to it. Wash my brush off, come back in with water, and mix these two. Again guys, this isn't how you have to do it I'm just showing you how they blend together. See how that's dirtying it up quite a bit. Grab that permanent green, lay it down, grab just a little bit of that burnt umber, rinse my brush so it's not overdoing it and then my green has this dark moody and it looks a lot more organic. This is what I like to see in mine and then you can do the same thing. Adding a little bit of that brown in. But let's say you want to get darker from there, you can grab a black or a deep dark brown. I'm describing black because I'm assuming that you don't have a ton of shades of brown, set that black in there, and then you have an even deeper moody green. Pick the mood that you're going to want to portray here. Adding some more black will even deepen it, but see how that just makes it like that. So let's pick some of this up. That's pretty light so I don't have a lot of pigment, but you can see how it has that software tone, a lot more of that natural deep dark, almost like a cloudy day green. That's a good way to experiment with your greens. There are some great colors if you're in the market to buy some watercolors and let's say you want to go to greens for your plants, I'll show you my favorite ones. The first one that I would go with, I love sap green and deep sap and that is across the board. You'll find that on Winsor and Newton and Daniel Smith and other ones like that. But if you want to go for something with a little bit more depth, Serpentine Genuine is amazing. It's got this real dirty, but somehow still like a golden green color, which is gorgeous. I would opt for this over a yellow green. Does that make sense? It's as if I'm adding a ton of brown to this and it creates this great olivey color. There's also olive green which is very similar to this or it's like the sap green is similar to with a little bit more of this yellow green to it. This as the sap green, I also really like the Jadaite Genuine. This is similar to the deep sap green, this is what it looks like. It's a lot cooler, like a cooler ton similar to what we created with the amber and black. By the way, we were using a lunar black for that, but it doesn't matter what black you use. Also similar to the deep sap green, which I'll show you, is this guy. You can see they're very similar. I can't tell you how long it took me to figure out what I wanted to include in my personal palette and I ended up going with serpentine because I liked the brown undertones. It's also made out of precious stones, so there's some granulation to this and you can see that it has a mixture. It almost looks like brown was put into it, which is awesome, I love that and then the Jadaite also was made out of precious stones and other great green that I love is the Diopside Genuine. I promise it's not on purpose that all of these are made out of precious stones, the ones that I chose. However it is also one of my favorites. It's this nice, rich, deep green, and then my other one that I have in my personal palette is the cascade green. As this dries, it'll end up separating and creating some blue elements, which I think is really pretty when it's dried. But this is what that looks like, it's definitely got a lot more blue to it than the other greens. Those are the four greens that I have on my palette. I have a lot of greens because I do a lot of nature paintings where you might be more of a floral bouquet where you go with the same green, but you focus more on your flower colors or you might not even. This is just my personal deal and I'm only going over it because we're focusing on leaves. That said, these are some go-tos that I love and all of these are listed in the class description. If you love a color so much and you want to grab it, that'll be it. You can just click on it, it'll take you right to the paint on Amazon. Favorite greens and we will move into actually building up our leaves now. 4. Paint an Olive Branch: The first leaf branch, if you will, that we're going to create is the olive branch. I'm doing this because I want to focus on a cooler green with a little bit of brown element, and also some tricks that you can do with the brush. I'm using a round brush number 6 and I'm going to go in with a cooler green. You remember how to create a cooler green, if you don't have one already, but if you do something similar to a deep sap greener the Jade eye that we used or cascade greener, maybe marquee sum up with some brown. The first thing now that I want to do is create the branch. You can create the branch with either a brown or a green. I tend to mix the two. So when your watercolor is still wet on the paper, you can add more pigment to it and it's only going to spread in the area where the water is, where the paper is wet. Doing this with brown after you place green or vice versa, can create a really cool effect. I'm just going to use the very tip of my brush and pull away from myself, creating a very thin line. See how that's pretty wet. I'm doing that on purpose with my brush, because I want to go back in and add a brown and I'm using Van Dyke brown. it's real deep. You can see how I'm just setting it down and then dragging it through just the very base and then the tip here. I just like how it adds that darker moody tone. With olive branches, they grow in the direction of your stem. You don't want to bring it out straight like this. You want to come up and out. I'm going to grab one of the colors that I just used, and while my stem is still wet, I'm just going to branch off of it a little bit and branch off a little on this side, this side, this side. You don't have to go all the way up. It helps determine where your leaves are going to go. Which definitely isn't something that you have to plan at a time. That way you won't accidentally forget to put one of the stems down, which I do a lot and I start my leaf right off the stem, which there's nothing wrong with. It's just a looser form, looser way to do it. From here, I'm going to do these strokes like we did up here only I'm not going to keep the tips so pointy. What you do is you come down, full pressure and then just lift off. Didn't have a lot of paint on it, did it? Then lift off right here. Like that. What you could also do, which helps me a lot is to do these leaves backwards. Let's say this stem is right here. If you turn your paper, and then start, and then come in like that. Actually you'd want a curve like this. See how it's creating more of that effect towards around it, and then the part that connects to the stem is a lot thinner. That's what I do because I'm so used to my muscle memory of lifting as I'm finishing my stroke. It might be helpful. To start doing that, I'm going to grab some paint. Remember that you're coming outward like this, full pressure and then down into that stem. Then again down in that stem. As you keep going, if you don't re-dip your brush in water or in paint. What might end up happening is you'll have this dry brush effect or you can lose the opacity, the value of your color, and it can start to get less bold. I like the way that that looks, so I'm going to leave it. You can even dip your brush in water and go back in and do something like this where it's like almost transparent. I think that creates a really pretty effect. I would just make sure that the more you go, don't make it so that it's like bold, lighter, lighter, light, light, light, light. Because you want it to be varying. So like I could go right underneath one that's really light with a nice bold leaf. Don't be afraid too, to dip into other color like I'm am going to dip into my brown and then my green, and it just adds a hint of depth of a different tone. I'm going to dip into my blue and then my green and see how that just adds a little bit more depth. I like to overlay some of my leaves because I don't want this to be perfectly symmetric. Some will come like this and then out like this. Some of these I am connecting directly to the main stem, and that's fine. I just want some of them to be coming off a little more. I'm going to go into brown, in the green. See what I mean by those tones? Don't let that shock you when you set it down because you might think it's too much. But then you realize you can actually go back in and add a little more brown up here somewhere and have enough water there. Then maybe in the center somewhere. I really like that so I don't want to go over it, so I'll go over this one. You can also add some more depth just by touching leaves that are still wet with a darker color. Then drag that through and it will start to bleed, which adds a tone of character. Just make sure that your leaves are nice and wet before you set it down. That is really similar to these three. Let's say I like the color, but I want to add some depth to it. I'm going to grab a different green or maybe a brown tone and set it on some of those wet spots. It will start to bleed and look really nice, and then I'll finish up with a more transparent one. That's it. From here I'm going to create little stems branching off because I'm going to add my olives. I'm not going to do a lot of these. I just want to do enough to where you get the idea that it's an olive branch. I'm just picking areas that I think it would look nice using the tip of my brush. Then I'll go in with burnt umber, and create little nodules, if you will. I don't know why I'm so stuck on that word day, I've used it several times, put little circles and then maybe go in with a deeper color and just set it down in there. We add one right here. See how these have varying tones, adds some definition and then this one's bleeding into the stem. We're going for a loose style, so all these things just add that character. Some bled a little more than I'd like. What you can do if that happens is, take a piece of a paper towel and just set it down. Dab, do not rub. Then go back in and recreate it. Like so. It's because I had two and it was too wet. There we go. I'll add a little deeper color to one of those. That's done now, I will show you how to digitize it. 5. Scanning In: So, real quickly, I'm just going to talk about scanning in your artwork and I miss using a epson V19 scanner. It's pretty basic. It's a basic photo scanner. They do have better ones, but this one does the trick for me and also, the V39 is similar. To scan this and this is their software. I just use it directly. It makes it easy for me. I don't mess around with these settings, although you definitely can tweak them to your liking. I usually do all of my edits for color and what not afterwards, because that way I know exactly what I'm looking at. It does have modes up here where it's professional, office, home and full auto. I just keep it on professional. Then the big thing to remember is to keep it on 300 dpi. Any lower than that, you're going to lose some of the quality. I just press scan. It's going to bring this up and you can start with the prefix. It usually says img and then has a start number, and then it has a thread. So I am going to say olive branch. Then I guess it's going to go 003 because I've already scanned this in a couple of times. You can change the location of where it saves. I just have it go to my desktop, that way it's right here and I know that I need to get to it otherwise, it will get lost in my folders and I will forget. So, I do that. In the event that you're scanning something in with the same name here, you can say overwrite any files with the same name. I just keep it like this because if it does have the same name, it will prompt me to add a thread so basically it will upload everything.You can rename it later, but anyway, I'll press okay. I've got that down on the scanner. It's going to scan. Doesn't take very long at all. Then once that uploads, it usually pops up in MyFinder, at least on the Mac it does. Yeah, there we go. You can see it's opening up my desktop and then I have olive branch right here. If I double-click that, I make a mess since I did the video. But you'll see all this stuff here, and this is in preview. So I'm going to close this so it's not distracting. Then what I typically do, usually, I'm going to do this in Photoshop to show you. But, if I have like this access here, on a Mac anyway, you can always drag and then shape exactly what you want. Press "Command K" and then it will crop that. Pressing "Command S" will save it. Another option is to press "Option Command C", and that will open up your color adjustments. You can do any of that here too, but we are going to save it for Photoshop. So, easy way to scan. Basically, main thing to remember is to scan in 300 dpi and then we'll go from there. 6. Method ONE: What I want to do here, because I have all of this on my page and all I want to get as this olive branch. There's a couple of ways I can just crop this background as is or I can duplicate the layer, crop it, or I can create a whole other Canvas. Let's say I don't like the size of this one. If I press "Command N" or "Control N" on a PC, I can do my own custom canvas size. I'm just going to go 10 by 10 at 300, and this creates a perfect square. I'm going to make this bigger, so it might be easier to see. There we go. From here, I'm going to go over to my olive branch, press "L" on the keyboard, it's the shortcut for Lasso. I'm going to just trace over around loosely and then press "Command C" or "Control". Anytime, I say command, if you're using a PC, use Control and then go over to my new Canvas, "Command V". That puts this image here. You can resize it if you want to. I would be careful doing that with watercolor because you don't want it to get pixelated. But I'm going to enlarge this one just a little bit. I'm going to press "Command T", and then I'm going to hold down "Shift". When I hold down "Shift", what it's doing is locking it in place, so that it stays the same dimension the whole time. Whereas, if I let go off "Shift", then it can distort it like this and I don't want to do that. I'm going to go back to about right here and then I'm going to move it here. You won't be able to do anything on this paper, on this page until you basically secure that transformation. You're going to press "Enter" and then it's there. From here you can see that it's not too bad this watercolor. It's not super obvious. The parts that I want to get rid of those, that texture. You can see like right in here. If you ever want to zoom-in and out on your image, just press "Z" and it'll bring up this little magnifying glass and click and drag to the right, it'll enlarge it. Then you can click and drag to the left and it will decrease the size. To digitize, I'm going to show you a few different ways to do this. The first one is the easiest, but also the most unforgiving. Do you see these areas that the watercolor is a lot more transparent? It will probably take those pixels away, but we're going to see. I'm going to hide the background because I want you to see these transparent areas. I'm going to press "E" for eraser. But what you want to do is go to your eraser tool and make sure that you're on magic eraser tool. Then all you're going to do is click one of the areas that you want gone and it's going to match that and get rid of all of it, like this. That's what that ends up looking like because it took some of that transparent watercolor away and that's not what we want. However, this is a really good way to do it if you have, let's say, floral image. We'll open one-offs to show you, make something like this, where you can see that it's pretty dark, but I have a whole bunch of stuff going on right here. But if I just want to get rid of that yellow, I can just click that and then it's gone. You see how clean that is. It's amazing. Then you just click on the areas that are darker with that eraser tool, say like that you wouldn't want to do. But those browner areas or white areas, whichever. It definitely, helps clean that up. That is the easiest way, but also the most unforgiving, if you have transparent pixels, which I love transparent pixels because I think it looks really nice. What you want to do before you get into taking out that background is adjust the levels. I'm going to press "Command L" on my keyboard and then see this slider. There's three arrows on the bottom and the one on the left. I'm just going to drag it inwards, so that darkens this up quite a bit. You can also lighten by using this one. I don't want to, because it's going to take some of that away. Press "Okay" if you press "Command U", it'll pull up the hue and saturation. You can bump up saturation a little bit like this or take it away. I tend to take saturation away a lot of the time. I'm going to change this because that was a little too dark. That's better. But I like to take saturation away because it adds to that moving us and that softness sometimes. But if you add saturation, it'll look something like that. It just depends on personal preference, but that's one of the ways that I love. Just taking it away a little bit hue, that's going to change. You can make it bluer, make it a little more brown. So you can play around that. But anyway, that's the quick easy way. I always because when you scan in watercolor, it will make it look a little more faded like this. Just bumping up the levels a little bit will help. 7. Method TWO: This next image that we're going to digitize, I chose this one intentionally because I actually ran into some issues with it, using the magic eraser, which is what we just went over. I'll just show you that. If I were to use that, see how it also gets rid of all of this. I'm going to show you a way around that and this is also just another way to remove background. I'm intentionally showing you this next method also because this is a problem areas, so I can show you basically the next way, but also a way to prevent any errors before they happen, so you don't end up having this happen and then trying to fix it and go back. If I select W on my keyboard, it's the magic wand tools, that we're going to be using. If you can see that tiny little icon on my mouse and it's the plus sign. You can see that you are grabbing selections when you click with it. I'm going to deselect that what I actually want to use, it's this icon here. If I right-click, I want to use the magic wand tool. What this is going to do, keep in mind too, I'm only on one flat layer. If this was a separate layer, it would just be this border. I'm going to click on it though, and you'll see that it's actually selected the entire border. But if we zoom way in all of these, I don't want this to be in my inside of my artwork, all these marching ants, because if I press delete, it does the same thing that the the magic eraser just did when I showed you and we don't want to get rid of that. I'm going to undo that and go back to my magic wand, the wand icon, and then I'm going to go to the Quick Selection Tool again. Now you can see this is a little bit larger, but if I press Option or Alt on my keyboard, you'll see it's now a minus sign. If I hold that down and click on these areas, it gets rid of it. I'm actually moving that away off of the area that I don't want it to take, slide this down so that doesn't take any of this and then I just follow along to make sure that the edges are going to be clean. Now what I just did will allow me to press Delete and the artwork remains. That is probably one of the easiest ways to do this. I'm going to show you there the white background. It's probably one of the easiest ways to do this if you are wanting to keep a lot of almost transparent watercolor, because otherwise it's going to want to take it away. Now you can see that I've digitized that art without losing any of the watercolor, which was ideal. 8. Method THREE: The first thing that you want to make sure that you have is the, were going to just go to actions. If you don't already have that over here, you can just go to a window, select actions, and just under that we're going to select actions and then you'll have this little play button, so you'll press that, and then you'll scroll down to media militia. If you don't already have this, it's a media militia add on that will allow you to remove the white in the background. You can just Google search, media militia white background removal, and then just download that add on. Once you do that, we're going to do the white background removal with color and then press play. This little warning sign will always pop up. It's just letting us know that for better results, click continue and change the levels to make the background as white as possible by dragging the right slider to the left. I'm not going to do it that way. I'm actually just going to select this little key eye dropper on the right side, and then I'm going to click around until I'm happy with it. You can see that if I click right here, it's still pretty off. If I click here it's a lot whiter. You can still see some areas that will need to be taken out. But if I go to that darkest area, it blows this stuff out with my color, my black lines. So you have to find a happy medium. I'm probably going to stick to about right here, and then I can clean this up later and I'll show you how to do that. Sometimes that won't even be an issue and you might just get rid of it all on the first swoop, but we're going to do this and then you say, Okay. Then you can see it has removed all of the white. Then you can just go in with your eraser tool, which is also the shortcut E on your keyboard. Then change the size, make it a little larger, and just go in and erase that excess in here. I'm not going to go in and be too crazy careful about it because I'm just making a white background anyway. But then what I'm going to do is go back into my levels because I want to brighten up and you see how some of my black line got faded when we took the white out, same with my color. I just want to bump that up a little bit. I'm going to press command L on my keyboard. You can also go to levels over on your side panel, it's just this icon right here if it's not. Then I'm just going to take the left side and drag it toward the right. That's actually moving my middle, my mid tones as well. It's pushing some of that color back in and getting that black line back in. What I can also do is go to my saturation, which is the icon here. Then I can bump up my color a little bit. Then I have my scan and watercolor piece and I'm just going to press save as. Go to file, save as, and then I'm just going to rename it flowers, change it to JPEG, and then it's going to be on my desktop, press save, add quality, eight as high, can do large file bigger. This is going to work for me. I'm going to say, Okay, and then you see that is what it ends up looking like. So you've got a nice clean white background digitize watercolor illustration. 9. Method FOUR: I'm going to show you another way to do this. It is more time-consuming, but the accuracy is much more on. The first thing I want to do is duplicate this layer and people are probably shaking their heads at me because I haven't done this yet. But if you duplicate the layer and then hide the bottom one that way you always have that original one if you mess something up on this one. What I'm going to do now is get this nice and big but I'm still going to keep all of the areas in frame so that I can see them and won't have to hover around like this. That's more convenient for me that way and then I'm going to press my lasso, right-click and go to magnetic lasso tool. Then I'm just going to click and drag it along the watercolor in any place so it does magnetize. But you might worry about it bouncing off, especially along sharp curves. What I like to do is actually click every once in a while to make sure it's not going to get away from me because it will create those anchor points there.. You're just going to see how there's this area that if you're doing something with, oops, see that's not there yet. With a background removal, it might take some of that transparency away and we don't want to do that. Especially adjusting levels and things like that, it will take that away. I'm doing a sloppy job as you can see, but I'm just giving you an idea. These areas are a little choppier, so I'm making a lot of anchor points and then it's smoother and they're going to come up around this guy and I'm going to speed this up now, but it'll show you the final result. Once you reach the end, I just double-click to make it so that it is selected and you'll know it's selected because you'll see the marching ants. Then from here what you want to do is you don't want to get rid of what you just selected, so you want to invert that. If I zoom out, I'm going to show you if I press shift command I, on my keyboard, do you see the marching ants on the edges of the paper? That's how you know that it is inverted and then I press delete and it gets rid of everything outside of my selection. Then you can see that you have, I deselect by pressing command D. I have this nice clean watercolor now. You will notice that in here it didn't get rid of that because we did not select it so you can do that by pressing lasso and then going back in. I'm just going to do this loosely, but going back and deleting those. Another way to do that though, instead of having to do each and every one. You can go back to our magic wand, or yeah our magic eraser and just click those areas and usually that's all you need to do except for areas like that. You don't want to because it goes into such a similar color so that's one that I can use the lasso on. If it's like a situation where the magnet isn't working for you, you can always go to the lasso and just do regular lasso. This line you click and drag and it will go exactly the area that you want. I don't do this for larger areas though because it doesn't work for me. But delete that, deselect that works, and then I'll go back to my magic eraser. Well, I guess not. Lasso eraser apparently will work right there, deselect and then this and then maybe just that nope. You'll see that, that was super transparent so it's going to pick that up so you don't want to do that trick for that one. There we go. Now I have a fully digitized watercolor. 10. Exporting Your Work: Once you are finished with your edits, you will want to export your file. Typically, it's going to be a JPEG because you are going to probably use a white background or use a frame or something like that. But let's say you want to do a transparent image because you're going to overlay on something else. For example, let's say you have text and it's peekabooing underneath these leaves, but you want it to show here, here or something like that, just remove the background by pressing this "I", and then you have a transparent image. Just make sure that when you save it, I'm going to press "Shift Command S", and that says, "Save As". You could also go to "File" and "Save As", on a PC, "Shift Control S". I'm going to go "olive branch" and then save it as a PNG. That's going to keep that transparent layer, and say "Save", and I'm just going to say a "Large File Size", "Okay", and then that saves. Let's say that the transparent pixels are here. There's no white background. If you save as a JPEG, it's going to automatically put that white background in, just so you know. So "olive branch", and then I'm going to save it as a JPEG, and say it's on Desktop, so "Save", go "Okay", minimize this, I'm going to see those photos here on my Desktop. One is a JPEG, this guy. You see that nice white background. I have a Photo shop layer saved, oops. Forget that one. What I meant to grab was this one, and I named them differently. Okay, just kidding. Here's the JPEG. It is nice and white, and then the PNG, we'll pull it up, and you'll see that it's gray at least. This is on a Mac. This is what it looks like when it's a transparent image. That is the difference. Other than the file name, making sure that it says PNG or a JPEG. You can also always save it as layers and say, "Save As" and then save it to Photoshop. That is it, you guys. 11. Project Time!: Thank you guys so much and I hope you enjoyed the class. If it's not already super obvious, the project for this class will be to digitize a watercolor painting. This can be anything that you want to, I just want to see that you have that bright white background or you could even overlay it and save it as a PNG like we talked about, and then have something crazy underneath. I don't know, but I do know that it's probably going to be amazing and I can't wait to see it. Yes. See you later.