Photo to Painting Using Art History Brush not Filters in Photoshop | Jay Scovel | Skillshare

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Photo to Painting Using Art History Brush not Filters in Photoshop

teacher avatar Jay Scovel

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

    • 1.

      Photoshop Introductions Photo to Painting


    • 2.

      Photoshop Picture Clean Up


    • 3.

      Photoshop Don't Use Oil Paint Filter


    • 4.

      Photoshop Art History Brush


    • 5.

      Photoshop Under Coat Layer


    • 6.

      Photoshop Sketch Layer


    • 7.

      Photoshop Detail Layer


    • 8.

      Photoshop Fine Detail Layer


    • 9.

      Photoshop Final Adjustments


    • 10.

      Photoshop Emboss Layer and Class Project


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About This Class

During this lesson, we are going to learn how to take a picture and transform it into a work of art that we can put on your wall. We will be working in Photoshop, and you should bring either a graphic pad and pen, or a mouse if that's all you have. If you are interested in following along with me, you will need to have Photoshop installed on your computer. I'll make the brushes and the photo that I used in the course available for download as well, in case you're interested. There won't be any filters like those used by others AKA (oil paint filter). Instead, we will be employing brush strokes, much as an artist would use a brush and a canvas while creating their work. When I produce an oil painting from a photograph, I always utilize these specific approaches, and I'm going to explain them to you step by step. Your final assignment for the class will be to post the piece of wall art painting that you made by using everything you have learnt during the course. I look forward to seeing you in class, and I hope you like painting. So with that said, I can't wait to get started.

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Jay Scovel

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1. Photoshop Introductions Photo to Painting: Hello and welcome to my studio. Now, I'm gonna be taking you through my studio real quick, just to give you a glimpse of how I'm gonna be teaching you this course. I'll be using a stylus pen and a graphics pad. As you can see right here. Here's my stylus pen and my graphics pad. Okay, Now, if you look on my screen, this is the image we're going to be painting today. So in your bile resources that I provided for you, you will see this painting. Please download it if you would like to use this painting. If you'd like to use your own painting, that is perfectly fine as well. Now, you will also find a set of brushes that I use. Those brushes if I go over here to my brushes, they are my oil painting brushes to all four of them. Coke blush, this gets worse, the detail bush, any fine detail brush. These brushes you can download and install if you did not know how to do that. Don't worry. When we get to the section on flushers, I will walk you through how to install it. Let's jump back over to my main screen for a second. I'm glad you are joining me today. And let me give a little bit of background about me. My name is Jay Scoville, an IDE like art. I'm also a professional photographer here. This is my website. Like I said, I'm an American and I live in Thailand. Photographer for over 30 years. I had my own photography studio. I love art and I love painting. So indeed, original oil painting. I've had the great pleasure of studying and learning under two American oral painters that had their own TV shows on TV, the first one, but Bob, loss. Everybody knows who Bob was. Very talented young man. Well, I wouldn't say young man, but very talented man is ashamed. He passed away. I really enjoyed his paintings and I've had the pleasure of meeting him in person. I've also attended a few of his workshops. Now, the other lady I would like to show you is lean, hard as this lady right here. Now she is still alive. She lives in Florida and to this day she still has a TV show. So she's continues to paint the picture. You see right here, the big picture that was taken back around 19881987. I don't know exactly what year, but that is the same time that I personally took lessons from this today. And she is the reason why I got into or an oil painting in the first place. I didn't pursue oil painting as a career. I chose photography instead. But to me, photography is art. In fact, the name photography in Greek means painting with light. So I really enjoy my photography and art laboratory today. This is how she looks today. This is a picture taken back in 2021, September. So it's fairly modern picture. This is how she looks today. One of the things that I very much cherries is a painting that I did while attending her class back in 1988. On that picture, on the back of it, she ordered graph. Did I quote your xin or retard? In quote, that picture hangs on my mom's wall in her living room. With 30 years. I'll probably never part of it neither. Well, my mom my mom loves it. I gave it to her as a gift. But after I got done painting it, a cityscape, the oceans crashing in on the beads. Okay, Let's go back. I'm gonna walk you through step-by-step how to convert a picture into our oral painting. But we're not going to be using filters. I do not like filters. I do not use them. We will be using brushes. Now though is one exception. There is one field to that I will use, and that is the embossed filter. And the only reason why I use it is to give my paintings when I'm done a more of a dept 3D of bed so that the paint layers actually look like paint layers. So we will use the inbox filter at the end of the course when we are done. Otherwise no filters, everything we will be doing, we'll be done with a blush. So what skills do you need? Just some basic understanding of Photoshop. An if you have a graphics pad and a pen, that'd be great. However, you do not need when you can do this with a mouse, it will not be as fluid. You might find it difficult for some things, could get into some real fine details, but it can be done if you have a graphics pad. Great. That is when I will be using for this course. So without further ado, how about we jump into less than one? 2. Photoshop Picture Clean Up: Here we are in Photoshop and we have my image, as you can see right here. Now, the first thing I always do before I start painting any picture is I like to take and adjust my, my image. So the way I do that is I go over here to filter that this isn't really a filter, but I'm gonna go down here to camera, wall to wall off filter. When I said this isn't really a filter, I'm not mean I'm, I'm gonna be applying effects to it like an oil paint philtrum and things like that. All I'm going to be doing in this section, I'm just going to be adjusting my image. One thing I like to do is I like to go into the very bottom in the calibration screen. Let me close it back down. And yes, you right here, the very bottom to calibrate your screen. And I like to tweak these colors a little bit using my blues. If I click the eyeball on and off, see how it just kind of gives it a little bit of punts, doesn't overpower. It just gives it a little bit of punts the next day. And I like to do I'd like to go into my details. And I like to blame my noise reduction all the way to 100 and Mike color noise reduction already to 100's. Now the reason why I'm doing this, I'm just softening the picture to soften it up just a little bit. If you think about an oil painting or paintings or liquid, wet, they're smooth, they don't have a blunt, sharp edges to them. So by applying that filter, it just softens. That is, is just a little bit. These little things that I'm showing you are totally optional, totally up to you. You can do them with you like if you don't like them, don't do them. Okay. The next thing I'm going to do is I'm going to go into my curves. And first-class section on the bottom left. I want to pull it down just a little bit and then just tweets, my shadows, will go to the cost section top light. And I'm going to pull it up just a little bit. All I'm doing is you're tweaking, but turn the eyeball on and off. Tweaking my highlights and my shadows just a little bit. I'll do the basic tab on the basic Caleb, I'm going to go in here. Now if I wanted to treat with my vibrance for my saturation, I could. Sometimes I do, sometimes I don't. Sometimes I like to just take my vibrance and just give it a 25, just keep it in 25. Make sure I got them highlighted. 25 just to bump it up just a little bit, not too much, just a little bit. Sometimes I'll mess with texture clarity or D Hayes. That's pretty much gonna be a bet in your current fast. But normally I don't do that because I want the pixels. We say a little bit soft exposure if I think dispose it needs, it, might tweak it a little bit. The temperature, sometimes my temperature, if I want to make the picture look a little bit more cool, I'll move it to the left. I want to warm it up. I'll move it to the right. In this case, if I double-click it to go back to this to where it was. And I kinda liked that coolness, just dropping the crudeness down GSI here, maybe to a minus t and minus 11 to sit here. And I liked that. The next thing I like to do that I have to go to my my rights, my legs, my highlights and my shadows. Now if you hold down the Shift key, it'll auto. Now if you click on this little arrow, highlight the shadows, whites and blacks. And what it's doing is it's trying to adjust your histogram to balance everything out. Now you take it did it two buds, and you don't like that effect. You can always dial it back down. And like for me, I think it did the blacks just a little bit too much. So I'm gonna get down, bet. Cheers. Maybe to around 70, or maybe use less 65, just a little bit. And that's all I'm gonna do. All I'm doing is just tweaking my colors. Just give that a second. You'll see it kicking it. There we go. Now my colors are adjusted. Now, I'm going to save this out because I personally, I've worked in pain. I don't like using JPEG when I'm doing my photo edits, my paintings, I actually like working in pain. So I'm gonna go up to the top to File. I'm going to go down and hit Save As. And I'm going to choose pin. And I'm going to save this as a pain. Now I already have a copy of this saved, so I'm just going to overwrite that one with the one I just did. Leave it on large for fastest saving and just hit. Okay. You can see down here on the bottom corner, it is saving it out. There we go. It is now saved. So we are now ready to move on to our next year. That was enhancements. See you in the next lesson. 3. Photoshop Don't Use Oil Paint Filter: Now the next day and I'm gonna do is I'm actually going to want to show you the oral paint filter. Now. I don't use the old paint filter. I don't like it. I think it gives it a two or be digitalize effect. But some people do absolutely love it. So I'm going to walk you through in this lesson oral pain filter. Here we go. Let's go to image. We have our image here. We go to the filter. We go down to Stylize and then click on oil paint filter. That'll bring up the filter. And we have our sliders. Now, if you look at the very first one, says blush. We have revised, plan it all the way to the left, all the way to the right. See how it's making changes to the image. You can see this in the 100% view in the small window in the corner. But if you have the little box checked, it says preview. You can see it on the main picture as well. Now for me, this stylization for the brush, it's all the way to the right, looks very orderly. It looks very orderly to me, like red red paint. And you can find you a little happy medium around here, someplace that makes you feel happy. Maybe you're right around in here. Now, cleanliness. That is the second slider. If I move it all the way to the left, it gives the picture a little bit more of a grunge to me. It runs look. And if I move it all the way to the Bible, it kind of smooths it out just a little bit, cleaned it up again. You can find a happy medium. I think I'm just going to leave that one at tn. Next point is scale. Now what scale does that adjusts its the depth, the depth of your paint. Remember this oil paint filter is trying to mimic an actual oil painting using bushes on a canvas. If I move it all the way to the left, we have very little depth, as you can see in 100% preview window. All the way to the right. We have lots of dept. It looks like the paint is really big on our canvas. So that is what scale does that just adjusted how thick the paint looks, your text or your debt. The next one is our visual detail. And just think of that like the bristles forbade flush. So move it all the way to the left. Or if you move it all the way to the right. There's just adjusting the bristles of your brush. I don't really see too much of a difference in that particular tool, but it's there. You can tweak with it if you like. Now, lighting, lighting page, a very important aspect of or paint filter. Because if I turn off, the picture goes flat and smooth and you can't even tell it looks like an oil painting. You can a little bit. You can see in the preview, if I come down here to my magnifying glass and I say zooming to a 100%, you can tell how it kind of looks kinda move. Let's just zoom back out. However, I find that just doesn't really do anything when you have it turned off. So let's turn it back on. Now, what you got to turn back on is trying to represent light shining onto your paint. If you turn or shine all the way down to 0, that's equivalent of having it turned off. If you turn it all the way to the right to tn, that's a lot of shy. You can see every little detail with mimicking all of the shadows, the highlights and the shadows. And you will see on a painting if a light hitting it, a happy little medialis. Let's do like down here for somewhere around in the two section. There you have the areas, the oil filter. Now I'm gonna go ahead and hit Okay, to apply this. And here we have our opaque filter. So let's go back to 100 per cent on Zoom. And again, you can see how Photoshop is trying to mimic a painting. Now you can see it here and you can go through and tweak them sliders and get this looking pretty good, pretty realistic. My problem is, what's the furniture that we're not painting? Wrong mouse clicking. Our are mouse-click and we are not painting. To me. I'm a traditional oil painter. I've been painting for over 30 years, has two, says fiercely, since the 1988 when I started taking lessons in attending limp retard and Bob loss workshops. I love painting. Now. Oral paint as much as I used to. And I don't sell my paintings anymore I used to, but not anymore. Nowadays I do it just for fun. I concentrate more on my photography. That is what my career was. I was photographer, but I find it more fun using a stylus pen and a graphics pad to sit in, paint the picture in the bus to those individually. As I'm working my way through the painting and I'm bringing out all my details. So let's take our Photoshop. Let's go to this reverted back to the way it works. So I'm gonna go to File and I'm just gonna go down in here. We burn, put it back to our original painting. And here we go. So that was just a quick walk-through of all paint filter just in case anybody wanted to look at it and check it out. Okay, In our next lesson, I'm going to talk to you about brushes. I'm going to show you how to install the brushes that I'm including in the course. And we'll get ready to start doing some painting. See you in the next lesson. 4. Photoshop Art History Brush: Now that's getting to our brushes. So like I said, I included a set of bushes in the resource pack for you. You can download and use the film. And I will show you how to install them. If you do not know how, however you have to use those brushes, you can use any brush you want. Now, the tool that we're gonna be using for our oral painting is if I go over here on the left side, and if we go down to this two-by-two, you see where my mouse ears. We went to Art History Brush Tool. Now there's two brushes in here. You have history plus two and Art History Brush Tool. Make sure you are on the Art History Brush Tool. Now, that tool, but that will enable us to do is as we're applying layers, it will sample in draw or paint from the original image that you see here before us. If we change the brush size, if we change any settings, I always create a new layer and add label my layers. I'm going alone so that I know what they are and what Bush I used. So I will be showing you that in this lesson. But let's go over here to brushes. Now if you don't have the brush icon here, you can see my mouse over here on the right. Just go up here to Window and go down and click brushes, and it will open it up for you. But let's click on Brushes. Now here's a good selection of brushes that come pre-installed with Photoshop. Some good buses to use are actually the Legacy Brushes. Now if you do not have the legacy brushes, they're there. They just may need to be activated. If you go up into the corner, the little hamburgers. If you click on that and go down to legacy brushes and click on there. It'll ask me, Do you want to restore the legacy bushes? I'm not gonna do it because I don't have to, but just click Okay. And that will restore your Legacy Brushes. Now, in the Legacy Brushes, if you open that tab up, the default, close it there you can see you have default worshipers of sorted basic calligraphy. You have all kinds of brushes but gets added the default brushes. A good brush to use is actually if you scroll down almost towards the bottom and click on the dry brush, right here, dr plus 39. Click on that. That's actually a pretty good brush to use for your oil paintings. So if I have that clicked on, I'm gonna go up here to the top. And I'm gonna make sure I have this or type should that be CYP on the top toolbar? I have it set the type short. Now you have tie short, tight, medium, dab does different settings in here. You can play around with the find out which ones you like. Personally, I find that when you get down below dabbing to the coral, they started looking more like worms like half semicircle is I really don't like to have, but let me click on now. Now, your bracket keys, your left and right bracket keys, That's the square bracket keys, the ones by its side, P. If you click those, those will actually make your brushes bigger or smaller. I'm making them smaller. Now I'm making it bigger CM upwards, it's getting bigger or smaller. If you look right here in the center of my picture, you can see my bush. So I like you said, area gone back to the top but yeah, try coral. I like to set my area at 20 Now I'm going to click on tight coral. Let's see the effect you get when you're using there. I really don't like it, especially if you start getting into like, Whoa, I just don't really like that. Look, go back over here and go back to revert, to go back to normal. If I go too tight, short, or type medial. Find that those gears a little bit better. There we go. Now, you can use these brushes. And I'm going to show you how to set the brushes up. And I'm going to show you the settings that I use when I'm setting my brushes up. So again, I'm gonna go up here to File and I'm gonna go ahead and hit reverb. Because I don't want to do that. Now. Let's go over here to brush settings for sediment. Under Bush settings. If you click on brush tip shape down on the bottom, the spacing, you can adjust the spacing. And this spacing say about 45, looks good. Now, go to Shape, Dynamics and Size Jitter. A good starting point is around 50 or so. Angle Jitter, one out of two, well, maybe about an 80 roundness jitter, one out of two, well, 70 or 80. And you're good to go. Don't worry about any of these others settings. Just leave them alone. Let's go ahead and close this down. Now, that's open up. Let's create a new layer. A new layer. So I'm just going to hit down on the bottom, the square with the x in it or the plus sign in it. Click on that, Create a new layer and see how when I start working over this is starting to work that Amy Tan, what we're doing here, you're creating a base, a base coat. Now, I'm not going to be using these brushes. I'm just demonstrating that you can use just about any brush you have. It load is it is compatible with the art history plus tool. Not all brushes are some brushes are not compatible with it, but if it's compatible, you can use it. Now from here, average is simply create a new layer. I would shrink my brush down to maybe say 500. Now see up here where it says 500 rupees at 1200 before. And I started working in a little bit more. Now each time you do this and each time you create a new layer. The Art History Brush Tool is always going to be drawing from the background from the mainland. So don't worry about if you go in and you create a layer in it, it doesn't turn out very good. You can always just go to delete, right-click and hit Delete and delete that layer. And you don't lose any progress. That's why I recommend you work in layers, so a particular layer is not working out. You can delete it. You won't lose all your other layers. Now, like I said, what art can be used in this blush? I'm going to be using if I go back over here to my brushes, so let me bring up flashes back up. I'm not going to be using the legacy brushes. You can use them with death all you have. But like a told you earlier, I provided a good set of brushes for you. They are the oral painting brushes. So if you do not have the oil painting brushes, Here's what you do. If you download it on the resource pack. Again, go back up to the hamburger, click on that, and go down towards say, Import Brushes. Click on Import. Navigate over to where you have those brushes. They're most likely they will be your download folder. If you downloaded them and you didn't move on. But if they're not in, you did Moodle then navigate to where you moved up to? I'm gonna go to my desktop because I have them in my art class folder. When I open that up, you can see right here, here's the folder that you downloaded the file, the art painting bushes, ABR. Just click on that. I'm not gonna do it because I've already have them installed. But just click on that. And wallah, there are the brushes. Now let's take a look at these brushes real quick. Let me go ahead and cancel that back out. If I go over here to the oil paint brushes, the first brush is the undercoat blush. Now you look all the way over to the right, see this little symbol here. This little symbol. That means that this brush is set up for the Art History Brush Tool. All four of these brushes are pre-set up for you. I have them set up and ready to go so you don't have to do anything. You can just start painting right out of the box. So let's look at what each one of these brushes are in the settings. I have the undercoat wash I have set at. If I click on that one, I haven't said that a bush size of 800, it is a dab dab Bush. And I have the area set to 20 pixels. If I go to Settings, I have diverse TIP set at 10%, C right here, ten per cent. I have the shape, dynamics, digital. I have set size, jitter, I have said all went to 0. I don't want this one changing sizes on me. I want it to stay exactly at 800 throughout the entire process for this bush. Angle jitter I have set to 100% and roundness jitter I have set to one another. In what that is. That's just means that the brush is going to automatically chains invoke tape. It's not going to change in size. That's just going to change in rotate as I'm using it. Minimum roundness, I have set to 25. All four of these brushes have a texture set up on them. If I click on texts there, they all have a setup. Then Texture gives the painting a brushstroke effect. So it makes it look like an actual plus. So I like doing that. And I like having that effect. It's just a little extra to give your painting a little bit more of an oil painting feel to it. Transferred. You don't have to worry about or any of these other settings. Let's look at our next flush or next first we'll be using is this gets flush. Let me click on that one. Now, that one I have set up as a type short. Short, not a dab, just want a tight short area is still at 20. And if I go to the brush settings on it, my brush tip, this point you'll see I have added 50 per cent, so it's up a little bit. However, the plus size is only 7070 on the burst size. If I go to Shape Dynamics, the size J2, I have set to 50. So this one will paint with it is going to be jumping around a little bit. It's gonna be gone bigger, smaller, bigger and smaller. But it will never exceed that 50% threshold. Angle jitter or have it 75 and roundness jitter I have 75. Again, that one also has a texture setup, transfer and smoothness. Let's go to our next one, the detailed bush. This one is also a size of 70, but it's back to a dab again, I'm using a dab on this one again. I will do, I will walk you through each one of these brushes as well, use them to do or painting. Brush settings. Size jitter is 50, the Angle Jitter is 75, and the roundness good on this one is also 75. The bus tip on this one is back down to ten. So I dropped the spacing. Spacing, I've dragged it back down to ten. And our last flush is our fine detail bush. And this one again, I jumped up to tie short on the top. This one is only 25. It's a very small brush or very small push. Because of that, if I go to my glass tip, I don't have a space in on that one is too small, you wouldn't see it. Anyways, the brush dynamics, I don't have a size jitter on that one again, is too small, you really wouldn't see it. The angle J2, I do have that at 50 and the roundness jitter I have set D. So those are the four brushes for brushes. Quickly go through and let me just demonstrate real quick, but East one would look like. So I'm gonna go to the undercoat flush first. Go to my layers. And this could create a new layer. So this is the undercoat wash. And I'm going to use my pen. I like painting with mapping. Now see if you look each time I kept see how my brush just like it's changing. Can you see that? It looks like it's changing and as I'm going through here, I'm clad or like budget and smear and every day Now explain exactly what this undercoat it, but you can kinda see how I did up in that corner. Changed flushes. Now let's go to our next version, which is our skin flush. So that's this one right here. I'm going to go back to my layers. Go ahead and minimize that and go back to, I like to minimize everything. I like to have all my real estate as much as possible is create a new layer. Here we go. Now, this bush is a sketch bush in the whole purpose of it is to just kinda starts getting less guessing in my tree and I'm sketching in the image. So you can see I'm just sketching stuff yet now because it's on a tight short. It's going to try to automatically branch out a little bit and follow the natural lines that are in the original picture. You can see how I'm kind of just getting me in the MAs, given us a little bit of an outline. Let's go to our next flush. So let's go over here to brushes, and let's go to the detail brush. Now the detail brush, the purpose of it is just to give us a little bit more fine detail, create a new layer. I'm on my detail brush. Okay, so let me go over here. And I'm just going to brush in detail. I'm just brushing in fine detail and you're not gonna be able to really see it too much. This is a very small, fine brush. But I am gonna be Beirut to put in some fine detail. And the last brush is the really fine detail. And it worked pretty much does the same thing as what we're doing here. So that's just a quick overview of the four brushes. Let's go back over here and as we heard one more time, back to our original picture. And in our next lesson, Let's get ready to start doing some floral painting. Now that you have a understanding of the brushes in how this one works. See you in the next lesson. 5. Photoshop Under Coat Layer: Okay, So let's first thing I wanna do. I wanna make sure we create a new layer. Remember, go down to the bottom where the little boxes with the plus sign in it. Click on there to create a new layer. There we go. Now, in this layer, I want you to double-click on the name, and I want you to label it undercoat. Undercoat. Very good. That way we know that that's all undercoat blush. Now, here's what we're going to do. We're going to open up our brushes. And we want to pick that undercoat brush. Now, I'm going to leave it just like it is. I'm not going to make any changes to it. But like I said, you can make these your own. And as you're doing other paintings, you might decide to tweak. And we will be, again, that is totally up to you. Let's close this down. Backup of my layers, make sure I'm on the undercoat layer. I always close everything down. I'm painting that way. I have full real estate and I don't accidentally go off of my painting and accidentally click on something that I don't want to click on. Okay, Just push is a number, eight hundred, eight hundred size brush. So I've got my stylus pen and I'm going to, just, what I'm gonna do is I'm just going to gently paint in this picture. What I'm doing is painting in, but they would call an undercoat or a jet. So anybody ever heard of the term jet? So it is when you take like a clear and you've mixing just a little bit of color to it, just a little bit. And you just kinda go over the entire canvas with it. And it gives, gives you a canvas, a little redness, a little retina, and look a little smoother. Notice that the paint will go on easy. And we'll have something to a sudden to stick to. Paint does not like to go on a dry canvas. You're using up talking to actual oral painting. When you're actually painting reside. Really love in booleans, joy. We all wait as painters who always apply a code of jet so to paint before we actually became a big deal. So that's what I've done here. Gsa, thin coat of jet. So now our picture doesn't look like much, does it? I'm done. That's all I can say. I have to do for layer one. I'm done. But there's my thin coat of jets. So let's open our layers backup rope going to get ready for our next lesson. Take your time. Make your painting look the way you want it to and then you are ready. You can proceed to the next. That's it. I'll see you there. 6. Photoshop Sketch Layer: Okay, now, let's get ready for our second Bush. So let's go over here and let's create a new layer again. There we go. And we're going to name this layer, are skipped. So this is our sketch. And we'll be sketching in our image. Just a little outline. A lot of painters do that. A lot of oil painters, I always did it. I would take a look, fine liner brush. When I was actually using real paint on a canvas, I would just lightly sketching, just kinda layout of how I wanted my picture to be in digital or it is not much different now. But before we do this, remember I told you we would like to be able to see what we're painting. Now if I was doing this in my leisure, gets, I find this very relaxing. This is a passion for me. I would actually have the original image pulled up on my second monitor. Unfortunately, because I'm recording this course, I cannot do that because I have my recording software on my other monitors. So some of you may not have two monitors. It may only be using a one monitor system. So here's what I want you to do. I want you to with your sketch layer, the layer that we just created. You can hold down shift and click on undercoat layer. Do not click on the background layer, leave that one alone. So you should have two layers highlighted now and your sketch layer in your undercoat layer. Right-click in here. Group, group from layers, sorry, it's held up towards the very top group from layers. You can name it whatever you want. I'm just going to name mine painting. I'm gonna hit, Okay. Now that puts those into a layer. Now, the reason why I did that is now I can go ahead and open a backup. It closes it down. Go ahead and open it back up. Go ahead and click back on your sketch layers so that we have it activated. But if I click on the eyeball inside the folder, it says painting. I'm turn off what I'm doing and be able to see my original painting. Now I can toggle back and forth as I'm going through here. And I can look at the original picture. I'm going to go ahead and toggle it back on, making sure I'm on my sketch layer. Let's go over here to our brushes. And let's grab or skits plush, just grab that one. There we go. Go back over here to our Layers and reports gets bush. We are ready to start sketching in RAM is kinda give us a little layout. So with my stylus pen, I think I'm going to start right here. Now. I want to start bringing in nice tweaks. See what I'm doing. I'm just sketching in these trees. I know discrete kind of months straight up and down. And what we're going to live for those who are following alone. And I know there's more trees over here. Now, like I said, if I wanted to see exactly, I can just come over here and I click on my eyeball. I got to I got a glimpse of my picture. I come back over here and I can start painting in these tweets and I'm just working to me and I'm just taking my brush and I'm just gets into me and I'm not worried about buying detail with this point in time. This is just my sketch. I just want to kind of work the image. Just worked it over. And this is more media and using the filter. Let us do it. Sorry about that. Here in Thailand. I live in Bangkok and I cannot always cancel out loud. Motorcycles want to burst up and down my street. Please forgive me. Hopefully, skills there doesn't cancel my course because of the noise. I will try to filter it out as much as I can. So forgive me if you do your motorcycle on occasion. But let's continue. Just get E and anomalies, likely schizophrenia discussing in detail right now. I guess the end a little bit of the underbrush. And I'm getting into some more of the underbrush over on this side of my picture, on the right side. There's a couple of trees coming up right here. So I want to work these trees here. This is just relaxing. Taking these, happy to train them in. This, give them some love. Bob Ross would say, give them Aluminum. Scan of schizophrenia and don't worry about fine detail. This is not the detail layer. All we're doing here. We just want to give our pay or picture a little bit of definition. Highlight traditional elements of our picture and we will go back in and a little bit kind of work come in a little bit better. I know there's another tree right here. I'm just taking my brush. I'm getting work done at the end. Like I've mentioned before, you can do this with a mouse. That's not going to stop you from being able to pay. But I find that if you have access to a stylus pad and graphics pad and a pen, that motion, It's just a little more fluid and middle, easier to work with. I know there's some weird stuff like I've been here at about one of work in this is probably the most tedious part of the painting. Is the sketching it. But that's what makes it fun. If Bob is painting a real painting, for example, and I will add the park. And I had my ease of setup and I had my palette with my paint and mouthwashes. And IPSPs scenario, not just be getting it, but I see what I saw. Just making. Let's define it over here. I think I'm going to define that isn't just feel just a little bit, I'm just going to give it the plan. Now, the thing about this, a lot of people might think, well, this is cheating. You're not really painting. Well, one thing you have to keep in consideration, yes, The Art History plus two is drawing from the original painting. But if you don't paint it, it's not going to show up. And if you put more emphasis on one day, in less emphasis on another, your picture is going to change. It's not be exactly the same as the original picture. So we may be using our original picture for inspiration. But that does not bind the picture. What we do with it as brushing in report brushes, brushing in these items. That's what it finds. Our picture. A little bit of love here. And if I have inside, well, this tree here, it's in the main picture, but I don't want him to really be a major player, a major element in the picture that I don't give him any, I guess kinda bushy beard lightly in that robot. But if there's something that really, really want to stand out, this tweet here. Maybe I want to stand out. Then of course, other spin more time, more time and more emphasis on that particular limit. Now, I'm not going to be spinning a whole lot of great time on this particular picture. Because I just want to show you the basics. Give you an understanding on what I'm doing. But can you see my picture is starting to come to life. Can you see how I'm starting to get a little bit of detail and my trees and antique binding stuff here and there. This vicinity and this is just a book skits. That's all it is. You say, well, if skids, we will go in with more detail bush in a little bit and actually start playing more elements into one picture. Okay, so there's that layer. Now I want to turn it off. I want to turn off the undercoat layer. And I'm going to turn off the background layer. And you can see right here. You see right here this is, but I guess the antecedent skills just given us a little bit of definition of picture's going to look like. So now, when you are done, take your time sketching as much as you want. When you are ready. We will get ready for our detail brush. And we're going to go in and start working in some detail. Now, each time I add a new layer in a new brush, it will not be as dark or as thick as the previous layer. And sometimes we don't even cover completely. Here I have the undercoat layer. That's the wet layer I have activated right now. And you can see, well, I didn't completely cover it. Can you see some of this? The bottom Canvas is shining through. We don't always get complete coverage. And just like in real wall painting, when you are using real paints for, for Bush on a canvas, you don't always get complete coverage. And East layer, this layer as you work your way through the painting, will be a little bit less and a little bit less and a little bit less. So here's what we have so far. And I'll see you in the next lesson. 7. Photoshop Detail Layer: Okay, Let us get ready for our next layer. So we're gonna go over here to our layer panel and create layer. Now if it's in the wrong spot, move it up. Make sure it's at the very top, not above the painting because that's our overall group folder. To make sure inside of that folder, that is that the cop that's labeled this one detail detail so that our detail layer. Now, let's go groundwater detail brush. Now this is a very tiny brushes. First is only a number seven. Number seven. So it's a very tiny, but making sure we are on our Detail layer, we can start brushing in detail for fine tuning or picture. So I go, I'm going to start in. You are feel free to jump in and you start to start painting in detail. Now it might not look like we're doing anything, but we are we are. It may not look like it, but we are. In fact, let me just show you. I'm going to jump over here to the magnifying glass. And let me zoom in at a 100%. And I'm going to go over, cross over two. Right here. Rudy, trees are, Let's just come down to say this tree right here. Okay? So this tree right here, and if we go back to my brush, okay, So I got my brush. Now, if you want, see how when I'm pushing this tree and it's coming in, it's very faint. This is a very small, but remember it's only a 70 bush. So yes, it may not look like it in the grand scheme. You are zoomed all the way out. But it is, it is painting it. Now. I don't like painting in close like this. To me, this would be like username magnifying glass. And I'm sitting there trying to paint my picture. I actually liked painting the full view. So I'm going to go in and zoom all the way back up to full view. Now the easy way to do that, It's just to hit flow plus 0. Well, that will take you back to full view control. Let's do well. On this layer. This is my detail layer. I'm just going to gently painting my tree that my trillions One of the brain in detail on my tweet nails. And I'm going to just be working my way around the painting. This painting, the end. Put more emphasis on some items, less on others. Giving it all just a little bit of history paintings and love. This is your painting. Make it the way you, but you don't have to follow exactly what I'm doing. You don't even have to be using this picture. You can be using your own picture. That's what techniques would still apply. It's the obedience say, regardless of which picture you are using. The weekend here in Thailand. And it's also Mother's Day and Mother's Day here in Thailand. So my neighbors are very active, very active today. I probably should have tried to hold off on doing these videos, but I wanted to get them done so that you guys will store it in Choi. I'm very busy, typically between my regular bedside. I also teach English. I'm an English teacher here in Thailand as well. I kinda semi retired eliminate Thailand. But that's not completely accurate. I do steal semi work. I'm in a picture like cheats English to tie students. Sometimes that keeps me pretty busy too. But when I'm not teaching and I've just got some downtime, some meat time. Usually you can find me either working on my photography or creating a painting. Really. Hoping that you guys enjoy it too. Again, for the sake of time, I'm not going to be doing as much emphasis in as much detail on my painting as you probably would on yours. Because I don't want the group drag out more than they have to. But you can kinda see how my picture is coming together on the semi work. It didn't work in the end. The detailed is my detail brush. I've already did the scarce and I've done the base coat. Now I'm just trying to so many things that I think needs a little bit more. Hi, I'm still a little bit more detail. I need to be brought out just a little bit more. That's all I'm doing. I'm just working nodes in giving them a little bit. Okay? For the sake of this video, I'm going to go ahead and stop right there. Now again, normally when I'm doing a painting, even a digital painting, not just actual oil painting using real-world paints and brushes. But when I'm doing a painting in general, it takes me hours, sometimes even days to do a painting. But this is just a quick little demonstration just to show you the basics on how to take a picture and turn it into an oil painting. Let's look and see what we've got so far. So if I turn off the painting brushes, Here's the original picture, and here's my oil painting. Notice how it's a little bit blurry, a little bit abstract. That's how it's supposed to look. That's how paintings look in real life. They're not crystal, the crystal that's the photograph. Paintings are a little bit blurry, a little bit abstract. And if I take, I'm going to zoom in. Just zooming into 100%. Let's move about our picture. Can you see how it looks like actual Plus clothes? Big difference then when I showed you the oral painting filtered will pay me unfiltered. Look too decentralized me. This actually looks like plush slopes. In some areas you can see why didn't get as much paint as I did other spots. Very, very cool. I really love digital oil painting using this technique. Okay, I'm gonna stop there. And I will see you in the next detail. The next detail in the fine detail lesson where we use odd fine detail brush. That'll be the last Bush to reuse. See you in the next lesson. 8. Photoshop Fine Detail Layer: Okay, We are back and we go ready to jump into nets. Final layer as far as the brushes. One more time, I'm gonna go down here. I'm going to create one more. And I'm gonna go ahead and name this one fine detail. And there we go. Let me jump over here to my brushes and let me get my fine detail brush. This is a very tiny brush, very tiny. That gets only 25 pixels or 25 size. Pixel, 25 in size, it's a very tiny brush. Make sure I'm on my fine detail layer. I am very good. Now. I don't spend a whole lot of time with my fine detail brush. This is justified, gut, but SciPy that I would like to emphasize. In fact, the brush is so tiny that you can't even really see it. All you see is cross hairs. But I'm just going to lightly brushing like I want to go stir fine detail on some of my tweet. Leon's. Give him a little catch, two more little bit of love work, Damien, just a little bit. You can see there. I don't know if you can see it on a video for showing up on the video, but I can see it. See the transformation. I can see how they come in a little bit more to life. Now I'm not covering the entire picture of backup. Probably could if I wanted to. Remember, this is a very tiny Bush. You know how? Yes, it would be if you tried to go over the entire picture, 100 per cent, this little tiny brush, it would be almost impossible. If you remember when I showed you that undercoat brush with death bush, that was a size 800. Even with debt bush I didn't cover every day. Just give you a treaty, some love. Take your time. Remember this is your painting. Take all the time. You need bushy in little detail than you think you might need. I don't push it a whole lot of detail. I don't like my paintings to be 100% realistic. That to me that's a photograph. If I want a photograph, I'll do my photography. I've been up photography for 30 years. Mainly done weddings, really enjoy buildings. But I've done wildlife and scenery. I've done HDR photography, if that's high dynamic range. I've done my globe photography. I've done just about any kind of photography you can think of. Really enjoy. But this is a painting. In paintings are not supposed to be realistic, just supposed to be asked to act, just supposed to be blurry. That's in a preciousness. Impressionist paintings are blurry. They're not real life. Okay? Again, you can use less time is you might take your time and do this. I'm going to call that good for the sake of the lessons because I'm trying to keep them as short as I can and not make you sit here and listen to me blab on and on and on. I like to talk. Remember I'm an English teacher. Talking is what I do when I'm not painting and doing my photography. Okay? So now we have four layers. By detailed layer, a detail layer, a sketch layer, and undercoat layer. Keep working on your layers, get everything exactly the way you want it and when you are ready, don't do this. Don't do this unless you already. But if you are ready, your painting folder, right-click on it. And he merged group, Merge group. And that will convert it over into a single layer, a single layer. Now I have my single layer, my painting layer, and I have my original picture. Now the next thing I'm gonna do is I'm going to take, and I'm going to flatten this image. I'm gonna go ahead and flatten it. So I'm gonna go up two layers. And I can go down and hit flatten. Or you can just click over here in your Layers panel and hit flattened image. Either way. I'm going to flatten my image. Now. We're not done. We're not done. Now. We have a couple more things that I like to do to my paintings. One of them is that impulse filter, the only field through I use, other than at the beginning, I use the camera wall filter, but I don't really consider that a filter. That's more like tweaking my colors and stuff. But we're going to use the impulse filter, but not yet, not yet. There's one more thing I want to do first before I use that embossed filter. So I'll see you in the next lesson. 9. Photoshop Final Adjustments: Okay. We've gone through and we had painted or painting. Hopefully yours turned out. And you are very happy with it. I'm happy with mine, but it looks a little flat. And there's a couple of things I'd like to do to finalize my paintings. One of them is I'm going to apply a couple adjustments. So I'm gonna go down below my layer and I'm going to click on my adjustments. I can't see where my mouse is down here at the bottom on the right, I'm going to click on my adjustment. And what I'm gonna do, I'm gonna go up to vibrance. Click on Phi. But now here I can adjust my saturation and my five points. I used the don't mess with it too much, but I like to tweak my Bible is just a little bit just to give my colors a little bit more. Pop. Say well, 2030, several red and they're more or less depends on your taste, what you like. And I'm going to go ahead and set debt. So I'm going to go ahead and minimize that one back down. If I click the eyeball on that Bible inch there, I didn't do much. Ts a little, I guess, kind of gave my colors just a little bit more pop. Not much. Now, I'm gonna go down to the bottom again. And I'm going to apply another adjustment. And this time I'm going to apply a curve. I'm going to click on my curve here. The first cross section, like we did earlier. I'm going to go ahead and bring that down that's adjusted my shadows just a little bit. In my last cross-section, bring it up and answer judging my highlights just a little bit. Okay, in there I have that adjustment. I'm not very subtle, very subtle. But here's my picture, a little bit more on colors, so they are not so washed out. I'm gonna go here and I'm going to flatten the same. It's again, flatten it. There we go. That way. I can move on to my impulse future versus what we're going to do next. So combined on back. And let's look at the impulse filter. See you in the next lesson. 10. Photoshop Emboss Layer and Class Project: Now we are very full or impulse filter. So before we do that, I want you to make a copy of the background layer. Now you can do this different ways. You can just right-click on it and hit Duplicate Layer and hit Okay. Or you can do Control J or Control plus j, and that will also make a copy of it. There's also other ways, but those are probably the two fastest ways of doing it. So now with that background layer activated, this is a little bit tricky, but I know you can do it. I want you to hit Control Shift and you control shift and you keep ready, Control Shift, Control Shift U. There we go. And that, but that does, is that converts the Enbridge over to a gray scale. Don't worry, we're gonna get our color back, just converted over to a gray scale, but we will get it back. Next. I want you could go up to the very top where it says image on your top toolbar. Click on that, go down to a adjustment, go over and go down to Shadow. Highlights. Click on there. Leave it as it is. Don't make any changes in click. Okay. And that adjusted our shadows. So that when we go to apply on bass filter, just a little bit more definition. And that's what we're gonna do now. So now go up to Filter on the very top. Click on that, go down to stylize, and go over and click on emboss. But this is what to do and this is gonna give us our dept that's gonna make our image look like it's in a little bit of 3D so that the paint looks like it's actually in layers, not so flat angle. You can leave it as is. You can adjust it if you want. I just leave it as is my height. Depending on how strong of an effect I want. I will either go one or two pixels. If I dropped down to one, you can see one pixel. And the effect isn't as phloem. Here's two pixels, it is a little bit stronger. The amount, I usually go 500%. But you can go again as low as 200 per cent if you like, 200%. But me, I like to go 500 per cent. So there we go. So now just hit, Okay. Hit Okay on that. Now, up here, we have our background copy. If you go above that to see where it says normal. I want you to hit that drop down and go down and hit Overlay. Click on overlay. And that gives our painting that textured raised their effect. If I go over here to my hourglass in, Zoom in at a 100%. You can see how now my layers by various slopes, they have a little bit of depth to them. They're not so flat. It kind of resembles actual paint plus globes. Very simple, very easy to do. Go ahead and flatten your image, layer. Flattened image. That is how you take a photograph and turn it into an oil painting. From here, you can resize it if you'd like. If you'd like, you can resize it, make it bigger. To do that, go to image, image size. Change it from pixels to either insert or centimeters depending on which one you want to use. In Thailand, I knew centimeters. So if I want it to go 91 on my reared by 61 on my height, leave it at 300 resolution, hit Okay. That just enlarges my MBAs. Go back and get full screen, enlarges my image up because this is a painting and not an actual photograph. You don't have to worry too much about your picture getting pixelated. If you enlarge normal photographs, they get pixelated. But this is an oil painting. Remember, we want it to be a little bit blurry. We want it to be abstract. We don't want it to be super sharp as I photograph not a painting by come back up here to Image, image Size. I'm going to click on inches. And you'll see there, but I've done it, I've made it safely equivalent of a 3536 by 24. This would print out perfectly on a canvas. You can print this out perfectly on a canvas in display it proudly on your wall. Display it on your wall. Okay, I'm gonna go here file. And I'm going to go ahead and save. Now this is going to be a pretty big file. I'm saving it as a pain. If you was gonna print it out or take it to a print shop and have it printed onto Canvas. You'd probably save it either as a JPEG or a tail. But I'm not going to be printing this one out. So I'm just going to go ahead and save it as a pain. I like saving my files as pains. For wine. They're bigger files and they retain more of the detail. But you can save it as a GIF, excuse me, as a JPEG or a tear if you like. And then we are done. So some final thoughts. I hope you enjoy painting. I hope that you continue to use the techniques that I've showed you in that they will be of some use to you. Hey, things are how we see it. We all see him differently in real pain, differently. I can take that same painting and I've painted a 100 times. And every time it'll be a little bit different for your project. I simply want to see what you paid it. What did you create? Did you paint the same painting? I did. But did you use one of your own? Upload it to the project section on the website. And until next time. Enjoy painting in God bless.