Transcripts
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.
Jay Scovel
