PDF Drive is your search engine for PDF files. As of today we have 78,, eBooks for you to download for free. No annoying ads, no download limits, enjoy . Digital Painting in Photoshop This page intentionally left blank. Digital Painting in Photoshop Susan Ruddick Bloom AMSTERDAM • BOSTON • HEIDELBERG. Modul Photoshop Cs6 Bahasa Indonesia Pdf Download - -> piccologellia.info rwfyg 89ee3 Tutorial Php En Dreamweaver Cs6 Pdf.
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System requirements | Older versions of Photoshop. Chapter 2: Photoshop and Adobe services. Photoshop and Creative Cloud Libraries in Photoshop. Adobe Photoshop CS3 is a popular image editing software that provides a work Photoshop CS3 shown in Figure 1, or click the icon in the Dock. Fig. 1. Welcome to the latest Adobe Photoshop CC bulletin update. This Photoshop CC for Photographers: Edition book, which will be available later this year.
Pada kasus ini foto kiri yang diambil dengan camera digital seadanya. Untuk membuat foto terlihat fokus ada 2 cara di tutorial ini. Cara kedua Depth Of Field yaitu menambahkan efek blur pada background sehingga ada kedalaman gambar seperti gambar kanan. Skin Tone 1. Buka file sudah penulis siapkan. Kini kita akan menyeleksi warna kulit pada foto.
Untuk menyudahi efek kedua Blur tersebut. Selamat berlatih. Lalu brush bagian kepala ketiga dan pakaian ketiga wanita tersebut dengan penuh perasaan sehingga wajah dan badan ketiga wanita terlihat jelas.
Aktifkan History Brush Tool H dengan bentuk dan ukuran brush misal sebagai berikut. Klik di sini 2. Kembali ke kondisi tertentu dengan History Brush 1. Namun wajah ketiga wanita tersebut menjadi blur juga. Untuk mengembalikan ke kondisi sebelum diberi blur. Klik di sini 3. Buku the Magic of Adobe Photoshop Cargado por budi listyanto. Flag for inappropriate content. The Innovators: Elon Musk: Buscar dentro del documento. Membuat Bayang pada Manusia versi 2 di photoshop. Posts about tutorial photoshop cs6 pdf bahasa indonesia written by Nanto.
Blog Download eBook Gratis ini hanya menyediakan link download untuk eBook yang Anda cari, Kami tidak menyimpan file di server kami dan kami tidak bertanggung jawab atas konten situs pihak. Bagi para fotografer mungkin tidak asing lagi dengan istila.. Tutorial Adobe Photoshop Cs6 Pdf Bahasa Indonesia Adobe indesign cs6 crack password photoshop cs3 download ableton live Adobe acrobat x pro update download flash.. Semua cara memanipulasi atau mengedit foto diatas, dapat Anda download pada link berikut: Refferensi 1.
Recent Posts See All. Windows 7 - Todas As Vers Es. Windows 7 - Todas As Vers Es http: We varied the size of the brush as needed. Feel free to add another layer and brush on additional color to accent the composition.
Because the additional color is confined to a separate layer, it can easily be erased or removed without harming the original sketch. Printing Considerations There are so many quality papers now available for digital printing. We recommend using a textured paper from a good paper mill, a paper that has a bit of a bump in the surface.
It will continue to enhance the feel of your digital pastel. Be brave. Add another blank layer, and using a scratchy brush perhaps of your own design add additional colors. Usually these complimentary strokes should be done at a low opacity. Have fun stirring up some digital dust! We use Photoshop to alter the crop on our image, enhance saturation or contrast, remove unsightly blemishes or red eye, and, in short, improve our photographs.
Yes, Photoshop is indeed the premiere program for these tasks. But have you ever thought about painting in Photoshop? I mean making brush strokes that are truly painterly. Photoshop contains hidden tools that are perfect for painting.
Like many hidden things, they are actually right there in plain view. It is like the experience of shopping for a particular make of car. Once you begin concentrating on that type of car, you suddenly see them everywhere you travel. Likewise, once you start to concentrate on the tool options for painting, you will see that they are plentiful.
You undoubtedly use the Brush tool in Photoshop, probably for masking and other tasks. They are the most frequently used and practical Brush tools. Have you ever allowed yourself to look for any other type of Photoshop brush?
Have you made a brush of your own from scratch? Brief History of Watercolor Watercolor is a fabulous art medium. It can be used to create a fresh, quick, and semitransparent painting. It can be layered with washes, building up the density of color, creating a densely colored painting. Watercolor paintings can be quick or labored in the amount of time required. The look varies, depending on intent and the techniques used.
Art supply stores sell watercolors in dry cakes or in tubes filled with wet paint. As the name implies, the medium is reconstituted or thinned with water.
There is a bit of binder used in watercolors usually gum arabic, with glycerin. Another type of watercolor is gouache. Gouache is more opaque due to opacifiers, like chalk or zinc oxide. More opaque than gouache is tempera. Tempera pigments can be mixed with an egg yolk as a binder. Andrew Wyeth is a modern master of egg tempera painting. As you can see, there are many water media paints available. One popular technique is called wet-on-wet.
The watercolor paper is taped down onto a drawing board, and a wash of water is applied with a wide, flat brush. The water is allowed to absorb and evaporate a bit. Watercolor washes are then applied, thus working wet paint into wet paper. This technique is often used for the sky area of landscape paintings. When working wet-on-wet, pigment rapidly spreads out in the wet surface, fanning color into wet areas.
The opposite effect is called dry brush. In this technique, paint is dabbed off the brush onto an absorbent toweling or cloth, leaving a very minimal amount of paint on the brush. That thin pigment is then applied in an almost dry manner. This technique is good for hair, foliage, etc. Watercolor paper is often thick, even very thick.
Watercolor paper often has a very noticeable texture and is white or off-white in color. Many watercolorists do not use a white pigment, allowing the white of the paper to shine through where needed. Avoiding future white areas of the painting, as you paint can take some very careful planning. We will simulate watercolor mediums digitally in this chapter. Watercolor Technique FIG. Begin by opening a photograph that you would like to render in a watercolor painting effect.
My photograph was taken in Iceland, near dusk. Duplicate the photo twice. An easy method to duplicate a layer is to drag the layer to the New Layer icon, at the bottom of the Layers Palette. On the first duplicate layer, directly above the background image, apply Filter — Blur — Smart Blur. This lessens detail, creating blocks of color. On the second duplicate layer, on top of the layer stack, apply Filter — Stylize — Glowing Edges.
That creates a pencil-like drawing. Now, duplicate the original photo again, for the third time. Place it on the top of the layer stack. This will be our canvas.
Paint with black, at a low opacity, on the top layer. Let some white show through, especially along the outside edges. Vary the size and opacity and stroke on some detail. Select Pattern in the Layer Adjustments.
Here is where our paper textures come in. That lends the textural feel of watercolor paper. Instructions on using Pattern textures can be found in Chapter 2.
The next step is not necessary, but it adds a little detail. Duplicate the original photo yet again. I put it on the top of the layer stack and applied the Watercolor Filter to it. Remember early in this book I said that putting a Watercolor Filter on a photo does not make it a watercolor. I stand by that statement, but here is where it can be useful.
Add a Hide All Layer Mask. That conceals the new, watercolor-filtered layer. Paint on the mask with white, at a low opacity, revealing little glimpses of that watercolor effect in random areas. This adds just the tiniest bit of that effect. It is like the cherry on the top of an ice cream sundae. Finally, I removed the outline sketch for a more subtle, cohesive appearance.
This piece, and others similar in effect, look good when they are printed on a good quality, bumpy, inkjet watercolor paper. Watercolor Brushes When simulating the effect of a true watercolor it is important to pick the correct brush for the desired effect.
There are many options contained in Photoshop. It would be wise to experiment on a sample image, just to get the feel of the various brushes. Here are some examples. Pattern Stamp Watercolor Technique Photoshop has so many ways in which we can make a painting. The technique in this tutorial uses a tool that you may have never used before: I find that most Photoshop users only stumble upon the Pattern Stamp tool when they reach for the Clone Stamp tool and accidentally grab the Pattern Stamp tool, since it is bundled with the Clone Stamp tool.
They realize their mistake when a bizarre pattern of bubbles is deposited on their photo. The Bubble Pattern is the default pattern. We will use this underutilized tool to create a painting.
This technique is easy, quick, and fun. First select a photograph that is suitable for a painting. I selected a photo of a gull, taken in Maine. Use Select — All. Chose Edit — Define Pattern. The photo will appear in the dialogue box, with a suggested name. Click on OK. Select the Pattern Stamp tool. At the top of the page, where all the modifiers appear for your tools, scroll down through the list of the patterns and you will discover your photo at the bottom of the list.
It is now officially a pattern. With the Pattern Stamp tool selected, choose a brush. Brush libraries are located in a pull-down menu when you click on the triangle at the top right-hand side of the Brush menu. With a large version of that brush, I roughed in the painting on the white layer. Be sure to have the Impressionist option checked in the Options bar.
Continue brushing the surface of the painting, trying to follow the contour of the objects that you are painting. Vary the size of the brush as needed.
A smaller brush will yield more detail. Add a new transparent layer. On that layer some additional blue and pink were added with a large brush at a low opacity. The direction of the blur was set to be vertical to the painting, thus creating a wash of color that blended and ran a bit with our digital gravity, just like a real watercolor.
I recommend that you inspect the entire painting, section by section, making alterations as you find the need. This is the completed watercolor painting made with the Pattern Stamp tool. I hope you enjoy this simple painting technique. In reality, the Pattern Stamp tool used your entire original photo as the clone source, duplicating the colors and placement of those colors. You determine the painterly effect by your choice of a particular brush.
Remember that a smaller brush creates more detail. A larger brush is good for roughing-in the basic painting, or for a loose rendition. Go crazy with this artistic technique. Vary your brushes for different effects and see where this process takes your photos. Here is another example of digital watercolor paintings made with this Pattern Stamp tool technique.
Its icon has a curly-Q stroke on the brush. That is your first clue about the nature of this brush. It deposits marks that have names such as tight curl, loose medium, dab, and tight short. It pulls color information from the photo you opened. In essence, it is using the photo as your clone source and depositing a particular looking brush stroke on another layer. A new layer was added and the Gradient tool solid color to transparent was applied to the new layer.
That provided a smooth, uniform transition of color. A Layer Mask was added. Paint, on the mask, with black to reveal the vase and flowers. If you make a mistake, just switch to the color white. It is totally nondestructive to the image and very forgiving of any mistakes. Flatten the layers.
Some resemble wavy strings, others lint from your clothes dryer. Select a brush and determine the diameter of the brush. Start to apply the dabs. A big brush yields a large, soft area of color.
A smaller brush yields a smaller sampling and more detail. Blur — Motion Blur. The angle was set to 90 degrees to simulate the effects of gravity. We returned to the Art History Brush and applied more strokes. We used a smaller brush at a low opacity, finessing the strokes onto the painting. The same Watercolor Fat Tip Brush was used. This is our painting and we can choose to enhance the painting further.
To that end, a new layer was added and colors were selected and painted onto that separate layer. I look for an image that would benefit from a more subdued color saturation rendering.
Opacity plays a big part. I like to let some of the white watercolor paper show around the edges. A real watercolor is often built layer by layer, increasing opacity in specific areas. The paint often fades out into the white paper. If you choose to work in this vein, remember that the blank white areas will be a big part of your composition.
Make them work for you. Simple Two-Layer Watercolor Painting The following technique is very simple and only requires two layers.
It relies on the Pattern Stamp tool and expressive brushes.
Pick a simple photograph that is free of clutter and a lot of unnecessary detail. Keep it simple. This photograph lent itself to a watercolor rendition. A loose pale background was a nice way to render the mountainside. A bit of detail, but not too much, would be a good way to render the sheep. Select the entire image and go to Edit — Define Pattern.
The photo will appear. Name it, creating a pattern source from which we will draw later. Add another layer and Edit — Fill with the color white. Most paintings begin in a loose manner. Color areas are blocked into place. Our loose, first step used the Pattern Stamp tool grouped with the Clone Stamp tool.
It was enlarged to pixels in diameter. A light application of paint was dabbed on the white layer. Again, be sure that the Impressionist box is checked. The next step was performed with a different brush tip, still using the Pattern Stamp Brush. That tool is pulling the color and placement information from the original photograph, because we defined the whole photo as the source pattern.
Again, the keys to this process are a light opacity of the brush and selection of appropriate brushes. Remember to keep it simple.
Work lightly. A watercolor has a sense of transparency. That is our goal in achieving a digital watercolor. This technique is similar to the one used on our earlier seagull.
No accent colors or Pattern Texture Adjustment Layer were added to the sheep painting. You can create your own combination of techniques to create a watercolor, always keeping in mind the nature of a true watercolor. Watercolors are luminously transparent, with a build-up of colors from many layered applications.
Details and opacity appear in selected areas of the painting. Try to keep it loose and free. Avoid too much detail. Above all, have fun with your painting techniques.
Museums are full of oil paintings that have survived many centuries. The same cannot be said for pastels or watercolors. Traditionally the dry pigments are mixed with oils. The oils can be derived from seeds, as with linseed oil, and are sometimes boiled with tree resins. The finish of the painting can be high gloss or matte depending on the medium used.
Oil paintings can be applied to wooden panels or canvas, stretched on a wooden framework. The support for the painting is prepared in advance of the actual painting process, with a material that seals the surface. Today gesso FIG. Sealing the surface is essential to the longevity of the painting. A very thick application of paint is often called impasto. Van Gogh was a master of impasto painting. Close examination of his paintings can reveal much about the brushes he used, his color palette, and the quantity of paint on his brush with each application.
He used copious amounts of paint on the surface of his paintings. Oil paintings take a very long time to truly dry, often taking nearly a year. Although canvas surfaces coated with gesso are white in color, many artists will apply a preliminary coating of a thinned-down darker pigment, like raw umber, to establish a middle tone on which to paint.
On close examination of these paintings in a museum, you will notice that the darker areas of the painting have a very thin application of paint, sometimes almost transparent. The lighter areas of the painting tend to have a more substantial amount of color. This thicker application of paint is much more opaque and is sometimes applied with a palette knife or coarse brush. In our digital versions of oil painting we will run the gamut from thick impasto painting to more delicate versions that use thin applications of colored glazes.
We will be able to simulate the texture of canvas and mimic the strokes that a brush makes on a bumpy surface. Our digital oil paintings will be great candidates for printing on inkjet canvas. Impasto Technique Select a photograph that you would like to render as an oil painting with a thick application of paint. Our example is a small still life of pears.
Still lifes continue to be popular. At the height of their popularity, in seventeenth-century northern Europe, they were symbolic of the fragility of life and sometimes contained an insect such as a fly, bee, or butterfly.
The inclusion of an insect or a decaying flower additionally spoke of the temporary nature of all living things. When selecting your base photograph, consider lighting, composition, and color. Our first task is to make an underpainting, to produce a roughing-in of basic color shapes.
We used a high Edge Simplicity and Edge Fidelity. The Glowing Edges Filter will provide a pencil sketch of the outline or contour edges of the still life. Set the Edge Width at 1 or 2. Now use Image — Adjustments — Invert. Finally, use Image — Adjustments — Desaturate. Set the Blending Mode to Multiply. This Blending Mode makes white disappear, revealing only the sketch outlines. I created a new layer and painted a terra cotta red outline around the major contours of the still life.
Paint with black on the mask, revealing the Cut-Out Filter rendition. This creates our rough-in of the basic color shapes. Paint with white to reveal as much as you like of the underpainting and red line merged layer. Shadow accent colors were added on a new separate transparent layer.
Note that the layer is made opaque in this illustration so we can better view it. It is really on a transparent layer; a checkerboard pattern identifies a transparent layer. A basic color concept is exaggerated with the addition of a new layer.
This new layer is brushed with cool tones in the shadowed areas. The color concept is one of cool colors in the shadow areas and warmer colors in the highlighted areas.
There is no limit to what you can add to the painting. I often use several layers, each with a different area containing accent colors. Yet another layer was created for accent colors on the pears. The pencil Sketch Layer has served its purpose and is no longer needed, so it is deleted.
Did I select the right brush for the job? How opaque or transparent do I want the paint? How loose do I want the painting?
These are all artistic considerations that are made throughout the process of painting. Once you are happy with the painting, save a copy in case you have need of it later. Then flatten all your layers together. In this chapter we will cover a couple of impasto techniques, giving the appearance of a raised paint surface that is rich in paint.
In this example we will create a new layer and paint on our brush strokes with a low opacity of white, varying the size and angle of the brush. Try to make the strokes match the contour of the object, like you are massaging the pear with your hands. In this technique all the strokes are applied in one step and raised or embossed all at once. Use Filter — Stylize — Emboss on the white painted stroke layer. The height was set to 6 pixels.
Note that more pixels will result in a higher emboss. The light creating the emboss shadow was directed at an angle of degrees. The Blending Mode was set on Linear Light for this emboss layer. This particular technique of embossing often resembles a painting with palette knife markings. Canvas texture. On a real oil painting you will often see the texture of the canvas peeping through in areas where the paint is not as heavy.
To simulate this effect, we applied a Pattern Fill. We chose Canvas from the Artist Surfaces Library. Pattern Fill Layers are covered in Chapter 2. The Pattern Fill comes with a Layer Mask. Stroke with black on the Layer Mask any area that you want to obscure the pattern effect, indicating a thickness of paint. It is not an all-or-nothing technique. You can add as little or as much of the texture that you like. You can also control the opacity of the Pattern Fill. Bevel and Emboss Layer Style Oil Painting The next digital oil painting technique is similar but employs the use of a layer style to achieve the raised texture look of a thickly painted oil painting.
Again, select a photograph that lends itself to paint that will be applied thickly, giving a textural feel. This photo was taken of strawberries on my picnic table after a trip to the pick-your-own fruit stand. A Gaussian blur was used to downplay the background and the wood grain of the table. Using the duplicate layer go to Filter — Stylize — Glowing Edges.
It is easy to turn that bizarre looking Glowing Edges Layer into a sketch effect. It resembles a graphite drawing on white paper. As we discussed earlier, canvas is often treated with a glaze of a light to medium tone of paint. A medium tone allows the artist to quickly roughin highlights and shadows, allowing the middle tone to be just that.
When working on a white canvas, everything but the highlights need to be painted on the rough-in or underpainting to establish a tonal range. For our strawberry basket we will mimic a linen canvas with a light brown glaze. Create a new layer and place it above the Background but below the Sketch Layer. Fill it with whatever color you select. Ours is a beige tone. Use Edit — Fill — Foreground your selected color. This mode will make the white disappear, and your sketch is now on the canvas.
Duplicate the Background Layer again and put it at the top of the layer stack. The task now is to simplify the areas of color, reducing the graduated tones in an attempt to make a strong underpainting. For this example I liked two different filter effects: Palette Knife and Paint Daubs. I liked the blocky color Digital Painting in Photoshop areas produced with the Palette Knife Filter, but I also liked the way the thin strawberry stems were interpreted by the Paint Daub Filter.
In short, I liked them both. I wanted a little bit of each one. To solve this dilemma I copied the background image another time. Using a mask, I combined the two layers, bringing out the best of both. I then merged down the layer on top, resulting in a layer that had the best of both filters together. To complete the look of canvas, we added a Pattern Fill.
We selected the Canvas texture from the Artist Surfaces Library of patterns. That scale determines how frequently the pattern will repeat. Note that sizing up can cause a loss of edge fidelity, as would be common in any pixel-based enlargement. The next step was to select the appropriate brush for the kind of mark that was desired. Next we opened the Brush panel from Windows — Brush. Painting white on the mask of the Palette Knife and Paint Daubs Layer, we started to rough-in the color of the painting.
Vary the size of the brush. I usually use a larger brush for the background and a progressively smaller brush for more detailed areas. It is so nice to have all those possibilities built into one brush. In the real world of oil painting, I would be constantly selecting and alternating different brushes. That would mean a lot more clean-up time at the end of an oil painting session. No paint thinner or turpentine for us, as we are doing it all digitally.
We will not be smelling toxic fumes or wiping up paint smears on the surrounding table or easel.
Hooray for digital! Try varying the angle tilt of the brush and the roundness. Duplicate the Background Layer again and place it at the top of the layer stack with a Hide All Mask. You can determine the angle of light on the ensuing brushwork, if you like, by altering the angle of the global light. Be sure to check the Use Global Light box. You can select another type of brush, but I stayed with the same one, using more opacity, and began to brush on the impasto paint.
Figure illustrates what paint was applied in this layer alone. By putting this layer above the Pattern Fill Layer the paint appears thicker, more opaque, and glossier.
It covers the texture of the roughed-in areas. Be sure to let some of that show through. A new transparent layer was added to include a few accent colors. This layer also had the same Layer Style of Bevel and Emboss applied. Small touches of paint here can really make a world of difference to the completed painting. Before the invention of photography in , it was the primary way that a loved one could be immortalized.
Masters of oil portraiture can command a kingly price for their artistic talents. Our digital version requires less talent, time, and expense. Select a photograph that looks like a good candidate for an oil portrait. As we have done in previous techniques, we will copy the Background Layer by simply dragging the layer to the New Layer icon at the bottom of the Layer Palette.
Using that new duplicate layer, we will apply Filter — Glowing Edges. We used a smoky blue-gray. Place the Glowing Edges Layer above the new colored canvas layer. These settings will vary with the size of the file and the detail that you want to retain.
We are creating clumps of color. The next step is to add some texture. We will do that in two ways. The first is to add a Pattern Fill Layer. Select Canvas from the various options. Canvas is found in the Artist Surfaces Library of patterns. The second way is to add texture to our brush. Go into the Brushes Palette, found in the Windows menu, and modify that brush.
Click on Texture and select Canvas. That determines the scale of the texture, and again that number will vary with the size of the file.