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A Whole Page For Photoshop (Software, Plugins, Scripts, How To's Plus more!)

I don’t know whether anyone knows or not, but if you’re as mad about Photoshop as I’m getting to be you’re going to have a blast with this site,

“Photoshop Elements Menu”

Get Free downloads, and check out the tutorials..

You can never have too much information on Photoshop..

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Check this out exert from the same site:

Photoshop Elements /Move a Face

Is this the right tutorial for you?

The face you want to move could be in two situations.
Two Situations

Situation #1

You have two photographs of the same group of people.

The photographs were taken moments apart from each other.

Grandpa Gumpo has a great expression in one of the photographs.

In the other photograph, Grandpa Gumpo looks like a bee has just stung him.

You want to cover Grandpa Gumpo’s bee-stung-face with his good-smile face.

To do the above, go to File > New > Photomerge Group Shot.

Don’t use Photomerge Faces.

That’s for combining facial features to make a funny face.

Situation #2

This tutorial is for the following situation.

You have a photograph of a group of people.

You want to add a person to the group that wasn’t in the group.

Moving the face is easy.

Integrating it into the group photograph is complicated.

If you’re an intermediate user of Photoshop Elements, stick around.

Beginners should come back later!

1 – Open the Two Photographs

Let’s say you have a photograph of Uncle Fud.

And, you have a photograph of a group of people, the destination for Uncle Fud’s face.

1) Open the photograph of Uncle Fud and the photograph of the group.
2 – Select Uncle Fud

2) Double click on the thumbnail of the Uncle Fud photograph in the photo bin at the bottom of your screen.

3) Select Uncle Fud’s face and upper body.

Hair can be difficult to select.

You can select a few pixels of the background around Uncle Fud’s hair.

Later, if necessary, erase these pixels of the background.

3 – Copy Uncle Fud

4) Press Ctrl + j.

Uncle Fud is now on a new layer all by himself.

5) Rename this layer Uncle Fud.
4 – Do You Need to Flip Uncle Fud?

You may need to rotate the Uncle Fud layer horizontally, left-to-right.

Do this if the lighting is different for Uncle Fud and for the group.

Check Uncle Fud’s Light Direction

Look at the lighting on Uncle Fud.

Figure out where the light is coming from.

Look at the shadows and highlights.

Let’s say the light is coming from the left side in the Uncle Fud photograph.
Check the Group’s
Light Direction

Next, look at the group photograph.

Is the light coming from the same direction as in the Uncle Fud photograph?

Let’s say the light is coming from the right side in the group photograph.

When you put Uncle Fud into the group, he may look odd.

He’s lighted from the left.

Everyone else is lighted from the right.
Back & Front Lighting

If one photograph has light was coming from behind—and the other photograph has light from the direction of the camera—there would be no need to flip Uncle Fud.

5 – Flip Uncle Fud

Do the following, if necessary.

6) Make sure the Uncle Fud layer is selected (highlighted).

7) Go to Image > Rotate > Flip Layer Horizontally.

Make sure you select:

Flip Layer Horizontally—not Flip Horizontally.

Uncle Fud has flipped.

A person may look different when he or she is flipped left-to-right.

However, correcting the difference in lighting probably outweighs any unnaturalness due to the flipping.

This is even more true when the face is small in the group photograph.
6 – Move the Uncle Fud Layer

To move the Uncle Fud layer to the group photograph, do the following.

8) Make sure the Uncle Fud layer is selected (highlighted).

9) Press Ctrl + a.

You’ll see the marching ants on the edge of the image.

10) Select the Move tool.

11) Click, and hold, on the large image of Uncle Fud in the center of your screen.

Don’t click on the Uncle Fud layer in the layers palette on the right side.

So, you’ve clicked on Uncle Fud in the center of your screen, and you’re holding the mouse button down.

12) Drag Uncle Fud onto the thumbnail of the group photograph in the photo projects bin at the bottom of your screen.

13) Double click the thumbnail of the group photograph in the project bin.

The Uncle Fud layer is now on the top of the layer stack in the layers palette on the right side of your screen.

If you haven’t already, go to Move a Layer.

Uncle Fud

Background copy (Group of people)


Layer Stack in the Photograph of the Group
Edit the Group Photograph, Now

You have moved the Uncle Fud layer to the group photograph.

You’re finished with the Uncle Fud photograph.

From now on, you’ll be editing the group photograph only.
7 – Reposition Uncle Fud

14) In the group photograph layer stack, make sure the Uncle Fud layer is selected (highlighted).

15) Select the Move tool

16) Click, hold, and drag Uncle Fud.

You can reduce the opacity of the layer to better see how to integrate Uncle Fud into the group.

Fine tune the position by using the arrow keys on your keyboard.

You’ll probably have to resize Uncle Fud.

His head may be too small or too big.
8 – Grid

You can use a grid to make it easier to resize Uncle Fud.

17) Go to View > Grid.

18) Use the Zoom tool to enlarge the face of the person in the group nearest to Uncle Fud.

Let’s say Aunt Joan is next to Uncle Fud.

19) Count the number of boxes from the top of Aunt Joan’s face to the bottom of her face.
Note: Grid Box Size

If the grid boxes are too small or too big, change their size.

Go to Grid in Preferences.

Edit > Preferences > Grid, or press Ctrl + k.

Apple menu > Preferences > Grid.
9 – Resize Uncle Fud

Let’s say the height of Aunt Joan’s face is eleven boxes.

Uncle Fud will be “standing” behind Aunt Joan.

So, make his face a little smaller than eleven boxes.

20) Make sure the Uncle Fud layer is selected (highlighted).

21) You may want to deselect the Eye icons of the other layers, so you can see Uncle Fud more easily.

22) Go to Image > Transform > Free Transform, or press Ctrl + t.

A box will appear around Uncle Fud.

23) Position the cursor directly over the bottom right corner of the box.

The cursor will change to a straight double arrow (not curved).

Press and hold Alt, click and hold the mouse button down, and move the corner of the box to resize Uncle Fud.

Pressing and holding Alt keeps the aspect ratio of the Uncle Fud layer intact.

Again, make his face a little smaller than eleven boxes high.

24) Click the green check mark to keep the transformation.

If you haven’t already, go to the Free Transform Tool.

25) Go to View > Grid to hide the grid.

26) Reselect the Eye icons for the other layers.
Don’t Degrade Uncle Fud

If you make a mistake when resizing Uncle Fud, it’s best to go back to just before you resized the layer.

The Free Transform tool adds and deletes pixels.

Therefore, if you resize and click the green check mark, and do it again, and again, the Uncle Fud layer will degrade.

Use one of the following methods to backtrack.
Undo Arrow

So, if you don’t like the new size of Uncle Fud, click the blue Undo arrow icon until you return to the operation you did just before using the Free Transform tool.
Undo History

Go to Window > Undo History.

There, select the operation done just before using the Free Transform tool.

Then, close the Undo History window.

You’ll go back to just before you used the Free Transform tool.
Tucking Uncle Fud into the Group

Uncle Fud’s body isn’t tucked into the group yet.

He’s floating above the group!

He doesn’t have legs!

Not to worry.

We’ll tuck him into the group after correcting his Levels and color.
10 – Levels

27) If the exposure and contrast of the Uncle Fud layer are different from the group, do the following.

a) Make sure the Uncle Fud layer is selected (highlighted).

b) Go to the Create adjustment layer icon (“yin-yang”) and select Levels.

Don’t make any corrections yet.

c) Click OK.

d) Make sure the Levels adjustment layer is selected (highlighted).

d) Go to Layer > Group with Previous, or press Ctrl + g.

The Levels adjustment layer and the Uncle Fud layer are now grouped.

Look for the tiny black arrow pointing down in the Levels adjustment layer.

Because they’re grouped, the correction from the Levels adjustment layer will be confined only to the Uncle Fud layer.

The Levels adjustment layer won’t affect the group.

e) Reopen the Levels adjustment layer by double clicking the graph icon (6.0), or gears icon (7.0), in the Levels adjustment layer.

f) Make your Levels corrections to match the exposure and contrast of Uncle Fud with that of the group.

g) Click OK.

The layer stack will look like this.

↓ Levels (Grouped with Uncle Fud)

Uncle Fud

Background copy (Group of people)

What about Doing
Levels for the Group?

You used Levels on the Uncle Fud layer.

When we’re almost finished, you’ll do Levels on all of the layers to make the entire photograph look its best.
11 – Color Correct Uncle Fud

The color of the light that illuminated Uncle Fud, in his original photograph, may have been a different color than the color of the light on the group.

People won’t notice slight variations in the color between Uncle Fud and the rest of the group.

So, you don’t need to match the color perfectly.

28) If the colors of Uncle Fud and the group are substantially different, try one of the following two color correction methods.
Automated Method
Correct Uncle Fud’s Color

a) Make sure the Uncle Fud layer is selected (highlighted).

b) Go to Enhance > Adjust Color > Adjust Color for Skin Tone.

c) Click on Uncle Fud’s cheek.

Use the sliders to fine tune the color.

The Tan and Blush sliders affect the skin tone.

Is Uncle Fud more tan, or more blush?

The Temperature slider can be used to cool (blue) or warm (red) the color.

Does Uncle Fud’s color match the group better?

If not, correct the skin tones in the group.

Do the following.
Correct the Group’s Color

d) Make sure the Background copy layer is selected (highlighted).

e) Go to Enhance > Adjust Color > Adjust Color for Skin Tone.

f) Click on Aunt Joan’s cheek.

But, don’t click on her too-thick rouge.

You have now color corrected both layers.

Their color should be similar now.
Photo Filter Adjustment Layer Method

If you’re somewhat skilled at judging color, create a Photo Filter adjustment layer.

a) Make sure the Uncle Fud layer is selected (highlighted).

b) Go to the Create adjustment layer icon (“yin-yang”) and select Photo Filter.

Don’t make any corrections yet.

c) Click OK.
To Group or Not to Group

Do you have a Levels adjustment layer already grouped with the Uncle Fud layer?

If so, you don’t need to group the Photo Filter adjustment layer with the Uncle Fud layer.

The Photo Filter adjustment layer will be automatically grouped with the Levels adjustment layer.

So, skip ahead to f), below.

If you don’t have a Levels adjustment layer grouped with the Uncle Fud layer, do the following.

d) Make sure the Photo Filter adjustment layer is selected (highlighted).

e) Go to Layer > Group with Previous, or press Ctrl + g.

The Photo Filter adjustment layer and the Uncle Fud layer are now grouped.

Look for the tiny black arrow pointing down in the Photo Filter adjustment layer.

Because they’re grouped, the correction from the Photo Filter adjustment layer will be confined only to the Uncle Fud layer.

The Photo Filter adjustment layer won’t affect the group.

f) Reopen the Photo Filter adjustment layer by double clicking the filter icon in the Photo Filter adjustment layer.

g) Click the tiny black triangle to open the filter menu.

h) Select the filter according to the chart below.

The boldfaced filters are the most commonly used.
If Uncle Fud Is . . .

Use this Filter
Too cool (blue).

Warming Filter (81)
Too warm (red).

Cooling Filter (82)
Too cyan (blue/green)

Too violet.

Too blue.

Too magenta (pink).

Too red.

Too yellow.

Too orange

Too green, such as florescent lighting.


h) Click OK.

If the color correction needs to be tweaked, reopen the Photo Filter adjustment layer.

Move the Density slider back-and-forth, and click OK.

The layer stack may look like this.

↓ Levels (Grouped with Uncle Fud)

↓ Photo Filter (Grouped with Uncle Fud)

Uncle Fud

Background copy (Group of people)


12 – Tuck Uncle Fud into the Group

Do the following to blend Uncle Fud into the group.

29) Make sure the Uncle Fud layer is selected (highlighted).

30) Reduce the opacity of the Uncle Fud layer.

You need to be able to see the shoulders of Aunt Joan and others.
Understand What Needs to be Selected

Let’s say Aunt Joan is standing next to Aunt Bea.

Uncle Fud is going to be between, and behind, the shoulders of the two aunts.

So, you need to select from their shoulders down.

You’ll select the two aunt’s shoulders, and the upper parts of the their dresses.

The Magnetic Lasso tool may be the best selection tool for this task.

31) Make sure the Background copy layer is selected (highlighted).

32) Deselect the Eye icon for the Uncle Fud layer.

You don’t want to select Uncle Fud.

You only want the aunt’s shoulders and the tops of their dresses.

33) Select the shoulders of Aunt Joan and Aunt Bea, and continue the selection down on portions of their dresses.

34) To save the selection, go to Select > Save Selection.

Enter Aunts as the selection’s name, and click OK.
Copy the Selected Area Onto a New Layer

35) Make sure the Background copy layer is selected (highlighted).

36) The Eye icon for the Uncle Fud layer should still be deselected.

37) Press Ctrl + j.

The shoulders and dresses are now on a new layer.

38) Rename the layer Shoulders & Dresses.
The Shoulders & Dresses Layer Should Be in Register

The Shoulders & Dresses layer should be in register with the Background copy layer.

That is, the shoulders and dresses of the two aunts on both layers should “line up”.

If for some reason, the Shoulders & Dresses layer is askew, from the Background copy layer, do the following.

a) Select the Shoulders & Dresses layer (highlighted).

b) Select the Move tool.

c) Move the Shoulders & Dresses layer using the arrow keys on your keyboard.
Drag the Layer to the Top

39) Click and hold on the Shoulders & Dresses layer, and drag it to the top of the layers stack.

This how the stack of layers should look.

Shoulders & Dresses

↓ Levels (Grouped with Uncle Fud)

↓ Photo Filter (Grouped with Uncle Fud)

Uncle Fud

Background copy (Group of people)


40) Select the Eye icon for the Uncle Fud layer so you can see him once again.

41) If the opacity for the Uncle Fud layer is still below 100%, move it back up to 100%.
What Happened

The Shoulders & Dresses layer is covering up the part of Uncle Fud that’s “behind” the two aunts.
13 – Erase Uncle Fud’s Beer Belly

An unneeded portion of Uncle Fud may be visible on the photograph.

This part is visible if the Shoulders & Dresses layer doesn’t go down far enough to cover up the lower portion of Uncle Fud.

Let’s say you can see the plunging necklines of Aunt Joan and Aunt Bea.

But, there’s a portion of a hounds-tooth sport coat, with a beer belly sticking out, on the aunt’s dresses.

Do the following.

42) Make sure the Uncle Fud layer is selected (highlighted).

43) Select the Erase tool.

44) Click and drag on Uncle Fud’s sport coat and beer belly.
14 – Check His Hair

Above, it was suggested that you select some of the background around Uncle Fud’s hair.

If the background shows, erase it.

Do the following.

45) Make sure the Uncle Fud layer is selected (highlighted).

46) Use the Zoom tool to enlarge Uncle Fud’s head.

47) Select the Erase tool, and use a small brush.

48) Click and drag on any background around Uncle Fud’s hair that shouldn’t be there.
15 – Levels

Now is when you do Levels on the group.

49) Make sure the Shoulders & Dresses layer is selected (highlighted).

50) Create a Levels adjustment layer, make the corrections, and click OK.

Levels (Affecting all of the layers below)

Shoulders & Dresses

↓ Levels (Grouped with Uncle Fud)

↓ Photo Filter (Grouped with Uncle Fud)

Uncle Fud

Background copy (Group of people)


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Kelby Training: Fantasy Portraits

David Cuerdon shows off his process from start to finish. First, shooting a model, then adding fantasy elements using Photoshop.

Lesson 01 Introduction (2:34)
Lesson 02 The Model Shoot (7:50)
Lesson 03 Creating Backgrounds (9:03)
Lesson 04 Masking and Outlining (12:05)
Lesson 05 Creating a Feather (15:09)
Lesson 06 Creating the Feathered Wing, Part 1 (8:05)
Lesson 07 Creating the Feathered Wing, Part 2 (6:42)
Lesson 08 Adding Wings to the Subject (6:00)
Lesson 09 Vampire (5:27)
Lesson 10 Creating the Vampire (10:12)
Lesson 11 Vampire Background (8:04)
Lesson 12 Adding the Moon (8:53)
Lesson 13 Adding the Fangs (8:53)
Lesson 14 Detail in the Eyes (9:20)
Lesson 15 Creating a Fairy (13:59)
Lesson 16 Background and Foreground (6:06)
Lesson 17 Cropping and Shading (8:34)
Lesson 18 Color Adjustments to the Fairy Image (2:56)
Lesson 19 Adding Fairy Wings (5:29)
Lesson 20 Fairy Dust (10:21)
Lesson 21 Reflections (6:39)
Lesson 22 Creating the Fairy Wing (14:22)
Lesson 23 Fairies, Devils, and Vulcans: Creating a Pointy Ear (11:03)
Lesson 24 Conclusion (1:43)


Author: Lynette Kent
Paperback: 256 pages
Publisher: Visual (September 11, 2007)
Language: English
ISBN-10: 0470144769
ISBN-13: 978-0470144763
Format: pdf

Photoshop : Top 100 Simplified Tips and Tricks provides adventurous Photoshop users with a visual reference on how to use the bells and whistles found in the latest version of Photoshop. Broken out in 10 chapters, with 10 tasks per chapter, Photoshop : Top 100 Simplified Tips and Tricks covers 100 cool and useful tips and tricks that can be performed in the newest release of Photoshop.
Full-color screen shots and numbered, step-by-step instructions show you how to take their Photoshop skills to new heights.



Here’s an amazing plugin for those Photoshop buffs out there..
check it out herefor the review:
Nik Color Efex Pro 2

or here to purchase:

Teddy Bear Brushes by StarKatz

I’ve created a few Teddy Bear brushes, there’s a minimum of 10 downloads from RapidShare, if you find they have been downloaded 10 times, just BM me and I’ll upload them again :0)

You can of course use them on any background, using any colour for them you want.. this is just as a sample.

Download them here:

Copy Teddy Brush 1.abr to your folder:
C:\Program Files\Adobe\Adobe Photoshop CS3\Presets\Brushes

Once you open PhotoShop just hit your brush icon and then select Load Brushes: look for Teddy Brush 1.abr click on it then select append

I have an additional 19 Teddy Bear Brushes here:

Copy 19 Teddy Bear Brushes by StarKatz.abr to your folder:
C:\Program Files\Adobe\Adobe Photoshop CS3\Presets\Brushes

#Please if you use them add a link to your work on this page :0)

#I found this awesome link for Photoshop check it out!
Here’s a great page for Action Scripts": if the link doesn’t work from here simply do a copy & paste into browser ;0)

Here’s a sample of what it has to offer:

Image Enhancements

1. 3-D BW Action , George Rosema, 11/25/20043-D Color Action2. A2D Infrared, Addicted to Design, 2/11/20073. A2D Lomo, Addicted to Design, 2/11/20074. Airbrush, Shannon Beauford, 6/20/20085. Airbrushing Action set, Ronald Clercx, 6/5/20046. Alabaster Portrait, Feivel, 12/13/20037. Aly’s Color, Alyson Comacho, 6/12/20068. Aly’s Vintage, Alyson Comacho, 5/7/20069. AutoColor, Shane Metler, 1/6/200410. Basic Workflow v.20, (includes batch version) Jim Reynolds, 8/16/200511. Bloom Effect, Shannon Beauford, 6/21/200812. Bruce’s HighKey Action, Bruce Neville, 2/27/200613. Burke Line Drawing Resize, Burke/Jim Lewis, 1/28/200514. Canon Soft Recovery, Andrea Walter, 4/12/200915. Caponigro Adjustments, v.2.0 Jim Lewis, 3/19/200616. Carnival Action, Michelle Nicole, 6/03,200917. Color Boost, Shannon Beauford, 10/27/200718. Contrast Mask, Chip Springer, 11/18/200719. Dave Beaman’s Ethereal Glow, Dave Beaman, 3/27/200420. Dave’s IR Actions, Dave Jaseck, updated 3/21/200621. Dave’s Simplifier v.2, Dave Jaseck, 5/8/200422. DK Color Vibrance, Daniel Kvarfordt, 5/4/200823. Doug’s File Handling Actions, Doug Bardell, 8/14/200524. Draganizer, Sharon Lee Core, 11/15/200425. Dynamic Mask, Shannon Beauford, 2/12/200926. Edgarian Blur, Howard Owen, 5/3/200427. Editorial/Lomo, Shannon Beauford, 10/14/200728. Ethereal Effect, Juan García Gálvez, 8/10/200629. Flawless Portrait, Shannon Beauford, 10/14/200730. FX Pastel Transitions, Creative Drawer, 4/24/200931. Glamor Blur, Edgard Berendsen, 4/16/200532. Gothic Glow, Feivel, 12/6/200333. Hasselblad Softar #2 Focus Effect, Dave Jaseck, 11/7/200834. JGG Sunset Optimizer, José Fàbreba & Juan García Gálvez, 8/22/200835. Kent’s LensBlur, Kent Christiansen, 11/15//200436. Kent’s Quick Retouch Batch Processor, Kent Christiansen, 10/2//200537. Kent’s Sketch and Charcoal Smudge, Kent Christiansen, 9/6/200738. Kent’s Skin Fix v.1, Kent Christiansen, 10/20200439. LAB Saturation Actions, Alessandro Di Sciascio, 9/24.200640. Local Contrast, thejaybird, 11/18/200741. Midnight Action Set, v.3, Dave Jaseck, updated, 6/21/200842. Midnight Black v2, Dave Jaseck, 11/5/200543. Midnight Sepia v2, Dave Jaseck, 2/22/200544. Morning Mist, Shannon Beauford, 6/21/200845. Muted Fashion, Shannon Beauford, 10/27/200746. Orton Effect, Jim Lewis (with help from Danny Raphael, Dave Jaseck, from a technique by Chris Empey, 6/21/200847. Paint with Light, Chip Springer,12/10/200448. Paint with Light II, Chip Springer,12/28/200449. Photorealistic Clouds, Shannon Beauford, 6/21/200850. Photoshop Facelift, Shannon Beauford, 12/26/200851. Platinotype, Steven Almas, 5/7/200652. Portrait Effect, Paul Bleicher, 4/26/200453. Professional Retro, Michael Van De Carr, 2/16/200754. Rich Color Landscapes, Shannon Beauford, 9/10/200655. Ronny’s Dual Method SkinFix, Ronny Harris, 5/23/200856. Selective Focus, Shannon Beauford, 6/21/200857. Simple Color Pop, Anna Bottoms, 10/18/200758. CSpringer’s Portrait Actions, Chip Springer, updated 4/1/200859. CSpringer’s Skin Repair Action, Chip Springer, 5/30/200760. CSpringer’s Wrinkle and Blemish Repair, Chip Springer, 1/06/2008 (requires Polaroid’s Dust & Scratch Remover)61. Soft Focus Action, v.2, Daniel Chui, 8/7/200462. Soft Light Portrait, Shannon Beauford, 9/11/200663. Tears, Shannon Beauford, 10/14/200764. TLR Color Compensating Filters, Glenn Mitchell, 5/21/200665. Tracy’s Fill Flash Action, Tracy McGee, 3/28/200766. Twirling Abstract Art, Shannon Beauford, 6/21/200867. Urban Acid, Steven Almas, 7/9/200568. Velvia Portrait, Shannon Beauford, 6/23/200869. Velvia-Provia v. 2, Paul Bleicher, 4/25/200470. Velvia-Provia for Elements, Paul Bleicher, 4/25/200471. Whiten, Shannon Beauford, 10/17/2007

Sketch Actions

1. B&W Sketch, Sharon Lee Core, 7/113/20042. Caricature Sketch, Sharon Lee Core, 12/2//20043. Cartoon Action, Maureen Barberio, 9/26//20044. Colored Sketch, Sharon Lee Core, 7/11//20045. Comic Effect Action, Tony, 7/28/2006. Comix Actions, Andy Purviance, 2/15//20047. Dave’s Sketch, Dave Jaseck, 8/11/20048. Flaming Text, Shannon Beauford, 6/22/20089. Mitch’s Sketch Action, Mitchell Weitz, 2/17//200410. Painting Action, Ben Morales-Correa, 6/23/200711. Pen & Ink, Tom Bennett,9/26/200412. Photosketch, Shannon Beauford, 7/23/200813. Rough Pastels, Sharon Lee Core and Isabel Cutler, 11/15//200414. Sheri’s Sketch Action (PS) 2.1, Sheri Pierce, 2/3/200415. Sheri’s Sketch Action (PSE) 2.1, Sheri Pierce, 2/3/200416. Sketch and accompanying tutorial, Alex Glassman, 3/5/200517. Tilt/Shift Effect, Shannon Beauford, 6/21/200818. Watercolor, Shannon Beauford, 6/21/200819. Watercolor, Erick Nguyen, March 1, 200520. Watercolor for PSE 3.0, Erick Nguyen, Conchita, and Bob Jones21. Watercolor Tint Action, Ben Morales-Correa, 1/6/2008

Black and White Conversion

1. 1Click NewBW, 1-Click Actions, 3/30/20082. Aly’s BW, Alyson Comacho, 7/17/20063. B’s SplitTone 2, Bärbel Wilm, 3/27/084. B’s Vanilla II, Bärbel Wilm, 3/27/085. Blanco y Negro, Juan García Gálvez, 11/16/20066. Brian James’s Black and White, Brian James, 1/22/20067. Color to BW, Danny Raphael, 7/16/20068. Danny’s Black and White Actions v.5,9. Daniel Diaz B&W Action, Matthew Greer, 1/21/200710. Duotone Dreams, Dave Jaseck, 7/22/200411. Gorman B&W Action, Robin Holden, Sr., 12/10/200512. JGG Web High Key, Juan García Gálvez, 11/26/200613. Jodi’s Take Action on Cancer Awareness (Black and White w/ribbon overlays, Jodi Friedman, 9/26/200714. Julian’s Black and White Conversion, Julian Hebbrecht, 3/1/200615. Kent’s B&W Selective Color 4.0, Kent Christiansen, 10/6/200616. Selective Color v.5, AsylumXL, 4/17/200717. Sepiatone, Andy Purviance, 2/15//200418. Thomas Niemann’s Tones, Danny Raphael, 12/10/200319. TLR B&W Conversation, Glenn Mitchell, 1/3/200520. TLR Sepia Tint, Glenn Mitchell, 12/28//200421. Vintage Tint , Alls A. Ten, 5/22/2006

Frames and Mattes

1. 2Up, Sweet Cheeks Photography, 8/6/20062. 3D Product Box, Andy Purviance, 2/15/20043. A2D Polaroid 600, Addicted to Design, 2/11/20074. Andrea’s Borders A, Andrea Rascaglia, 12/18/2004 (big file)5. Andrea’s Borders B, Andrea Rascaglia, 12/18/2004 (big file)6. Andrea’s Borders C, Andrea Rascaglia, 1/29/2005 (moderate file)7. Andrea’s Test Frame Border, Andrea Rascaglia, 4/23/2005 (2.4 MB))8. Andrea’s Polaroid Giant Frame, Andrea Rascaglia, 7/10/2005 (293 kb)9. Andrea’s Border Dogtown, Andrea Rascaglia, 7/17/2005 (323 kb)10. Andrea’s Polaroid 89 Border Andrea Rascaglia, 8/14/2005(1.1 mg)11. Andrea’s Vintage Background, Andrea Rascaglia, 11/30/2005(3.6 mg)12. Bronze Plaque, Sharon Lee Core, 9/26//200413. Bud’s Actions, Bud Guinn, 12/10/200314. Bud’s Brass Plaque, Bud Guinn, 1/6/200415. Bud’s Frames, Bud Guinn, 12/6/200316. Bud’s Signature’s & Stuff, Bud Guinn, 12/12/200317. Bud’s Wooden Frames, Bud Guinn, 12/14/200318. Bud’s Wooden Mattes, Bud Guinn, 12/14/200319. Bud’s EZMiter, v.1, Bud Guinn, 12/14/200320. Burnt Edge Vignette, Jodi Friedman, 10/30/200721. CSpringer’s Vignette Action, v.2, Chip Springer, 1/14/200722. Copyright Brush, Brian James, 1/26/200623. Custom Vignette 3.2 (for CS3), Custom Vignette 2.0 (CS and CS2), Galen Evans, CS3 update 4/1/200824. Dave’s Frame & Matte on White Background, Dave Jaseck, 5/26/200425. Dave’s Double Matte, Dave Jaseck, 4/22/200626. Dave’s Matte, (revised—both versions in one ZIP file, Dave Jaseck, 1/22/200627. Dave’s New Double Matte, Dave Jaseck, 3/15/200928. Digital Backdrops, Shannon Beauford, 10/27/200729. Edge Vignette, Anna Bottoms, 10/18/200730. Filer’s Frame Action, Joe Filer, 6/9/200631. Floating Frame, Ed Adams, 8/10/200832. Fracture, John Beardsworth, 7/25/200433. FrameIt!, Sweet Cheek Photographer, 8/06/200634. JJ Mack’s Image Visualization Actions and Scripts. (CS3 only), John J. McAssey, 10/2/2008 (11.8 mb)(Requires documentation. Optional template) Caution: Big Files35. Jodi’s Multiple Choice Frame Action, Jodi Friedman, 3/30/200736. Keynote Reflection, v. 2, Gord Wall, 1/24/200737. Marcia’s Frame Actions , Marcia Fasy, 6/5/200538. Mike Brewer’s Invariant Frame, Mike Brewer, 9/26//200439. Nasso’s Cutter, Nassos, 10/2/200540. Out of Bounds, v.8, Terry Alford, 1/06/200541. Panos’s Big Picture, Panos Efstathiadis, 3/25/200642. Panos’s BnBig Picture, Panos Efstathiadis, 3/25/200643. Panos’s Stamp, Panos Efstathiadis, 3/25/200644. Panos’s BB Filmstrip, Panos Efstathiadis, 3/25/200645. Panos’s Puzzle, Panos Efstathiadis, 3/25/200646. PopOut, Brian de Cambra, 12/12/200447. Sharon’s Mattes, Sharon Lee Core, 7/11/2004

Sharpeners and Correction Tools

1. Harycover’s Fringing Action, Mohammed Yahyaoui,5/18/20042. Dave’s Sharpening Actions, Dave Jaseck, 12/13/20033. Julian’s Sharpener, Julian Hebbrecht, 1/3/20054. Kent’s Noise Reduction Brush, Kent Christiansen, 7/23/20085. Sharpener, v.3, Paul Bleicher, 4/26/20046. TLR Landscape Sharpener, Glenn Mitchell, 1/18/20097. TLR Portrait Sharpener, Glenn Mitchell, 1/18/20098. TLR Pro Sharpening Toolkit, v.2 CS and earlier, Glenn Mitchell, 8/14/2005TLR Pro Sharpening Toolkit, CS2TLR Pro Sharpening Toolkit, v3.0a CS3-4

Editing and Highlight Recovery Tools

1. Chip Springer’s Digital Grey Card, Chip Springer, 10/15/2006CS/CS2 Version CS3 VersionDanny’s 3×3 Action, Danny Raphael, 12/10/20032. Danny’s Save as Layers Action, Danny Raphael, 2/28/20043. Demoneye Remover, Chip Springer, 11/30/20044. Dodge & Burn, Shannon Beauford, 6/21/20085. Dodging and Burning, Perijn Hoefsloot, 7/10/20046. Embedded Watermark, Shannon Beauford, 10/27/20077. Haze Cutter, Jim Lewis, 4/10/20098. HDR for Dummies, Jook Leung, 5/28/20069. Katrin Eismann’s Fill Flash, Dave Jaseck, 2/4/200410. Kent’s Colorcast Fix, Kent Christiansen, 4/8/200711. Redeye Remover v.2, Chip Springer, 6/10/200412. Rule of Thirds, Peter Birch, 7/22/0413. Sheri’s Shadow/Highlight Actions, v. 2b for Photoshop, Sheri Pierce, 2/1/200414. Sheri’s Shadow/Highlight Actions, v. 2b for Elements, Sheri Pierce, 2/15/200415. Stinson’s Dynamic Range Action, 2/1/200416. Tungsten Fix, Eric Lincoln, 11/18/2008


Susan Ruddick Bloom, “Digital Painting in Photoshop”
Focal Press | 2009-02-16 | ISBN: 0240811143 | 248 pages | PDF | 29,5 MB

Have you ever considered using Photoshop to create fine art?

Photoshop is usually used for enhancing photos, but this extremely powerful software package is capable of so much more. Every feature, from brushes to background, can be customised and optimised for artistic effect. With a little guidance from a pro, your photoshop results can go from competent retouching of images to visually stunning re-interpretations of them, turning everyday pictures into breathtaking works of art.

In this beautiful and inspiring book, acclaimed artist, author and lecturer Susan Bloom shows you how to do just that. Starting with the fundamentals: creating your own artistic brushes and textured papers virtually, she goes on to demonstrate how to create a variety of classic artistic styles in Photoshop, with chapters on watercolours, pastels, charcoal and oil. Further chapters cover illustration techniques in photoshop, and using third-party software to create painterly effects.

While the results are highly polished and realistic, this is not a book written specifically for artists. The techniques are aimed squarely at the Photoshop user looking to broaden their pallette, with emphasis on altering photographs to create artwork, rather than creating artwork from scratch.

Beautifully written, clearly laid out, and guaranteeing inspiring results, this book is a must-have for every Photoshop user.

  • Guide to using Photoshop to create fine art from photographs, covering many different artistic styles
  • Highly visual, inspiring content with clear step-by-step instructions and hundreds of screenshots
  • Backwards compatible approach: author has taken care to ensure that this fully up-to-date title also applies to previous editions of Photoshop

If you are thinking of creating your next web design using a painted style, you have two options. You can purchase real painting materials and create your own Photoshop brushes, or you can use free brushes that have been created by someone else. Since most web designers have limited time and short deadlines, it is an easy choice. Here are excellent Photoshop brushes collected to save you time in creating painted style designs.

WaterColor Reloaded – 83 brushes

Splatter and Watercolour Brushes For Photoshop – 21 brushes

Wet Paint Acrylic Photoshop Brushes – 16 brushes

Messy Spraypaint – 10 brushes

Hi-Res Splatter Photoshop Brushes – 10 brushes

High-Res Grunge Ink Splatter Brushes – 9 brushes

Hi-Res Splatter Photoshop Brushes – 10 brushes

Watercolour Brushes Set 1 – 26 brushes

Hi-Res Acrylic Texture Brushes Set 1 – 15 brushes

Free Hi-Res Watercolor Photoshop Brushes Set II – 20 brushes

Thank you annonymous for the share…

Photoinstrument v2.8 Build 259 | 4,89 Mb

PhotoInstrument is an easy to learn tool for editing and retouching digital photos. The powerful raster graphics editor in PhotoInstruments quickly and easily allows you to adjust and process digital photos. PhotoInstruments rich tools and effects offer adjustments and photo retouching tools that are usually found only in expensive retouching software.

Now with just a few clicks in PhotoInstrument anyone can solve most digital photo problems. So easy to use that anyone can apply these changes. Included with PhotoInstrument is a short video tutorial that will teach you how to use PhotoInstrument in just minutes.

PhotoInstrument supports more than thirty image formats including PNG, JPG, BMP, TIF, PCX, TGA, EXR, ICO and Adobe Photoshop PSD.

PhotoInsturments user-friendly interface, supports these languages: English, Bulgarian, Czech, Dutch, French, German, Hungarian, Italian, Korean, Polish, Portuguese, Russian, Serbian, Spanish, Simplified Chinese, Turkish.

PhotoInstrument is an application which allows users to edit the images they want and modify them.

Here are some key features of Photoinstrument:

· Liquify
· Clone
· Smudge
· Skin Cleaner
· Glamour Skin
· Dodge / Burn
· Brush
· Blur
· Sharpen
· Colorize
· Rotate / Scale
· Red Eye Removal
· Brightness-Contrast
· Adjust Color Levels
· Glow
· Healing Brush
· Denoise
· Object Removal

What’s New in This Release:

· Filter “Glamour skin” updated
· China language updated


Selective Focus

#The use of selective focus is used to remove distracting backgrounds and to focus the viewer’s view on the subject. It has artistic applications as well. This is a popular look in both portrait and wedding work, and it’s also used in commercial and editorial photography, especially food. All of these focus techniques are usually used at the time the photograph is taken and require additional hardware and knowledge of how to use them. Many of these tools have not transferred to digital or behave differently with digital photography.
Album DS

A new design experience that will unleash your unlimited creativity
Unmatched software for designing albums with speed, control and unrestricted creativity. All you need and more to stay above your competitors, professional software for professional photographers

Album DS is an album design software for Photoshop and works like a toolbar for Photoshop CS or higher. Photoshop’s working area is used for designing the albums instead of any own area, meaning unlimited creativity because you have direct access to all Photoshop tools.

If you need a template it will open in Photoshop at the album size by just double clicking the template thumbnail, you don’t need to search for a predefined size template as any template will fit any size; and best of all: you may easily modify the document in Photoshop because it is a true PSD file.

Album DS automates the designing process by keeping track of used pictures, placing automatically the images, applying effects, allowing direct and easy access to templates, backgrounds, masks, cliparts, styles, frames, etc.

Each album will be saved in his own folder, you may change from one album to another by just selecting the folder and all sheets, pictures and controls of folders will be retrieved with the album. This even allows for easily creating a backup of your work, just backup the folder and all your files will be included.

You may even automate the creation of the whole album, just select the templates and pictures and Album DS will do the rest.

Find out more by visiting their website:

How to create a signature brush in Photoshop CS3

I have found that using the brush tool in Photoshop is a much easier and convenient method when applying a sig to my photographs.

For those who don’t know how to make one simply follow these steps:

1. Design your sig, either by using the font type tool on a blank transparent page or if you want to get technical you can design it using the brush tool on your tablet. Ensure you use the black foreground color selection.

2. Set your Workspace to Whats New in CS3

3. Do a tight crop around your signature. If you have placed a line underneath your sig you’ll first need to merge the visible layers before you crop.

4. Go to Edit > Select Define Brush Preset

5. Enter your desired sig name or just type in ‘My Sig’

6. Open a new blank (white) page so you can test it out.

7. Select the brush tool and scroll to the bottom of the brush settings to see your new signature brush. Click on it and using the size slider adjust the size.

8. On the blank page (your test page) click anywhere, your signature brush will reveal your masterpiece!

I always recommend saving a copy of your signature to a file that contains your important, Not to be deleted information’ I have one permanently on my desktop so I have instant access, plus I’ve burnt a copy of the folder to a disc in case the computer ever needs formatting.

To save a copy of your sig to a ‘Do not delete folder’ simply right click on your desktop, select create new folder, name it Do not delete or anything that will ensure you don’t.

Open C:\Program Files\Adobe\Adobe Photoshop CS3\Presets\Brushes
scroll down to find your signature creation which will now end with .abr i(e: My_signature.abr)
right click and select copy.
and then on the folder you created on your desktop, simply right click again and select paste.
Your signature will appear inside the folder.

Have fun!


This is amazing!

How to Become a Photoshop “Black Belt”-Fast!
Just released by Mark Monciardini, Photoshopî Top SecretÙ is an Extreme
Training Course that teaches you, step by step, how to create cutting-edge
graphics and special effects with Adobeî Photoshopî. This student-friendly
home study course includes four DVD-ROMs with over 16 gigabytes of video
tutorials and project files. It also comes with a full-color gallery book
(printed, not pdf) that shows the end result of each project in the course
You can look, learn, practice, and master these advanced techniques wherever you may be, without the need for expensive classes or tutors.
Create Posters, Movie Covers, Surreal Graphics and More!
The course will teach you how to become the ultimate Photoshopî “black belt”
for fun and/or profit. You’ll learn how to create top-level special effects
for eye-catching movie posters, album covers, book jackets, brochures,
mailing pieces, magazine covers, article illustrations, and a tremendously
wide range of print ads and Web site graphics.


Have you ever been in Photoshop and found the brush image seems to disappear to a + symbol?

To get the image silhouette back simply click the caps button.


Art and Design in Photoshop
Focal | 256 Pages | 2008 | ISBN:0240811097 | PDF | 27 MB

Want to create illustrations in the styles of The Simpsons, steampunk and Victorian engravings?

Then you need Art and Design in Photoshop.

In this unique book, acclaimed master of photomontage and visual trickery Steve Caplin shows you how to stretch your creative boundaries. Taking the same tried-and-tested practical approach as his best selling How to Cheat in Photoshop titles, Steve’s step-by-step instructions recreate a dazzling and diverse array of fabulous design effects. You’ll learn how to design everything from wine labels to sushi cartons, from certificates to iPod advertising, from textbooks to pulp fiction.

Written by a working pro, the clear guidelines pinpoint exactly what you need to know: how to get slick-looking results with minimum fuss, with a 16-page Photoshop Reference chapter that provides an at-a-glance guide to Photoshop tools and techniques for less experienced users. Steve explains both typography and the design process in a clear, informative and entertaining way.

All the images, textures and fonts used in the book are supplied on the accompanying CD-ROM. If you want the complete edition you will have to purchase it, I will only share the pdf file.
Imaginative, inspirational and fun to use, this book is a must-have for every creative Photoshop user, both amateur and professional.

  • Learn to quickly and ingeniously create fantastic graphic effects in Photoshop, from graffiti to classic art, newsprint and stained-glass windows
  • Easy and fun to use with clear step-by-step instructions and hundreds of screenshots.
  • Backwards compatible: fully up-to-date with the latest Photoshop release but also relevant for use with previous versions of Photoshop


Scott Kelby, “Photoshop CS4 Down & Dirty Tricks”
New Riders Press | 2009 | ISBN: 0321563174 | 360 pages | PDF | 64,2 MB


Scott Kelby, co-host of Photoshop User TV and the world’s #1 bestselling Photoshop author, is back to unlock the secrets of an amazing new collection of the latest eye-popping, jaw-dropping, Photoshop special effects—the same kind that made Scott’s previous editions of this book one of the top selling Photoshop books in history.

You’ll learn some of the most closely guarded Photoshop CS4 special effects—the same ones you see on TV, in magazines, and on the Web. Using Scott’s simple step-by-step method, with hundreds of full-color images, you’ll see exactly how it’s all done. The book is written so clearly, and it is so easy to follow, you’ll immediately be able to create all of these effects yourself. You’ll learn:

• The latest photographic special effects
• How to fake studio shots (you’ll be amazed at how it’s done)
• The latest cutting-edge type effects
• The most popular effects used by big movie studios
• The most-requested advertising effects
• Commercial effects that clients go crazy over!
• The most asked-for current Web effects
• Amazing 3D effects using Photoshop Extended
• Plus loads of effects that look hard, but are easy once you know the secrets

And not only that, but the whole book is packed with creative ideas, layouts, and design techniques that will help you unleash your own creativity. It’s all here, in the only Photoshop book of its kind. You’re gonna love it!


How to Make Colors Pop in CS3
source from ‘eHow’

This guide will show you how to transform a drab photo into a stunning, high-contrast masterpiece using Photoshop CS3 or later. While this technique can be used by photographers using other programs or earlier versions, some tools may not be available. In my experience this technique takes about 10-30 minutes (depending on how much you like to tweak settings) and can be applied in varying degrees to all different types of photo.

1. Start with a color photo. If your base image is not in color, this guide will absolutely not help you. This image is from an abandoned zoo. The light was dim, so what should be bright colors and rich texures falls a little flat.

2. First, perform basic image cropping and levels adjustment. Your image should be slightly lighter than you want the finished product to be, but don’t lighten it so much that you lose detail in the highlights. Don’t worry about your contrast setting until the end.

3. When you have your base image the way you want it, go to the Layers menu and select Duplicate Layer as shown. Hit Ok.
You should now have two identical layers.

4. Go to the Image menu and select Image>Adjustment>Black and White.
Basic users should select a preset from the drop-down menu. I suggest Infrared or Maximum White for richest colors.

Advanced users should set layer mode to multiply before opening Black and White and set a custom conversion. If you do not set the layer to multiply you cannot “preview” your settings.

IF you are using an older version of photoshop, the easiest way to “fake” this part of the process is to desaturate to 100%, discard color information, convert to grayscale, or whatever process you like to convert to black and white, and then use levels to lighten the image.

5. If your default workspace does not include the Layers window, click “Layers” in the Window menu on the menu bar.
The Layers window has a drop-down menu for layer mode that will say “normal”
Click this and select “multiply”
This should create a very dark image. Do not levels adjust!

6. Next to the layer mode drop-down there is a menu that should read Opacity: 100%
I generally set the layer opacity at about 75% for a subtle effect. I do not recommend going any lower than 50%, but you can go as high as 100% depending on what you’re looking for.

7. In the layers window, select the BOTTOM layer. This is your original, background layer. The thumbnail in the layers menu will be highlighted. Go back up to the Layer menu and Duplicate Layer again.

If you have done it right, there will be three layers in the layers window, with the new layer in the middle of the two you had before. If the new layer is at the top of the list, you may have copied the wrong layer. Select the new layer and click the trash icon at the bottom of the layers window and try again.

When you have your new layer in the middle, click and drag the layer to the top of the layers window. This should make your big image look the same as before you added the black and white multiplied layer.

8. With the TOP layer selected in the layers window, go to Filters>Other>High Pass. This will turn the image bright white.
I usually set High Pass at between 70 and 120 pixels for this technique. The higher you go, the greater light/dark contrast you will have in your finished image.

9. Set the layer mode for the TOP layer (which should now be bright white) for Hard Light. Some people prefer Pin Light, and feel free to play around with the mode you like best. Each has a slightly different effect.

Again, reducing the opacity of the layer will make the effect more subtle. My image used a 70% opacity.

10. When you’re satisfied with your image, go to the Layers menu and select Flatten Image. This will allow you to save the image as a JPEG, which will take up less space on your hard drive and is easier to share. If you want to keep the ability to edit your layers later, save a PSD version before you flatten.

Tips & Warnings

*This technique is great for textured or mossy walls and creepy Halloween or horror images. It can also make a portrait seem “gritty” and give a city-scape a run-down feel.
  • Once you get the basic outline of the technique, play around with different versions until you find something that works for you. This is different from the way I learned the technique, but it’s what works best for my style of photography.
*Don’t abuse the power of photoshop! Think of this technique like you would explain makeup to your 12-year-old daughter: honey, less is more! The goal of this technique is to make colors and textures pop for a realistic or hyper-realistic photo. If the graffiti turns into neon, you’ve gone too far.

Photo Credit
Copyright 2006-2009 Jenna Black, used on eHow by owner.
Unauthorised use prohibited.


A fantastic site devoted to Photoshop tricks and tips

The recession may be nipping at the heels of creative studios, but that doesn’t mean that Photoshop artists should be reining in their ambitions. Armed with a broadband connection and a little know-how, it’s possible to download so much fantastic creative material, brushes, actions, PSD files, textures and plug-ins – for free – that your hard drive will be left gasping for air.

Freebies for Photoshop are experiencing a boom online. From dedicated sites offering quality ready-to-use layered PSD files for design and website creation, to thousands of brushes and actions that can give your work the edge, it’s highly likely that there’s a free version of whatever you’re after online.

I’ve grouped together some of the best examples of free stuff for Photoshop that are currently available: get ready to feel like a kid in a creative candy shop as you start exploring them.

However, take care when feasting on freebies. A quick Google search for free Photoshop brushes, for example, throws up thousands of options. As with all free content, quality varies wildly – both in terms of creative prowess and technical accomplishment.

It may be tempting to download everything, but a little time spent searching on Photoshop-related blogs for community recommendations on the best free content to download will save you from having to wade through the less-than-stellar materials.

You should also pay attention when downloading anything from the web. Some sites lure you in with the promises of ‘free’ content, only to hold the best stuff back as paid-for options.

And always ensure that you have decent anti-virus software in place, so that you’re don’t accidentally invite Internet nasties onto your hard drive. Always check the terms and conditions of your downloads to ensure you’re not breaching any copyright terms.

Free Photoshop plug-ins

Plug-ins are the biggest enhancements you can add to Photoshop, unlocking powerful features that can help boost your creative work. Some plug-ins are one-trick-ponies, such as those for creating TV scanlines or an image mosaic, while others deliver a suite of tools aimed at a particular arena, such as text effects.

One of the most popular free plug-in suites for Windows users is OptikVerve Labs VirtualPhotographer, with millions of users. It includes over 50 presets that automatically apply combinations of film grain, colour correction, black and white, soft focus, high contrast and artistic effects to achieve professional-looking images.

A more à la carte approach is offered by plug-in maker AutoFX,, which offers two of its Mac and Windows commercial plug-ins – Dreamy Photo and Mosaic – for free.

Dreamy Photo adds a soft, romantic feel, while Mosaic transforms images into a tiled effect. There is a whole category of plug-ins dedicated to delivering visual effects. Harry’s Filters for Windows is a set that includes 69 filter effects covering zoom, glass, old film and 70s pop styles.

Cybia has seven fantastic free effects plug-ins up for grabs in the form of its Fotomatic collection. Highlights include NightScope for simulating night-vision effects, Techni-X for high-contrast effects suitable for illustration work, and HighSpot for powerful black and white colour conversion.

Commercial plug-in maker Flaming Pear has an array of free high-quality plug-ins for Mac and Windows, including warp, tile, colour conversion and Solidify that fills gaps with the nearest colour.

Design studio Richard Rosenman has 24 Photoshop plug-ins, available free for Windows including 3D spheregeneration, scanlines, and lens effects. Filter Forge has a collection of three plug-in suits for Windows users, including seven metal effects filters, seven photo effects, and seven filters to create different photo frames – Mac versions are planned for the future, according to the site.

Free plug-ins also surface in unexpected places, including on Polaroid’s website. It has a free Mac and Windows dust- and scratch-removal plug-in for Photoshop

Finally, a collection of 41 plug-ins for Windows from Xero Graphics in the UK includes such gems as Porcelain, Moonlight, Skycleaner and Sparkles.

Free Photoshop actions

Actions in Photoshop were designed to remove the multi-stage drudgery of repetitive tasks in Photoshop, such as colour-converting images. Yet with some creative know-how, designers have been creating and sharing Photoshop actions that push the tool to its limits.

Photoshop actions pull together a series of steps, including menu choices, filters, and resizing – and you can even batch-process a folder of images for instant creativity.

The UK’s Turning Turnip site has a great collection of free actions for photographers and artists, ranging from comic and watercolour effects, to pop-art and photo-grain actions.

PanosFX has 38 high-quality actions to download from its site, including its excellent Rainy Day action, jigsaw-creation action, and spiral-bind action.

For a unique take on Photoshop actions, Finesse FX includes over 65 free actions that are geared to artistic output. Highlights include the excellent Old Parchment, TackIt mini action, and lots of actions for creative text effects.

If you need more traditional photographic actions, Shutter Freaks has a directory of actions, including photo frames, bleaching, B&W conversion, and canvas painting.

Free Photoshop textures

Textures breathe life into layered effects and flat scenes – allowing you to add anything from dirt, swirls, mould and metal, to paper and floral textures to your work.

Everything from oil stains to veined marble is available, and to kick off Jasen Robillard has selected 36 cool free textures on Flickr, all with Creative Commons licences – you can view the texture list with links to the high-res images at Abduzeedo, run by Digital Arts contributor Fabio Sasso,

If paper, canvas and metal are more your bag, then visit Tutorial 9,, for 99 fantastic textures, including aged paper, peeling paint, watercolour, diamond plate metal, and wrinkled fabric.

Textures can more usefully be downloaded as texture packs – grouping together similar texture styles. Web Design Ledger,, features 29 excellent texture packs, including old book covers, wood, fabric, brown packing paper, and cardboard – each loaded with high-quality textures for the asking.

Free Photoshop brushes

While Photoshop features a basic line-up of brushes, they’re not what you’d call inspirational. Luckily, the creative community has stepped up and the web is awash with free Photoshop brushes. For a combination of sheer quantity and quality, British graphic designer PaulW has crafted over 1,000 brushes designed to appeal to Photoshop artists.

Heavy on the clean vector tech-style, you can download the brushes packages at

For splatter, watercolour and spraycan brushes, Tutorial 9 has over 250 brilliant paint-effect brushes – as well as other brush types such as creative doodles.

If your creative tasks require something a little more out of this world, then has one of the largest collections of space-related brushes at It has over 500 brushes covering everything from galactic backgrounds to hazy comet trails and gaseous nebulae.

Another more unusual set that’s worth considering is an astonishing human brush collection that features over 55 brush sets covering the human body – from comic art characters and retro figures to felt-tip sketches and fingerprints. It’s available at Web Resource Depot

Photoshop brushes are also a great shortcut to capturing current design trends – and Six Revisions plays host to over 50 free Photoshop brush sets that tap into what’s hot right now

With sets titled Girls In Trouble, Rebel Teens, Rusty 80s Arcades, and Pencil Tracing, they offer a unique slant to Photoshop’s default brush set.

Brushes also don’t have to be limited to small sizes – the 100 Awesome High Resolution Photoshop Brushes directory hosted by Photoshop Roadmap features high-resolution brushes covering spirographs, hair strands, smoke, bugs, fireworks, and more.

#See my 2nd page

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