Black and white keys, saxophone, guitar, everywhere. The music has much more magnificence than can be tried to be explained through words…
Black and white keys, saxophone, guitar, everywhere. The music has much more magnificence than can be tried to be explained through words. This jazzy rendezvous has always been André’s favourite ear-food. He just loves the way its beauty, splendour, radiance is ‘unleashed’. André stares at the canvas for over a dozen times. Here he is staring at the blank space which is future marvel…or was it to be past marvel? Had he missed his chance, missed the boat which would have sailed to sentimental stardom? He refuses to collaborate more than a sentence for any one idea. Any idea that deserves a sentence must deserve no doubt. Any canvas is only worth the greatest ideas. Two André’s exist; though only one at any one time. The withdrawn analytical front, designed for most occasions. On rare occasions the other character may appear, the intensive, massively determined André who acts on impulses. Impulsive André must be begged out. A Pandora’s Box of surprises, his job will at least never cease to astonish. “Dearest André, Through years have you befriended my son Louis, so therefore I am offering an opportunity to benefit both of our interests (with intent towards your gain). Litton inc., my company has stepped up towards mainstream success. We require visual arts for our newly bought edifice. I understand you have been painting for the eight years since high school. To your discretion I would like to require a painting; just one will suffice. I would like something vibrant and colourful, yet deep and meaningful; Contemporise to your own vision. Much thanks, Dr. Raymond Fonck.” The commissioned paper lies stuck on the wall. André has read it. Now it is time for the future. It has been too long sitting around (or rather bouncing around); too get too much productivity from anything. Someone once said to him that anything is good experience. True perhaps, although he prefers productivity, especially in a time of intensity such as this; three days left until confrontation. His vigilant eyes stroll around the room, searching for advice. He is not bored, nor has he painters block, for such a term does not exist and will not ever for him. His eyes strike the clock. The clock glares 5:48 pm back. What a disgusting fierce look it has. Not 5:45, nor 6:00 and only one uncomfortable minute in-between. For at this time these uncomforting three digits add to the frustration in the actual time. “Aw!” André suddenly realizes the importance of the time. It is the one factor which never seems to be on his side but actually encourages his total progress. It is an epiphany like that of a mother to the newborn. André decides to let his hands take / control. They are the secret key, (sometimes the gatekeepers of unleashing impulsive André) His dominant left one picks up the brush (over time it has made up for its fault of statistically losing him seven years). His right hand decides to lose cognition. It dips itself into a little puddle of Sangria oil paint muck. Than it flies onto the near-centre of the canvas, smeared diagonally. His left hand takes initiative once again, waving lines of smudge to and fro. Right hand brings more paint to its destination. Myrtle, Indigo, Olive, Magnolia…and no, not that…Yes, yes, even black! (Well seal brown to be precise). All of these contextually beautiful colours unleashed! There are no thoughts in André’s mind now. This is impulsive André now; organised thought is of little importance! That colour is important here. This colour is unimportant there. A few lines of any colour are important right here or there, but perhaps a darker colour is better. More negative space up and down the edges. Shape is forming. Lines are bolding. Complete non-representational form is diminishing. Visualizations; the visualized images in mind are being…unloaded bit by bit. It is coming about. What is it though? No one knows. If anybody could guess it definitely would not be André. André knows he has the power to bring out the reality in it though. In a seemingly paradox situation he must not connect to reality at the moment though. Now, after these hours of painting, André is in the painting. He would not know it has been hours besides the constant glare of the illuminating digital clock staring from across the room; it unconsciously processes its recognition into André. The phone screams out, ‘br-ring, br-ring!’ Like the other external matter it creeps into André, until finally its screams become too annoying to ignore. It’s too late now…impulsive André has vanished; his conventional counterpart has replaced him. The phone persists though. André decides to take it (typical for his returned mannerism). He dives across the room horizontally attacking the corner where that nuisance phone lies. ‘Aw, aw, aw, aw!’ A tube of paint has squirt from underneath his stomach. Agonising that his material friend can be so painful at times (like any of his life long friends). He picks up the phone; only the tone. He has missed whatever, whoever it was. Once again, missing the boat… Now thought and all that comes with it has returned. Why now out of all times possible? There is only sadness, misery, all this escalated from these small miniscule misfortunes; all has turned to turmoil! What can one do, when feeling like crawling into a hole? His secret minor disorders such as his claustrophobia would prevent him from crawling into that hole, even if he had one. At the moment everything feels like one big hole. Not surprisingly André’s eyes begin doing the only thing they know to do in times of unrest; wander. It is impossible to ignore what is there; it has been there all along, yet has never been seen. It is beautiful! It is splendour! It is radiance!! It is interrupted by another scream of ‘br-ring br-ring’. André picks up the damn phone. Without contemplation he whispers, “Sir, madam, I’m very terribly busy, could you perhaps call back sometime?” A deep sophisticated voice replies, “Raymond Fonck, André. Listen, I need to know about the progress of the painting. How is it going; ready to sell on Friday?” Many emotions garner at the speed of light inside André allows these emotions to clash inside of him. The painting; it is beautiful, splendour, radiance! How could he give it away now, after an indescribable series of emotional contributions? It is something that has not been attempted before; yet it is new but the expression of old. It is everything, at the moment, hopefully containing more interpretive inoculations for the future. It is a subject, of just some time, yet it contains a collaboration of detail separated from time. It is…once again interrupted by screams, this time of another sort; the infuriating talking of man. “André. Are you there?” Feelings of great rebellion sweep André off his feet. He knows how he will revolutionize his life, because after all; this painting has revolutionized his thought already. “Mister Fonck. I am so sorry. Some things have come over me…a type of sickness…although I am sure you are not aware of this mad syndrome I am suffering due to it. Well to the point, I must say I will not be supplying you with your wanted artwork. Thank you for your understanding. Hopefully we can collaborate something in future.” André hangs the phone up without replies, without a stated understanding from the mister Fonck. Without even the knowledge of acceptance or approval from the mister Fonck…it does not matter. All that matters is this new painting, this contemporised vision. It is everything. Most importantly of all, it is…unleashed!
If you don’t care too much about colour management, feel free to ignore this. / The current RB T-shirt printing uses 4 inks, and relies on…
If you don’t care too much about colour management, feel free to ignore this. / The current RB T-shirt printing uses 4 inks, and relies on the underlying white cloth to provide a white. The range (gamut) of colours that can be reproduced on a T-shirt with this printer is much smaller than that reproduced on the other RB printed products. How much smaller you ask? If you have a calibrated monitor and use software such as Photoshop which uses ICC colour profiles, here is the answer! / I’ll demonstrate with a few images from my RB portfolio. For each image I’ll show 3 versions: the original (well, in sRGB), as the T-shirt printing would produce it without correction, and lastly as the T-shirt printing will produce it with the corrections I describe further below. / Dolphin Pair / Breakaways at dusk / Snowgum patterns You’ll see that by default purples don’t come out very well! / The 3rd of each of those images is the “corrected” one: the colours are a little faded compared to the original, but not badly. To achieve the corrections, I have generated an ICC colour profile for the current RB printing process. You can download it in a zip file then extract the file RB_whiteT_070615.icc and install it onto your system. Simply copy it into the appropriate directory: WinXP: WINDOWS\SYSTEM32\SPOOL\DRIVERS\COLOR / OS X: ~/Library/ColorSync/Profiles/ or /Library/ColorSync/Profiles/ Photoshop and other profile-aware software on your system will then be able to access the new profile “RB_whiteT_June07” (you may need to restart the software to pick up the new profile). Photoshop workflow: / How you use it is up to you, but my suggestion is to continue to work on your graphics in your favourite profile (e.g. sRGB, Adobe RGB) but before saving the PNG file to upload to RedBubble, make sure you use Convert to Profile… to convert the image into this RB_whiteT_June07 profile. I recommend you use the Perceptual rendering intent. Photoshop won’t attach the RB_whiteT_June07 profile to the PNG file which you upload to RedBubble, but the Convert to Profile step will have changed the pixel values to get the colour approximately correct. NOTE: this profile was measured from a white T-shirt freshly printed by RedBubble in mid-June 2007. It provides us with a starting point for understanding the colour behaviour of the current T-shirt printing service. If/when RedBubble change their T-shirt printing this profile will no longer be valid. Of course the T-shirt printing will fade over time. I may generate additional profiles as this happens, but we’ll see how useful that ends up being. Also note that the T-shirt previews shown on RB will be a bit weird although the T-shirt colour will come out correctly. Using the above 3 examples, the previews on RB would look like: / Hopefully when RB introduces the new T-shirt printing service (which will apparently have its own white ink for consistent colour across all cloths) they will do something to handle these colour conversions automatically behind the scenes as they do for normal prints. Given the above variables, no guarantees are provided that this profile is 100% accurate. But if you’re willing to give this a try with one of your own T-shirt designs, please let me know how you go!
To make a t-shirt file in however many easy steps needed for Photoshop A rough and ready guide 1. The new t-shirt file / Downl…
To make a t-shirt file in however many easy steps needed for Photoshop A rough and ready guide 1. The new t-shirt file / Download the t-shirt template from the t-shirt upload section or input 2400 wide by 3200 high at 200 pixels/inch in RGB into a new Photoshop file as below. Note: If you are making a black t-shirt ensure the background is blank and there is no background layer 2. Artwork Input / Place artwork file by copying and pasting the art in from another file, this part is entirely up to you. One recommendation though is to have a look at the chart below. This chart indicates how the different colours will work on the different coloured fabrics. Confused? well if you want to print black on any of the 9 plain t-shirts then it should print just fine(left row and right row to the second bottom) but yellow seems to be almost entirely lost on the red, the green and the olive t-shirts. The t-shirt with the big difference is the black one on the bottom right. Since it has white printed behind the text it doesn’t really matter what colour you print onto it. 3. Check your file over This isn’t really a step but I’ll put it in regardless. / Your file will finish up on the front of a t-shirt so be aware your borders will not be the edge of the visible space. This is the maximum printable area on a t-shirt. / / So don’t expect it to cover the sleaves or wrap around to the back just yet. 4. Save the file / The last thing to do is to save your file as a png file, this is the requirement to be able to output to a t-shirt. / If you wish to save an initial PSD file to keep any layers used seperated. Once you are definately happy put in save as and select PNG instead of PSD as below. Save the file then upload as a t-shirt.
I am currently working through my third CS3 tutorial and I picking up a ton of useful tips for my photographic workflow. I just HAD to s…
I am currently working through my third CS3 tutorial and I picking up a ton of useful tips for my photographic workflow. I just HAD to share this one with you. Regarding Hue/Saturation. When you overdo this on an adjustment layer in your photos your detail is lost and it looks really blocky. Sometimes you just can’t get the saturation adjustments you need. Here’s how its done – Thank you to Chris Orwig for this one. 1) Open you image and convert it to LAB colour using: Image – Mode – Lab Colour 2) Create a curves adjustment layer 3) In the Curves dialog box ALT-click the grid to get a more detailed display 4) Go to the a – channel 5) Pull the black slider on the bottom of the grid into the right just one grid line (in this example although you can play!) 6) Pull the white slider opposite into the left by the same one grid line 7) Switch to the b channel and repeat. 8) Check out your image. This method actually increases saturation in tones you couldn’t even see that you had. Its excellent for autumn leaves or rivers and waterfalls. 9) When your done exit Curves dialog and convert your image back to RGB (select to Flatten in the pop up prompt) 10) Your all done. This is by far the best tip I’ve discovered so far. I tried it out of interest on a shot from this afternoon and it brought out lovely greens in Autumn leaves and a lovely hazy blue on water and waterfalls. Try it – I think you will like it! :D
Hey all, / Below are a list of easy keyboard commands for Photoshop. I’m using a regular PC (Windows) but if you use a mac, all of the con…
Hey all, / Below are a list of easy keyboard commands for Photoshop. I’m using a regular PC (Windows) but if you use a mac, all of the controls will be different…and because I don’t have a Mac within reach, I can’t get the commands for that. Sorry Mac users! Control + N = Opening a New Canvas / Control + O = Opening a new project from a different file (such as a photo) / Control + Z = Undo very last action; nothing past that. / Control + Alt + Z = Undo past actions; infinite. / Control + Shift + Z = Redo an action (that is, if you have already undone an action.) / Control + Shift + F = Fade… (This is a VERY useful tool that I just discovered about 2 minutes ago…For example, you draw something a little too light…do this command then you can make the brush stroke’s opacity darker! Again, VERY useful!) / Control + X = Cut / Control + C = Copy / Control + V = Paste / Control + Shift + V = Paste Into (Don’t know exactly what this does for sure yet but, apparently it’s useful?) / Control + I = Invert (makes a negative [or positive] of the image selected) / Control + A = Selects the whole canvas / Control + Shift + D = Reselects the part that was once selected, then deselected. / Control + D = Deselects the canvas / Control + – = Zoom Out / Control + + = Zoom In And there’s plenty more but these are the basic necessary keyboard commands for Photoshop. -Brittany
I had the honor of doing a collaboration with Jo O’Brien / Please also check out her portf…
I had the honor of doing a collaboration with Jo O’Brien / Please also check out her portfolio it is amazing!! / I have also had lots of questions how I do this. / She had an image that we worked on together and I did some post processing using selective coloring. Its a technique that I would suggest everyone try or learn. Go Here / if you have not yet seen it. There are several ways to achieve this. / I use photoshop elements and find it the easiest to use for doing this. / - Trace the images that I want to leave color using the lasso tool (Can take a long / time but its worth it) / - After you have traced everything you want to leave color goto select and click inverse. / - By clicking inverse you are now on the outside of the images that you traced. / - Click on enhance and adjust color then adjust hue/saturation. / - Turn the saturation all the way off to achieve the black and white. / - Then you can go to enhance and click on adjust lighting then goto shadows and / highlights to adjust your black and with levels. / - Click on select then click deselect and you image should be finished. From there you can go in and play with the saturations to bring out more color or whatever you want to do. Its a technique that you would be surprised can save any image you take if you are creative. So if you like go check out the Image and leave a comment of what you think. / I am here if anyone has any questions I would be happy to help anyone out if I can.
I have been asked by many how to do selective colouring on images, so here is a quick method for doing it. / / The method I use is a simp…
I have been asked by many how to do selective colouring on images, so here is a quick method for doing it. / / The method I use is a simple two step process / / Open the image and turn it greyscale – click the word Image [up the top menu] then – mode then greyscale / / Click ok to the message that pops up asking to discard colour channels [Those are the red, green and blue channels that make your image colour] Now – you have a mono image with all the colour discarded – You cannot select colour if its all been discarded – so we need to put it back. / / Go back to image [up top] – mode and hit RGB – the image will stay mono, but is actually a colour image [with no colour] / / Hit the history brush in the toolbar in the left and paint back where you want the colour. Adjust the size of your brush as required. / / For more subtle effects, turn the brush opacity down – but remember when using low opacity – you must paint in one stroke, without releasing the mouse. / / thats it – yep – really simple eh / / A variation on this is for example, where you want to use this method on a forest scene – impossible to paint back in or select to colour by different methods. So after making the image greyscale, turning it back to RGB and selectiing your history brush – set the brush to a very large size with a zero hardness setting. Find a place on the image where you would like to see colour and click the brush there once. The result is a really nice graduated colour effect at the point where you wanted it to appear – awesome. / / Good luck all – have fun with it, and let me know how you get on – perhaps link your images here. / / Jul
PLEASE READ THIS FIRST: When I began this list of coloured pencil artists, my intention was to provide illustrations of the works of Red…
PLEASE READ THIS FIRST: When I began this list of coloured pencil artists, my intention was to provide illustrations of the works of Redbubble Coloured Pencil artists. Recently, many have started using the copy-protection facility provided by Redbubble, so I am unable to add illustrations when this happens … just thought I’d mention, in case anyone was hurt that I’d left them out. There are some absolutely wonderful coloured pencil artists on Redbubble. I have only found a small number of them, but I’m sure there are many more out there and I would really appreciate it if anyone could name some more for me please. Some artists on my list use coloured pencils all the time, whilst others use them occasionally or as part of a mixed medium painting. One of the main reasons I joined Redbubble was because I saw the coloured pencil art of Penny Edwardes / Since then I have discovered lots more coloured pencil artists as well and here is a list of them with clickable links to their pages: Deborah Holman / / / heartco / Ine Spee / / / Liesl Yvette Wilson / / / Kathryn Pedroza / / / Michael51 / / / pinkyjain / Brian Towers / / / Gittiart / / / BarbBarcikKeith / / / Lee Wilde / / / Belinda Lindhart / Dawn Davies / Mariana Musa / J. Fehringer / Olechka / robertsloan2 / BlaqkPhoenix / R.L. Hall / Deborah Fuller / Sarah Pittman / MinoYasue / Anne McCluskey / Chelsea Kerwath / Michelle Wrighton / Jenna Forsdyke / Terry Krysak / cheetaah / Suryani Shinta / Angelique Moorman / Roberta Ponte / Steven Novak / sosij / petportraits / sowhat / Larry Butterworth / dimarie / John R. P. Nyaid / Delabarra / I AM UNABLE AT PRESENT TO SHOW DELABARRA’S WORK AS HIS IMAGES ARE IN GIF FORMAT, WHICH WILL NOT SHOW. Karen Townsend / Lazart / Estelle O’Brien / angelartist / Andy Mercer / 1960Fairlane / AS WITH DELABARRA’S WORK I AM UNABLE AT PRESENT TO SHOW ONE OF SEAN’S PICTURES, AS HIS IMAGES ARE IN GIF FORMAT, WHICH WILL NOT SHOW. i STRONGLY ADVICE EVERYONE TO GO TAKE A LOOK THOUGH! Karsten Stier / KARSTEN IS ANOTHER ARTIST WHO UPLOADS GIF IMAGES, SO I CAN’T INCLUDE A PICTURE, BUT PLEASE DO GO TO LOOK AT HIS WORK AS IT IS EXCELLENT. salhunter / synthpaintann I’m unable to show a drawing by synthpaintann because of her security settings, but do take a look at her portfolio. Lee Grissett Azaragoza / John Hayes / Countrytennis / Kate Eller Many artists still look down their noses at coloured pencils, seeing them as a stepping stone towards painting. Others are moving from paints to coloured pencils, or using them for inclusion in mixed media paintings. Many artists, such as dawndavies, do occasional coloured pencil drawings to add to their portfolios. I’m starting to get hooked myself. If anyone knows of any other coloured pencil artists, I’d love to see their work please.
For some strange reason you’ve found yourself with a B&W image that you want to add some colour back into. Perhaps the bride holding the…
For some strange reason you’ve found yourself with a B&W image that you want to add some colour back into. Perhaps the bride holding the bouquet would look really nice if the roses were red and the stems were green but the rest of the image was left in B&W. There are several ways that you can go about this in Photoshop but what we’re looking for is the most flexible, one that we can edit later without having to bin a couple of layers because the colours weren’t quite right. You know the scene, spend a few precious hours doing the roses in the bouquet and then you find out that the darn things were pink, not red …... arghh! The question is, is there something within Photoshop that can help us ….. indeed there is. Anyone who has restored some old photos will know all about hand colouring and basically, that is what we are going to do. Open a B&W image, or just desat a colour one, or convert to grayscale (not that you would normally do that) but we’re just going to have a play and we don’t want any colour in the image, we don’t want it in RGB mode. So what adjustment would give us the most flexibilty to change the colour if we chose too. You guessed didn’t you :-) We’re going to be working with a Hue/Saturation adjustment layer and we’re going to check the colorize box. At this point the whole image is going to be whatever colour you choose, that’s okay, we’re going to fix that. Choose a colour with the Hue slider – Adjust the Saturation slider and the Lightness slider until you are happy with the colour. Now you’ve got this great big mess but we’re gonna fix it. Go down to the little mask icon at the bottom of the layers palette and click on it. You will now have a white box next to the hu/sat adjustment layer – and you’ll notice that you image still looks awful. So lets fix it. Click on the mask (white box) to make sure that it is active and press ctrl i on the keyboard (cmd i for the Mac) The mask should now have turned black, and the image should look exactly like it did when we first started. Grab your brush, and making sure that the f/ground colour is set to white (cos on a black mask, white reveals) and simply paint the area that you want the colour to show through. Change the layer blend mode to soft light, or if you don’t like that try overlay or one of the other blend modes. Don’t forget that you can also use the opacity slider to take down the intensity of the colour. So yeah! how am I going to change the red roses to pink ? – double click on the hue/sat adjustment layer (not the layer mask), and the hue/sat dialogue box will appear. Change the hue/sat/lightness sliders till you get a whole other colour …. magic, you don’t have to trash layers and with them all you’re hard work. You can do this as often as is needed to add various colours back into the image. Do a red adjustment layer for the roses and then a green one for the stems and leaves (example). Heck, do various shades of red and green if you want. It’s flexible and relatively simple to master. Do gradients as well if you like and have that effect on a single rose and another gradient effect on a different rose. Make sure your f/ground and b/ground colours are set to what colours you want to use in your gradient. Click the little adjustment icon at the bottom of the layers palette and click gradient. From the dialogue box pick your f/ground b/ground gradient choose linear (or one of the other gradients available) click okay, add a layer mask, invert the layer mask, grab the brush tool, making sure that it is set to white – and paint in your gradient. This is limited to a certain degree but you can get some really nice effects going on and best of all it is editable. Here are a couple of sample shots. I’m not a flower photographer, so this is about the only image with a flower in it, but it will give you an idea of what you can do. Disclaimer – All spelling mistakes are deliberate :-)
I haven’t done a tutorial in a while and thought this might be something you find handy for replacing a sky, or perhaps selecting fly awa…
I haven’t done a tutorial in a while and thought this might be something you find handy for replacing a sky, or perhaps selecting fly away hair etc., Photoshop has lots of tools for making selections, the magic wand, the highly under / rated quick selection tool in PS3, the lasso, the magnetic lasso, the polygonal, / the pen tool, the extract tool etc., but for some reason when making a selection in / channels is mentioned, folks become a little more nervous. Probably one of the better ways to make accurate selections is in the colour channels, but be warned that it doesn’t always work, so checking the colour channels is one thing that is worth doing straight off the bat. What we will be looking for is the channel with the most contrast, in this case between the sky and the trees. As it happens, the blue channel is the one we will be using, but do check through them on other images you try this on. We’ll be using the paint brush tool and the dodge and burn tools for this exercise, so as long as the program you use has channels, a paint brush, dodge and burn tools you should be able to complete this in programs other than Photoshop. I have uploaded 2 large images to my flickr account, so you can see what you are doing :-) MAIN IMAGE and SKY IMAGE The copyright is mine .. yada, yada … Start Image. Completed Image. I have been building a library of sky images for quite a while, and it is a useful thing / to do. If you find yourself lost for something to take a photo of, start building yourself / a library of skies, textures etc., they can come in very handy. So, we’re going to replace the sky in the first image, with the sky in the 2nd image / because, people often change reasonable blue skies with other blue skies :) Here we go … open the main image and duplicate the layer by dragging it the new layer icon, pressing Ctrl J, or going to Layer>Duplicate Layer in the top toolbar. Next, I want you to click on the channels tab, which should be next to your layers tab. Next, click on the blue channel … you should now see something similar to the image below. I want you to duplicate the blue channel by dragging it to the create new layer icon at the bottom of the palette, and you can go ahead and name this if you like .. I left it as blue copy. You’ll notice that we don’t have access to our adjustment layers from the bottom toolbar like we do in the layers palette, we have to select from the top toolbar. So go to the top toolbar and select Image>Adjustment>Levels and making sure that you are working on the duplicate blue layer (blue layer copy) you can punch in the same settings as I have on the image below. I’ve tried to hide the sand with the dialogue box because we aren’t really interested in that just yet, What you’re looking at is the sky area and the trees and that they are pretty much black and white. You can go and grab your paintbrush now, and with the foreground set to black, paint over the sand at the bottom of the image. Don’t be afraid to zoom in to make sure that it is completely covered. Paint over the bush on the right of the image as well, just be a bit careful as you get nearer the top, remember that we can burn any stray areas with the burn tool. With the foreground set to white, go over the white areas in the sky top left. Stay away from the tree line with the brush tool, we are going to get closer to the trees with the dodge tool in just a second. Don’t forget to zoom in for the sky area as well. You can see in the image below that we are trying to achieve a black and white version of the image for the mask Shall we dodge or burn first ? Lets dodge :-) Select your dodge tool, select highlights from the top menu bar and keep your opacity down to 10%, or perhaps even less. Go along the top tree line .. zoom in for this … and see if there are any stray black pixels, if there is just dodge over them. You can also check around the other white areas, inside the trees for example. When you’re happy with what you have, switch to the burn tool, and choose shadows from the top menu and leave that at about 10% as well. Do the same as you did with the dodge tool, except to the darker areas i.e. burn out any remaining white areas that shouldn’t be there. To Toggle back and forth between your original image click on the RGB channel to check that you have all the areas you want dodged or burned. Like the image below. I went to filter>Blur>Gaussian Blur and gave this a blur of 1 – that would obviously be different if you had a higher res image. Before going back to your layers palette by clicking on the layers tab make sure that you click on the RGB layer in the channels palette and then bring in the sky image. Sandwich that between the background and duplicated background layer. Click on the background copy and switch back to the channels palette. Select the blue copy layer (or whatever you called it) and then you can do a couple of things – you can either press the first icon at the bottom of the channels palette which will load the channel as a selection, or you can press Ctrl and then click on the blue copy layer, / and that will load the selection. Click on the RGB channel and then return to the layers palette. Your selection should now show up on your image in the layers palette. Go to Edit>Cut and the new sky image should show through. To further refine the selection, add a mask to the layer and proceed as you normally would to mask away any stray bits that may be left. Select the new sky layer, and use the move tool to position it wherever you want in the image. I know that probably sounds like a lot of messing around, but once you have done it a couple of times you will get the hand of it. And this is one of the easiest ways to select stray hair,fly away hair etc., Taking the time to get a mask as accurate as possible in the colour channels will save you loads of time later on. Hope this has been helpful to you. If you don’t understand any of my ramblings, feel free to ask questions, or BM me.
I’ve posted this over at the forums but I thought it was important to post here as well. The following chart was made to help take the…
I’ve posted this over at the forums but I thought it was important to post here as well. The following chart was made to help take the guess work out of how your t-shirt design colours will look after Red Bubble’s colour conversion. I simply took a CMYK swatch palette from Photoshop and put it on a t-shirt in Redbubble. As a result, all the colours were converted. Update- I’ve now added coordinates so you can easily find the relating colours between each swatch set. -In the first block of swatches is an extensive range of CMYK colours which you can use while in RGB or CMYK mode to colour your designs. On the bottom is how these colours will be converted on RB’s shirt design preview. For a larger version of the colour guide you can go here (copy and paste in your browser)- http://img388.imageshack.us/img388/1130/tshirtcolourguidenewwl6.jpg Hope this helps everyone.
Hi! Yes, that’s me with a framed up painting of “Love Meditations” and my little owl finger puppet toy named Ophelia too! I was at a j…
Hi! Yes, that’s me with a framed up painting of “Love Meditations” and my little owl finger puppet toy named Ophelia too! I was at a joint exhibition’s opening ceremony here in Bangkok,Thailand yesterday evening, I’m currently having 7 of my paintings exhibited there, one of which is “Love Meditations”. There are slightly more than 100 budding artists involved…so there are many many paintings to view and enjoy :D If anyone of you is in Bangkok right now(I know the chances are super slim), do drop by for the show if you can :DThat little happy boy whom I am posing with….his mum is a great supporter of my works and had bought a few from me previously:D I dont normally look this orange, it’s the lighting in the hall and my cam :D
Hi all! When I first started on RB I noticed that within the template there were no colour options to see what it would look like on t…
Hi all! When I first started on RB I noticed that within the template there were no colour options to see what it would look like on the shirt. In fact, with RB, you have to upload the design, choose the colours and then you will see what it looks like on the shirt! Well, I made a small modification to my template file so that I always have the shirt colours at the bottom of the print area – and now, I am sharing it with you! It’s pretty basic, but if you would like to see a preview of your design on the shirt colours before you upload this will help you out. http://diesellaws.com/wp-content/uploads/2008/10/updated-rb-shirt-template-by-diesel-laws.psd What you will find in the template is a Work Layer, Shirt Colours Layer, Colour Overlay Background Layer and the Original layer. Simple directions: / 1. Save the template somewhere you will remember it. (change the name if you want) / 2. Create your masterpiece on the Work Layer or new layers above. / TO CHANGE THE BACKGROUND COLOUR / 3. Double Click on the fx on the Colour Overlay Layer. / 4. Click on the Colour Overlay option. / 5. Next to the drop down box, click inside the coloured rectangle. (this should bring up a pop-up colour box) / 6. Move your mouse over the Shirt Colours down the bottom. (You should notice the cursor change to an Eyedropper) / 7. Click the Eyedropper on each of the different shirt colours and you should see the background change. / 8. Take note of the colours your design works best with. / 9. Because this is just a preview of the colours, you don’t need to actually choose one. Click Cancel on both pop-up boxes. / 10. Hide ALL layers EXCEPT your design layer (You should have a grey/white checkered background – this is transparent) / 11. Save and Upload your work. While uploading, you should now have a great idea of what shirt colours will work best with your design. Please note: When you upload your image to RB, the designs colours will get ‘duller’. This is to give you a more accurate representation of how the tshirt will look when it is printed- and if I may say so myself – it’s brilliant. Enjoy!
Colouration jarede / M…
Colouration jarede / Many thanks to jarede a wonderful photographer and a big thrill to know your work will be on someone’s wall for a year
Last week one of our Dear Leaders flew up to Sydney to attend the “Open Universities Fast Think…
Last week one of our Dear Leaders flew up to Sydney to attend the Open Universities Fast Thinking Inaugural Innovation Awards So the lovely and generous Rose Moxon invited a few people over to hers for a bit of lunch and a chat with Martin Well the opportunity to actually meet fellow redbubblers in the flesh was quite irresistable and it turned out to be a really delightful day. / This is how the day went for me…. and no suprises….it’s a photo essay…..all shot with a tiny fisheye lomo using 35 mm film…. which is also why it’s taken me a moment or two to get this journal up….. anyway… Rose and I live some considerable distance apart so I needed to catch a very early train into Central Station where I was to then catch a connecting train to West Pennant Hills. Once I was there the lovely Rosalie Dale picked me up from the station and we drove from there to Rose’s beautiful home. This is what the morning looked like when I left Wollongong… / Rose had gone to pick up Martin from the Airport which is also some considerable distance from her house so while we waited for their return we chatted and partook of tea and cakes…. looks good hey…. that’s Bill and Patricia replete with yummy cakes Well very soon Martin and Rose returned and we all had lunch and a lot of chatting about this that and the other thing…. at some point Martin mentioned he really enjoyed some of the work he’d seen on RB made from little toy cameras….. well quicker than a rat up a drainpipe I had my cute as a button pint sized fisheye lomo out of my bag … this is what it looks like….. Poor Martin... I think he was still trying to figure out what I had in my hand when I snapped this one about one inch from his nose…. this is where a tiny little plastic lens can be a lot of fun…. it’s just not a regular portrait shot but it still tells it’s own story…. and that’s chasing soox in the background And what a wonderful suprise to see Martin arrive wearing a wonderfulblack on black teeshirt by nofrillsart called B-2 Stealth Bomber and it looked excellent. By mid afternoon he need to iron his shirt for the evening ahead and that’s exactly what he did… yes in breaking news I can confim that this is a man who knows how to iron and is not afraid to demonstrate that skill in front of a dozen or so brand new friends all of whom it could reasonably expected to be packing a camera of some sort….all I can say it was brave and mavellous and very entertaining….. Within moments maybe less than that there were more lenses trained on anything that moved that you could shake a stick at…. I actually got in to a bit of a lens off with….. can you tell who it is behind that massive bit of camera ? She’s a very talented musican and artist here…... It’s Tania Rose of course who was there with her dear little boy….. Well while the fototragic’s made best use of the available subject matter the man himself made swift work of the aforementioned shirt… now that is a practiced technique and I am deeply impressed…. I have a thing about ironing as anyone who remembers my Extreme Ironing in Antarctica calendar from earlier this year will no do ubt attest…. and while I have you looking…. check out the fabulous canvas print hanging on the wall… it’s called Moon Dancer and it’s a collaboration between Rose and Geoff Coleman and it looked really really good. Well by now the shirt has been pressed to satisfaction and there is a general frenzy of good natured snapshotting like this one with Bill and Martin and Rosalie and Adriana Glackin And yes Martin really is that tall…..;) This is one of my favorite shots from the day I think… this funny tiny little camera has caught something essential to the natures of both of these lovely people ….I find it the image joyful warm and sweet even. As you can imagine that was thirsty work so more tea and cakes were required to fortify us all for the next part of the day. Here Bill attempts to convince Patricia and Noel Elliot of something …I can’t recall what which is a shame as it looks like it was an interesting conversation….. The afternoon was winding up by now as people need to get into the city for the main event. I got a lift back to the centre of Sydney with Martin and his companions for the evening the extraordinary Rose Moxon and the beautiful and talented Sarah Moore They dropped me on Macquaire street in the CBD and I had thought to go and have a look at my artworks being exhibited at Parliment House but it was closed to the public that day…. oh well….so I went and took some photo’s of the big city buildings that congregate down that end of town instead like this one….. Then I went and caught the train to Central station and waited for the connecting train to take me back to Wollongong. I had left from Wollongong station just a little after seven that morning and got back just a little after seven that evening ….. a big day all right and well worth it…it was such a pleasure to be part of this gathering and I can’t thank Martin and Rose enough for inviting me to be part of it….I had a wonderful time and met some lovely people…... and this is what the sky was like when I got back….
Before I begin to create any graphic or vector, I think about the colors I want to use…. First I have to know which atmosphere the p…
Before I begin to create any graphic or vector, I think about the colors I want to use…. First I have to know which atmosphere the picture will transport and I choose a matching color palette for this… So here I have for you some of the well balanced color palettes I use… Feel free to download the palettes (right click at the pictures and save them), use them in your work and present your results here in comments…. I would love to see your creations….. :)) And by the way… Those combinations work EVERYWHERE… in your art, home, clothing…....................... Nr. 1 Nr. 2 Nr. 3 Nr. 4 Nr. 5 Nr. 6 Nr. 7 Nr. 8 Nr. 9 Nr. 10 Nr. 11 Nr. 12 And here an example of the colors from the palette Nr. 12 used in my last graphic work…. With a lot of greetings Nuh Sarche Read also: You can see live, who visits your site if you want… or I’m also a blogger now…. ;) or Telepathy
I like selective colouring, when it’s done properly of course. Good thing is that it is relatively easy to do and can certainly add dram…
I like selective colouring, when it’s done properly of course. Good thing is that it is relatively easy to do and can certainly add drama and impact to an image. Grab yourself an image, use an adjustment layer (well I hope you use an adjustment layer) to desaturate the image, or use one of the many other methods available in Photoshop to do it, add a mask, paint back in the colour you want – easy – the problem with that is that people mostly do it that way and end up with a B&W image with a bit of colour on it. Lets try another variation on this to get an image just a bit different from the norm :) You can get the image below to practise on if you like, copyright is mine etc., (because though it’s a sucky image, it’s still my sucky image) Open the Image, duplicate the image by either dragging it to the new layer icon at the bottom of the layers palette or pressing Ctrl + J on the keyboard, then hide the b/ground layer by clicking on the eyeball. This is just a habit with me, in this case you probably have no need to do it. Go to the create new adjustment layer at the bottom of the layers palette and choose Hue/Saturation to bring up the dialogue box. Check the Colorize box and choose a colour that you would like the background of your image to be. You can see what I have chosen in the screenshot below, don’t forget that you can fiddle around with the Saturation and Lightness – I haven’t. Grab a brush, check that the f/ground is set to black, click on the Hue/Sat mask to make it active and paint back in the area that you would to have colour. You could have made a selection prior to doing the Hue/Sat adjustment with an Alpha Channel, the pen tool, quick mask etc., I prefer to paint back in the selective colour. If you make a boo boo whilst painting on the mask, just switch the f/ground to white, correct and then switch back to black. And that is it basically. I’ve gone ahead in my example and used a curves adjustment to lighten my son, held down the Alt key, then dragged the mask from the Hue/Sat layer onto the curves adjustment layer, then pressed Ctrl + i on the keyboard to invert it. I then did a Stamp Visible Ctrl + Shift + Alt + E (make sure you are on the topmost layer before you do this) or, if you run out of fingers, you can hold down the Alt key go to the little downward facing arrow at the top right of the layers palette and select Merge Visible – don’t let go of the Alt key until you have clicked on Merge Visible, you’ll figure out how to make sure it does work, when it doesn’t work for you :) On the newly merged layer I then did an Unsharp Mask (how primitive of me), added a layer mask and grabbed the layer mask from the curves layer to make sure that it only affected the selectively coloured area. Have fun with it. As an end thought to this, make sure you do all your image corrections before you do this process – you’ll probably notice that I didn’t with my image.
Yes,, I know,, I’m late! But better late than never! / Here are some (patriotic) candids taken in Mornington during the (hot) Australian …
Yes,, I know,, I’m late! But better late than never! / Here are some (patriotic) candids taken in Mornington during the (hot) Australian Day 09 celebrations! Enjoy! / ... / I’m really getting into this whole candid street photography!! / B 1 / 2 / 3 / 4 / 5 / 6 / 7 / 8 / 9 / 10 / 11 /
This is an older Tutorial I created while I was on Deviant Art…It proved to be very popular so I thought Id share it here with my favou…
This is an older Tutorial I created while I was on Deviant Art…It proved to be very popular so I thought Id share it here with my favourite Redbubblers :D / If you have any questions please feel free to post them here :) Below are some of my works in which Ive used this effect / Click images to go to full view
So lets look at a couple more techniques you can use for colour correction (fixing colour casts etc.,) in Photoshop. You can probably us…
So lets look at a couple more techniques you can use for colour correction (fixing colour casts etc.,) in Photoshop. You can probably use both of these methods in any image editing software btw. Neither of these techniques will work on all images, but because they are so quick to do, they are usally worth taking the 20 seconds to try them out. The start image is brought to us by Orbán Ferenc over at the Stock Exchange site. Open the image in Photoshop and then grab the rectangular marquee tool. You are going to make a selection that includes a lot of different tones in the image. Reference the image below to see where I made my selection. Open a levels adjustment layer by clicking on the little ying yang symbol at the bottom of the layers palette and choosing levels. Where the dialogue box opens, go to options at the right hand side of the dialogue box and make sure enhance per channel contrast is selected. Click OK to accept that and then press Auto – and you should end up with something similar to the image below. So that looks a little strange :) Hold down the shift key on the keyboard and click on the mask – and there you have a quick colour correction. On to the next quick colour correction Open the image again and add a new blank layer above the b/ground layer by clicking on the ‘create new layer’ icon at the bottom of the layers palette. Grab the eyedropper tool by pressing i on the keyboard or using the side toolbar. You can reference the image below as to where I selected the colour from in the image, or, the RGB colours are 142 – 127 – 93. Fill the blank layer with that colour. Press Ctrl + i on the keyboard to invert the colour and then change the blend mode of the layer to overlay and you can take the opacity of the layer down if you like – I adjusted mine to 75%. If the colours appear a little washed out, you could also add a hue/sat adjustment layer and boost the colours a little. You could also try a soft light or colour blend mode. If you use a colour blend mode you might have to take the opacity of the layer down to about 20% (or to your taste) On the image below I used a hue/sat adjustment layer to boost the master by 15%, then I added a levels adjustment layer and brought the sliders in on RGB channels. Have fun!
This isn’t going to be a start to finish project, but rather a couple of different ways you could be using selections and adjustment laye…
This isn’t going to be a start to finish project, but rather a couple of different ways you could be using selections and adjustment layers that you may not have thought of. You can borrow my image below to practise on if you like, copyright is mine etc., Lets look at doing dodging and burning with some very loose selections and a bit of mask blurring. Open the image and grab the Lasso tool. You can press L on the keyboard or access it from the side tool bar. Select the road area – see image below – when you get to the straight parts of the image, hold down the shift key to so the Lasso Tool draws a straight line. Hold down the Alt key on the keyboard, then go to the bottom of the layers palette and click on the ying yang symbol (new fill or adjustment layer) and click on Curves. A small dialogue will appear (you can name it burn if you like), change the blend mode to Luminosity and click OK – the Curves dialogue box will then appear. Try to keep part of the road in view, then you can pull the line down to where mine is if you want. See image below. Click OK to accept the change. You can fix up the mask at this stage if it needs a little adjusting. Grab a white brush and paint :) There is an obvious transition line, so it needs fixing. Click on the layer mask to make it active, and then go to Filter>Blur>Gaussian Blur I punched in 20 pixels for this image – that will vary of course depending on what size image you are working on. Click OK to accept your blur settings and then you can switch the adjustment layer on and off to see what you have done. If you don’t like it, click on the curves adjustment thumbnail (not the mask) and the Curves adjustment dialogue will appear and you can change the settings to suit. Duplicate the adjustment layer and click on the eyeball of the ‘Burn’ layer to hide it. Double click on the adjustment layers thumbnail and when the Curves Dialogue box reappears hold down the Alt key of the keyboard and you will notice that the cancel button changes to ‘reset’, click on that to reset the line. Reference the image below to see where I have moved the line to and voila – some instant dodging. You would normall do that on 2 different parts of the image and on 2 curves adjustment layers. After you have finished the burn process, grab your Lasso (or any selection tool) and select another area and go through the process again. So this gets the mind moving to think …. how else can we use this to do interesting things to our images. What about some colour ? Lets have a look at doing something like that :) With the same image open, go to View in the top toolbar and make sure that “snap’ is ticked, and then in the view menu go to ‘New Guide’ and in the small dialogue box check either Vertical or Horizontal and in the ‘Position’ box type in 50% – a guide will appear. Do the same again, only make sure that if you checked horizontal the first time, that you check vertical this time. You should end up with something like the image below. Grab the Rectangular Marquee tool and draw around one of the 4 sections in the image. The selection should ‘snap’ to the guides. see image below Hold down the Alt key and click on the ying yang symbol at the bottom of the layers palette and choose Solid Colour from the fly out menu. Change the blend mode in the ‘New Layer’ dialogue to soft light and click OK. Now go ahead and choose a colour in the Solid Colour box …. I chose Red. Click OK to accept the colour. Remember that you can change this at any time simply by double clicking on the adjustment layer thumbnail – change the blend mode of the layer if you like, or take the opacity of the layer down. Grab the rectangular marquee tool again and select a different section of the image and run through the whole process again until you have all 4 sections with a different colour. see image below To clear the guides go to View>Clear Guides Whether you do any blurring on those layer masks is entirely up to you. I didn’t on the image above. So can we do something with type in a similar way …. course we can :) Grab the Type Tool from the sidebar, or press T on the keyboard, and type something – I chose ‘A Road’ LOL Hold the Ctrl key on the keyboard and click on the type layer thumbnail, that will load the transparency of the type – grab the type layer and drag it to the little garbage bin at the bottom of the layers, or make sure the layer is highlighted and then click on the little garbage bin at the bottom of the layers palette and then click yes in the dialogue press that comes up or hit enter on the keyboard. You should be able to guess what is going to happen from here :) Hold down the Alt key and click on the ying yang symbol at the bottom of the layers palette and choose solid colour from the fly out menu, change the blend mode to soft layer in the new layer dialogue box that appears and then choose a colour. You might end up with something like the image below. What you’ll notice, is that you can see the road texture through the type. You could do a similar thing with a shape layer. Draw out the shape, select the transparency and then delete the shape layer. Continue on with the usual procedure. You can also use this to produce a coloured vignette around the image. Select the Elliptical marquee tool and draw out an oval kind of shape. To position the oval in between drawing it out, hold down the spacebar and move the mouse to drag it where you want. Release the spacebar to continue enlarging it. Go to Select>Modify>Feather and 50 pixels for this particular image. Go to Select>Inverse or Shift + Ctrl + i and then follow the usual procedure – hold down the Alt key and select whatever adjustment you want from the adjustmet layers fly out menu. I chose solid colour and changed the blend mode to Overlay and picked a dark brown colour. I also chose to give it some more blurring, using Gaussian Blur with a radius of 50 pixels. See image below. You can use any of the adjustments on your images, so don’t just stick to the ones I’ve shown you here. I chose a Pattern Fill layer with Green with Fibres at 300% on the image below and changed the blend mode to Darken. Have fun !
A few people have asked so I thought what the heck…I’ll make a tutorial about it. Lemme know what you think… Did I just write t…
A few people have asked so I thought what the heck…I’ll make a tutorial about it. Lemme know what you think… Did I just write the word heck??
Learn How to create selective color image in Photoshop - Many times selective color images convey the message more strongly than just …
Learn How to create selective color image in Photoshop - Many times selective color images convey the message more strongly than just a color or monochrome image. Photoshop has provided the freedom to work on a color image to get final desired result. Although, nothing is predictable or can be planned to get good result in photography, the best out come or result is still depend on basic skill of human being – i.e. Creativity. Here is my methodology for SC processing - There is no thumb rule for an image used for selective color processing. You can use Portraits, Landscapes, Stills, Candid images, Macro or any of your choice. Once you decide to work on any image real PS fun begins. I selected Colors of Life for SC processing. 1. Open an image as a new file or copy of original image. 2. Make a duplicate layer ( CTRL + J ) 3. Convert the image to Black and White using Desaturate command. ( Image > Adjustments > Desaturate OR just press CTRL + SHIFT + U ) or the Channel mixer ( Image > Adjustment > Channel Mixer ). Color information of the original image will be removed and image will appear B&W. 4. While the top layer is selected adjust image resolution to 100% or just press ALT + CTRL + 0. 5. Now select History brush tool to retrieve details from original image. 6. Adjust brush size, opacity and flow to the desired level. ( This can be done by experimenting ). 7. Start painting on the area you want to bring back for color. 8. Since, it is a brush you can literally “bring back” only certain parts of the image by painting them. 9. Finally just FLATTEN the image. LAYER – Flatten Image. Save to desired file extention TIF, PSD or JPG Usually, I prefer TIF for original and then convert to JPG. I got the final result in Intent . . . . . . . I humbly say, I am not a Photoshop expert, I still have to go a lot distance but sharing this method will help many, as this form of art was one of my dreams and thought it might not be a reality for me. But it happened for me, and wish to happen it for many :) PS : You can create a copy of original background layer and experiment with blending options to create perfection keeping upper most layer as described above untouched. Prasad
I had the honor of doing a collaboration with Jo O’Brien / Please also check out her portf…
I had the honor of doing a collaboration with Jo O’Brien / Please also check out her portfolio it is amazing!! / I have also had lots of questions how I do this. / She had an image that we worked on together and I did some post processing using selective coloring. Its a technique that I would suggest everyone try or learn. Go Here / if you have not yet seen it. There are several ways to achieve this. / I use photoshop elements and find it the easiest to use for doing this. / - Trace the images that I want to leave color using the lasso tool (Can take a long / time but its worth it) / - After you have traced everything you want to leave color goto select and click inverse. / - By clicking inverse you are now on the outside of the images that you traced. / - Click on enhance and adjust color then adjust hue/saturation. / - Turn the saturation all the way off to achieve the black and white. / - Then you can go to enhance and click on adjust lighting then goto shadows and / highlights to adjust your black and with levels. / - Click on select then click deselect and you image should be finished. From there you can go in and play with the saturations to bring out more color or whatever you want to do. Its a technique that you would be surprised can save any image you take if you are creative. So if you like go check out the Image and leave a comment of what you think. / I am here if anyone has any questions I would be happy to help anyone out if I can.
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