By Susan Ruddick Bloom
For those who already understand your manner round Photoshop and Painter and need to exploit those outstanding courses to take your talents additional, this booklet is for you! even more than an easy "how-to" consultant, Susan Ruddick Bloom takes you on a full-fledged trip of the mind's eye and exhibits you the way to create really good works of good artwork. Supplemented via the paintings of 20+ international popular artists as well as Sue's personal masterpieces, you are going to how one can create watercolors, black and white pencil sketches, texture collages, lovely sensible and fantastical collages, and much more, all out of your unique photos. when you are desirous to dive into the realm of electronic artwork yet desire a refresher at the fundamentals, turn to Sue's crucial recommendations bankruptcy to sweep up in your Photoshop and Painter abilities, and you will be in your approach very quickly. even if you are a beginner or a longtime electronic artist, you can find extra inventive principles during this e-book than you'll ever think. absolutely up to date for brand spanking new types of Painter and Photoshop and together with fresh paintings from modern artists, electronic university and portray offers all of the concept you want to deliver your inventive imaginative and prescient to gentle. * full of unique, lovely imagery through many of the industry's major artists to encourage creativity on your personal paintings* easy methods to create very good panoramas with out breaking the financial institution on dear apparatus* contains step by step tasks and hyperlinks to downloadable photos so that you can commence working towards instantly
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Additional resources for Digital Collage and Painting, Second Edition: Using Photoshop and Painter to Create Fine Art
Was it taken in the direct light of noon? Was it taken in those glorious minutes of golden-colored light before sunset? Was the sun already down and the light had blue tones? A good exercise is to photograph the same object at different times of the day to prove to yourself how the color of an object changes relative to the time of day and the type of light falling on it. Weather and cloud cover can also have a tremendous inﬂuence. Chances are that your collage components will be gathered from sources that vary in their lighting conditions.
I made a duplicate layer, creating two of the same layer. Next I moved onto Image > Adjustments > Shadow > Highlights and moved the sliders until the details were showing in the hair. Be careful here, as this tool is commonly overused and can give a caramel cast to the skin. I then adjusted and tweaked each slider as shown. ” I choose the #100 soft round airbrush at a 20% opacity. I sampled the skin on the face with the color picker and changed the color to a lighter shade, as shown. Figure 3-19 Figure 3-20 41 42 Digital Collage and Painting Making sure the “skin” layer was selected, I brushed over the entire skin area using this light pink color at 20% opacity.
I use my grid ﬁle anytime I want to create a custom substrate with judiciously placed brush strokes, textures, or other materials. To build this grid ﬁle, I created a new ﬁle with a transparent background that was 8Љ ϫ 8Љ (one-third the size of my ﬁnal print but at a scale that I can print from my letter-size laser printer). 014 and the color red, and I have set my workspace up to show rulers in 52 Digital Collage and Painting inches. Holding down the Shift key, I dragged the Line Tool across the image horizontally and vertically at 2-inch increments to create a red grid.
Digital Collage and Painting, Second Edition: Using Photoshop and Painter to Create Fine Art by Susan Ruddick Bloom