Step 1: Convert the background layer to a Smart Object
There are two ways to apply any filter to a layer, including an oil paint filter. The first of these is a regular, static filter, which means that by applying the filter we will make permanent, irreversible changes to the pixels of the layer.
Another way is to use the filter as a smart filter, which will save the filter settings and make it fully editable in the future (this method is called Non-Destructive and it is always better, since the filter settings can be changed and even temporarily disabled or removed. ).
So, open the original photo in Photoshop, open (if not open) the Layers panel, our photo is now the background layer, right-click on the background layer and select the "Convert to Smart Object" line. As a result, we have a smart object from the background layer, this is indicated by the icon located in the lower right corner of the layer thumbnail:
The background layer has been converted to a smart object.
Step 2: Selecting the "Oil Paint ..." filter
It starts in the usual way. through the main menu tab Filter -> Stylization -> Oil Paint (Filter -> Stylize -> Oil Paint).
Note. For some reason, in my Photoshop assembly, the filter is not translated, the name and interface are left in English.
This will open the filter dialog box. In Photoshop CS6, the dialog took up the entire screen, but now in the CC version, the window is much smaller and fits perfectly with the rest of the interface. At the very top there is a preview window, and below it are various options for controlling the oil paint effect, we will now look at all of them:
Oil Paint ... filter dialog box
Preview window
The filter provides the ability to view its action in real time right in the document, but this is not always convenient, for example, if the original image is large and does not fit at 100% scale on the monitor.
Fortunately, the preview window at the top of the filter dialog gives us an easy way to view and analyze portions of an image at 100% scale. Of course, only a small part of the image will fit in the preview, but you can easily jump to the desired sections by simply clicking on that place in the document. you want to watch.
When you hover your mouse over the image, you will see that the cursor has changed to a small square that represents the borders of the preview window. Just click on the place you want to see you want to see. Here I clicked on the area between the yellow and pink flower buds:
Preview in the filter window at a scale of 100%.
Directly below the preview window is the current zoom level indicator, by default it is set to 100%. To change the display scale use the plus and minus icons.
And finally, the "Preview" option to the right of the window enables / disables previews within the document itself. whether or not to see we preview the oil painting effect inside the image itself. You can also enable / disable preview in the document with the P key.
Brush options
The filter options in the dialog are divided into two main parts. The first contains options for setting the brush: Stylization, Cleanliness, Scale and Bristle Detail. We use these parameters to adjust various aspects of the strokes.
Below the brush options are the lighting options that control the direction of the light source, as well as the overall contrast of the effect.
We'll start by looking at the brush options. But before we continue, make sure the Lighting option is checked (checked in the checkbox). The reason is that without lighting effects, we cannot see our oil paint strokes. Also, with the lighting option turned on, increase the Shine parameter, which adjusts the contrast of the strokes so that you can clearly see the brush strokes in the image. The value does not need to be made too large, 2.0 is fine. However, this is only needed now to make it easier to learn how the brush options work. We'll take a closer look at the lighting settings later, but for now let's get back to the brush options.
Stylization
The first parameter of the brush is Stylization. It sets the style of the brush strokes, ranging from rough strokes at the lowest setting to very smooth strokes at highest settings. This is what the document will look like if you drag the styling slider to the left, down to its lowest value (0.1). As you can see, the minimum "Stylize" value makes the strokes rounded, roughly outlined, the picture is given a detailed look:
Oil paint filter with minimum Stylization
As the Stylize value increases, strokes are smoothed and lengthened. And if you move the slider all the way to the right to a maximum value of 10, the document will look like this:
The effect using the maximum Stylize value.
For my image I will choose something in between, I think the value 4 will do. The value, of course, depends on the original image.
This is what my drawing looks like with a value of 4:
Effect with a Stylize value of 4
Cleanliness
The second brush setting is Cleanliness. She controls the length brush strokes that range from short and choppy strokes at low settings to long, stringy strokes at high settings. Short strokes make a painting look more textured and detailed, while long strokes give a less detailed, smoother look.
This is what the document looks like when the Cleanliness slider is dragged to the left.
The effect obtained with the Clarity slider set to 0.
And this is the type of document with the maximum value of "Purity":
The picture is when the "Clean" is set to 10.
I think long, blurry strokes are better for this image, but at the maximum Clarity setting, they are too long. I would like to bring back a little more detail, so I decrease the setting to 7. Another value may be better for your image.
Scale
So, we've learned that the Stylization setting controls the smoothness of the strokes, while the Cleanliness controls the length. The third setting, Scale, controls the size (or thickness) of the brush itself. Use lower scale values for thinner, narrower brushes, or higher values for larger, thicker brushes.
I lower the Scale value down to its minimum value (0.1). At the lowest level, the strokes look like they were painted with a very thin brush. Note also that since thinner brushes tend to use less paint, we don't see any pronounced relief from the paint on the canvas:
Effect at the lowest Scale value.
Now let's see what happens if you drag the slider to the opposite end, increasing the scale to the maximum value (10). The strokes are much thicker, as if using a large brush. And since we used a larger brush, the relief from the brush strokes on the canvas is more pronounced compared to the thinner brush we used earlier:
Effect at maximum Scale.
Bristle Detail
The fourth brush setting controls the grooves left by the brush bristles. At lower values, the grooves are weak and soft, becoming deeper and more pronounced as the setting value is increased.
I will lower the Bristle Information value to the minimum value (zero). To see the effect better, I zoomed in on a piece of the image to 200%:
Result with Bristle Detail set to zero.
Let's increase the parameter to the maximum value of 10. The grooves become much stronger and more obvious:
Effect with Bristle Detail set to 10.
Of course, the maximum and minimum values of the above settings are rarely used in practice. I am using the following settings for my image:
- Stylization - 4
- Cleanliness - 7
- Scale - 7
- Bristle Detail - 5
This is what my picture looks like with the above filter options:
Intermediate result.
Lighting options
Below the brush parameters is a section with lighting settings. Despite the fact that there are only two of them ("Angle" and "Glitter"), they play a critical role in shaping the effect of converting a photo into an oil painting. Before we start setting the lighting parameters, we first need to make sure the checkbox to the left of the word “Lighting” is checked.
Angle
This parameter controls the direction of the light falling on the painting, which affects the direction of the shadows and highlights created by the oil paint strokes. To change direction, click position the mouse cursor inside the circle, hold the cursor and move it to rotate the disk. Alternatively, you can manually enter the angle numbers in the input field. For example, an angle value of 90 ° corresponds to the direction vertically from above, a value of 180 ° - the light comes from the left.
In my case, it looks like the image itself has a light source that comes from the top left corner, so I'll set the value to about 135 °:
Pressing the left mouse button and moving the cursor inside the circle.
For comparison, this is how this picture initially looked before changing the angle of illumination, back when the light was coming from the lower right corner. Pay attention to the shadows and highlights:
An oil painting effect with light coming from the lower right corner.
And here's what it looks like after turning in the direction of the upper left corner. Below, the white and yellow flowers have lost their relief detail after the lighting change, while others, such as the yellow flower near the center, are now displayed in more detail:
The same picture after moving the light source to the upper left corner.
Shine
Finally, the Glitter option controls the brightness of the light source, which affects the intensity of shadows and highlights (paint strokes, not the actual image). Setting the Sparkle to its lowest value, zero, essentially turns the light off, giving the effect an almost flat appearance (or rather, no effect).
Increasing the value to the maximum of ten creates too strong, unnatural shadows and highlights. In most cases, a value that is low enough, somewhere around 0.5 - 4, works best. Here I set the Shine value to 2:
Average "Gloss" value.
Disabling lighting options
Now that we've covered the lighting options and their importance to the overall appearance of brush strokes, why don't we turn off the lighting? Simply put, turn off to see the strokes! Why don't you want to see the brush strokes? Well, with the brush strokes visible, we get the bump effect created by the shadows and highlights from the bump of the paint on the canvas. Turning off the lights smooths the image, which gives us a very clean, soft and smooth result.
To turn off the lighting, just uncheck the option of the same name (in the English interface - Lighting). This will not completely disable the effect created by the oil paint filter, but will give the following result:
Filter operation when the lighting option is off.
Finally, when you have everything set up, click OK to apply the filter action and close the dialog box.
filter oil paint in Photoshop CC! Find out, step by step, how an artist's oil filter brush and lighting options make it easy to turn any photo into an oil masterpiece!
written by Steve Patterson. The oil paint filter was first introduced as an official filter in Photoshop CS6. But for some reason, it disappeared in the original release of Photoshop CC. Luckily, as of the November 2015 Creative Cloud update, Oil Paint Filter is back! And while it's essentially the same filter as in CS6 (which isn't bad), the CC version now has a much smaller, less intimidating dialog box that makes using it easier than ever.
now I am the first to admit that I am not an artist. And if you see anything that I tried to paint, you will be the second to admit that I am not an artist. But thanks to Photoshop and its oil filter, I don't have to be! I can still pretend I'm the next Vincent Van Gogh without any real proof. And while the Photoshop oil painting effect may not fool professional art dealers or ever hang on a gallery wall, turning one of your photos into an oil painting is still a lot of fun and the results can look very impressive.
Since the oil paint filter was recently added to Photoshop CC, you'll want to make sure your copy is up to date before you continue, otherwise the filter may not be available.
here is the image I will be using that I downloaded from Work:
Original image.
and this is how it will look after applying the oil filter:
The end effect. How To Use Oil Filter
Step 1: convert the background layer to a smart object
There are two ways we can apply the Oil Paint Filter to our image. One is how static filter, which means that we will make permanent changes to the pixels in the image. Another - Smart Filter which keeps filter settings non-destructive and fully editable. It's always best to work non-destructively in Photoshop, so let's apply the oil paint filter as a smart filter. This way we can easily go back and try different settings until we get an effect that looks just right.
Layers panel, displaying a photo on a background layer. in order to apply the oil paint filter as a smart filter, we need to apply it not to the normal layer but to Smart Object which means we first need to convert our background layer to a smart object. To do this, click on the small menu icon in the upper right corner of the layers panel:
Click the layers panel menu icon. choose convert to smart object from the menu that appears:
Selecting the Convert to Smart Object command. it will not look like something has happened to the image, but if we look at the layers panel again, we will see a small smart object icon in the lower right corner of the layer sketch... This lets us know that the layer has been successfully converted to a smart object:
Layers panel with smart object icon. Step 2: choose an oil paint filter
now that our layer has been converted to a smart object, we are ready to apply the oil paint filter. Climb up on filter from the menu bar at the top of the screen, select stylization and select Butter:
Going to Filter> Styling> Oil Paint. The Oil Paint Filter dialog box will open. In Photoshop CS6, the dialog took up the entire screen, but now in Photoshop CC it is much smaller and fits well with the rest of the interface. At the very top, we have a preview window, and below that are various options for controlling the oil painting effect, all of which we'll take a look at for a moment:
New Oil Paint Filter dialog box in Photoshop CC. Preview Window
even though Photoshop gives us a preview of the oil painting effect within the image itself, most images these days are too large to fit entirely on screen at their actual size. This forces us to view them at a level less than 100% scale, which means that we do not see all the pixels in the image, which means that we do not see a really accurate representation of what the image looks like.
Fortunately, preview window at the top of the oil paint filter dialog box gives us an easy way to view and check different areas of an image at this all important 100% zoom level. Only a small section of the image can fit in the preview window, but you can easily jump to another area by simply clicking on the spot you want to check.
when you move the mouse hovering over the image, you will see the cursor change by a little area, which denotes the bounds of the preview window. Just click on the location you want to explore. Here, I click on one of the yellow flowers:
Clicking on another section of the image. the place you clicked on is what you will see in the preview window:
The preview window now shows the area where I clicked. If you look directly below the preview window, you will see the current scale established 100% default. you can use a plus and minus icons on either side of the scale to change it, but in general, you want to leave it at 100% For the most accurate look:
The current zoom level of the preview window, plus the plus and minus signs to change it. finally, preview the option to the right of the window controls whether we see a preview of the oil painting effect in the image itself (as opposed to the preview window in the dialog box). In most cases, you will want to make sure it is selected (checked) so that you see a live preview of the image, but if at any time you want to see the original image again for comparison, just uncheck the preview box. You can quickly turn the preview on and off by clicking on the letter P on keyboard:
Preview option. Brush options
Now that we know what the oil painting effect will look like, let's find out how to actually create it. The options in the dialog are divided into two main sections. First, we have brushes the options (styling, clarity, scale, and bristle detail) that we use to customize various aspects of brush strokes. Below Brush Options lighting parameters (angle and glare) that control the direction of the light source as well as the overall contrast effect.
we'll start by looking at the brush options. But before we do that, for the purposes of this tutorial, make sure to lighting option enabled (enabled). The reason is that without the lighting effects we won't be able to see our brush strokes, which will let us know how the brush settings work a little tricky. Also, with lighting options enabled, increase shine value (which controls the contrast of the effect) so you can clearly see the brushstrokes in the image. You don't need to crank it too high. I'll set mine to about 2.0. Again, this is just to make it easier for us to know how the brush options work. We'll come back to the lighting options later:
Make sure the lighting is checked, then increase the glitter to make the brush strokes more visible. stylization
the first version of the brush stylization... He controls style From brushstrokes, starting from the brushstroke look at the lowest setting is very smooth stroke at the highest setting. If you drag the styling slider to the left to its lowest value (0.1):
Dragging the styling slider to the lowest level. This will look like your image was painted with a brush stroke on the canvas, giving it a rough and detailed look:
The effect using the smallest stylization value. as the stylization value increases, dragging the slider to the right will begin to smooth out the brush strokes. And if you drag the slider to the right to a maximum value of 10:
Increase styling to its maximum value. you create the smoothest strokes:
The effect using the highest styling value. for my image i think something in between works better. I'll go with a value of 4. You may find that a different value works better for your image, but don't worry about getting it perfect. You will most likely want to go back and re-tweak things after setting other parameters, as they all work together to create an overall effect:
Setting the styling value 4. this is how my brush strokes look so far. At a more medium styling value, strokes have a nice mix of smoothness and detail:
Stylization effect value 4. purity
second brush option purity... He controls length of brush strokes, ranging from short and intermittent at the lowest setting to long and liquid at the highest. Shorter brush strokes give the painting more texture and detail, while longer brush strokes give it less detail and a cleaner look.
I'll drag the purity slider to the left to its lowest value (0):
Dragging the purity slider to the lowest value. This gives me the shortest brush strokes:
Effect with a purity of 0. If I drag the purity slider all the right to a maximum value of 10:
Increasing purity to its maximum value. I get long, fluid bumps, resulting in a much cleaner, less verbose effect:
The picture with purity is set to 10. for this image, I think long, fluid strokes work better, but at maximum purity, they are too long. I would like to bring back a little more detail, so I'll decrease the value to around 7. Again, a different value may work better for your image:
Set purity value 7. this is what the result looks like. It's important to keep in mind that all the options in the oil paint filter dialog box work together to create the look we see, so this result is not just what we get, say by setting the purity value to 7. Purity only controls one aspect of the painting. (the length of the brush strokes), but these are all combined options to create an overall effect:
Decreasing the purity value to 7 shortens the brushstrokes, bringing back detail. scale
So far, we've learned that styling controls the smoothness of the brush strokes while cleanliness controls the length. The third option, scale, management at the rate of or thickness the brush itself. Use lower scale values for thinner, thinner brushes, or higher values for larger, thicker brushes.
I will decrease the scale value to the minimum value (0.1):
Dragging the scale slider to the left. at the lowest setting, the moves look like they were painted with a very thin, thin brush. Note also that since thinner brushes tend to use less paint, we see a thin strand of paint on the canvas:
Effect at lowest scale value. if you drag the slider to the opposite end, increasing the scale to the maximum value (10):
Dragging the scale slider to the right. the brush strokes are now much thicker, as if using a larger brush. And since large brushes tend to use more paint, a higher scale value creates what appears to be thicker balls of paint on the canvas, as opposed to the thin layer we saw earlier:
Effect at maximum scale value. I like the look of the large brushes for this image, so I'll keep my scale value quite high by lowering it from 10 to 7:
Scale setting 7. here is the result:
The effect after toning the scale value. Bristle Detail
fourth brush option Bristle Detail... He controls force grooves created in hair dye in a brush. At lower values, the grooves appear light and soft, becoming stronger and more pronounced as the value increases.
I will lower the bristle part to the minimum setting (0):
By dragging the bristle detail slider to the left. to make it easier to see the effect, I'll zoom in to 200%. At the lowest setting, there is very little in the way of the bristle detail:
Result with a bristle part set to 0. but if I increase the option to a maximum value of 10:
Drag the bristle part slider to the right. the grooves will be much stronger and more obvious:
The bristle effect is set to 10 in detail. I will divide the difference and set my bristle detail value to 5:
Bristle Installation Part 5. This is what my oil painting effect looks like after setting all four brush options:
The effect is still there. Lighting Options
below brush options lighting parameters. Although there are only two of them (angle and sheen), they play an important role in how the overall effect appears. Before we can set the lighting options, we first need to turn them on, making sure to checkbox to the left of the word "lighting" is selected. We'll take a look at why you might want to turn off the lights after a few minutes:
Check the box to turn the lighting options on or off. injection
the first of the lighting options, injection, management direction a light source in the painting that affects the direction of the shadows and highlights created by the paint. To change it, just click and drag inside the circle to rotate the watch face. In my case, the image itself has a light source that seems to come from the top left corner, so I'll rotate the corner to match it as closely as I can. Something around 135 ° should work:
Clicking and dragging inside the circle to change the angle value. For comparison, this is what the painting initially looked like before changing the angle of illumination, when the light was coming from the lower right corner. Watch out for shadows and highlights:
An oil painting effect with light coming from the bottom right corner. this is how it looks after turning the corner to the top left. Some areas, such as the white and yellow flowers at the bottom, seem to have lost detail after changing lighting, while others (such as the yellow flower in the center) now show more detailed information:
The same oil painting after moving the light source to the top left corner. shine
finally, gloss controls intensity a light source that affects the intensity of shadows and highlights (paints, not the actual image). Setting Shine to the lowest value of 0 turns off the light significantly, giving the effect a very flat look, while turning it to the highest value of 10 tends to create shadows and too much highlights. A sufficiently low gloss value works best in most cases.
If I set Shine to a very low value, something like 0.5:
Drag the slider to the left for a low gloss value. we can see that the shadows and highlights in the paint look very soft and subtle:
Low gloss values create soft shadows and highlights. If I increase the gloss value to the middle (5):
Increase the gloss value. the intensity of the light source increases, creating much stronger highlights and shadows:
Higher gloss values provide more intense illumination. For this image, I'll set my gloss value to around 2.5, which adds a good amount of detail without making things look too harsh:
Setting gloss 2.5. here is the result:
The effect after decreasing the gloss value. Disabling Lighting Options
Now that we've covered lighting options and how important they are to the overall look of brush strokes, why would you want to turn off lighting? Quite simply, you would turn it off when you don't want to see brush strokes! Why don't you want to see brush strokes? Well, with the brush strokes visible, we get an embossed effect created by shadows and highlights, and the paint looks as if it is overlaid on top of the canvas. Turning off the lighting flattens the image, giving you a very clean, soft and smooth result.
to turn off lights just uncheck main lighting option. It does not hide the entire effect created by the oil paint filter. He only turns off the lights:
Turn off lighting options. As soon as you rotate the lighting, your image will appear very soft and even. For comparison, here is the effect with the lights on:
The brush stroke effect is visible. and this is what it looks like with the lights off. It still looks like a painting because most of the detail in the original image has been smoothed out. However, without the shadow and highlighting the detail from the brush strokes, we get a much cleaner looking effect. You can go back to the brush options and change stylization and purity values if you turned off the lighting to adjust the smoothness of the effect. In this case, I increased the styling value from 4 to 6:
The effect when the lights are off. Application of Oil Filter Paint
I'll turn on the lighting options again and set the Stylization value back to 4. When you're happy with how the oil painting effect looks, click OK in the upper right corner of the dialog to close it and apply the settings:
Click OK to apply the oil paint filter. here is my final result:
The final oil painting effect. Re-Editing Oil Painting Smart Filter
Back before we applied the oil paint filter, we first converted the background layer to a smart object. This allowed the filter to be applied as a smart filter. If we look at the Layers panel again, we can see the oil paint filter listed as a smart filter below the image.
the main advantage of smart filters is that they remain fully editable. If you need to make further changes to the filter settings, simply double click the icon right on the name "Oil". Photoshop will reopen the Oil Paint Filter dialog box, where you can make any changes you need:
Double-click the smart oil paint filter at any time to change its settings. and there we have it! Here's how to use the brush and lighting options in the Oil Paint filter to easily turn any photo into an oil painting with Photoshop CC! Check out our Effects section for more Photoshop effects tutorials! And don't forget, all of our Photoshop tutorials are ready for
Today we are going to talk about artistic filters in Photoshop. With the help of these filters it is possible to stylize like painting (oil, pastel, pencil), imitation of surfaces and structures. With these filters you can create works of art from your photos.
A filter is a tool for changing an image. This can be blurring, sharpening, stylizing, bumping, changing colors, and more.
All filters can be found in the "Filter" tab, which is located at the top. When you click on this tab, a menu appears in front of us.
Watercolor. A watercolor painting effect.
Simulates drawing with watercolors. But not very good. With a couple of tricks, you can achieve remarkable results. Make two Copy the photo with Ctrl + J, then select the “Watercolor” filter.
We see the settings
- Brush Size
- Brush Detail Determines how accurately the details will be saved.
- Texture (Texture). Determines the strength of the paper texture.
We adjust the settings to taste. On the left we see the texture, on the right the result.
Marine watercolor / luceluceluce
Change the Blend Mode of the first layer toScreen(Lightening or Screen) and the second onMultiply(Multiplication)... Add masks to both layers. Hold down the Alt key to create a black mask. Use a white brush and a watercolor brush available on the internet to paint over the masks. This way you will simulate typical color transitions. Photoshop has done some preliminary work and prepared a sketch. With brushes and textures, you can get the effect you want.
Colored Pencil. Simulates a colored pencil drawing.
The Colored Pencil filter uses the current background color as the color of the paper on which the drawing will be drawn. That is, even before applying the filter, you need to make a small decision. The colors in the photo will turn to the colors of the pencils. The color of the paper will be visible between the pencil strokes.
- Pencil Width Adjusts the thickness of the strokes.
- Stroke Width Simulates pressing hard or softly on a pencil.
- Paper Brightness.
Since small details rarely work well, it's best to work with large photographs. It is difficult to get a good result with a one-time use of the filter. Therefore, I recommend making several copies of the image, applying different settings on different copies and using layer masks to paint those areas that best fit this part of the photo. The texture of the paper makes the image look more realistic. In this case, the texture is in a layer above all other layers and I used the layer's blend mode.Multiply(Multiplication) with little transparency.
sexy woman / stryjek
Smudge Stick. The effect of a smooth, soft image.
The filter softens the image by adding diagonal strokes, making highlights appear brighter and less detailed. This filter uses the colors of an image to simulate feathering. In this case, you can set the stroke length, which naturally affects the details and sharpness / blur. You can change the brightness of different areas of the picture and the intensity of the brightness.
- Highlight Area.
- Intensity.
Since the content of the picture does not change, it is possible to create a “photo-realistic” picture. To do this, make two copies of the original and go to the filter. On the bottom layer, set stroke length, brightness zone and intensity to 0... On the top layer - stroke length - 10, luminance zone - 10 and intensity - 3... Change the blending mode of this layer to Overlay (Overlay) and set the opacity to 50%.
This will ensure that the strokes are not too even. Of course, it is important to choose the right motive here. Fantastic collages are more suitable here than, for example, a portrait.
The Temple / Zuboff
Cutout (Application). Turns a photo into a colored paper applique.
The filter combines similar colors and simulates an appliqué of glued pieces of paper. The number of levels determines the number of colors in the collage. Edge Simplification - How the pieces of paper have been cut accurately and precisely. Edge Precision only reacts when the abstraction level is not set to 0. The lower the scale value Edge Simplicity and higher scale value Edge Fidelity, the less distortion. Image brightness does not change
- No of Levels defines the number of color levels
- Edge Simplicity.
- Edge Fidelity.
That is, using this filter, you can achieve an illustration effect. Even a simple outline is sufficient to define the content of an image. Here, too, it is very important to choose the right image. Here, too, it makes sense to use different layer blending modes, for example, Overlay
Green forest with fog / andreiuc88
Fresco (Fresco) . Fresco painting:
This filter simulates the application of paint to a still fresh plaster, at least in theory. The choice of motive is very important here as well.
- Brush Size
- Texture (Texture). Adjusts the sharpness of the edges.
In order to make the picture look like a mural, I applied a filter with the settings p brush size - 1, brush details - 10, texture - 1, applied a texture with a stucco look and usingImage - Correction - Hue / Saturationreduced the saturation of the image. Then I changed the Blend Mode of the layers toMultiply(Multiplication).
Saint Mary Magdalene / zatletic
Dry Brush. Imitation of a drawing with a dry brush.
The result of this filter is a drawing very similar to the dry brush technique (painting with a lot of paint with a little water).
- Brush Size
- Brush Detail Determines how much detail to keep.
- Texture (Texture). Adjusts the strength of the paper texture.
Here you can apply a filter with settings brush size - 1, brush details - 10, texture - 2... The snapshot is already becoming like a painting. Make a copy of the layer and apply the filter again with the settings brush size - 10, brush details - 10, texture - 1 and change the opacity of the layer to 50%. The texture of the paper can improve the effect.
Mediterrane Impression / pk200258
Rough Pastels. Pastel drawing effect.
Using this filter gives a pastel-like effect. In the upper part of the dialog box, you set the stroke length and degree of detail. In the lower part, the properties of the material on which the pattern is applied, the size of the texture, the relief and the direction of light are determined.
- Stroke Length
- Stroke Detail Determines how strong the strokes will be.
- Texture (Texture). Allows you to select a texture: brick (brick), burlap (sacking), canvas (canvas), sandstone (sandstone).
- Scaling
- Relief
The settings depend on the motive. After setting the filter, it is necessary to remove (or partially remove) the filter action on some parts of the image using a mask.
meditation / pepe
Film Grain. Superimposes the grain to simulate shooting on a film camera:
On contrasting pictures it gives a rather interesting effect. Grain scale(Grain) controls the grain size,Highlight Area is the percentage of highlights, and Intensity is the exposure.
- Grain The amount of grain in the image.
- Highlight Area. Increases the brightness of the final image.
- Intensity. Adjusts the brightness and sets the intensity of the bright areas.
Make two copies of the image and apply the filter with the settings on the top layer. grain - 8, brightness zone - 14, intensity - 2... Change the blend mode of the top layer toMultiply(Multiplication), and the layer below it onScreen... This will give you a high-contrast image with grain.
Fine art image / konradbak
Plastic Wrap. Gives the impression that the picture was placed inside a plastic bag or film.
- Highlight strength. Determines how strong the polyethylene glare will be.
- Detail. The level of detail for the outline.
- Smoothness Smooth glare.
Fashion Couple Dramatic / Gabi Moisa
Underpainting. Creates the effect of painting under different surfaces.
- Stroke Length
- Texture Coverage
- Texture (Texture).
- Scaling
- Relief
- Light. Allows you to choose from which side the relief will be illuminated.
In this case, I took a canvas texture. scale of 50% and relief height - 5. Light - bottom right, stroke length 0 to get the outline. Here's the result:
Grand Cru Rotwein / Wilm Ihlenfeld
Palette knife. Imitation of an image applied by a tool such as a wide knife.
Allows you to imitate the technique of oil painting, performed with a special tool such as a wide knife (spatula or palette knife). The image takes on emphatically rough shapes.
- Stroke Size Adjusts the size of the stroke around the edges of the path.
- Stroke Detail
- Softness. Smoothes the shot.
Unfortunately, the filter only affects small areas of color. Color transitions are not affected. This can be fixed by choosing a suitable texture and blending it with a blending mode.Multiply(Multiplication)... Then merge the layers (original and texture) and make two copies. Apply a filter with settings on the top layer stroke size - 50, stroke detail - 3, softness - 0... Set the Opacity of the layer to 80% and change the Blend Mode of the top layer toScreen(Lightening).
dutch mills 3 / dzain
Neon Glow. Creates a neon glow along the outline of the subject in the image.
Converts an image to a monochrome negative and adds a light stroke, "glow", to the outline of objects.
- Glow Size
- Glow Brightness
Feuerwehrschlauch / 77SimonGruber
Paint Daubs. Creates the look of an oil painting.
Gives the picture the appearance of an oil painting.
- Brush Size This parameter is already familiar to us.
- Sharpness.
A filter with settings is applied here brush size - 25 and sharpness - 20... Brush type - broad and medium hard. Overlaid texture with blending modeMultiply(Multiplication) and a transparency of 25%. Then a copy of the layer was made and the blending mode was selected.Softlight
(Soft light) and transparency 50%
rotes Italien / Grischa Georgiew
Sponge. Sponge effect.
- Brush Size
- Definition.
- Smoothness
Lüneburger Heide / Thorsten Schier
Poster Edges. Enhances the contours of the picture.
- Edge thickness.
- Edge intensity.
- Poserization
Superhero businessman / Nomad_Soul
We will talk about other filters and their application in the next article.
..........
This tutorial can be done in any version of Photoshop.
Complexity- difficult.
Dear friends, dear Subscribers of my diary!
I do not add a watermark (signature) on my works,
since it destroys the image.
But please ,
do not use my works and lessons on other sites without my permission.
If you link to my profile,
I will be grateful to you.
Download brushes for work:
(click on the picture below)
Also, to help you, friends,
please see the Video Lesson from Bratskij Valentin.
..........
In order to do Oil painting effect we need two source images:
background and image of the girl.
Material for work:
1.Create a new document.
Transferring the Background image to work.
Stretching the background using Free Transform
throughout the document.
2.Open and cut out our girl in any way.
We transfer it to work and place it as in the screenshot.
3.Ctrl + J-duplicate layer -girl-.
Change the Blending Mode to Linear Light.
Choose Menu-Filter-Other-Color contrast ..
Note. Select color contrast values
at your discretion, the main thing is that the face of your girl
became clearer, more contrasting.
You can also apply the Filter-Sharpening- "Smart" sharpness ..
4. Add an adjustment layer on top of all layers.
Selective color correction.
We set the values.
For my girlfriend:
Reds: Magenta (-100)
Yellows: Blue (-100), Yellow (+100)
Greens: Blue (-100), Yellow (+100)
White: Yellow (-100)
Neutrals: Blue (-20)
5. Load the Butterfly brushes from the material for work into Adobe Photoshop.
Create a new layer and draw butterflies like in the screenshot.
Give the butterflies layer a Drop Shadow and Outer Glow Layer Styles.
6.Convert the butterfly layer into a smart object.
What is a smart object can be read
Choose Menu-Filter-Blur-Motion Blur ..
7.Click on the filter effect mask thumbnail.
Take a Soft Black Round Brush with 50% Opacity.
Erase in some places the blur effect on the butterflies.
8. Create a new layer and draw stars.
Also add the Outer Glow layer style.
Set the values at your discretion.
9.We stand on the layer -girl-.
Give the girl layer a layer style with Outer Glow and Stroke.
10. Stand on the topmost layer
and press the keyboard shortcut Ctrl + Shift + Alt + E-print all visible layers
(or just merge all visible layers)
Ctrl + J-make a duplicate.
Zoom in on the image.
We begin to paint our Painting picture.
Load into Adobe Photoshop the brushes provided at the beginning of the tutorial for downloading.
Select the Finger Tool.
Choose from the set of brushes Brush number 795.
11.Expose the size of the brush, which is more convenient for you,
In my work, I initially set the brush size to 70%, the Intensity to 40%.
We begin to draw on our girl.
First of all, draw on the girl's face.
In the course of work, we decrease the Intensity values if necessary.
and we make the size of the Brush somewhere smaller, somewhere larger.
We try to move the brush in such a way as to comply with the main directions of the anatomy of the face:
along the nose, around the eyes, along the cheekbones, along the lines of the lips.
Draw in the same way around the edges of the eyes, pupils, and sinuses.
Then we move on to the arms, neck.
We process each finger separately.
Also change the Intensity and Size of the brush.
While blurring, we do: circular movements, along, across.
We draw on our girl so that not a single unprocessed area remains.
Note. This processing, of course, takes a lot of time and patience.
The first time, you may not succeed as you would like.
The more often you practice in mastering this interesting effect,
the faster you will achieve a quality result.
Then we move on to the hair.
Increase the intensity on the hair to 50%.
You can try to take another brush from the presented set,
for example 557 or 464 or 500-experiment.
Draw clothes and a wreath on the girl's head with a brush
Intensity 25-30%. Also change the size of the brush.
We draw each leaf separately
Imagine that you are drawing with paints on paper.
12.When the girls are done with the treatment,
create a new layer on top of the girl's layer,
to do this, press Ctrl + Shift + N.
13.Select the O-Clarifier and Burn tool
We expose Exposure, approximately 10-15%,
values again, we change in the course of work-
somewhere more, somewhere less.
And with a regular round soft brush, also in the course of work
by changing its size, we lighten the light parts of the face, hands, hair of the girl.
Use a dimmer to darken the dark areas.
I find it difficult to describe in words exactly where to lighten and darken,
therefore, do not be lazy to watch a video tutorial from Bratskij Valentin
and hopefully it will become clear how to work with the Dodge and Burn tools.
14. Finished drawing the girl,
added lights and shadows.
Now we make an impression of all visible layers - press the keyboard shortcut Ctrl + Shift + Alt + E.
Add a Photo Filter adjustment layer.
I wish you all creative success
and pleasant impressions from the work done!
Thank you for your attention to my work!
Turning a photo into a painting is one of the most requested topics in the lessons of working with graphic editors. Modern 2D applications are so sophisticated that they give the opportunity to try themselves as a real artist, even for those who have never been able to draw well. Sliders, checkboxes, and other settings work just as well as paint palette and canvas.
One of the confirmation of the high interest of users to the topic of painting is the appearance in the arsenal of the latest version of Photoshop of the Oil Paint filter, with which you can turn an image into a painting in a matter of seconds. And if you have a modern graphics adapter, you can watch the changes being made in the preview window in real time. However, like any tool, the Oil Paint filter is imperfect. In particular, it does not provide the ability to separately control the size and nature of strokes in different parts of the image. Therefore, other methods for obtaining a picture from photography remain relevant. In this review, we'll look at both Oil Paint and three other ways to get this effect.
⇡ Using the Oil Paint filter
Oil Paint is one of the new filters in Photoshop CS6 that uses the Mercury Graphics Engine (MGE). The latter uses OpenGL and OpenCL technologies and makes it possible to significantly speed up the result, shifting part of the work to the GPU. However, unlike some of the other new CS6 filters, Oil Paint also works with older video cards, but in this case only processor resources are used for calculations.
For convenience, the command for invoking the Oil Paint filter is placed directly in the Filter menu.
The filter contains six sliders, four of which are related to brush settings, and two are related to lighting settings. The Stylization and Bristle Detail sliders add contrast to the simulated brush strokes. They create light boundaries between each curve or swirl and thus make the effect more pronounced. The difference between these two settings is that the former adds an extra random effect to the drawing created by brush strokes, while the latter affects mainly the contrast.
The Cleanliness slider allows you to change the detail of each brush stroke. High values of this parameter correspond to painting with a new soft brush, and at low values you can get the effect of painting with an already dirty brush with stuck together bristles - there will be more "grain" in the image.
With the parameter Scale ("Scale") you can, in fact, change the size of the brush.
For lighting related settings, Angular Direction determines the angle at which the simulated light reaches the canvas surface, which in turn affects the contrast between strokes. Changing lighting can make strokes appear bright or dark. The Shine parameter sets the overall strength of the effect.
⇡ Turn a photo into a painting using filters
This method of creating a picture from a photograph is interesting because it allows you to get a completely acceptable result without using a virtual brush. The secret lies in the consistent application of filters, of which there are a great many in Photoshop.
Note that the filter settings will be different for images with different resolutions, so you may need to adjust them. We show the settings for a resolution of 1024x768.
So, after loading the original image into Photoshop, use the keyboard shortcut CTRL + U to open the Hue / Saturation window. Increase the saturation of the image to forty-five.
Open the filter gallery by choosing it from the Filter menu. Go to the Glass filter. Since we want to get the image as if it were placed on the canvas, set the texture type in its settings to resemble a canvas (Canvas). Other parameters should be selected depending on the image resolution. Reduce distortion by setting a lower value for the Distortion parameter, and select a low value for the Smoothness parameter.
Click on the New effect layer button at the bottom of the filter gallery window to add an additional layer to apply the filter.
Assign the Angled Strokes filter. It simulates brush strokes applied at a specific angle. Set the Stroke Length to 3, and reduce the Sharpness value, which determines how sharp the image will be, to one.
Add another effect layer using the same New effect layer button. Assign the Paint Daubs filter. The key setting here is the Brush Type. In this case, select the Simple type, and then reduce the brush size to four and lower the Sharpness value so that the strokes are less distinct.
Create the last layer of the effect. Assign a Texturizer filter. It adds a canvas texture to the image. In its settings, select the appropriate type of texture - Canvas ("Canvas"). Then select the scale of the texture (parameter Scaling) and its relief (parameter Relief).
The main work has been completed. To apply filters to the image, click the OK button. It remains to make the strokes clearer. Duplicate the layer using the CTRL + J command. Select the Desaturate Layer command Image → Adjustments → Desaturate.
Now apply the Filter → Stylize → Emboss to the top layer. In its settings, reduce the value of the parameter Height ("Height") to one, and the value of the parameter Amount ("Effect"), on the contrary, increase to 500.
For the current layer, change the Blending Type to Overlay. Ready!
⇡ "Painted" oil painting
Here's another fun way to turn any photo into an oil painting. It is more time consuming than using the new Oil Paint filter, but it gives you more room for creativity.
Open the image.
Create a new layer and using the Fill tool, fill it with white. Select the Art History Brush tool. On the History panel, check Set the Source for History Brush.
In the tool settings, select the 63 Oil Pastel brush and in the Area field set the spread area to thirty.
Right click on the image and decrease the size of the brush and paint on the layer. The smaller the size, the smaller the stroke size will be and the more detailed the picture will be.
Apply filter Filter → Sharpen → Unsharp Mask ("Filter" → "Sharpening" → "Unsharp") to make the strokes more expressive. Increase the Amount value. Finally, apply the Texturizer filter to create the illusion of a canvas. In Photoshop CS6, this filter does not appear by default in the Filter menu, and is invoked through the Filter Gallery. Select in the list Texture ("Texture") - Canvas ("Canvas") and, focusing on the preview window, select the values \ u200b \ u200bof the parameters Scaling ("Scale") and Relief ("Relief").
The image now looks like an oil painting.
⇡ Almost real painting in Photoshop
Most of the painting imitation techniques in Photoshop are based on the application of a specific sequence of filters. These methods have one serious drawback - they often lack the personality of the artist. In this tutorial, we'll show you one painting imitation technique that will allow you to create a unique, one-of-a-kind painting based on any photograph.
The secret of the originality of the images obtained using this method is that the user himself applies strokes in an arbitrary way. But in order to paint a picture in this way, it is not at all necessary to have the talent of an artist.
So, open the image that will serve as the basis for the painting. Increase the canvas size slightly. To do this, run the command Image → Canvas Size.
Execute the command Edit → Define pattern. Create a new layer and fill it with white using the Fill tool. Make it slightly transparent by lowering the Opacity value ("Opacity") to 80%, so that the original image shows through the top layer.
Create a new layer and arm yourself with the Pattern Stamp tool. From the list of patterns on the toolbar, select the option that you saved earlier with the Define pattern command. Check the Aligned checkbox to position the strokes correctly and the Impressionist (Effect) checkbox to give them an impressionist style.
Select one of the brushes in the settings for the Pattern Stamp tool. Adjust its profile using the settings in the Brush palette ("Brush"). It is desirable that the profile looks like a brushstroke of a real brush - a trace of the villi should be visible in it and the texture of the canvas should be visible. Start painting directly on the image with short, small strokes. They can be applied in a completely arbitrary way, trying to ensure that the profile of the brush is visible on each stroke.
In the process of painting a picture, the size of the brush can and even needs to be changed. In areas of the image where detail is low, for example, where the sky or sea, you can use larger brushes. In the same areas where there are many small details, it is better to reduce the size of the brush used so that the elements of the painting are better defined on the canvas.
The process of creating a painting takes a lot of time, since you have to pay attention to every recognizable detail in the image. However, it is precisely this “handwork” that makes the picture realistic. The position of the brush strokes defies description by some kind of algorithm, this is exclusively the work of the artist. When there are no light spots left in the image, you can save the result.
⇡ Conclusion
This article has covered several ways to get a painting from a photo in Adobe Photoshop, but there are many other programs that can achieve a similar effect. There are many free ones among them, for example FotoSketcher. This program offers over twenty painting styles, from watercolors and pencil drawing to creating a cartoon image. Each style has several settings with which you can influence the appearance of the finished "painting".
Despite the fact that using FotoSketcher you can quickly get a number of interesting artistic effects, there is still not enough freedom in programs of this kind to implement creative ideas. Many operations are done according to a template, and therefore the result, to a greater or lesser extent, repeats the previously obtained pictures. So Photoshop was, is and remains the main tool for the digital artist.
