How to paint using photoshop

How to paint using photoshop DEFAULT
You should check Erase to History if you want to erase and restore to a previous state.

In the snapshot below, we erased aspects of the image using % opacity and 55%.

The Background Eraser Tool

The Background Eraser tool is grouped with the Eraser tool. This tool erases background pixels and makes them transparent as you drag your mouse.

Let's learn to set our options in the Options Bar for the Background Eraser tool. The Options Bar is pictured below.

The first thing we need to do is select our brush size.

Interested in learning more? Why not take an online Adobe Photoshop course?

Next, choose the sampling method:

Contiguous samples colors continuously as you drag.

Sample Once erases the first color that you click.

Background Swatch erases only areas that contain the background color that you have set.

The sampling method will determine what colors are erased.

We're going to choose Contiguous.

Set your tolerance. You can enter a value or drag the slider. A low level means that areas that are very similar to the sampled color will be erased. A high level will erase a broader range of colors.

If you select Protect Foreground Color, Photoshop will make sure that areas that match the foreground color in the toolbox won't be erased.

Drag through the area that you want to erase. You can also click on individual aspects in the background to erase the colors.

We erased the background of the photo below:

Working with Color Swatches

The Swatches panel is grouped with the Colors panel. You can access it by going to Windows>Swatches. It contains the basic colors that you can use in your Photoshop images. Again, these are the colors that you can use while using Photoshop. The Swatches panel looks like this:

You can add or delete colors from the Color Swatches panel anytime you want. It's easy to do.

To add a new color swatch:

Make the color you want to add the foreground color. Remember, the foreground and background color both appear in the toolbox.

You can create a new color by clicking on the foreground color in the toolbox. Remember, the foreground color appears on top of the background color. Then, either move the circle inside the color preview box or adjust the slider.

Make sure you make this new color your foreground color.

Add the new color to your color swatches by clicking the New Swatch button from the Swatches panel.

Enter a name for the new color swatch. Click OK.

As you can see, the color is now added to your swatches:

To delete a color from the Swatches panel:

Drag a swatch located in the Swatches panel to the located in the lower right hand corner of the panel.

Creating and Using Gradients

A gradient is defined as a blending of shades from light to dark or from one color to another instead of just a solid color. In that respect, a rainbow is a gradient.

To create a gradient, you first need to click on the Gradient tool in the toolbox. It is grouped with the Paint Bucket tool.

Now, go to the Options Bar (pictured below).

Click inside the gradient sample box . The Gradient Editor will then be displayed.

Photoshop provides some gradients for you to use. However, you can also create your own.

If you want to base the new gradient on an existing one, select the existing gradient from the Presets section, then choose Solid from the Gradient Type drop down menu.

Now it's time to define the colors of your new gradient. Click on the left color stop under the gradient bar. The gradient bar looks like this:

When you do this, the triangle above the stop turns black. This indicates that the starting point is being edited.

Select the color you want to use by choosing a color from the Stops section.

Next, define the ending color by clicking the right color stop under the gradient bar. Choose the color you want.

Here are some additional tips for creating gradients:

When you're finished, enter a new name for the gradient. If you want to save it as a preset, click New after you've finished creating your gradient.

Applying a Gradient to an Image or Document

To fill an area with a gradient, you drag in the image. Where you start to drag and where you finish the drag will affect how the gradient appears. When you drag, a line will appear, as shown below.

When you release the mouse, the line will vanish and your gradient will appear:

To fill in part of an image with a gradient, select the area of the image where you want the gradient to appear, as we've done below using the Rectangular Marquee tool.

Now, select the Gradient tool again.

Choose your gradient in the Options Bar. If you've just created a new one, you can select that.

Choose an option for applying the gradient fill:

Linear gradients has shades that go from the starting point to the ending point in a straight line.

Radial gradients go from the starting point to the ending point in a circular pattern.

Angle gradients has shades that go in a counterclockwise sweep around the starting point.

Reflected gradients have shades that use symmetric linear gradients on both sides of the starting point.

Diamond gradients have shades that start from the starting point and go outward in a diamond pattern. The end point becomes one corner of the diamond.

Next in the Options bar, specify a blending mode and opacity for the paint colors you use. 


How to Turn a Photo into a Painting in Photoshop

Using Filters &#; the Filter Gallery in Photoshop

If you&#;ve ever browsed through the Filter Gallery, you probably noticed the huge variety of effects and adjustments that it&#;s capable of. While Filters can help us take care of a wide variety of tasks, there are some important tips that will help them fit seamlessly into any workflow.

If you&#;re interested in creating ultra-detailed paint and watercolor effects, we&#;ve got you covered! Check out our PRO tutorial How to Create a Watercolor Effect in Photoshop to learn a more advanced, manual process for creating wonderful works of art.

Non-Destructive Editing with Smart Filters

The main thing to remember is that a lot of Filters work destructively, meaning they make permanent changes to the Layer that they&#;re applied to. Since we want to work non-destructively as much as possible (that is to say, working in a way where any edits can be adjusted, hidden, or removed without losing any of the original information), we need a way to get around this.

First, we recommend duplicating any Layers that you intend to add Filters to. This means you will always have access to the original, unedited Layer in case you need to back.

photo into painting in photoshop

Once a Layer is duplicated, we also recommend right-clicking on the duplicate and converting it into a Smart Object. Smart Objects turn most Filters into Smart Filters. Smart Filters work more like traditional Layers, meaning we can disable them, make changes to them, and even use a Layer Mask to adjust to have more control over where the effects appear.

photo into painting in photoshop

Once those things are done, you&#;re ready to add Filters as much as you want without having to worry about damaging the original image.

Create a Painting Effect in Photoshop

Let&#;s work on creating the painting effect using the Filter Gallery. To get the best possible results, try using photos that share similar characteristics as the painting style you&#;re going for. Since we&#;re making a landscape, we want a frame that&#;s relatively simple that also has some interesting transitions between highlight and shadow. This will help us create a effect that stays true to the style of painting we want to emulate.

The Filter Gallery

Now that our new Smart Object is ready, it&#;s time to start applying effects using the Filter Gallery. Select the duplicate Layer, open the Filter menu, and then select Filter Gallery. Photoshop comes with a ton of different Filter options that are great for creating hand-painted effects. In order to get the most realistic results, we recommend using multiple Filters to get the effect right.

photo into painting in photoshop

For this particular look, we started with the Paint Daubs Filter, which gives the details in an image a look as if they were created with dabs of paint. You can use the Brush Size and Sharpness sliders to adjust the effect to you taste. But once you&#;ve dialed it in, don&#;t stop there! Adding a variety of paint effects will help give the overall image a more natural, hand-painted look.

photo into painting in photoshop

One of the best features of the Filter Gallery is that you can apply and stack multiple Filters at once while still being able to make adjustments to each. So if we want to add more variety to our painting, we can add another Filter on top of the Paint Daubs Filter. Now select the Angled Strokes Filter and adjust the settings until you get a natural look that you like. This Filter creates a look of individual paint strokes, adding to the overall realism of the effect.

photo into painting in photoshop

Sometimes it will help to apply multiple Filters of the same type to add even more variety.

photo into painting in photoshop

Once you&#;ve completed a first round of Filters, you can duplicate the background Layer again, and then repeat the process in a slightly different style. This is great if you want different areas of an image to have a slightly different look. In our example, we wanted the mountains to have softer look than the more detailed elements in the foreground. To do this, we duplicated the background Layer, added Paint Daub and Angled Stroke Filters to achieve the look we wanted, and then used Layer Mask to make that effect only visible over the mountains in the background.

photo into painting in photoshop

This is a relatively quick and easy process that can be used to create realistic painting effects for almost any photo! There are ton of Filter options we didn&#;t cover that we encourage you to explore and experiment with when creating your own paintings in Photoshop.

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Paint with Photoshop – create a beautiful digital art portrait

Experimenting with how to paint with Photoshop has always been a mission for illustrator Ayran Oberto. The idea for the artwork here is to paint a female portrait but with a sense of randomness; one that embraces mistakes. Oberto's lines, which he admits are "always flawed", tend to produce features the artist considers particularly attractive: thick lips, large eyes with long eyelashes, small pointed noses and hair that flows in all directions. 

In this tutorial Oberto broadly covers his process, if you want to try and emulate what he's doing you can download Photoshop and follow along. There are free Photoshop brushes to download and try for yourself, too.

This tutorial will cover Oberto's general workflow. He'll share how he creates various sketches to discover one to proceed with; during this stage what’s foremost in Oberto's mind is to avoid drawing the same angle. He looks for natural angles of the head that would allow for a logical movement of the character’s eyes towards the viewer.

Once the sketch with the strongest composition is chosen, Oberto aims to give it maximum visual impact using colour. His approach during this stage is to create a sense of randomness using a range of Photoshop tools. He combines effects that on initial viewing appear like mistakes, but with a little vision can end up having potential towards the end of the painting process. 

Once the colours are finalised, Oberto shows how he spends time discovering the image, using design rules that enable him to reveal attractive shapes in each area that are gradually refined as the painting progresses.

Watch Ayran Oberto's Photoshop process here…

Now, read on to discover how Ayran Oberto creates his beautiful Photoshop art in his words…

Sketch the ideas

(Image: © Ayran Oberto)

It all starts with the sketch. A few key words spark ideas and help me write this workshop. My aim is to create different angles of a female head using my visual and muscular memory, and give the viewer the sensation that they’re being observed.

Wrap lines over my sketches

(Image: © Ayran Oberto)

As I work on the sketches, I create geometric shapes using lines that seem to surround them. I need to visually feel the shapes and how they change direction, which is dictated by the general angle of the face. With these geometries I seek to create features that attract me – the thick lips, refined nose and large eyes that I mentioned earlier.

Find the light spots

(Image: © Ayran Oberto)

To create the lighting scheme I think that the ideal approach is to centre the light so that all the characteristics of the face can be appreciated in detail. I don’t want the face to become lost in shadow. To enhance the silhouette a little more, I draw a second light that gently brushes the edge of the face.

Form shadows everywhere

(Image: © Ayran Oberto)

With the light already established I have an idea of how to shade, as a result of using a more central light source. I focus on creating form shadows on all the geometric shapes. One feature of the central light source is that it doesn’t create large shadow projections, resulting in smooth transitions across the entire face.

Explore the colour options

(Image: © Ayran Oberto)

For this step I go to Layer>New Adjustment Layer>Curves. I switch between channels using Alt+2, Alt+3, Alt+4 and Alt+5, and move the curve as I please, which creates colour breaks. Next, I double-click this Adjustment layer to determine how much it blends with the one below in the Layer style>Blending options menu.

Create a variety of colours

(Image: © Ayran Oberto)

I focus on identifying the potential of each of the results from the previous step. Using the Color Picker, I select the colours that emerged and bring them to other areas of the face by applying brush strokes and taking each of the options in slightly different directions.

Combine the ideas

(Image: © Ayran Oberto)

The art editor likes two colour options: one with a yellowish-blue palette and the other one with a more saturated skin tone. I place the saturated option on a layer beneath the other option and erase the face of the layer on top. This reveals the saturated face and achieves the best combination of the two options.

Let the game begin

(Image: © Ayran Oberto)

The colour option has already been approved and I’m still aware that there are many errors that I must correct to bring the image to its maximum expression. The most difficult stage has been overcome and now I can start jumping in all directions. I fix and give definition to all the chaos that’s still present in the image.

Contrast and duality

(Image: © Ayran Oberto)

To balance the image I need to think in terms of contrast, which extends to more concepts than just value contrast. My intention is to create a lot of life and information in the hair so that the softness of the face stands out more. In addition, the eye of the viewer will naturally try to settle on these areas.

Break down the big parts

(Image: © Ayran Oberto)

The sketch is the record of a very general idea and each element of the portrait itself is a simple one. Much like a rendering engine that subdivides clustered pixels to increase definition, I decide to break all those elements into smaller ones. This will increase the feeling of high definition within the illustration.

Everything flows

(Image: © Ayran Oberto)

I use the Liquify tool to correct elements that have already been refined. I move them while checking the thumbnail to achieve a more coherent positioning of the facial features and hair. For this I go to Filter>Liquify, click the Forward Warp Tool on the left-hand panel and push the forms as required.

Liquify without remorse

(Image: © Ayran Oberto)

I use the Liquify tool to correct elements that have already been refined. I move them while checking the thumbnail to achieve a more coherent positioning of the facial features and hair. For this I go to Filter>Liquify, click the Forward Warp Tool on the left-hand panel and push the forms as required.

Pick out the highlights

(Image: © Ayran Oberto)

To give a final touch to the image, I create a new layer and set the Blend mode to Color Dodge. Then I apply very soft strokes with a neutral, desaturated colour over the highlights with the Soft Airbrush from my custom brushes collection, slightly increasing the unreal magical tone and quality of the light.

Let go of the illustration

(Image: © Ayran Oberto)

I can’t deny that all the work I do for clients increases my nervousness, and that as a consequence I find it difficult to know when to stop adding details. If I can’t control myself at this stage, I may end up destroying the image. The solution is to draw on my experiences, send the file as finished and wait for feedback.

This article originally appeared in ImagineFX, the world's best-selling magazine for digital artists. Subscribe here.

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Ayran Oberto is a freelance artist, illustrator, and concept artist. His digital art explores the stylisation of the human portrait. He also freelances in the advertising, film and video games industries. His clients include Zombie Studio,  West Studio, Leo Sanchez Studio, Unit Image, Paizo, Cryptozoic, Salix Games, ShenDesignWorks and The Drawing Agency.

Photoshop Digital Painting Tutorial

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