Digital Collage and Painting. Using Photoshop and Painter to by Susan Ruddick Bloom PDF

By Susan Ruddick Bloom

ISBN-10: 0240811755

ISBN-13: 9780240811758

Should you already comprehend your means round Photoshop and Painter and need to take advantage of those impressive courses to take your talents extra, this booklet is for you! even more than an easy "how-to" advisor, Susan Ruddick Bloom takes you on a full-fledged trip of the mind's eye and indicates you ways to create very good works of excellent artwork. Supplemented through the paintings of 20+ international popular artists as well as Sue's personal masterpieces, you are going to tips on how to create watercolors, black and white pencil sketches, texture collages, lovely life like and fantastical collages, and a lot more, all out of your unique photos. when you are desirous to dive into the area of electronic paintings yet desire a refresher at the fundamentals, turn to Sue's crucial recommendations bankruptcy to comb up in your Photoshop and Painter abilities, and you will be in your method very quickly. no matter if you are a beginner or a longtime electronic artist, you can find extra artistic principles during this e-book than you may ever think. totally up-to-date for brand new models of Painter and Photoshop and together with fresh paintings from modern artists, electronic university and portray presents all of the concept you must deliver your creative imaginative and prescient to gentle.

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Extra info for Digital Collage and Painting. Using Photoshop and Painter to Create Fine Art

Sample text

Because I was losing the tree form, I opened the file in Photoshop, duplicated the layer, and chose Image > Adjustments > Desaturate. I then chose Image > Adjustments > Curves and moved the dark slider toward the middle at the bottom to intensify the blacks and the white slider toward the middle at the top to intensify the whites. The resulting image was a high-contrast black-and-white image that I copied and pasted as the next layer using Darken 60%. Figure 3-4 “Last One Standing” (Multiply 57%), “Last One Standing” black-and-white image, “Last One Standing” (Darken 60%) Everything was getting too dark and muddy, so I made a new layer, filled it with a gold color, and set the blend mode to Overlay 59%.

Figure 3-7 Apologia (Multiply 48%) and “Apologia” (Mask Multiply 48%) I chose the appropriately named font, “Dirty Ego” (by Eduardo Recife), and typed “we create carbon dioxide” across the face of the woman in 72-point type using a gold color similar to the color wash. It was applied using the Difference 100% blend mode so it would interact with the underlying layer. To make it a little stronger and more colorful, I duplicated the type layer and applied it again using the Overlay 34% blend mode.

For the past few years, I’ve been exploring the interpretation of photographic source content into the language of painting. Each medium is made up of a unique vocabulary. The vocabulary of photography includes sharp focus, depth-of-field, and lens distortion (which is not necessarily a bad quality). Painting’s vocabulary, on the other hand, includes brushstrokes, canvas texture, and simplification of detail. To successfully translate a photograph into a convincing painted result requires transposing the photographic vocabulary with painting’s unique vocabulary.

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Digital Collage and Painting. Using Photoshop and Painter to Create Fine Art by Susan Ruddick Bloom

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