Photoshop Tutorial - Photoshop Tutorial to Turn Your Photos Into Watercolor Paintings

I cannot say enough good things about my best friend in the digital world: Photoshop. Suffice to say, I love it! As a Graphic Designer, I use it in 99% of all my projects, and now I enjoy using what I do to make Photoshop Tutorials for others.

You don't need to be a professional or even and "artist" to create works of art. Nowadays, you don't even have to know how to draw! I intend to create a series of tutorials to illustrate several ways to use this program for creating beautiful pictures and illustrations just by using photographs. In this particular tutorial, I will be showing you how to turn photos into watercolor paintings in a few easy steps.

The only materials needed to follow along with this tutorial are:

--Photoshop. I use Photoshop CS3, but you can use whichever version you have.

--A photo. Either a photo of your own or a stock photo. Some really good stock photos can be found for free at Stock Exchange.

That's it! I find a graphic tablet a nice tool for all work I do in Photoshop and they are fairly cheap these days, but it is definitely not necessary.

This tutorial does assume that you have some basic knowledge of Photoshop. Having a basic "beginner knowledge" of the program will help a lot. Also, there is a link in my bio for you to see photos that walk you through everything.

1. Open Photoshop. Then go to File-->Open, select the picture you want to work with and then hit "Open".

2. On the layers palette (on the right side), right click on the "Background Layer" and select duplicate. Do this twice.

3. Click on the first duplicate layer (this should be your middle layer), then go to Image-->Adjustments-->Desaturate . Then click on the second duplicate layer(your top layer) and do the same.

4. On the top layer, go to Image-->Adjustments-->Invert.

5. Still on the top Layer, set the blending mode (located within the layer palette, looks like this: ) to "Color Dodge".

6. Still on the top Layer, got to Filter-->Other-->Minimum and set the radius to 1.

6. Now duplicate the bottom layer(the one that still has color) one more time and drag it to the top of your layers. Go to Filter-->Blur-->Gaussian and set the radius number in the box anywhere between 1 and 5. Usually the more detailed the picture, the lower you will want to set the radius. Then set the layer blending mode to "Multiply".

7. Select the Paint Brush Tool, select the soft round or "fuzzy" brush shape at the top and set the size to fit whatever area you are working on. Set the opacity to 20%.

Go to Layer-->New Layer and name your final layer whatever you wish and hit "OK".

Then select the color you wish to paint with and paint the area to improve or change colors.

Each picture you do will have different results. Have fun playing with different levels and colors! I hope you found this Photoshop tutorial easy to follow. If you have any questions, feel free to contact me.

Of things are better when you have pictures to follow, so I put together a set of free reference pictures to go along with this. They can be found here

Preparing Your Paper For Use With Prismacolor Watercolor Pencils

Prismacolor Watercolor Pencils are water-soluble and made of professional artist quality grade pigments. They are sold individually or in sets of 12, 24, and 36 pencils. Used with or without water, the smooth and rich colored leads lend themselves to creating dynamic drawings. Additionally, all Prismacolor Watercolor Pencils precisely match the color palette of Prismacolor's other products - Premier, Verithin, and Art Stix.

The technique to using water-soluble pencils is up to the individual artist's imagination. There is no wrong way to use these pencils, except to avoid over saturating paper with water, which can lead to tearing, especially when using light weight paper. Artist grade watercolor paper is recommended, rather than drawing paper. An alternative to watercolor paper is cold press illustration board, which is a thick, high rag content paper similar in thickness to cardboard. It has what artists call, tooth, which means that the surface is textured and not smooth. The textured surface will absorb water better, allowing for greater artistic control. A smooth surface will cause running, because there is no place for the water to go. Pencils in general work much better on a textured, porous surface. When purchasing either watercolor paper or cold press illustration board, be sure to check that it is made from 100% cotton fiber and is acid free.

Illustration board can be used with a combination of media and is much more resilient to water than watercolor paper. When using either, particularly if you plan to apply water, it is best to secure your paper to a hard, smooth surface such as Masonite board. The reason for this is twofold; first, when paper absorbs water and dries, it expands and buckles. If taped down, your drawing surface will maintain better integrity. Secondly, the tape allows for a border, which will come in handy when it comes to framing your drawing. Some artists prepare their watercolor paper by first gently immersing it in lukewarm water before they tape it down. Soaking time is generally no more than 10 minutes, and should be less with lighter weight paper. Always handle your paper by the corners when removing it from water. Allow the excess water to drip into a basin before placing it on your board. Before taping down your paper, you will want to remove excess water using a sponge, applying smooth, even, straight, and gentle strokes across the surface. Once all bubble and bumps are removed, tape down one side using drafting tape. Make sure to use only one piece of tape; multiply pieces will cause your paper to dry unevenly. You will need to hold the tape taught, and begin in the middle of one edge of the paper, working it evenly from the middle to the edges. Once one side is evenly taped down, again use your sponge to smooth out your paper, but this time, apply even strokes away from the taped side. When you are satisfied that the paper is bubble free, apply tape to the opposite side of the paper. Depending upon whether you are right or left-handed, will determine which side you will begin your taping - keeping in mind that you want to use the sponge to stroke away from the taped side. If you are left-handed, you may want to begin on the right side of the paper. Once the right and left sides are taped down, your paper should be adequately stretched, and won't require further sponge work when taping down the top and the bottom of your paper.

In order to avoid making a hole or tearing your paper, it is probably best to wait before you paper is fairly dry before applying your first markings with Prismacolor Watercolor Pencils. Once the paper is dry, you may begin your drawing! Applying water to your drawing will require at least one watercolor paintbrush. Brushes come in a variety of sizes and shapes; a fan brush is especially useful for pulling your pigment away from the point of pencil saturation, in order to create a wisping or fanning effect.

Written by, Brenne Meirowitz, B.A., M.S., M.A. This article, Preparing Your Paper for Use With Prismacolor Watercolor Pencils Online was written while researching information about Prismacolor Colored Pencils.

Technique of Watercolor Painting WC03 BRUSHES

Watercolor brushes are the connecting link between the painter and the ground. They convey the desired mixture of pigment and water from the palette pool to the ground. Brushes are essential tools in the work of the watercolorist. Their selection is vital for the successful completion of the work.

This means the best brushes should be used consistent with the capability of the painter and financial resources. Do not buy expensive brushes unless you know how to use and look after them.

Sable fur is considered the best. At the end of each hair there is a curved tips makes for unique nesting of filaments into a fine point. Brushes made from this fur are not resistant to ill use. If you are the type of painter that likes to scrub at the work erase it throw all manner of stuff in its direction ride bicycles over it then do not buy sable brushes because you will deprive those who appreciate them from getting the best out of their efforts.

Sable brushes need to be high priced to justify the time spent on hand placing of each hair. Sable hair has more air pockets along its length. This means each brush can hold and release more water to the ground as needed by the painter.

Brushes are also made from other natural fur filaments but none are as good as sable.

Brushes are also made from sable and synthetic mixes yet these are still expensive.

The modern synthetic brush does stand up to indifferent treatment. Though synthetic filament is not as good as sable it stays truer to itself over the long term. Synthetic filament lasts very well but it too needs to be given sympathetic use. With sympathetic use synthetic filament brushes of good quality will be more than adequate for most watercolorists.

Fortunately there are very good 100% synthetic brushes available at very reasonable costs. There is no reason why inferior brushes should be bought just to save money. The best of the synthetic brushes will last long and be good enough for most hardworking painters.

In my possession I have a pullout brochure showing in good photographic quality illustrations 50 different types of artist brushes. Each type of brush consists of a range of sizes for all types of picture painting.

In my opinion thoroughly study your catalogue and when you buy always buy at the time from such a catalogue in front of you. In the moment it is easy to buy the wrong brush and you may not even know the brush is wrong for you.

For example the filaments of a designer's watercolor brush are longer than a picture painter's brush.

Round brushes but pointed brushes are traditional for watercolors. Wide flat brushes are now used.

These flat brushes or-one-stroke-brushes are good for use in lettering because by using the bush in the horizontal and keeping it horizontal as you run down the work following say the curve of a letter 'O' without changing the position of the brush in the hand the thickness of the letter will vary to that of a model letter. By holding the one-stroke-brush at an angle this facility is even more exaggerated. The advantage of this type of brush to a painter can be appreciated for ease of laying down large washes.

Flat brushes come in flat equivalents to the round in various widths. This means their filaments react more or less in the same way as the round.

The Hake is a different kind of brush from Japan. It is stitched donkey-hair and in my experience needs to be kept wet. This is largely superseded now by a Hake in which the hairs are sealed to hold them firm.

They come in 1, 1.5 & 2 inch widths. I advise to buy a 2-inch for clear water or light washes plus one of each for general painting use. These are twice the cost of the Japanese brushes but better to use and better value. They shed less hair on the ground [paper] as the removal of this from the laid watercolor often spoils the work. Wide brushes are best for beginners to watercolor painting.

Special brushes exist for particular purposes a few are mentioned here.

The Rigger is used for painting long fine lines such as wires ropes and er... rigging. It is best not to use them for anything else. If your close sight is not too accurate you may find it difficult to judge the distance from the tip of a rigger to the surface of the ground. In this case buy a rigger with shorter filaments. One that is ¾ inch long should be good.

Use an oil painter's half inch but worn down hog brush for mixing watercolors. Mixing pigments with the brushes you use to paint with should not be done. An old stiff brush is what is needed.

Buy a fan brush for damp blending of different colors or to remove hard edges from clouds mists and fogs or edges of soft curved surfaces such as the furry backsides of hairy animals.

Use a fine brush for signing paintings but in my view its better to use cool brown watercolor pencil.

Beginners are advised to buy the 100% synthetic brushes only [not mixtures.] Only the even # round brushes up to #24 should be bought.

Only buy a sable in the largest size if you can afford it and are able find one.

Maximum natural sable size is 14 synthetic sizes go three more sizes up to 24.

Buy one 1-inch flat nylon brush.

Buy three Hakes in widths of 1innh 1.5inches and 2inches.

Also buy one-stroke flat brushes for work in narrow widths sizes ½ and 1 inch.

Brushes should be preserved and kept clean to avoid need for harsh cleaning. The clue to achieving this is to rinse the brush thoroughly as soon as possible. The used brush should not be left in the air to dry unless it is cleaned first. Never ever leave brushes dirty between sessions - always clean as a natural habit.

Rinse first in dirty water to ensure pigment is eased from brush core. This is the area where brushes if left dirty begin to deteriorate. Filament ferrules should be nickel and kept keep clean but not left in water unnecessarily. First it is all right to rinse in dirty water providing a following rinse is used in clean water until it is obvious the brush is clean and does not smell.

Do take care not to touch the filaments until last to bring to point. Do not use soap or oil or grease at all. Do not use detergents or cleaning fluids because these too will have to be cleaned out and the cleaning then becomes pointless.

Make brush-cleaning a discipline at end of each session. Keep brushes not in use filament up in three jars for each main size group. Larger jars upside down over each to keep dust out but devise some sort of air circulation by using three distance pieces under the rim to form an air passage.

Black red or other lacquer on handles will flake off if allowed to remain in water. This makes brushes horrible to hold and plastic handles do not feel right.

Get to know the type of work various brushes are best suited.

Next Article: Technique of Watercolor Painting WC04 TOOLS

John Blenkin is a retired architect and is now a watercolor painter and article writer. His interests are wide covering both technical and philosophical subjects. He also writes online articles on the technique of watercolor painting. http://www.freefolios.com/ foka@spidernet.com.cy

Ten Super Watercolor Painting Tips for Illustrators

"We would like to see examples of your color work," said the hand-written message on the postcard from an art director at a children's book publishing house.

Uh-Oh. She had liked the black and white art samples I'd sent her, but she zeroed in on my weakness: The painting instruction I'd never quite gotten in college.

Now I had to work up some full color illustrations that demonstrated my painting bravura, or lack thereof. It was a long time ago and I'll spare you the details about how I spent the weekend whipping up watercolors, doing the best I could with the little I knew. I could draw figures and scenes decently. But in my color and washes, there was always as many misses as hits. My painting efforts were all guesswork. Did it show?

I guess it did, because I didn't hear from her again after I submitted my hastily assembled watercolors, or rather, photocopies of them.

I've learned a lot since then from painters, art directors and fellow illustrators, who were also, thank goodness, teachers at heart and generous.

The result is that I've learned that what I'd thought of as the scary part of illustration was not so scary or all that complicated. In fact, it's tons of fun.

Turns out that art doesn't have as many rules as a lot of other subjects. A handful of design principles apply to illustration as to almost all kinds of visual art. And those, in combination with a little common sense, professional courtesy (to your viewers) and some practice can go along way toward your painting looking like you've been doing it forever. And on  top of that metaphorical cake, I'll add some frosting -- my top ten favorite watercolor painting tips I've learned or have discovered on my own path.

1.)Before you paint, jot off (in pencil) a small, loose value sketch of your scene to determine where your picture's midtones, lights and dark should be, so you'll have a strategy and some patterns to follow in your painting.

2.)Use good materials for painting - a few quality sable or sable/synthetic blend round brushes will make a big difference. Though not even nearly as big a difference as the right paper, which must be 100 percent cotton rag watercolor paper (It has to say that: 100 percent rag, so that you know it's not made from woodpulp - but instead real cotton fibers. Arches paper is a good brand to look for Either type - cold press (toothy texture) or hot press (smooth surface) either type will do fine for your illustrations. And either paper weight: 140 lb. or 90 lb. will serve you well.

3.)If your illustration is going to be a little complicated, make a full-sized outline drawing of it on regular drawing paper. This is not to be confused with your value sketch, which will be quite small and should be done after you've worked out your careful larger drawing. Lightly tranfer your pencil sketch, or a photocopy of it on to your watercolor paper with the aid of a light box. Or trace your sketch on to your paper using a window and the natural light of the outside.

4.)Think in terms of a dominant color for your painting. You'll add a few, though not many other colors to your palette - most importantly a color that's opposite the dominant color, which you can use to darken or neutralize the other colors a bit where needed.

5.)Start in on your painting with a mid-tone wash of your dominant color. Mix plenty of it up ahead of time so you don't run out. (It's OK if it's a slightly "broken" or somewhat neutralized version of the color. Colors will depend on your scene's mood and subject.) When you're painting, don't forget to reserve areas of blank paper in the composition -- for the whites and lighter colors that will go in those spaces. In the final painting, you'll want to place the darkest darks against the lightest light places where you want your viewers to look most. That will be the center of interest for your painting.

6.)Make sure when painting, that your brush is good and wet (though not sloppy out-of -control wet) with the paint solution. Your wash solution should be well-saturated with the pigment so that the color goes down rich and strong - though not opaque and heavy. Tilt your painting board just a bit, so that washes run slightly with gravity down the sheet in just the one direction - down toward you. If you see a slight liquid bead forming at the bottom edge of your brush strokes, that you're working with a brush that's wet enough and that you have your board tilted just right.

7.) A good watercolor tip is one you might hear from any professional house painter: Work with the largest brush you can get away with - for the economy of means, the brevity of technique. This means, cover the surface you need to, but don't overwork a passage. Less is usually more. If you can complete a whole section with just one juicy swipe of the brush, great! You can always come back later (after it's dry), if that first pass wash didn't cover enough.

8.) You'll enjoy learning lots and lots of good watercolor painting techniques but if you'll remember the big idea: to keep your brush wet, your paint stirred and yet rich and strong with color, that's a good professional start for a painter.

9.) Know that your brushstrokes will always dry a step or two (on the value scale) lighter than they'll look when they're glistening wet. So don't be afraid to go darker with your paint mixtures. Push those darks in your picture - for better clarity and contrast and a stronger design.

10.) Don't forget to put down your brush and step away from your painting occasionally. But don't stop for a big rest until you've filled up all four corners of the painting with some kind of color. (But remember to leave some white spaces where you'll think you might need them.) Only when your initial covering of the painting's surface dries, can you can assess how much further you need to go. And that may not be as far as you think. Wait until you've had a good rest before you try to judge your painting.

Mark Mitchell is a children's book author-illustration and a teacher of traditional painting for illustration.

For more insights and tips, see his Painting Instruction blog at http://www.epaintinginstruction.com.

And for a "secret" on how to draw anything better, go to http://howtobeachildrensbookillustrator.com/drawingsecret/.