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I have now kind of cleaned up the painting by doing a little bit of hand work using the same brush that we auto- painted with to get rid of some of the edge corruption, or whatever you want to call it, that happened along the edges. And we're now ready to do any restoration we want, and this presents a couple of interesting things. The fact that I happen to use the brush John's Impasto Oil that has Impasto layer associated with it, means that we'll see here in a second, when I start to do some restoration, it's going to restore whatever the original imagery is, but in this case, the Impasto layer is going to be enabled, and on, and I'll show you what that means.
Let's go ahead and go to the Restoration palette, and basically what this does is it gives me a cloning brush that is going to bring through the imagery associated with the source document, which is that image that we applied some color saturation too, and I also used the Smart Blur to simplify it a bit. So, let's take this. I'm going to turn it up a bit, and we'll select the Soft Edge Cloner, and I'm going to go to one of these detail areas we know is here, somewhere I think right here, we have where the elements with the needles are still in place to some degree.
It depends on how much Smart Blur simplified that area, but I'm going to go ahead and paint in this and it doesn't seem like much is happening. Now there we're seeing some more detail. Let me turn off Impasto, and now you're seeing this is the painting minus any Impasto that we applied to it with the Impasto enabled brush. So, when I paint without Impasto on, you can see how direct it's actually bringing that through, but when we enable Impasto, we're getting the character of the brush strokes as part of the Impasto layer, but we're now letting the original imagery come through underneath that Impasto layer. Which is actually kind of neat here, because we are restoring areas of the image.
But the character of the brush strokes is still somewhat retained because of that Impasto layer. And as a result, I can bring through some detail in here and assuming there is Impasto details still available above it in that layer, I can bring through -- it's not truly photographic anymore because we've simplified it, but you can see, there's more detail now even in this area than there was previously. And if I'm going to do any of this at all, I'm probably going to restrict it kind of to this central bit of cactus in the foreground.
As it goes farther back, it's not as much of a center of interest as the near elements of the cactus. So you really have a choice here; you know, how much do you want to bring back? If it's a portrait, for example, if you're doing something with a face, I can tell you from experience that Auto- Paint just isn't going to render a face in a painterly manner that you're probably going to like. And so, what I will very often do is use the Restoration brush to just sort of feather up some of the detail of the face, so that looks like you want it to look, because in particular portraiture, you're going to want the person's face to be the most clear image element in that entire painting.
When we go back, you really lose a lot of what the detail is doing because the display is sort of corrupt, so it doesn't do the greatest job showing all this at a reduced scale. But you can see now there's just a bit more detail in those areas. And so, the Restoration brush is a great way in particularly, and this is just kind of happened accidentally when I use the brush that happened to have Impasto associated with it. It has this extra benefit of you're bringing through the original imagery, but you are also allowing the stroked Impasto data to still remain, and so it's a nice hybrid between the simplified imagery in the source document, as well as the auto-painted imagery that was done with an Impasto brush.
Now, the last thing I want to tell you is if you're finished with an image like this and you want to take it somewhere like Photoshop, because the Impasto layer in this case, and this applies to any imagery that you've done with Impasto, if that layer is there and you save it as a Photoshop file, because the Impasto layer is a Painter specific layer, that data will be lost and what you would end up then would be a version of the image that looks like this. There's no Impasto data on there at this point.
And so, you have to have some technique for, how do I keep the Impasto data even though it's going somewhere else? The only way to do that in Painter is to make a clone of it. So, if I go in here and just say Clone, okay I've just cloned that image. If we go up here, that is now a flat image, it no longer has a Impasto layer, it's just been flattened into the image. If I go ahead and save this now, and I'll save it into the exercise files so you can look at the finished file, you'll be able to see that even if you're not in Painter, even if you save it as a JPEG, for example, to put on the web, you'll be able to still retain the look of Impasto even though you no longer have an Impasto layer, because now by making a clone, we've literally flattened the image and embedded that Impasto layer into the image, so that it's now just a single flat image that happens to have the Impasto effect on it.
So, this basically concludes looking at auto-painting. There's no time really to be able to show you all the different brushes that are in the set that I'm including here, but I can tell you that it's very much the experimental thing and I encourage you to try the same image and just select different brushes and let the process run through, and you'll be surprised how many different finished results you can get based on the brush that you've selected to apply to your source document.
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