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Digital Painting: Street Scene

Using the Match Color command


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Digital Painting: Street Scene

with John Derry

Video: Using the Match Color command

Paintings by the masters demonstrate a sophisticated use of color. Wouldn't it be great to be able to impart those complex colors into your own photographs? Well, you can, and I am going to show you how. The way this is done is with a filter called the Match filter. And what I want to show you is how I can take an image--and the one I am going to use is this image. This is an image that we can distribute to you, but I want you to think of any artist that you like. You can go out on the web and find just about any image by any of the masters that you want, or practically anybody.
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  1. 8m 50s
    1. Welcome
      1m 11s
    2. Using the exercise files
      39s
    3. Installing custom brushes
      7m 0s
  2. 22m 3s
    1. Understanding the visual vocabulary
      4m 46s
    2. Using the vocabulary of photography
      6m 41s
    3. Using the vocabulary of painting
      7m 1s
    4. Looking at reality through a mental painting filter
      3m 35s
  3. 10m 22s
    1. Understanding that resolution is in the brush strokes
      3m 6s
    2. Understanding the subject
      7m 16s
  4. 16m 1s
    1. Removing lens distortions
      2m 33s
    2. Using the Free Transform tool
      4m 42s
    3. Using the Lens Correction filter
      4m 36s
    4. Understanding the ACR lens correction profiles
      4m 10s
  5. 12m 23s
    1. Working with Vibrance
      3m 14s
    2. Using the Match Color command
      2m 59s
    3. Understanding the traditional paint color swatch set
      6m 10s
  6. 16m 6s
    1. The eye has a bettor sensor than a camera
      3m 16s
    2. Using the Shadow/Highlight filter
      3m 17s
    3. Using the HDR Toning filter
      5m 23s
    4. Understanding how RAW files provide malleability
      4m 10s
  7. 14m 42s
    1. Working with the Reduce Noise filter
      2m 50s
    2. Working with the Surface Blur filter
      3m 6s
    3. Using Smart Blur for simplification
      2m 51s
    4. Working with the Topaz Simplify plug-in
      5m 55s
  8. 31m 10s
    1. NDLP: A creative safety net
      5m 1s
    2. Using custom actions
      9m 41s
    3. Using the reference layer
      5m 29s
    4. Cloning layers
      6m 5s
    5. Working with the Hue/Saturation adjustment layer
      4m 54s
  9. 17m 28s
    1. Brush categorization
      10m 1s
    2. Working with canvas texture
      3m 41s
    3. Using Sample All Layers
      3m 46s
  10. 12m 48s
    1. Being willing to destroy detail
      7m 21s
    2. Establishing the painting style
      5m 27s
  11. 25m 1s
    1. Simplified indication
      9m 3s
    2. Understanding color
      4m 10s
    3. Introducing texture
      11m 48s
  12. 17m 36s
    1. Providing rest areas for the eye
      6m 55s
    2. Focusing on the subject through detail
      10m 41s
  13. 24m 20s
    1. Being willing to depart from the original
      6m 48s
    2. Creating detail to enhance the artwork
      8m 36s
    3. Creating physical surface texture effects
      8m 56s
  14. 10m 33s
    1. Waiting a day
      4m 14s
    2. Examining your importance hierarchy
      6m 19s
  15. 57s
    1. Goodbye
      57s

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Digital Painting: Street Scene
4h 0m Intermediate Aug 12, 2011

Viewers: in countries Watching now:

Learn to think like a painter and render images from photographs that look like they were created with oils or acrylics, using the latest digital artist's tools. Author and artist John Derry introduces the process of interpreting a photograph into a painted work of art. He begins by explaining his system of visual vocabularies, which describe how to replace the elements of an image with expressive painterly qualities, and also shares the custom brush sets and actions he uses to achieve these results in Photoshop. The course also covers working with filters, layers, effects, and more to add further detail and texture.

Topics include:
  • Understanding that resolution is in the brush strokes
  • Understanding the subject
  • Removing lens distortions
  • Using the traditional paint color swatch set
  • Making shadow and highlight adjustments
  • Simplifying details with filters and Smart Blur
  • Cloning layers
  • Using custom actions
  • Working with canvas texture
  • Creating physical surface texture effects
Subjects:
Design Digital Painting
Software:
Photoshop
Author:
John Derry

Using the Match Color command

Paintings by the masters demonstrate a sophisticated use of color. Wouldn't it be great to be able to impart those complex colors into your own photographs? Well, you can, and I am going to show you how. The way this is done is with a filter called the Match filter. And what I want to show you is how I can take an image--and the one I am going to use is this image. This is an image that we can distribute to you, but I want you to think of any artist that you like. You can go out on the web and find just about any image by any of the masters that you want, or practically anybody.

So you've got this world of color imagery by painters available to you as a resource. So imagine the painting that you would like to use in place of this one. So we've got this color set in this image that we like, and let's go back to the other image. This is a photograph that I took, and what I want to do is apply the colors of this image to this photograph. So we are going to go up to Image > Adjustments > Match Color.

So with the Match Color filter now, I can go ahead and say, what is my Source? And we have the other photograph here, green_lily, so we'll go ahead and apply it, and at first it seems not that great, but we have some controls we can do here. For one thing, the colors are really blown out, so I am going to turn Luminance down and keep turning it down, so now I'm not getting blown out color in here. The other thing I can do is I can play with the Color Intensity. So you can see how now I am charging these colors up. And again, part of the lesson we are trying to learn here is this is yet another way to take our photographic colors out of the image and move them more towards the language of painting.

The other thing that really helps out is to click on Neutralize. You know if you don't like it, you don't have to use it, but always check it out, because I find it's generally a better result. What it does is it takes colorcasts out of the imagery. To my eye, it's a much better rendition. So I can continue to play with things that Luminance a little bit. That's too dark of course. But with the sliders, as with all other sliders we have been talking about, these are truly season-to-taste adjustments. It's what your eye thinks is right. There is no single one right answer.

But now we've got this image, and I've got it in a completely different set of colors than it was originally. And if we go back, there is the original color, and there's what we've changed it into. So something decidedly different from the kinds of colors that were captured by a digital sensor, as we are seeing here. It's great as a photograph, and it may very well look nice hanging on a wall exactly like this, but if you're going to interpret this into the language of painting, you may want to consider ways to take that photographic color out and give it a more painterly spin.

That's what we've done here with the Match filter.

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