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Digital Painting: Street Scene
Illustration by John Hersey

Working with the Hue/Saturation adjustment layer


From:

Digital Painting: Street Scene

with John Derry

Video: Working with the Hue/Saturation adjustment layer

The key idea behind nondestructive layer painting is to provide a safety net that enables you to experiment without fear of losing creative activity. This concept is expanded further through the use of adjustment layers in concert with the cloning layers. By adding an adjustment layer, you're provided with greater editability and that's a good thing. So I've opened up a file that is in your exercise folder and I've just enlarged it to 100% here, so we're looking at the line of cars that is at the intersection.
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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

Working with the Hue/Saturation adjustment layer

The key idea behind nondestructive layer painting is to provide a safety net that enables you to experiment without fear of losing creative activity. This concept is expanded further through the use of adjustment layers in concert with the cloning layers. By adding an adjustment layer, you're provided with greater editability and that's a good thing. So I've opened up a file that is in your exercise folder and I've just enlarged it to 100% here, so we're looking at the line of cars that is at the intersection.

And I've painted on all three layers. In fact, let's turn them on and off individually, so you can see that is my Detail Strokes. Here are my Intermediate Strokes, and here is the Underpainting. And as you can see, without anyone of these on, you definitely lose information about what is there, so it requires all three of these to make up this kind of gestural scene of these cars aligned in front of the intersection. What I want to show you is that we can now edit how the colors on each layer appear, and one of the things I often do is as things become more important in a scene, I tend to play with the color a bit.

So the Detail Strokes, for example, once again I'll turn those on and off, so you can see them. I guess I had the background off. I'll turn that back on and I can turn off the Reference layer for now. So we're basically just seeing to this scene as it would look painted, but I want to play around a little bit with the colors. So the Detail Strokes, once again, it's these strokes right here that we're seeing that kind of supply the most detail about the cars. I am going to go and double-click on my Hue/Saturation layer, which is associated with the Detail Strokes.

And now I can play with this. So, for example, if I start to turn this up, see how I'm increasing the saturation, but it's only on that layer. I can also play with Lightness. Maybe I want to do a combination, if I want that to be lighter and more of saturated. So let's just leave it at that and here is the great thing: this is nondestructive. If I don't like this I'm not stuck with these colors. So I'm free to visualize a whole range of possibilities. Let's go to the Underpainting layer and go to its Hue/Saturation layer, double-click, and maybe I'm going to turn the Lightness down a little bit on that.

Maybe I'll decrease the Saturation a little bit. Okay, that looks pretty good. Now let's go to the Intermediate layer and just see what we can do there with its Hue/Saturation adjustment layer. What if I actually change the colors? I could adjust the Hues into probably nonsensical hues that I wouldn't care about, but this just gives me a way to possibly even by a couple points change the color character of the image without fear of having damaged the entire image. Maybe I want more or less Saturation, maybe a little less value on it, but I'm encouraged to see and play with different combinations of things.

So now I've got three layers that I've adjusted from their original character and it's nondestructive. I can always go back and change it. The other thing we can do, and let's do this with the Detail layer, I have the option of applying any other adjustment layers I may want to. So let's take something like Levels. So I'll just take Levels on that layer and here is where I can start to play around. If I want to tighten that contrast up on an even more, I can do that.

And again, it's nondestructive. Maybe I want to adjust the Hue/ Saturation now of that layer, so maybe it doesn't need to be so saturated, because I have kind of accomplished that with my Levels. But the idea here is that you can use these adjustment layers in concert with your cloning layers as a means of further adding your expression to it or editing it. One of the things I'll get into a little more detail later is as objects become more important, the subject areas of a scene come to the fore, you want to do things like increase that saturation, maybe lighten it or darken it, and things that are not as important you may want to take some of the saturation out of it.

So by having these adjustment layers associated with each of your cloning layers, you have the option then to kind of play with the visual weighting of the layers in terms of their color and contrast. And that's a great way to take an already good painting and just tweak it in small ways that can add to the readability of the image that would otherwise be difficult to do. If this was a traditional painting, imagine how hard it would be to change those colors. Here it's just a slider that we're adjusting and we're making that happen. With the addition of adjustment layers to cloning layers, you've got a complete nondestructive layer painting environment.

This broad safety net enables you to paint without fear of making an unrecoverable mistake.

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