Join Uli Staiger for an in-depth discussion in this video Painting dust, part of Photoshop Artist in Action: Uli Staiger's Perestroika.
Only the straw would not be sufficient to show how dirty the work of an harvest is. So, what we need in addition to the straw is a lot of dust. Dust is something you can easily paint in Photoshop. Of course, you can use a brush tip you get from the internet. There are many, many brush tips you can find. But you could also use just a brush tip that's inside Photoshop. I'd worked around a little bit. I'd just tested a few brush tips and I found one that's really cool. Not on first sight, but if you jitter it in the right way, this brush tip really works like something that acts like smoke.
Okay, so I take a new layer. I call it White Dust, and I just take this brush tip. I open the Brushes, nothing to see. So, I go to the Brushes B because otherwise it can't do anything right here. Then I go to the Brush Presets. And inside the Presets, you find right all the way down here the brushes for the special effects, special effect brushes. So, I click on these, don't need the rest anymore. I don't want to append it, I just want to replace it.
It's hard to believe but this one here, number 48. If you double-click it, you see the name Scattered Roses, that is the brush tip. That works. Another one, I like it very much, this one here, 117, which is called Large Roses with Chroma. Also, this works pretty well, but this time we take these roses. There's long enough. So we just take these, click on it. Then we go back to the Brushes. And now we have to shape them. So, first of all, we go to the Shape Dynamics.
For you, don't take the scattering for the moment. I'm just looking to this, you can almost feel that it looks already like smoke, like dust. This size jitter should be on 100%. The minimum diameter around 50, so this is cool. The angle jitter is very sensitive because if you put it on zero, t's very, very similar. Each brush tip that is painted looks like the other one. Like the neighbor. And this is not really what we want. If you put it too far up, it looks like a pure chaos. This is not want we want either.
So again, we go to something between 15 and 20%, and this is all we need. The roughness jitter just look at it, you can see that it looks a little bit more interesting when we increase the roughness jitter to something like 30%. If we go over 50%, it doesn't look like smoke anymore, right? So, we stick to the 30%, 31% is fine. And the minimum roundness should go also around 48, 50, 52, 55%. Okay, so now we can go to the scattering, which is a little bit too far. So we have to decrease the axis, percentage.
Go down to something like not zero, but maybe something like 15 or 20%. The count must stick to one because just look what happens when we go to two. It's completely white. We don't have any, we can't tell any difference between the single brush tips, so we stick to one. Perfect. It's a cool idea not to take 100%. You can just look at what happens if we do so. we go to 100%. Take white as a color and this is what would happen. Not really very nice.
But if we go to 20%, then you can just paint over this area several times. And just paint this smoke and all the dust into the sky. Maybe we change the size of the brush tip a little bit if we go further up. Maybe we take this back and go from 20% to 10% and just do it again. And from time to time, it's also okay if we take a very, very big brush tip. Something like that. Because the dust is not only in front of the sickle bar, not only in the sky, not only in front of the helicopter.
It's all over. It's all over, so this is a good idea. From time to time, paint it in the whole image, just like that. Cool. That's the white dust we painted in. It looks very good, I think it looks cool. I think it looks really wonderful, but it's not enough because we also have a lot of dark dust. So, beside the wide dust, we take a new layer. Just double-click it, call it Dark Dust, and switch to another color.
I don't take white for that. I take some brownish something. So, we go to orange here and move to hmm, something like this. Don't take a too colorful color, something like this should do it. We again start with a pretty small brush tip. And again, we have 10%, maybe it's better if we use the dark one to go to 5% or 6%. You will see why because this shows up really, really quickly and you just do the same. Just paint it in, paint it in also right here in front of the sickle bar. And especially go with this brush tip right here to this device, which is not the original device that connects the sickle bar to the helicopter. So just over it, just like this.
So, nobody asks anymore what is this. Just go over it like that. And then again, I go out and zoom out a little bit, and try to make this a little bit look 3-dimensional. Also to this direction, we need more dust that goes up here. This is what happens on a helicopter. When you ever saw a helicopter flying over a water's surface, you see this pattern here. This pattern, because the water goes up here just like this, just like this. And the same happens with the dust.
So just make a little bit smaller, just go up here, just like this, yes. And also, don't forget to take a real big brush tip and paint over it with the Dark Dust brush, just like this. So now, this is important when you do so, when you paint in the dust. Then it's important to see how far did we go. So that means we just have to get rid of it. Just look at it. This is before and this is after, and I think our image looks a lot more logic now with the dust we painted.
- Creating the basic panoramic file
- Placing the sky
- Masking the horizon by using a path
- Adding the helicopter
- Positioning and masking the sickle bar
- Providing contextual detail