In this lesson you will learn how to create the effect of oil painting in Photoshop. I will try to explain everything as much as possible to even newcomers that first opened the program coped.

The picture above shows the effect that we will create in this lesson. If you want to get a more advanced result, as below in the screenshot, I propose to try my action.

We will need for work. Stock Photo. The picture from the lesson is paid, but you can download the archive with alternative options or take your photo.

Preparation of document

Step 1

To begin with, open the photo with which we will work. Go File - Open. (File - Open), we find on the computer the desired file and click on the Open button. Next, check the document settings:

• The photo should be in RGB mode, 8 bITS / CHANNEL (bit / channel). To check, go to the menu Image - Mode. (Image - mode).
• To obtain a qualitative result, the size of the picture is better to take within 2000-3500 pixels in width / height. To check, go Image - Image Size (Image - image size).
• The photo should be a background layer. If it is not, go Layer - New - Background from Layer(Layer - new - background from the layer).

Step 2.

If in the previous step you changed the size of the document, then on the panel Window - History. (Window - History) At the bottom, click on the button in the form of a camera to create a new snapshot. Then click on the empty cell to the left of the captured image to determine the new source for the archive brush.

Step 1

Now we will deal with directly creating the effect. Add a new layer Layer - New - Layer (Layer - a new - layer) and call it "large details".

Step 2.

Activate ART HISTORY BRUSH TOOL (Y) (archival artistic brush). On the top panel install Area (Diameter) for 500 pixels, Tolerance. (Tolerance) - 0 pixels and Style. (Style) - on Tight Long. (Compressed long). Then click right-click on the working path, we select a soft brush in the opened menu, install Size (Size) on 20 pixels and paint the entire picture.

Please note that the result detail depends on the size of the brush. What it is less, the more items will be drawn.

Step 3.

Create a new layer Layer - New - Layer (Layer - new - layer) and call it "average details".

Step 4.

Activate ART HISTORY BRUSH TOOL Size (Size) on 10 pixels and paint the entire picture.

Step 5.

Add a black mask

Step 6.

Now on the toolbar click on the color square and in the window Color Picker (Color selection) Choose black color (# 000000). Activate Brush Tool.

Please note that the layer mask is selected on the layer panel. If you have done an extra smear, then you can restore the desired area if you switch to the white color of the brush. Black - hides, white - restores.

Also during operation, adjust the diameter of the tassels to more carefully work fine details. To quickly resize, use the [and] keys.

Step 7.

Create a new layer Layer - New - Layer (Layer - new - layer) and call it "small details".

Step 8.

Activate ART HISTORY BRUSH TOOL (Y) (archival artistic brush). We leave all the settings that were in step 2, only change Size (Size) on 5 pixels and paint the entire picture.

Step 9.

Add a black mask Layer - Layer Mask - Hide All (Layer - Layer Mask - Hide all) to hide all the layer contents.

Step 10.

Now choose a black color (# 000000), activate Brush Tool. (B) (brush), choose a soft brush and carry out the areas where you want to save more details.

Create an embossing effect

Step 1

Click Ctrl + Alt + SHIFT + E to create a separate copy of all visible layers. Then Ctrl + Shift + U to discharge the resulting layer.

Step 2.

Go Filter - Stylize - EMBOSS (Filter - stylization - embossing). Install Angle (Angle) for 135 degrees, Height (Height) - on 3 pixels and Amount. (Effect) - by 200%.

Step 3.

At the top of the layers panel, we switch the overlay mode of this layer on Hard Light (Hard light).

Congratulations, this is how the final result looks like:

The picture above shows the effect that we created in this lesson. If you want to get a more advanced result, as below in the screenshot, I propose to try my action.

With the help of the action, you can only create a realistic effect of oil painting in Photoshop. You just need to open a picture in the program and run action. All the rest of the work he will do for you! As a result, you will get a multi-layer result that is easy to set up to your taste.

Also in action included 10 color variations and 5 textures for overlay in the photo. IN special roller You can see the detailed instructions for using action.

Today we will talk about art filters in Photoshop. With the help of these filters, styling under painting (oil, pastel, pencil), imitation of surfaces and structures. With the help of these filters, you can create artwork from your photos.

Filter - tool for changing the image. It can be blur, increasing sharpness, stylization, relief strengthening, changing the color scheme and much more.

All filters you can find in the "Filter" tab, which is located on top. When you click on this tab, a menu appears.

Watercolor (Watercolor). The effect of the pattern made by watercolor.

Mimics drawing with watercolor paints. But not very good. By applying a couple of tricks, you can achieve wonderful results. Maketwo Copies of photos with Ctrl + J, then select Watercolor Filter.

We see the settings

• Brush Size.
• Brush Detail. Determines how accurately the parts will be saved.
• Texture (texture). Determines the severity of the paper texture.

Adjust the settings to taste. On the left we see the texture, right - the result.

Marine Watercolor / Luceluceluce

Change the overlay mode of the first layer onScreen. (Lightening or screen)and the second onMultiply. (Multiplication). Add masks in both layers. Keep the alt key to create a black mask. Using a white brush and watercolor brush, the options of which you will find on the Internet, draw masks. Thus, you will imitate typical color transitions. Photoshop held pre-work and prepared a sketch. With the help of brushes and textures you can get the desired effect.

Colored Pencil (Color Pencil). Mimics a drawing with a color pencil.

The "Color Pencil" filter uses the current color of the background as the color of the paper on which the drawing will be created. That is, even before applying the filter, you need to take a small solution. The color of the snapshot will turn into the colors of the pencils. Color paper will be visible between pencil strokes.

• Pencil Width (pencil thickness). Regulates the thickness of the strokes.
• STROKE WIDTH (push stroke). Imitate a strong or weak press on the pencil.
• Paper Brightness.

When the brightness value 16, you will get a paper color roughly appropriate background. When you move the slider, the right to 16 color will be lighter, left is darker.

Since small parts are rarely well worked out, it is better to work with big photos. With the help of one-time filter application, it is difficult to get a good result. Therefore, I recommend to make several copies of the image, apply different settings on different copies and with the help of layers masks draw those areas that best suite this part of the photo. The paper texture contributes to the fact that the image looks more realistic. In this case, the texture is in a layer over all other layers and I used the layer overlay mode.Multiply. (Multiplication) With small transparency.

sexy Woman / Stryjek

SMUDGE STICK (Rastoshevka). The effect of smooth, soft image.

The filter softens the image by adding diagonal smears, and the light areas become brighter and lose the detail. In this filter, the color of the picture is used to imitate the decisive. In this case, it is possible to set the length of the stroke, which naturally affects the parts and sharpness / blur. You can change the brightness of different zones of the picture and the intensity of brightness.

• Highlight Area (Brightness Zone).
• INTENSITY (intensity).

Since the content of the picture does not change, it is possible to create a "photo-realistic" picture. To do this, make two copies of the original and go to the filter. On the bottom layer install strong length brightness zone and intensity on 0. On the top layer - stroke length - 10, brightness zone - 10 and intensity - 3. Mix this layer mixing modeOverlay (Overlay) and install transparency 50%.

So you will achieve that the strokes will not be too uniform. Of course it is important to choose the correct motive correctly. Fantastic collages here are suitable more than, for example, a portrait.

THE TEMPLE / ZUBOFF

Cutout (Applique). Turns the photo to the applique of colored paper.

The filter connects similar colors and simulates the applique of glued pieces of paper. The number of levels determines the number of colors in the collage. Simplification of the edge - how exactly and smoothly cut pieces of paper. The accuracy of the edge reacts only when the abstraction level is not set to 0. The lower the scale value Edge. SIMPlicity (edge \u200b\u200bsimplification) and more zoom value EDGE FIDELITY, the less distortion. Image brightness does not change

• NO OF LEVELS (number of levels) determines the number of color levels
• Edge Simplicity (edge \u200b\u200bsimplification).
• EDGE FIDELITY.

That is, with the help of this filter you can achieve the effect of illustration. To determine the content of the image, a simple contour is quite enough. It is also very important to choose the correct image. It also makes sense to use different modes of mixing layers, for example,Overlay.

Green Forest WITH FOG / Andreiuc88

FRESCO (fresco) . Fresco painting:

This filter imitates paint to still fresh plaster, at least in theory. The choice of motive is very important here.

• Brush Size.
• Texture (texture). Adjusts the sharpness of the edges.

In order for the picture to be like a mural, I applied a filter with settings azmere Brushes - 1, Details Brushes - 10, Texture - 1, put the texture overlooking the plaster and withImage - Correction - Color Tone / Saturation Reduned the saturation of the picture. Then I changed the layer overlay mode onMultiply. (Multiplication).

Saint Mary Magdalene / Zatletic

Dry Brush (dry brush). Imitation drawing with dry brush.

As a result of the use of this filter, a drawing is obtained, a very reminder of the dry brush technique (drawing with plenty of paint with a small amount of water).

• Brush Size.
• Brush Detail. Determines how many parts need to be saved.
• Texture (texture). Adjusts the severity of paper texture.

Here you can apply a filter with settings. brush size - 1, Details Brush - 10, Texture - 2. The snapshot already becomes similar to the picture. Make a copy of the layer and apply the filter again with the settings. brush size - 10, Details Brushes - 10, Texture - 1 And change the transparency of the layer by 50%. Paper texture can improve effect.

MEDITERRANE IMPRESSION / PK200258

Rough Pastels (Pastel). Pastel pattern effect.

Using this filter gives the effect of a pastel pattern. At the top of the dialog box, the length of the stroke and the degree of detail is set. In the lower part, the properties of the material on which the drawing is applied, the size of the texture, relief and direction of light is determined.

• Stroke Length (Stroke Length).
• STROKE DETAIL (stroke detail). Determines how strongly pronounced strokes.
• Texture (texture). Allows you to choose a texture: Brick (Brick), Burlap (Burlakov), Canvas (canvas), Sandstone (sand).
• Scaling.
• Relief (relief).

Tick \u200b\u200bInvert inverts relief.

Settings depend on the motive. After the filter settings, it is located on some parts of the picture using the mask delete (or partially delete) the filter action.

meditation / Pepe.

Film Grain (Photopling grain). Imposes a grain on a snapshot, imitating shooting on a film chamber:

On contrast pictures gives a fairly interesting effect. Scale Grain.(Grain) controls the size of grain,Highlight Area (lighting) - percentage of lightened sections, A Intensity (intensity) - exposure (illumination).

• Grain (grain). The amount of grain in the image.
• Highlight Area (brightness zone). Increases the brightness of the final image.
• INTENSITY (intensity). Adjusts the brightness and sets the intensity of bright zones.

Make two copies of the snapshot and apply to the top layer filter with settings grain - 8, brightness zone - 14, intensity - 2. Change the upper layer overlay mode onMultiply. (Multiplication)and layer under it onScreen (Lightening). So you will get a contrast shot with grain.

Fine Art Image / Konradbak

Plastic Wrap (Polyethylene wrapper). It seems that the snapshot laid inside the plastic bag or film.

• Highlight Strengthh (power highlights). Determines how strong polyethylene glare will be.
• Detail. Contour detail level.
• Smoothness. Smooth glare.

Fashion Couple Dramatic / Gabi Moisa

Underpainting (drawing under the surface). Creates the effect of the pattern under different surfaces.

• Stroke Length (Stroke Length).
• Texture Coverage (texture coverage)
• Texture (texture).
• Scaling.
• Relief (relief).
• Light. Allows you to choose which side will be covered with relief.

In this case, I took the texture of the canvas 50% scaleand Relief height - 5. Light - from the bottom to the right, the length of the stroke 0to get the outline. Here is the result:

Grand Cru Rotwein / Wilm ihlenfeld

Palette Knife (Spatula). Imitation of an image applied by a wide knife type tool.

Allows you to imitate oil painting technique performed by a special tool for a wide knife type (spatula or masticine). The image acquires emphasized rough forms.

• STROKE SIZE (stroke size). Adjusts the size of the stroke at the edges of the contour.
• STROKE DETAIL (stroke detail).
• Softness. Smoothes a snapshot.

Unfortunately, the filter affects only small color areas. Color transitions are not affected. This can be corrected by appropriate texture and impoverish it with overlay mode.Multiply. (Multiplication). Then connect the layers (original and texture) and take two copies. On the top layer, impose a filter with settings stroke size - 50, stroke detail - 3, softness - 0. Put the layer transparency by 80% and change the upper layer overlay modeScreen. (Lightening).

dutch Mills 3 / Dzain

Neon Glow (Neon Glow). Creates a neon glow through the objects of the object in the picture.

Turns the image into monochrome negative and adds a light stroke, "glow", along the contour of objects.

• GLOW SIZE (glow size)
• Glow Brightness (Light Brightness)

Using the size, you can adjust whether the snapshot will be shown as original or negative. Brightness determines how the back background affects the picture. In this filter you can choose the color of the neon glow.

Feuerwehrschlauch / 77simongruber.

Paint Daubs (Taste Paint). Creates a type of painting made by oil.

Gives a picture the type of painting made by oil.

• Brush Size. Already familiar to us parameter.
• Sharpness.

Here you can specify the type of brush (Brush Type).

The filter with settings is applied here. brush size - 25 and sharpness - 20. Brush type - wide and medium hardness. The texture with the overlay mode is applied on topMultiply. (Multiplication) and transparency 25%. Then the copy of the layer was made and the overlay mode was selected.Softlight.
(Soft light) and transparency 50%

rotes Italien / Grischa Georgiew

Sponge (sponge). The effect of an image applied with a sponge.

• Brush Size.
• Definition.
• Smoothness.

Here is a picture of a picture using a filter with settings brush size - 0, Coldness - 6 and smoothing - 1 and second copy of the layer with settings brush size - 5, clarity -10 and smoothing - 15. Transparency - 50%. The texture is applied on top.

Lüneburger Heide / Thorsten Schier

POSTER EDGES (outlined edges). Strengthens the contours of the snapshot.

• EDGE Thickness (edge \u200b\u200bthickness).
• EDGE INTENSITY (edge \u200b\u200bintensity).
• Poserization.

Finds the contours of the picture and drives them with black lines. The result will be similar to the poster. In this case, a filter with settings is applied. edge thickness - 10, edge intensity - 5 and posting - 6. Sometimes a snapshot before applying the filter is to blur.

Superhero Businessman / Nomad_soul

We will tell about other filters and their application in the next article.

filter Oil paint in Photoshop SS! Find out, step by step, like a painter oil filter brush and lighting options make it easy to turn any photo into the oil masterpiece!

written with Steve Patterson. Oil paint filter was first presented as an official filter in Photoshop CS6. But for some reason he disappeared in the initial release of Photoshop CC. Fortunately, as of November 2015 Updates Creative Cloud, oil filter paint returned! And although this is essentially the same filter as in CS6 (which is not bad), the CC version now has a much smaller, less frightening dialog box that makes it use easier than ever.

now I am first recognized that I am not an artist. And if you see anything that I tried to draw, you will be the second who recognizes that I am not an artist. But thanks to Photoshop and its oil filter, I do not need to be! I can still pretend that I am the next Vincent Van Gogh without any real evidence. And although the effect of photoshop of oil painting cannot deceive professional art dealers or ever hanging on the wall of the gallery, the transformation of one of your photos in the oil painting is still very fun, and the results may look very impressive.

Since the oil paint filter was recently added to Photoshop CC, you will want to make sure that your instance will be laundered before you continue, otherwise the filter may not be available.

here is an image that I will use, which I downloaded from work:

Original image.

and this is how it will look after applying the oil filter:

End effect.

How to use oil filter

Step 1: Converting a background layer into a smart object

there are two ways that we can apply oil paint filter to our image. One is like static. Filter, which means that we will make constant changes in pixels in the image. Other - Smart filter What keeps filter installation without destruction and fully editable. It is always better to work in Photoshop without destruction, so let's apply oil paint filter as an intelligent filter. Thus, we can easily go back and try different settings until we get the effect that looks just right.

Layer panel displaying a photo on the background layer.

in order to attach an oil paint filter as a smart filter, we need to apply it to a normal layer A to Smart ObjectWhat means that we first need to convert our background layer into a smart object. To do this, click on a small menu icon In the upper right corner of the layers panel:

Click the layer panel menu icon.

choose convert to smart object From the menu that appears:

Select the "Convert to Smart Object" command.

it will not seem to see that something happened to the image, but if we look at the layer panel, we will see a little smart object icon in the lower right corner of the layer sketch. This allows us to know that the layer is successfully transformed into a smart object:

Layer panel with smart object icon.

Step 2: Choose Oil Filter Paints

now that our layer is transformed into a smart object, we are ready to apply oil paint filter. Climb on filter Menu In the menu bar at the top of the screen, select stylization and select Butter:

We go to the filter\u003e Stylization\u003e Oil paint.

oil paint filter dialog box opens. In Photoshop CS6, the dialog box occupied the entire screen, but now in Photoshop CC version it is much smaller and fits well in the rest of the interface. At the very top, we have a preview window, and under it various options for controlling the effect of oil painting, all of which we will look for a moment:

Dialog box New Oil paint filter in Photoshop CC.

Preview window

despite the fact that Photoshop gives us a preview of the effect of oil painting inside the image itself, most images are too large today in order to fully fit on the screen in their actual size. It makes us browsing them at a level less than 100% scale, which means that we do not see all the pixels in the image, and this means that we do not see a really accurate view of what the image looks like.

fortunately, preview window At the top of the dialog box of the oil filter, paint gives us an easy way to view and check the different areas of the image on this all important 100% zoom level. Only a small portion of the image can fit in the preview window, but you can easily go to another area, simply by clicking on the place you want to check.

when moving the mouse towing a cursor to the image, you will see a change in the cursor to a bit squarewhich denotes the boundaries of the preview window. Just click on the place you want to explore. Here, I click on one of the yellow flowers:

Click on another image section.

the place you click is what you will see in the preview window:

The preview window now shows the area where I pressed.

If you look right under the preview window, you will see the current scaleinstalled 100% default. you can use a plus and minus Icons on both sides of the scale to change it, but in general, you want to leave it 100% for the most accurate view:

The current level scaling level of the preview window, as well as the "plus" and "minus" icons for its change.

finally, preview The option to the right of the window controls whether we see the preview of the effect of oil painting in the image itself (unlike the preview window in the dialog box). In most cases, you want to make sure that it is selected (marked) so that you see a real-time preview of the image, but if you want to see the original image again at any time, simply uncheck the Preview checkbox. You can quickly enable and disable preview Pressing the letter P on keyboard:

Preview option.

Parameters brush

now that we know how the effect of oil painting will look, let's find out how to actually create it. The parameters in the dialog box are divided into two major partitions. First, we have brushes Options (stylization, cleanliness, scale and bristle details), which we use to configure various aspects of brush strokes. Below the parameters of the brush lighting Parameters (angle and glitter) that control the direction of the light source, as well as the total contrast effect.

we will start with the consideration of the brush options. But before we do it, for the purposes of this lesson, make sure that lighting The option is on (enabled). The reason is that without lighting effects, we can not see our brush strokes, which will allow you to learn how the parameters of the brush work is a bit complicated. In addition, with the included lighting options increase shine The value (which controls the effect contrast) so that you can clearly see the brush strokes in the image. You do not need to turn it too high. I will install your approximately 2.0. Again, it's just that it is easier for us to find out how the brush parameters work. We will return to the lighting options later:

Make sure the lighting is verified, then increase the shine to make brush strokes more noticeable.

stylization

first version of the brush stylization. He controls style. From brush strokes, ranging from a smear view at the lowest setting is a very smooth course on the highest setting. If you drag the stylization slider to the left to the lowest value (0.1):

Dragging the stylization slider to the lowest level.

It will look like your image was drawn by a smear brush on canvas, giving it a rough and detailed view:

Effect using the smallest stylization value.

as the stylization value increases, dragging the slider to the right, you will start smoothing the brush strokes. And if you drag the slider to the right to the maximum value of 10:

Increase the stylization to the maximum value.

you create the smoother strokes:

The effect using the highest stylization value.

for my image, I think something is better working between them. I will go with the value 4. You can detect that another value works better for your image, but do not worry about getting it perfect. You will most likely want to return and re-configure things after installing other parameters, since they all work together to create a common effect:

Setting the stylization value 4.

that's how my brush strokes look like. With more average, the stylization value of the strokes have a pleasant combination of smoothness and detail:

Effect stylization value 4.

purity

the second version of the brush purity. He controls length From the strokes of the brush, hesitating from the short and intermittent on the lowest installation to the long and fluid to the highest. Short brush strokes give the picture more textures and parts, and a long-less detailed and pure view.

I will drag the cleanliness slider to the left to the lowest value (0):

Dragging the cleanliness slider to the lowest value.

It gives me the shortest brush strokes:

Effect with purity up to 0.

If I drag the cleanliness slider all right to the maximum value of 10:

Increasing the cleanliness to its maximum value.

I get long, liquid blows, resulting in much cleaner, less detailed effect:

Picture with cleanliness is installed on 10.

for this image, I think long, liquid strokes work better, but with a maximum purity value, they are too long. I would like to return a little more details, so I will reduce the value to about 7. Again, another value can work better for your image:

Setting the purity value 7.

that's what the result looks like. It is important to keep in mind that all parameters in the oil paint filter dialog box work together to create an appearance that we see, so this result is not just what we get, say, setting the purity value 7. Cleanliness controls only one aspect of the picture (the length of the brush strokes), but these are all combined options that create a general effect:

Reducing the purity value to 7 shortens the brush strokes, returning the items.

scale

so far, we learned that the stylization controls the smoothness of the strokes of the brush while cleanliness controls their length. Third option scale, Management at the rate of or thickness The brush itself. Use low scale values \u200b\u200bfor thin, thin brushes or higher than the value greater, thicker brushes.

i will reduce the value of the scale to the minimum value (0.1):

Dragging the slider scale left.

at the lowest installation, the moves look as if they were drawn very thin, thin brush. Note Also, since more subtle brushes tend to use less paint, we see the thin coast of paint on canvas:

Effect at the lowest value.

if you drag the slider to the opposite end, increasing the scale to the maximum value (10):

Dragging slider scale to the right.

now brush strokes are much thicker, as if a large brush was used. And since large brushes tend to use more Paint, a higher scale value creates what looks like thicker paint balls on canvas, unlike the thin layer, which we have seen earlier:

Effect at the maximum scale value.

I like the appearance of large brushes for this image, so I saved my scale value rather high, dropping it from 10 to 7:

Scale setting 7.

here is the result:

Effect after tinting the value of the scale.

Schenet detail

fourth brush option Schenet detail. He controls power of groove Created in paint via hair in the brush. With lower values, the grooves seem light and soft, becoming stronger and more pronounced as the value increases.

I will empt up a bristle detail to the minimum setting (0):

Dragging bristles detail slider left.

to make it easier to see the effect, I will increase the scale up to 200%. At the lowest installation, very little in the way of the bristles Detail:

The result with a set of bristles details up to 0.

but if I increase the option to the maximum value of 10:

Drag the slider of the bristle details to the right.

the grooves will be much stronger and more obvious:

The effect with a bristle is set to 10.

I divide the difference and install my value of the bristle details up to 5:

Installation of bristles Detail 5.

this is how my effect of oil painting looks like after installing all four brush parameters:

The effect is still.

Lighting parameters

below the parameters of the brush lighting parameters. Despite the fact that they are only two (angle and shine), they play an important role in how the overall effect appears. Before we can establish lighting options, we first need to include them, making sure that flag To the left of the word "lighting" is selected. We will look at why you may want to turn off the light in a few minutes:

Check the box to enable or disable illumination parameters.

angle

the first of the lighting options, angle, Management direction The light source in the picture, which affects the direction of the shadow and the glare created by the paint. To change it, just click and drag inside the circle to turn the dial. In my case, the image itself is a light source, which seems to comes from the upper left corner, so I will rotate the angle to fit him so close as I can. Something about 135 ° should work:

Click and dragging inside the circle to change the corner value.

For comparison, this picture initially looked before changing the illumination angle when the light was coming from the lower right corner. Watch out for shadows and glare:

The effect of oil painting with light coming from the bottom right corner.

this is how it looks after the corner turn into the upper left. Some areas such as white and yellow flowers below seem to lose the items after changing the lighting, while others (for example, a yellow flower in the center) now show more detailed information:

The same painting oil after moving the light source to the upper left corner.

shine

finally, glitter controls intensity Source of light, which affects the intensity of shadows and glare (paint, and not a real image). Installing the Shine at the lowest value of 0 significantly turns off the light source, giving effect a very flat look, while turning it to the maximum value 10 usually creates shadows and too strong glare. In most cases, a fairly low gloss value is best.

If I installed shine at a very low value, something like 0.5:

Drag the slider to the left for the low gloss value.

we see the shadows and glare in the paint look very soft and thin:

Low gloss values \u200b\u200bcreate soft shadows and glare.

If I increase the gloss value to the middle (5):

Increase gloss value.

the intensity of the light source increases, creating much stronger glare and shadows:

Higher shine values \u200b\u200bprovide more intensive lighting.

for this image, I will install my gloss value about 2.5, which adds a good number of parts, without doing things look too harsh:

Installation of shine 2.5.

here is the result:

Effect after reducing the gloss value.

Disabling lighting parameters

now that we reviewed the lighting options and how important they are for the general appearance of the brush strokes, why do you want to turn off the lighting? Pretty simply, you would turn it off when you do not want to see brush strokes! Why don't you want to see brush strokes? Well, with visible brush strokes, we get a relief effect is created by shadows and glare, while paint looks as if it is imposed on top of the canvas. Turning off the lighting lines the image, giving you a very clean, soft and smooth result.

to turn off the lighting, just uncheck the Main checkbox lighting Option. It does not Hide the whole effect created by oil paint filter. It only turns off the lighting:

Turn off the lighting parameters.

Once you turn the lighting, your image will seem very soft and smooth. For comparison, this is the effect when the light is on:

The effect with brush strokes is visible.

and this is what it looks like when the light is turned off. He still looks like a picture, because most of the details of the source image was smoothed. However, without shade and highlight the item from brush strokes, we get much cleaner looking at the effect. You can return to the brush parameters and change stylization and purity Values \u200b\u200bif you turned off the lighting to adjust the smooth effect. In this case, I increased the value of stylization from 4 to 6:

The effect when the light is turned off.

Application Oil Filter Paints

I'll turn on the lighting parameters and return the value of the stylization to 4. When you are pleased with the way of oil painting looks like, press OK. In the upper right corner of the dialog box to close it and apply the settings:

Click OK to apply oil paint filter.

here is my final result:

The final effect of oil painting.

Re-editing Oil Painting Smart Filter

Back before we applied oil paint filter, we first transformed the background layer into the smart object. This allowed to apply the filter as a smart filter. If we look at the "layers" panel, we will see the oil paint filter indicated as an intelligent filter under the image.

the main advantage of intelligent filters is that they remain completely editable. If you need to make additional changes to the filter settings, simply double-click the icon Directly on the name "oil". Photoshop will open the oil paint filter dialog box, in which you can make any changes need:

Double-click the Oil Paint Smart Filter at any time to change its settings.

and there we have it! That's how to use the parameters of the brush and lighting in the oil paint filter to easily turn any photo in the oil painting with Photoshop CC! Check out our effects section for more Photoshop Effects Tutorials! And do not forget that all our Photoshop textbooks are ready for

Step 1: Converting a background layer into a smart object
There are two ways to apply any filter to a layer, including oil paint filter. The first of them is the usual, static filter, which means that applying the filter We will do constant, irreversible changes in the layer pixels.

Another way is to apply the filter as a smart filter, which will save the filter settings and will make it completely editable (this method is called non-destructive and it is always better, because filter settings can be changed and even temporarily disable it or suck. ).

So, open the original photo in Photoshop, open (if not open) panel of the layer, our photo is now a background layer, click on the background layer with the right mouse button and select the "Convert to Smart Object" string (Convert to Smart Object). As a result of which the smart object appeared from the background layer, we tell us the icon located in the lower right corner of the miniature of the layer:

The background layer is converted into a smart object.

Step 2: Selecting the filter "Oil paint ..." (Oil Paint ...)
It starts in the usual way. Through the Main Menu tab, the Filter -\u003e Stylization -\u003e Oil Paint (Filter -\u003e Stylize -\u003e Oil Paint).

Note. In my assembly Photoshop, the filter for some reason is not translated, the name and interface are left in English.

This opens the filter dialog box. In Photoshop CS6, the dialog box occupied the entire screen, but now in the CC version, the window is much smaller and fits perfectly into the rest of the interface. At the very top there is a preview window, and under it various options for controlling the effect of oil paint, all of them we now consider:

Filter dialog box "Oil paint ..." (Oil Paint ...)

Preview window

The filter provides the ability to view its act in real time directly in the document, but it is not always convenient, for example, if the original image is large and not placed on a 100% scale into the monitor.

Fortunately, the preview window at the top of the filter dialog box gives us an easy way to view and analyze the image sections in the scale of 100%. Of course, only a small part of the image will fit the preview, but you can easily move to the desired sites, simply by pressing the place of the document. which you want to see.

When you hover the mouse over the image, you will see that the cursor has changed its view of a small square that represents the boundaries of the preview window. Just click the place you want to see you want to inspect. Here I clicked on the area between the boots of yellow and pink flowers:

Preview in the filter window on a scale of 100%.

Right under the preview window there is a pointer to the current zoom level, by default it is 100% installed. To change the display scale, use the "Plus" and "minus" icons.

And finally, the "View" option (preview) to the right of the window turns on / disables the preview within the document itself. whether or not to see that we preview the effect of the oil painting within the image itself. Also include / disable the preview in the document you can press P.

Parameters brush

The filter parameters in the dialog box are divided into two main parts. In the first, the brush settings are located: Stylization (Stylization), Cleanliness, Scale (Scale) and Bristle Detail. These parameters we use to configure various aspects of smears.

Below the parameters of the brush are the lighting parameters that set the direction of the light source, as well as the total contrast of the effect.

We will start with the consideration of the brush parameters. But before we continue, make sure that the "Lighting" option (Lighting) is enabled (a check mark is included in the checkbox). The reason is that without light effects we will not be able to see our oily paint strokes. In addition, when the lighting option is enabled, increase the value of the shine parameter, which adjusts the contrast of the smears, so that you can clearly see the brush strokes in the image. The value does not need to be done too large, 2.0 is quite suitable. However, it is only necessary now to find it easier to find out how the brush parameters work. We details we look at the settings of the lighting later, and now we will return to the parameters of the brush.

STYLIZATION (STYLIZATION)
The first parameter of the brush is STYLIZATION. It sets the style of brush strokes, ranging from gross fractive on the lowest installation to a very smooth movement at maximum settings. This is how the document will look like if you drag the stylization slider to the left, to the lowest value (0.1). As you can see, the minimum "stylization" makes strokes rounded, roughly outlined, the picture is given a detailed view:

Filter "Oil paint with a minimum value of the" Stylization "parameter (Stylization)

As the magnitude of the "stylization" increases, the smears are smoothed and lengthened. And if you move the slider until it is left to the maximum value of 10, the document will have the following form:

Effect using the maximum value of "stylization".

For my image, I will choose something average, I think it will suit the value 4. The value, of course, depends on the source picture.

Here is what my drawing looks like 4:

The effect with the value of "stylization", equal to 4

Cleanliness)
The second brush setting is "Cleanliness". She controls length Brush strokes, ranging from short and intermittent at low settings and ending with long pulp smears at high values. Short strokes make a picture of more textural and detailed, while long strokes give it less detailed, more smoothed view.

Here is what the document looks like when dragged to the left slider "Cleanliness"

The effect obtained by slider "Clean" mounted on 0.

And this kind of document at the maximum value of "purity":

Picture with "cleanliness" installed on 10.

I think that for this image is long, blurry strokes are better suitable, but with the maximum value of "purity" they are too long. I would like to return a little more details, so we reduce the setting value up to 7. For your image it can better approach both the other value.

Scale (Scale)
So, we learned that the "Stylization" setting (Stylization) controls the smoothness of the smears, while "purity" (CleanLines) controls their length. The third setting, "scale" (Scale), controls the size (or thickness) of the brush itself. Use low scale values \u200b\u200bfor thin, narrow brushes or higher values \u200b\u200bfor large, thicker brushes.

I lower the value "scale" up to its minimum value (0.1). At the lowest strokes look, as if they were drawn with a very thin brush. Please also note that, since thin brushes, as a rule, use less paint, we see not a pronounced relief from the paint on the canvas:

The effect at the lowest "scale" value.

Now let's see what will happen if you drag the slider to the opposite end, increasing the scale to the maximum value (10). The smears became much thicker, as if a large brush was used. And, since a larger brush was used, the relief of smears on the canvas is more pronounced compared to a thin brush, which we used earlier:

The effect at the maximum value "scale".

Bristle Detail Information
Fourth brush setting controls grooves left by bristles brush. At lower groove values, weakly pronounced and soft, becoming deeper and more pronounced as the setting value increases.
I will lower the value "information about the bristle" to the minimum value (zero). To better see the effect, I increased the scope of the image fragment to 200%:

The result in the "Bristle Detail" parameter set to zero.

Let's increase the parameter to the maximum value of 10. The grooves are becoming much stronger and more obvious:

The effect of Bristle Detail installed on 10.

Of course, the maximum and minimum values \u200b\u200bof the above settings in practice are extremely rare. I use the following settings for your image:

• Stylization (STYLIZATION) - 4
• Cleanlines - 7
• Scale (Scale) - 7
• Bristle Information (Bristle Detail) - 5

This is what my picture with the filter listed above looks above:

Intermediate result.

Lighting parameters

Under the parameters of the brush is a section with lighting settings. Despite the fact that there are only two of them ("angle" and "glitter"), they play a crucial role in the formation of the effect of transformation of photographs in the oil painting. Before we proceed to install the lighting parameters, you must first make sure that the checkbox to the left of the word "Lighting" (Lighting) is affixed.

Angle (angle)
This parameter controls the direction of light falling into the picture, which affects the direction of the shadows and the glare created by the smears of oil paint. To change the direction, click Place the Mouse Cursor inside the circle, hold the cursor and move it to rotate the disk. In addition, you can manually enter the numbers setting the angle in the input field. For example, the value of an angle of 90 ° corresponds to the direction vertically from above, a value of 180 ° - the light comes on the left.

In my case, there is a feeling that the image itself has a light source that comes from the upper left corner, so I install the value of about 135 °:

Pressing the left mouse button and move the cursor inside the circle.

For comparison, this picture was originally looked before changing the illumination angle, back when the light came from the lower right corner. Pay attention to the shadows and glare:

The effect of oil painting with light coming from the right lower corner.

But what it looks after turning in the direction of the upper left corner. Below, white and yellow flowers have lost their relief details after changing the lighting, while others, for example, a yellow flower near the center, is now displayed in more detail:

The same picture after moving the light source to the upper left corner.

Shine
And finally, the "glitter" option controls the brightness of the light source, which affects the intensity of the shadows and glare (paint smears, not the actual image). Installing the "brilliance" to the lowest value, zero, essentially turns the light source to be turned off, giving effect almost flat species (or rather, no effect).
The increase in value to the maximum, ten, creates too strong, unnatural shadows and glare. In most cases, it is best to work quite low, something about 0.5 - 4. Here I set the meaning of the "gloss" at 2:

The average value "glitter".

Disable lighting options

Now that we reviewed the lighting options and and their importance for the total appearance of the smears, why don't we disable the lighting? Simply put, turn off to see the smears! Why don't you want to see strokes? Well, with visible strokes, we get a relief effect created by shadows and glare from the relief of paint on canvas. Turning off the lighting smoothes the image, which gives us a very clean, soft and smooth result.
To turn off the light, simply remove the checkbox from the same option (in the English interface - Lighting). This will not turn off the effect fully created by the oil paint, and this result will give this result:

Filter operation when the lighting option is turned off.

Well, finally, when you configure everything, to use the filter and closing the dialog box, click OK.

Transformation of the photo in the picture is one of the most sought-after lessons to work with graphic editors. Modern 2D applications are so perfect that they make it possible to try themselves as a real artist, even those who never knew how to draw well. Sliders, checkboxes and other options for settings work no worse than a palette with paints and canvas.

One of the confirmations of the high interest of users to the topic of drawing is the appearance of the latest version of Photoshop Oil Paint Photoshop filter ("Oil paint"), with which you can turn the image into a picture for counting seconds. And in the presence of a modern graphics adapter - in real time to observe contributing changes in the preview window. However, like any other tool, the Oil Paint filter is imperfect. In particular, it does not make it possible separately to control the size and character of smears in different parts of the image. Therefore, other methods for obtaining a picture from photography remain relevant. In this review, we will look at both Oil Paint and three more ways to get this effect.

⇡ Using the Oil Paint filter

Oil Paint is one of the new Photoshop CS6 filters, the Mercury Graphics Engine Engine (MGE) engine. The latter uses OpenGL and OpenCL technology and makes it possible to noticeably speed up the result, shifting part of the operation on the GPU. However, unlike some other new CS6 filters, the Oil Paint works with old video cards, but in this case only processor resources are used for calculations.

For convenience, the command for calling the Oil Paint filter is removed directly in the Filter menu.

The filter contains six sliders: four of them are related to the parameters of the brush, and two to setting the lighting. Stylization sliders ("Stylization") and Bristle Detail ("Bristle Information") are designed to add contrast to imitated brush strokes. They create light boundaries between each curve or twist and thereby make the effect more pronounced. The difference between the two settings is that the first adds an additional chaotic effect into a pattern created by brush strokes, and the second affects the contrast.

Cleanliness slider ("cleanliness") makes it possible to change the detail of each brush stalling. The high values \u200b\u200bof this parameter correspond to the drawing with a new soft brush, and at low values \u200b\u200bit is possible to obtain the effect of drawing an already contaminated brush with mercury bristles - there will be more "grains" in the image.

Using the Scale parameter, you can, in fact, resize the brush.

As for settings related to lighting, the angular direction ("at an angle") determines the angle under which the mimic light reaches the surface of the canvas, which, in turn, affects the contrast between the smears. When changing the lighting, the smears may look bright or, on the contrary, dark. The shine parameter ("glitter" sets the overall severity of the effect.

⇡ Transformation of the photo in the picture using filters

This method of creating a picture from a photo is interesting in that it allows you to get a completely acceptable result without using a virtual brush. The secret lies in the consistent use of filters, which in Photoshop a great set.

Note that filter settings will differ for images with different resolution, so you may need to adjust them. We set up settings to resolve 1024x768.

So, after loading the original picture in Photoshop, use the Ctrl + U key combination to open the Hue / Saturation window ("Color Tone / Saturation"). Increase image saturation up to forty five.

Open the filter gallery by selecting it in the Filter menu. Go to the Glass filter ("Glass"). Since we want to get such an image that it is placed on canvas, set the texture of the canvas style in its settings (Canvas). Other parameters should be selected depending on the resolution of the image. Reduce the distortion by setting the lower value of the Distortion parameter ("distortion"), and select a small value of the smoothness parameter ("Softening").

Click the New Effect Layer button ("New Layer Effects") at the bottom of the filter gallery window to add an additional layer for using the filter.

Again the angled strokes filter ("inclined strokes"). It mimics the brush strokes applied at a certain angle. For the Stroke Length) parameter, set the value 3, and the value of the Sharpness parameter ("sharpness") defining how sharp the image will be reduced to one.

Add one more effect layer using the same New Effect Layer button. Assign Paint Daubs filter ("Oil painting"). Key Settings here - Brush type (Brush Type). In this case, you need to select the type of Simple ("simple"), and then reduce the size of the brush to four and lower the Sharpness value ("sharpness") so that the smears are less clear.

Create the last layer of effect. Assign Texturizer Filter ("Texturizer"). It adds to the image of a canvas texture. In its settings, select the appropriate texture type - canvas ("canvas"). Then select the scale of the texture (SCALING parameter) and its relief (RELIEF parameter).

The main work is completed. To apply the filters to the image, click on the OK button. It remains to make smears clearer. Create a copy of the layer using the Ctrl + J command. Select the bleaching section of the layer Image → Adjustments → Desaturate ("Image" → "Correction" → "Defense").

Now apply Filter → Stylize → EMBOSS filter to the top layer ("Filter" → "Stylization" → "Embossing"). In its settings, reduce the value of the HEIGHT parameter ("height") to one, and the value of the Amount parameter ("effect"), on the contrary, increase to 500.

For the current layer, change the type of mix on Overlay ("Overlapping"). Ready!

⇡ "Drawn" oil painting

But another interesting way to transform any photo in the painting written by oil. It is more laborious than using the new Oil Paint filter ("oil paint"), but it gives more opportunities for creativity.

Open the image.

Create a new layer and choosing the Fill tool ("Fill"), fill it with white. Select the ART HISTORY Brush tool ("Archive Art Brush"). At the History palette ("History"), set the Set The Source for History Brush ("Specifies the source for the archive brush").

In the tool settings, select a brush for drawing an oil 63 Oil Pastel ("Wide Paste Oil Pastel") and in the area of \u200b\u200bthe Area ("Diameter") specify the distribution area equal to thirty.

Click on the image of the right mouse button and reduce the size of the brush and pull the layer. The smaller the size, the less the size of the smear and the more detailed will be the picture.

Apply Filter → Sharpen → Unsharp Mask ("Filter" → "Enhancement" → "Contour sharpness") to make strokes more expressive. Increase the value of the Amount parameter ("effect"). Finally, apply the Texturizer filter ("Texturizer") to create an illusion of canvas. In Photoshop CS6 of this filter in the Filter menu, there is no default menu, and it is called via Filter Gallery ("Filter Gallery"). Select in the Texture list ("Texture") - canvas ("canvas") and, focusing on the preview window, select the values \u200b\u200bof the scaling parameters ("scale") and RELIEF ("relief").

Now the image looks like a painting written by oil.

⇡ Almost true painting in Photoshop

Most of the formation of painting in Photoshop is based on the use of a certain sequence of filters. These methods have one serious drawback - they are often deprived of the individuality of the artist. In this lesson, we will tell about one method of imitation of painting, which will create a unique, unique picture of any kind on the database of any photo.

The secret of the originality of the images obtained using this method is that the user itself brings randomly. But to draw a picture in this way, it is not necessary to possess the artist's talent.

So, open the image that will serve as the basis of the picture. Increase the size of the canvas slightly. To do this, execute the Image → Canvas Size command ("Image" → "Canvas Size").

Run Edit → Define Pattern ("Define Pattern") command. Create a new layer and fill it with white using the Fill tool ("Fill"). Make it a little more transparent by reducing the value of the Opacity parameter ("opacity") to 80%, so that through the upper layer looked through the original image.

Create a new layer and arise the Pattern Stamp tool ("Patterned Stamp"). In the list of samples on the toolbar, select the option saved earlier with the Define Pattern command ("Define Pattern"). Check the Aligned checkbox ("Alive.") For the correct positioning of the smears and the Impressionist (Effect) checkbox for giving it the style of impressionism.

Choose one of the brushes in the Pattern Stamp tool settings ("Patterned Stamp"). Configure its profile using the configurations on the Brush palette ("brush"). It is desirable that the profile looks like a smear of a real brush - a trace of the villi should be blocked in it and the canvas texture should be visible. Start drawing right in the image, short small strokes. They can be made in a completely arbitrary way, trying to see the brush profile on each smear.

In the process of drawing the picture, the size of the brush can and even need to be changed. In those areas of the image, where the detail is low, for example, where the sky or the sea can be used larger brushes. In the same areas where many small parts, it is better to reduce the size of the used brush so that the pattern elements are better marked on the canvas.

The process of creating a picture occupies a sufficient time, because you have to pay attention to every recognizable part in the image. However, it is this "handmade" and makes a painting realistic. The position of the smears is not amenable to a description by some algorithm, it is exclusively the work of the artist. When light spots in the image persist, you can save the result.

⇡ Conclusion

This article discusses several ways to get a picture from the photo in Adobe Photoshop, but there are many other programs in which a similar effect can be achieved. Among them are a lot and free, such as FotoSketcher. This program offers more than twenty drawing styles, from watercolor paints and pencil drawings before creating a cartoon image. Each style has several settings, with which you can affect the appearance of the finished "paintings".

Despite the fact that Fotosketcher means can be quickly obtained a number of interesting artistic effects, all the same in these kind programs there is not enough freedom to implement creative ideas. Many operations are made according to the template, and therefore the result is more or less repeated by the previously obtained pictures. So Photoshop was, there is and remains the main tool for the artist working with digital painting.