Amazon.com : BlackVue DR650S-2CH 64GB with Power Magic Pro, Car Black Box/Car DVR Recorder, Wi-Fi, Full HD, G Sensor, GPS, 64GB SD Card Included, Up To 128GB Support. The Magic Wand is the powerful wand of Cinderella's Fairy Godmother. Its powers are summoned by. How to Turn a Photo Into a Painting. The best thing about Photoshop is that it allows you to do things in a few minutes that would normally take hours or days to complete. Case in point: instead of spending half a lifetime painting a picture, you can use Adobe Photoshop to make a photograph look like a hand- painted masterpiece in minutes. Converting a photo into a painting takes more than just using Photoshop’s default tools. You need a variety of filters, brushes and design techniques to actually make it look realistic. Fortunately, it’s still an easy process, especially since we’ve spelled it all out for you in this tutorial. Before class begins, you’ll need to download a few school supplies. To follow along with the tutorial, you’re going to need this photograph (right- click to download it to your computer) as well as two brush sets pulled from our roundups of cool Photoshop brushes. The brush sets are: Creating the background. The Art of Hoodoo Candle Magic in Rootwork, Conjure and Spiritual Church Services by Catherine Yronwode and Mikhail Strabo Candle magic is one of the foundational. Discover Mayong - The Land of Black Magic in Mayang, India: The Indian capital of black magic and witchcraft. Let’s start by opening up a new document in Photoshop by clicking File> New or using the Ctrl+N shortcut. You want your canvas width to be 1. Open up the Brush Tool from the menu or by pressing the B shortcut. This will bring up the brush options on the right panel. You can click on the Brush Presets from here, or select Window> Brush Presets to bring up the brush menu. If you haven’t already, now would be a good time to download that texture brush set and pull up the brush labeled 4. It should look like the brush in the picture, sort of a horizontal swatch that tapers off at the end. You’ll need to make a few adjustments before it’s ready to use. Click on the Brush tab next to Brush Preset tab. First, toggle on the Shape Dynamics option and set the parameters to the numbers shown in the image below. Set the jitter size to 1. Next, select the Color Dynamics toggle and set the foreground/background jitter to 4. Everything else should be set to 0%, as shown in the image. Finally, select the Transfer toggle and set the jitter opacity to 1. Keep everything else at 0% or turned off. You’re now ready to start drawing the background, so set your foreground ink color to black and start filling in the white background by moving the brush back and forth over the canvas. As you can see in our example, the canvas should be completely filled and darkened, but there should be enough light areas to provide a textured look. Play with it until you get the result that you want.Now let’s make the background look more natural by adding an unsharp mask. Nintendo Vs Sony Vs Microsoft Yahoo Merger more. Click on Filter> Sharper> Unsharp Mask, set the parameters as shown below, and press OK. This will draw out the lighter areas and create a more visually dynamic contrast. It’s an improvement, but it still doesn’t have that natural painting quality we’re looking for, so hit the image with the unsharp mask again (Filter> Sharpen> Unsharp Mask) and you’ll end up with something like our example shown. It’s a subtle change that you might not notice right away, but the double application brings out the finer details, looking more like real painted brushstrokes. And with that, your background is complete! Creating the overall contour. Part 1: Adding the model. Let’s bring our photo into the mix (if you haven’t already, go ahead and download it).Open it up by clicking File> Open or using the CTRL+O shortcut.Select the entire photo using the CTRL+A shortcut and then copy it with CTRL+C or by clicking Edit> Copy.Switch over to your background document and paste the stock photo as a new layer with CTRL+V or Edit> Paste. Brian Lara Cricket 99 Second Edition 2008 Crack on this page. The stock photo is bigger than the canvas that we’re working with, but don’t panic.Use the Free Transform Tool (Edit> Free Transform or CTRL+T) to manually resize the stock photo so that it fits snuggly inside the canvas as shown. If you need to zoom in while in free transformation mode, you can use the + and – keys while holding down CTRL to change the canvas view. Exit out of the free transform mode by hitting the Enter key once you have the picture at the correct size. Now you’ll need to isolate the model from the background. We find the quickest route is the aptly named Quick Selection Tool (just hit W on your keyboard.) You can also use the Magic Wand Tool if you prefer (Shift+W)- whatever gets the job done. Click on the white space in the background to select it. You’ll notice right away that the selection bleeds into the model. You’ll have to spend a little time cleaning this up so that the selection perfectly outlines the model. Hold down the Alt key and click- and- hold the mouse to exclude any parts of the model that may have been selected by accident. Use the Shift button to include any parts of the background that have been left out. You may have to zoom in to get the finer details in there. Once your model is completely selected, click on the Refine Edge button in the option bar. Set the refine edge effect for black and white, then in the next menu set the smooth edge at 2. Also, make sure that the output is set to selection. This will help the selection be a little less rough around the edges. But since we want to work with the model, not the boring white background, let’s invert the selection by clicking Select> Inverse. With the model still selected, created a new layer by clicking Layer> New> Layer or Shift+CTRL+N. Create a mask for this layer by clicking Layer> Layer Mask> Reveal Selection. Your active selection will now become a mask. We’re going to do some stuff now that we’d rather not have all over the stock image just yet, so click on the eye icon next to the stock image layer to turn it invisible. Now select the layer thumbnail above to activate that layer. Make sure it’s the layer itself you have selected, not the layer mask. Open up the color picker and set the foreground color to #edc. Select the color fill tool and fill in the layer completely. You’ll end up with a model- shaped silhouette. Part 2: Adding an aura effect. Now we can start adding some imperfections and simulated paint hatches to the image to make it look more like a painting. First, select the mask thumbnail so that you’re working with the mask instead of the top layer. Select the brush tool or hit B on your keyboard, then click on the Brush Presets on the sidebar. This time we’ll be using a texture brush from the other set, so download the Dither and Hatches CS2 brushes if you haven’t already. Select the brush as shown in the screenshot marked 2. It’s a sort of crunchy, spray paint texture. Once again, you’ll have to click on the Brush tab and select the Shape Dynamics. Set the angle to 1. Now you can start creating the paint aura around the model. This time, lightly spray the brush in clusters around the silhouette of the model as shown. The idea is that you want most of the brush to cover the model so that the aura is tight around the silhouette. Don’t hold down the brush and spray in a continuous stroke because you’ll end up with the wrong effect. Spray one application at a time until you like what you see. Now we want to bring out the contour aura a little more and give it more detail, so click Filter> Sharpen> Unsharp Mask and set the amount at exactly 1. The radius should be set at 1. Part 3: Texturizing the subject. While we’re still working with the overall contour, let’s add some texture to the model to look more like actual paint. To do this, we’ll add some subtle light and shadow to the flat silhouette. Set the foreground color to #ddaf. Open up the same spray brush from before, only this time we’ll be making some different adjustments in the Brush tab. Activate the shape dynamics toggle and set the jitter size at 5. Toggle the scatter option and select both axes, set at 1. Finally, toggle the color dynamics and set the foreground/background jitter to 1. Select the top layer once again so that you’re not working with the mask anymore and start applying the brush strokes to create texture. It will take several applications for the texture to show through, but as you can see in the example image, the ideal result is light and subtle. Creating the shadow contour. With the contour complete, we can move onto the shadows. Make a duplication of the stock image layer by clicking Layer> Duplicate Layer or using CTL+J. Move this new duplicate layer above the first contour layer so that it’s the very top layer. If this layer is still invisible, make it visible so that you can work on it. Click on Image> Adjustments> Threshold and set the threshold at 2.
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