Photoshop Tutorials: Easy Watercolor Painting Effect

Disclaimer

None of the given Photoshop Tutorials are written by me. They are all taken from various sources on the Internet and I compiled some of them for you. Hope you understand. More are in the line.

Written By Steve Patterson


In this Adobe Photoshop tutorial, we're going to learn how to easily make a photo look more like a watercolor painting. This photo effect works best on images where maintaining rich colors and strong contrast is more important than keeping any fine details, since you'll be losing a lot of detail with this effect.

Creating the effect is as simple as duplicating some layers, applying a few filters, and using a few different layer blend modes, and the whole thing takes only a couple of minutes from start to finish.

Any recent version of Photoshop will work just fine.

Here's the image I'll be using for this Photoshop tutorial:


And here's how it will look after applying our watercolor painting effect:


Let's get started!

Step 1: Duplicate The Background Layer Three Times

With the image newly opened in Photoshop, if we look in our Layers palette, we can see that we currently have one layer, the Background layer, which contains our image:



Photoshop Tutorials: The Layers palette in Photoshop showing the image on the Background layer.

We need to create three copies of the Background layer, so use the keyboard shortcut Ctrl+J (Win) / Command+J (Mac) three times to duplicate the Background layer three times. If we look again in our Layers palette, we can see that we now have four layers, with the original Background layer on the bottom and three copies above it:

Photoshop Tutorials: Press "Ctrl+J" (Win) / "Command+J" (Mac) three times to duplicate the Background layer three times.

Step 2: Turn Off The Top Two Layers

On the far left of each layer in the Layers palette, you'll see a small eyeball icon. This is the Layer Visibility icon, and it determines whether or not the layer is currently visible in the Photoshop document. When the eyeball icon is visible, it means the layer itself is visible. Click on the icon for the top two layers in the Layers palette to temporarily hide them from view inside the document. When you click on the icon, it disappears, letting you know that the layer is no longer visible:


Photoshop Tutorials: Hide the top two layers in the document by clicking on their Layer Visibility (eyeball) icons. The icons disappear when clicked on.

Step 3: Select "Layer 1"

With the top two layers temporarily hidden from view, click on "Layer 1" in the Layers palette to select it. You'll know which layer is selected because the currently selected layer is highlighted in blue:


Photoshop Tutorials: Click on "Layer 1" in the Layers palette to select it.

Step 4: Apply The "Cutout" Filter


The first thing we're going to do is simplify our image, and we can do that using Photoshop's "Cutout" filter. With "Layer 1" selected, go up to the Filter menu at the top of the screen, choose Artistic, and then choose Cutout.

When the Cutout filter's dialog box appears, set the Number of Levels to 4, Edge Simplicity to 4, and Edge Fidelity to 2:

Photoshop Tutorials: Go to Filter > Artistic > Cut Out and change the options circled in red above. Click OK when you're done to apply the settings and exit out of the dialog box.

Step 5: Change The Blend Mode Of "Layer 1" to "Luminosity"

With "Layer 1" still selected, go up to the Blend Mode options in the top left of the Layers palette. By default, layers are set to the "Normal" blend mode. Click on the down-pointing arrow to the right of the word "Normal" and select the Luminosity blend mode from the bottom of the list:

Photoshop Tutorials: Change the blend mode of "Layer 1" from "Normal" to "Luminosity". Your image should now look something like this:

Photoshop Tutorials: The image after changing the blend mode of "Layer 1" to "Luminosity". Step 6: Turn On The Layer Above "Layer 1" And Select The Layer

Still in the Layers palette, click inside the empty square where the eyeball icon used to be on the layer directly above "Layer 1" ("Layer 1 copy") to turn that layer back on, so it's visible again inside the document. Turning a layer back on doesn't actually select the layer though, and we need to have it selected as well, so once you've turned the layer back on, click anywhere else on "Layer 1 copy" to select it so it's highlighted in blue:

Photoshop Tutorials: Click on the visibility icon (the empty square) for "Layer 1 copy" to turn it back on, then click anywhere else on the layer to select it. Step 7: Apply The "Dry Brush" Filter

We're going to add some texture to our image at this point. With "Layer 1 copy" selected and visible once again inside the document, go back up to the Filter menu at the top of the screen, choose Artistic once again, and this time, choose Dry Brush. When the Dry Brush filter's dialog box appears, set the Brush Size to 10, the Brush Detail to 10, and the Texture option to 3:

Photoshop Tutorials: Go to Filter > Artistic > Dry Brush and change the options circled in red above.

Click OK when you're done to apply the filter and exit out of the dialog box.

Step 8: Change The Layer Blend Mode To "Screen"

With "Layer 1 copy" still selected, go up to the Blend Mode options once again in the top left of the Layers palette, click on the down-pointing arrow to the right of the word "Normal", and change the blend mode for the layer to Screen:

Photoshop Tutorials: The image appears brighter after changing the blend mode of "Layer 1 copy" to "Screen".

Step 9: Turn On The Top Layer And Select It


Just as we did with "Layer 1 copy" a moment ago, click inside the empty square where the eyeball icon used to be on the top layer in the Layers palette ("Layer 1 copy 2") to turn the layer back on and make it visible once again inside the document. Then click anywhere else on the layer to select it so it's highlighted in blue:

Photoshop Tutorials: Turn the top layer back on by clicking on its Layer Visibility icon in the Layers palette, then click anywhere else to select the layer. Step 10: Apply The "Median" Filter

With the top layer selected and visible again inside the document, go back up to the Filter menu at the top of the screen, this time choose Noise, and then choose Median. The Median filter will remove even more detail from the image, and the nice thing about it is that it does so without blurring the image so edges remain well defined. When the Median Filter's dialog box appears, set the Radius value at the bottom to 12 pixels:

Photoshop Tutorials: Go to Filter > Noise > Median and set the "Radius" value to "12 pixels". Click OK when you're done to apply the filter and exit out of the dialog box.

Step 11: Change The Blend Mode Of The Top Layer To "Soft Light"

To complete the effect, with the top layer still selected, go up to the Blend Mode options in the top left of the Layers palette, click again on the down-pointing arrow to the right of the word "Normal", and change the layer's blend mode to Soft Light:

Photoshop Tutorials: Change the blend mode of the top layer to "Soft Light" to complete the effect.

Once you've changed the blend mode to "Soft Light", you're done!

Try it yourself :) with another landscape image.

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Age Progression - Photoshop Tutorials

Disclaimer:

None of the given Photoshop Tutorials are written by me. They are all taken from various sources on the Internet and I compiled some of them for you. Hope you understand. More are in the line.

Here’s a little tutorial showing you how I basically go about aging a woman’s face in Photoshop.

Preface

I've been asked several times by different members to post a tutorial on how I age-progress a person. So, here it is!



Men and women age a little bit differently but since I've only aged female celebrities thus far, I'll just focus on women for this tutorial. I’ll be using the image of Katie Holmes that I did for a past W1K contest, as an example.

Step 1: Choosing an Appropriate Photo

When deciding to age-progress a celebrity’s face, I try to select a picture that is touched-up as little as possible.



I find that candid shots, or any shots that have not been taken in a studio, work best because the resulting harsh lighting reveals more of the skin’s details i.e. slight bags under the eyes and faint wrinkles. The appearance of such details makes it all that much easier to visualize how your subject will age. Visualizing what the end result will look like brings you one step closer to aging her face realistically.



In Katie’s case, we can see very faint horizontal lines on her forehead, fairly obvious lines under her eyes and lines bracketing her mouth.

Step 2: Collecting Reference Material

Reference material is key in my method of aging. Keeping Katie’s face in mind, I scoured the Web, looking for faces of old women who either resemble Katie and/or share the same facial expression. Here, Katie is smiling with her face positioned at a 3/4 angle so I tried to gather as many pictures of old women who are smiling in the same manner or close to that. I then opened up the picture of Katie in Photoshop and pasted the found images around her face on a separate layer, spread out to provide easy visual access.



Another kind of reference I like to use but is usually hard to find, is pictures of the subject’s parents. I managed to find a couple of reference pictures of Katie’s mother online and they really helped me to decide whether or not to give Katie a double chin. Since her mom has quite a bit of mass under her chin, I decided I would apply that to Katie too.

Step 3: Thinning Brows

Now the fun begins! The first thing I like to do is to thin out the subject’s eyebrows and eyelashes. The older people get, the thinner their hair gets - either because hair falls out and/or because it dries out as it greys.



So to achieve this, I like to use the Clone Stamp tool at 100% with a relatively small brush size depending on the size and resolution of the image. I sampled the surrounding skin to thin and reduce the number of hairs.

Step 4: Mold the Face

Next, I like to add the basic sags to the skin. I do this in the Liquify mode. I tried to create sagging effects to the cheeks, jowls and the cliff just above the eyes by using the Push tool. For the eyes, I tried to be subtle; otherwise she may end up looking somewhat ghoulish.



From what I’ve learned about the aging process, I know that while bones cease to grow, and in fact shrink, cartilage does continue to grow. As a result, the end of a nose may appear larger as a person grows older. So while I was still in the Liquify mode, I used the Push tool to extend the length of the nose slightly. Then I used the Bloat tool to also enlarge it slightly, being careful not lose the essential quality or character of the nose. Go too far and it may not look like Katie anymore.

Step 5: The Aforementioned Double Chin

Based on her mother’s pictures, I then added a fairly massive double chin. I initially used the Airbrush tool with some fairly broad strokes, sampling the colors that were already in the area of her neck. I then worked in the details with a finer brush size. Also, keep in mind that I was also using the other reference photos of older women to guide me.

Step 6: Wrinkle Up the Eyes

For me, the most important parts to get right are the eyes. They can make or break the project. Done wrong and the picture may no longer be identifiable as one of Katie Holmes anymore. I sought out the fine lines around the eyes and I tried to imagine how they would progress into wrinkles. I then extended them in length and width accordingly. Referencing the pictures of old women helped a lot with this step.



I used a combination of the Stamp tool and Brush tool. I wish I could explain my technique at this point in a more clinical manner but mostly I relied on my artistic instincts. I emphasized the wrinkles around the eyes by widening and deepening the lines slightly and increasing the contrast by darkening the recesses and lightening the edges. Also, I extended wrinkles to the cheekbone areas. I then applied the same technique to the wrinkles around the mouth and to the forehead.

Step 6: Reducing the Lips

In this step, I work on the lips. As people grow older, the outline of the lips tends to recede. Using the Stamp tool, I sampled the skin surrounding the lips and thinned them out.



While I was at it, I also added a few vertical wrinkles above the lips to give her a bit of a "prune" effect. We just want a hint of that, so don’t carve out deep lines; deep lines would only be necessary if she was puckering her lips.

Step 7: Planning Out More Wrinkles

Here, on a separate layer, I faintly outlined or sketched, with a relatively thin brush size, areas that I may or may not add more lines and wrinkles to. It’s easy to get carried away with the addition of wrinkles. So, I stopped, took a step back and assessed where to take to image. For me, it's essential and a great test to see what best works.

Step 8: Touching Up the Wrinkles

Based on the previous step, I added wrinkles where I thought they were needed most.



Overall, I found that the wrinkles and lines seemed a little flat in comparison to the rest of Katie’s features. They needed more definition so that they could pop out more. So, I highlighted the raised edges of the individual lines with the Brush tool and with a lighter skin tone.

Step 9: Hairy Lips

Facial hair becomes an issue with most women as they age. For some strange reason they lose it in the brow area and grow it back around the mouth area. I didn’t want Katie to be the exception so with a very fine brush size and the Brush tool, I added hairs to her upper lip.



I tried to make it as subtle as possible. Hairs too thick or dark would draw the viewer’s attention straight to her mustache and I didn’t want that. I also added more wrinkles to the area below the corners of her mouth.

Step 10: Refining the Neck

I decided that the neck was too smooth for a woman of 75 years of age. So I added finer wrinkles to that area. Also, I added more mass and weight to her jowls with the airbrush by increasing the value of the tones in those areas thus creating more contrast between surface planes.

Step 11: Adding Age Spots

A key component to effective aging of a face is the addition of age spots.



So at this point, I sampled one of the darker skin tones on her face, and on a separate layer that was set to Multiply and 30% opacity, I brushed them in and tried to create irregular shapes (there IS no perfect age spot). You can add as many as you like; the amount varies from person to person. I decided to be conservative with Katie.

Step 12: More Refinements

I took a little break from it and came back to it later to possibly get a better perspective on it. When I looked at it, at this point, I decided that certain areas needed refining and added detail. This is the beauty of working with a high-resolution file; I can zoom in real close and deal with a wrinkle up-close and personal.



Unless their teeth were subjected to regular whitening, most people’s teeth yellow with age. Gums also recede, showing less gum and more bone. And so with that in mind, I sampled a yellowish-brown color and on a new layer that was set to Multiply and 30% opacity and painted that color to the teeth with the Brush tool. Her gums didn’t show to begin with, so receding the gums here wasn’t necessary.

Step 13: Preparing the Hair

The finishing touch here is greying the hair. I began by creating a mask defining the area of the hair. I used the brush for this and tried my best to define as many loose strands of hair that I could.



With this mask as a selection, I then created a Hue/Saturation adjustment layer and reduced the saturation to –63.



I then created a new adjustment layer based on the same mask and adjusted the Brightness/Contrast to brightness +9 and contrast –36. As a result, I found that the darker areas were too pale and caused a loss of depth and so to adjust that, I then selected the mask and scratched out the darker areas with a 5px brush size at 50% opacity so that they could show through from the original image.

Step 14: Hair Raising

The next step was to raise the hairline and thin out the hair. Hair loss is common with both sexes.



I sampled the area at the top of the forehead and extended the skin area above the original hairline.

Step 15: Greying the Hair

A lot of details of the hair were lost in the previous step so with a thin brush size at 80 percent opacity I drew in fine grey hairs, sparsely laid out.



Patiently, slowly, stroke by stroke I added more and more hairs until I was happy with the amount of grey I had added.

Step 16: Finishing Touches

Finally, I took a step back, refined a few wrinkles here and there ET VOILA!



I hope this tutorial was insightful. It may not be the most technically detailed tutorial but it gives you a good idea of the process I go through to get the job done. Hopefully, it will help you create your own trophy-winning images for future Fountain of Age contests!