Dodge and Burn… NOT an Action Movie

Awhile back, Ellen (gmae) asked me to think about a tutorial on dodging and burning. I couldn’t think of how to introduce it at the time, but I’ve come up with a way!

Dodging and burning are old-school photography techniques for selectively adjusting exposure of photos to bring out details that weren’t all that evident. In the darkroom, it was done with a piece of cardboard (at least that’s how I did it back in the day).  [I cut a round hole in a solid piece of mat board (for burning) and taped the cut-out circular piece to a thin piece of very stiff wire (for dodging).] First the photographer would print the desired negative on photo paper and examine the exposure. Then another print would be made with some fancy footwork to correct areas of over-or-underexposure. Dodging involved holding the end of the thin stiff wire with the cardboard over the area of the photo that was overexposed and then exposing the paper while keeping the wire-and-cardboard dodger moving. This decreased the amount of light that hit that section of the paper, so those blown details could be seen. Burning was done similarly but was concentrated on the under-exposed areas by moving the hole in the cardboard over the dark spots, allowing MORE light to hit that area of the paper. The cardboard in both methods had to be kept moving at a reasonably constant rate so as to prevent the obvious demarcation lines the enlarger would leave on the image. It was time-consuming, wasted a lot of expensive photo paper and was definitely a skill not everyone excelled at. To be honest, I totally failed at it! So it’s a WONDERFUL thing that dodging and burning can be done digitally and done well without a lot of fuss.

My first demonstration will show you how to make things like tags look like they’re stickers and washi tape look realistic, complete with that appearance of something thicker underneath it. I’m using CathyK‘s July Daily Download Back to Nature here. (If you missed it you can still get it, it’s in the store!)

I want this tag to look like it’s a sticker and it needs a little ridge where it overlaps the photo.

To make this technique easier on yourself the first couple of times you try it (until you get the hang of it) I suggest you position your item so that you can see the edge of the object underneath at both ends, as I’ve shown. But don’t worry about having it horizontally arranged because this will work no matter what the angle.

Now select the Sponge tool. It’s actually 3 tools in one… the Sponge, Dodge and Burn are all accessed through there. The keyboard shortcut is simply hitting the letter “O“. You can use that to toggle between the three tools. Neat, eh?

The Dodge tool is the one we’re going to start with. The icon looks like that little paddle the optician uses to check your vision.

One of the important controls for this tool is hidden behind the Brush menu. It’s the one that lets you choose between Highlights, Midtones and Shadows. It defaults to Midtones, and that’s where you want it. Select a soft round brush of about 45 pixels in diameter and set the exposure (there’s that word again!) to no more than 30%. You’re going for a REALLY subtle effect, so start off light and build if you need to.

I learned something new while I was preparing this tutorial. Set your brush at the edge of the item UNDER your tag/sticker/tape and click once. You want it to overlap onto the layer underneath it a little so fix a reference point in your mind to help you later. Then move your brush cursor over to the other side of your tag/sticker/tape, hold down the Shift key and click again. Bingo! You’ve got a straight line of brush on your image!!

It’s really hard to see the change, but trust me, it’s there. Now decrease the size of your brush by about a third. Repeat the click-shift-click manoeuver again.

Once more with feeling… again decrease the size of your brush by a third (that’s why I chose 45 pixels… makes the math easy). Then click-shift-click one last time.

If you look really closely at my example, you can see the faint but definite lightening along the edge of my photo.

It’s actually easier to see from farther out.

Now we’re going to Burn the part that overlies the photo. The Burn tool looks like someone making an “OK” sign with their hand. I left the size of the brush at 15 pixels with the exposure at 30% and used the very same click-shift-click to lay down a darker line.

Then I followed that up with a HUGE brush that covered the whole part of the tag that sat on top of the photo. The first pass set the edge, the second pass created a bit of a shadow that makes it look so much more real.

Here’s a zoomed-in view…

and a zoomed-out view. What do you think?

On my finished layout, I dropped another tag on top of this one and did the same technique with it. You can see the effect below.

Okay… let’s pretend we’re in the darkroom and we have this photo on our workspace. How can we use the Dodge and Burn tools to make it look better?

I darkened his eyes, his nasolabial folds (those grooves from his nose to the corners of his mouth), his dimple and the folds in his ear using the Burn tool with a small brush size and a light touch. The photo looks a little sharper, at least to my eyes.

Then I used the Dodge tool to bring the highlights back. Wherever more light would hit his face was dodged a smidge – the tip and bridge of his nose, the top of his ear, the apples of his cheekbones and a small section of his forehead. I also hit the catchlights in his eyes and brightened the whites a bit too. You could use these tips to make the eyes in your portraits sparkle: Burn the irises a bit, then Dodge the white and catchlights for some real drama. Just remember, if you’re not happy with how your images look, you can always Undo! CTRL/CMD>Z is the most useful tool in your arsenal! (Wanna know another way to use the Dodge tool? To soften crowsfeet!)

Now let’s look at what we can do with colour photos.

I went over the throat of this daylily with the Burn tool to deepen the fuchsia areas a bit.

Then I went over the areas where the light hits and Dodged up the highlights. I worked on a copy of my photo so I could move from the original to the edited one and see how the changes looked.

And boom! The throat’s fuchsia is darker, so there’s more contrast, and the stamens and ruffled edges are lighter and stand out more. I LOVE being able to selectively enhance my images!

I’m not sure if this is what Ellen was looking for when she asked about dodging and burning. If it isn’t, I’m sure she’ll let me know. Have fun y’all, see you next week!

More Fun with FONTS

I’ve confessed it before – I’m a fontaholic. I LOVE fonts and the options they provide. But have you ever downloaded a font because the example the email or website shows makes it look like it’s been hand-painted – cool, right? – only to find out it’s just… a font? And it looks sort of like the screenshot below. That makes me so cranky! So I’m going to show you how those cheaters do it.

Pick a colour. It doesn’t matter what you choose because it’s going to disappear later, but you want to be able to see it clearly.

Then pick a font, one with some weight to it. I like this one called Cedar. It’s one of the ones I was enticed to buy because of its lovely watercolour paint look in the samples. Umm. Yeah.

This step is optional, but I’m going to use this as a title so I filled in those gaps and made the letters all solid shapes. Tip: When using the paint bucket Fill tool, if you only click inside the space once, there will be a faint outline of the gap left when you’re done. Solution: click TWICE.

And in case you haven’t been paying attention, Simplify your font layer.

Now you’re going to choose a watercolour brush. Or one with some kind of texture. You want to make the font look fabulous, but you also want it to be grounded to the paper below it. Letting a little of that background colour show through does that nicely. Because this text will mimic a painted-on title, it won’t be shadowed later, so ground it now. Choose your paint colour at this step as well.

Create a new layer for your brush. Always. ALWAYS! If you hover your brush over your text, you can see where the edges should be, but this isn’t always so with this type of brush. It does, however, give you some idea of whether your brush will cover your text and whether it needs any adjustments. I tipped my brush a little to get a more uniform coverage by using the Brush tool Settings menu as shown below.

Then just click your brush over your text. If you want more oomph, click more than once, but be careful not to lose the tonal variations you’re trying to create.

Stay on your brush layer and Select your text by clicking on your text layer’s thumbnail. Behold, marching ants!

To Invert your Selection, you can Select>Inverse as shown, or you can CTRL/CMD>Shift>I, which shifts the active area to everything OUTSIDE the text.

This next step Deletes the paint outside the edges of the text. There are 3 ways this can be done: Edit>Delete or CTRL/CMD>X or simply hit the Delete key.

So now the paint only covers the area over the text! CTRL/CMD>D makes the marching ants disappear.

Once I eliminated the marching ants, I wasn’t totally happy with the look so I just added a Stroke to the edges… still on the brush layer.

I used the same colour for my stroke. But I could have pulled one of the other shades of teal from the background paper. I think that would have ruined the effect though. Centering the stroke on the edge eliminates those raggedy jaggedy pixels some fonts have when they’re enlarged.

The change made by the stroke isn’t obvious but I think it just defines the text a little better.

You could leave the original text layer and colour show through your brush layer, or you can turn the visibility off to see how you like the look. I found that some of the tonal variation was lost when I did that. But if you’re happy with the visibility turned off you can go ahead and delete the text layer.

Okay, so let’s try something a little different, but using the same basic steps. We’re going to reverse the look.

Back up all the way to where we Selected the text. We’ll use the same brush and colour.

But this time, don’t Invert your selection, just Delete it. Edit>Delete, or Ctrl/CMD>X or just hit Delete.

Now the Text layer is fully visible and the brush is smooshed all around it.

Turning the visibility of the Text layer off looks like this. Decision time. Happy? Not happy? What should be changed, if anything?

Let’s make some small changes.

Would a Stroke make it look better?

Same settings, same everything else.

It’s better, but not really what I want.

So I just Undid – CTRL/CMD>Z – my way back to the Select text step and changed my brush to a dirty spray.

I know I reminded you to put your brush(es) on its own layer – here’s why. You can adjust it to your heart’s content without affecting anything else. You can make the brush bigger or smaller, change the angle of it, decrease the opacity of it, change the Blend Mode, duplicate just the brush… a schwack of things can be done to it that can’t be done if it’s on the same layer as something else.

This time I clicked my brush several times, moving it around to cover the text more but still letting some of the background colour show through.

Et voilà! Turn off the text layer and it looks like a reverse stencil.

If you’ve seen the layout I used this technique for, you’ll know I went with a different colour and the very first method. Despite the appearance of a great deal of time consumed, this actually only takes a matter of minutes to do. Give it a whirl!

A Little Bit Sketchy

Today I’m going to show you how to go from THIS…

to THIS!

And it’s only going to take you about 10 minutes to create your own sketchy image. Really! (Glee, did you figure it out? Of COURSE I planned a tutorial when I created my Designer Spotlight challenge layout!)

First things first. Open up a new blank 12×12 canvas on your workspace. You can always resize it later, but having a big canvas to work on makes it a lot easier to get it right.

Drag and drop a soft white paper onto your canvas. You have lots of choices in your GingerScraps stash so pick one you like that will work with your photo.

Now drag and drop your photo onto the paper. Enlarge it to fill the workspace with the section you want to work on… or leave it… it doesn’t matter which you do. I wanted a square image when I was done, so I resized. Then Duplicate that photo layer. (WSNH: CTRL/CMD>J)

Then turn the TOP LAYER‘s visibility off.

We’re going to play with the Filters that come with the software. Remember to select the bottom photo layer to work on for this step, then Filter>Stylize>Find Edges.

Now you’ve got a neat pencil sketch right there. You could be happy with that, but with a couple of other tweaks you can have something much more unique.

To make the white areas disappear decrease the saturation of the layer down to -100. There are two ways to get there: Enhance>Adjust Color>Hue/Saturation is one and the WSNH way – CTRL/CMD>U is the other. The menu should look like this when you’re done.

Now we have to make the sketch vanish. Hold down the ALT key and click on the Layer Mask symbol at the top of the Layers panel. In case this is your first attempt at one of my tuts, it’s the one that looks like a piece of paper with a blue circle on it, the middle of five symbols grouped together.

Now for the magic! Go to your Brush tool (hit the B key) and find a nice watercolour brush. There are some in the default brush set Natural Brushes 2 that came with your software, or you can download some free ones via a quick Google search. I used some that I found at Brusheezy. Either way, you want to decrease the Opacity of the brush to give you more control over how your sketch comes together.

Make sure you’re working on the layer mask and NOT on your image. Start painting back your sketch with your watercolour brush, either by clicking on the mask with a full-sized brush several times or by clicking and dragging the mouse over the area you want to make visible. You want to keep the edges of your sketch soft and indistinct so it all seems to blend into the background.

You can change brushes and adjust the size and angle of the brush to vary their effects.

If you’ve never changed the angle of a brush, this will show you how. Click on the Brush Settings… bar and either move the tip of the arrow around or type a number into that box highlighted blue in the screenshot.

Keep moving your brush(es) around until your sketch looks well-defined in the area you want to highlight in your finished image and softer towards the edges.

To bring some colour into your sketch, just follow the same process with your top-most photo layer. Turn the visibility back on so you can actually do stuff to the photo layer. Hold down the ALT key, click on the Layer Mask symbol and make your photo disappear.

Using the same watercolour brush or a different one, your choice, decrease the opacity a bit more and start painting the colour in.

Work carefully from your focal point out. You can have areas where the photo is 100% visible and other areas where the sketchy aspect is more visible. All up to you!

If you feel like you’ve made the photo TOO clear, you can change the foreground colour of your brush from white to black and soften it up again.

That could have been where I stopped. You could stop there and have a simply stunning photo effect that will make people so impressed with your skills. I wanted to see what I would have if I duplicated just the sketch layer. To do that, I used my WSNH keyboard shortcut (CTRL/CMD>J) then right-clicked on the new sketch layer to disable the layer mask. A second right-click let me delete the layer mask and left me with just the sketch. With it sandwiched in between the original sketch and the photo, it looked like the screenshot below. I played with the Opacity of that layer, which is what I used for my layout.

Rather than make you look for it, here it is.

I can’t wait to see what you do with this one!! This technique is perfect for those scenic shots we all have in our collection. Have fun!!

How’d You DO That?!! Fontography Demystified

Have you ever looked at a magazine layout or a scrapbook layout and immediately been captivated by the combination of fonts used? Or, alternatively, looked at one and thought, “Wow… that looks… umm… really weird”? And what about all those Pinterest pins that show font combinations… how were they arrived at? After I put together the tutorial on chalkboard art, I had several people comment on how the fonts I chose looked really good together. But I’d never really broken down the process of choosing font combos. So I’m going to share some basic thoughts about how to pair fonts to make your layouts look pulled together, appealing and well-designed.

The fonts I’ve combined in my examples will be named in the screenshot following for each of these tips. Here’s the first combo.

When you’re thinking about pairing fonts, the first consideration is choosing fonts that compliment each other AND your topic. Think about the layout you’re designing and the mood it creates. Does it have a strong personality? Look for fonts that match the mood and personality of your photos, elements and arrangement. The sample below has two Art Deco era fonts in it. See how they work together? They’re from the same general era, so they should look like they belong together.

These are the two fonts I combined for my sample. They make me think of the Roaring 20s, flappers and bathtub gin.

Now see how the wrong pairing can just look odd? They’re of similar weights (more about weight in a minute) and are both bold fonts, but they have nothing else in common.

Even the names the designer gave them aren’t complimentary!

Next you want to consider something called “visual hierarchy“, which is a $10 phrase meaning “Who’s the boss”. In my sample below I chose a heavy slab-style creepy font for the title and a somewhat less weighty, condensed font for the subtitle. You can easily see that had I done it the other way around, the title wouldn’t command much attention.

I love Hallowe’en so I have a selection of these gnarly fonts for my related layouts. (Sometimes the names the designers give them are a little risqué.)

Here’s another combo, one that isn’t quite right. The two fonts, although they’re both similar in mood, don’t work as well together. It’s not horrible, but it wouldn’t be my first choice. This is where your judgment and your “design eye” come in.

Great names!

Let’s talk a little about context. In this case, the definition we’re going to use is this one: “the set of circumstances or facts that surround a particular event, situation, etc.“. I touched on it briefly when I talked about complimentary fonts. But there are some other aspects that need attention too. For example, subject matter; the first font in the screenshot below would work beautifully for a layout about building a new home, or racing motocross, or even one about guys doing guy stuff. But it wouldn’t do for a wedding layout, or one about a tea party with your grand-daughter. 

Another aspect is what you’re communicating with the font. The swirly, curly, girly font on the second line isn’t readable when all caps are used. It would be perfect for a title or subtitle on a tea party or wedding layout when used appropriately. So always think about how you’re going to use the font, and about readability. If you use a tiny, condensed font like the third line it may be difficult to read. For journaling you’re going to want it to be a clean, easily read style in a size that doesn’t require a magnifying glass, particularly if you’re going to print your 12×12 layouts in a smaller size, like 8×8.

These are the fonts I used in my sample above.

This concept is pretty simple. Serif fonts are the ones with those little extra bits that extend from letters as shown in the top sample, and are absent in fonts described as sans serif. (“Sans” means without in French.) You can think of them as a little bit more formal for serif fonts and a little more casual for sans serif fonts.

These are the fonts I paired above.

Alternatively you could pair a sans serif font with a serif font as I’ve shown below.

Next, let’s talk about contrast. The four fonts I’ve chosen for this sample all actually work together. Size and weight are important when you’re thinking about both context and contrast. I’ve used a 72 point font for all these samples so you can get a feel for these concepts.

The first example is a middle-of-the-road font with a medium size, a medium weight and a solid texture.

The second example is an attractive, light-weight, thin decorative font.

The third example is a formal, serif-style, weighty and highly textured font.

And the last example is a scripty, balanced medium-weight font.

What makes them work? They’re different, but complimentary styles. Their relative sizes vary, even though they’re all 72 point. They have different weights – you can almost feel the pressure they exert on the paper. Their forms are different too; look at the relative length of the parts of some letters that descend below the baseline. Although they’re all quite distinct, they have a similar curviness to them that tie them together. And they have variable directions of movement.

See one you liked? These are the fonts I used.

Now, having said all the preceding things, you still have to avoid conflict. See what I mean?

Individually, they’re all great fonts. Together, they’re a mess!

While you’re avoiding conflict, remember to avoid using fonts that are too similar. See how this example breaks all of the rules we’ve looked at so far?

Again, beautiful fonts, but just a little too close for comfort.

One way to be very sure of your font choices is to use fonts from the same family. The designer has created them to work together by varying their weight, their size and their texture, but sticking to a single form. Many of the fonts your computer came with are bound in families like the ones below.

Again, these examples are all the same point size, but they’re just different enough from each other to keep things interesting.

Don’t go crazy with a dozen different fonts on one layout. There needs to be some unifying quality to them and they need to suit their purpose. A good rule of thumb is to keep them to about 3. No more than 5… except when you’re creating subway art. When you’re journaling, this might help you choose. Serif fonts are better for reading quickly because the characters sort of flow one into the next with those little extra bits they have. But when the primary place your creation will be viewed is on a screen, you might want to choose a sans serif font, for their simpler, cleaner look. And remember that your journaling must be legible!

These three look pretty good together. See if you can figure out which rules they follow.

And lastly, PRACTICE! This is the only way to develop that “design eye” that lets you move from novice methodicality to intuitive, flying-by-the-seat-of-your-pants creativity. Consciously look at font combinations everywhere. Magazine layouts, product labels, memes on Facebook, Pinterest boards… the possibilities are endless. See what combinations you find pleasing and which you find jarring. Over time, you’ll find you’re not quite so indecisive about which fonts go together like milk and cookies and which are more like chalk and cheese. I actually play a little game in my head sometimes, trying to guess which fonts the designer has used, and I love it when I recognize a font, or a designer.

These are quite different from each other, but I think they look good!

Before we wrap this up, let’s talk a bit about the fonts you should forget about… This isn’t my list; it came from Douglas Bonneville at Smashing magazine. I’d add a couple, such as Bleeding Cowboys and Myriad Pro. For the article I found this list within, and the author’s reasons why, click here.

Here’s a handy little diagram with these rules all in condensed form. It came from Creative Market, a great source of wonderful fonts at discount prices.

To see a larger image, click here.

Credits: Janie Kliever  ; Creative Market

Have fun with your fonts! There really is no limit to how creative you can be.

Over-the-Top TITLES

I don’t know about the rest of you but I’ve had a ridiculously busy week. Actually, all of June has been ridiculously busy! So this week’s tutorial is a quick-and-dirty little how-to that was inspired by some of the layouts popping up on my Facebook feed. I thought I’d show you how to have your title looking like it’s coming right out of a fantastic panoramic photo. So I went through some of my favourite scenic shots and chose this one of the Crescent City Connection bridge over the Mississippi River in New Orleans. In the screenshot below, the transparent canvas underneath it is 12×12, because I thought I’d use that size canvas… but…

I changed my mind and cropped it down to the same size as the photo.

Then I took a look through my fonts (using MainType 7.0, of course!) and found a meaty, slab-type font that would be perfect for my purpose. It’s called Konga Pro and it’s got that lazy, Deco summer-day kind of look to it. I typed out my title and enlarged it to stretch from one side of my canvas to the other. The photo’s visibility is turned off so I don’t get confused.

Then I copied my photo (CRTL/CMD>J) and moved the copy on top of my title as I’ve shown below.

Visibility of the first photo is still off for this step. Clip the photo to the title; CTRL/CMD>G is your WSNH shortcut.

If you’re happy with the placement and appearance, go ahead and merge your clipping mask and photo layers.  Select both the layers in the Layers panel then WSNH = CTRL/CMD>E

Now to set the title apart from the photo. Choose a colour from the photo to use for a narrow stroke around the outside. I chose one of the dark blue shades. You want a visible separation but nothing really obvious; since my photo is a night shot, dark was my choice, but if you’re using a winter scene or a beach scene, it might be better to choose a lighter colour. You’ll know it’s right when you see it.

I went with 10 pixels for this outline, just to tighten it up and give a bit of definition. I centered it on the edge to smooth out the jagged pixels.

As you can see below, it looks just fine.

Another stroke outside the first one will add a little more distinction. I tried white and 20 pixels.

Not loving it! The white is too much, and too wide. So for my next version, I dropped the width down to 10 pixels again.

I made the stroke a greenish-grey pulled from the horizon. Not really working either.

But this bronze from the lights reflecting on the water is subtle, and it looks much nicer to my eye. I’m going to go with this one.

Pop in a bit of a drop shadow and it’s just the look I was after!

With the shadow, it’s got some dimension. Give it a shot with one of your favourite scenic photos and a hefty font and see how you like it!