The EYE-lets Have It!

I’m still working my way through years worth of scrapbooking magazines trying to figure out why I kept them in the first place. While I’m at it I’ve been looking for more paper-scrapping techniques I can translate into digital ones, and finding some solid inspiration. Today I want to show you how I’ve used an eyelet from the GingerBread Ladies‘ collab It Comes with Spring  to secure my photo and frame to my paper stack… just like I would have when I paper-scrapped. (This collection was the Free-with-Purchase gift in March 2016.) The rest of the layout is created with Connie Prince‘s Snowflake Kisses , LDrag Designs‘ Jolly Holidays alphas and Aprilisa‘s Picture Perfect 177 templates from the December Buffet for the Buffet Challenge.

Once I had my eyelet in position and resized to fit within the edges of my paper frame, I clicked on the Elliptical Marquee tool.

I set the tool’s settings to Fixed Size, then experimented with the dimensions until I got a circle the correct size. Both dimensions for width and height must be the same. 50 pixels by 50 pixels works.

I made sure the frame’s layer was my active layer and clicked just inside the edge of the eyelet to make my circular selection.

Then I used the arrow keys to nudge it into place with the hole in the eyelet in the center. Once I had it positioned properly, I used the Edit>Cut command (CTRL/CMD>X) to create a hole in the frame paper.

There! Now I can see the corner of the photo. On to the next step.

I repeated the same steps, only moving my active layer to the photo layer.

I cut the corner of the photo off…

but, because I’m using a template, the photo clipping mask is still there.

Oh wait!! There’s a Work Smart Not Hard lesson here! If I make the CLIPPING MASK layer the active layer, I can cut BOTH layers with one click.

I kept repeating the layer>select>cut steps for each paper layer until I could see my background paper.

You’ll notice as you go along that the drop shadow from each paper layer is visible, but there’s no shadow on the actual eyelet. I used the default drop shadow styles to apply a narrow shadow with the light source coming from the same direction as the template’s layers.

I could leave it with just a single eyelet, but that doesn’t work for me. So I Copied the eyelet layer (CTRL/CMD>J) and nudged it over, then followed all the same steps as before to make a nice hole all the way to the background paper.

Then I did it all one more time to create 3 eyelets lined up along the top edge of my frame. To quote my friend Sandy, 3 is an esthetically pleasing number.

For balance and symmetry, I decided to put another 3-eyelet set in the diagonally opposite corner.

In this corner, there are different papers in the stack under the frame, so I had to pay attention to the paper I could see in the hole. It’s really not that time consuming to copy and cut three more eyelets.

There it is! The background paper!

I have a feeling the eyelets in the lower right corner won’t be visible on my finished layout, but I’ll know they’re there!

If you can think of a paper-scrapping technique you’d like me to translate, please let me know!

Gentle(wo)men, Start Your Ovens!

The inspiration for today’s tutorial came from a Facebook post by one of my coworkers. She had spent the day making and decorating sugar cookies. (The photo above isn’t hers, it’s from The Girl Creative‘s blog.) As I was looking at her cookies, it occurred to me that I could probably make digital sugar cookies (bonus – NO calories!) and so I gave it a shot. It worked well, so I’m going to share the recipe with y’all. I started with a 6 inch by 6 inch square blank canvas. (P.S. Don’t be thrown by the number of screenshots in this tut. I’ve included practically every step, although we’re using a lot of techniques I’ve already shown you.)

I looked through all of the Custom Shape tool‘s menu – it’s the one that looks like an amoeba. The menu has a lot of options for shapes, most of them geometrical. But that won’t make this technique easy, so I only looked at the amoeba menu.

If you click on the triangle along the right side of the box I’ve circled below, the amoeba Custom Shape menu opens. I chose to look at them all to find the one that would work best, so I went with All Elements Shapes then scrolled until I found the one named Nuclear.

Because snowflakes in nature are perfectly symmetrical, I changed the settings for this tool from the default, which is Unconstrained, to Defined Proportions. If you’re into Working Smart Not Hard, you can also Simplify the shape by selecting that in the settings.

Getting these shapes in the exact spot you want them isn’t easy. But you can click-and-drag out your shape then move it to where it needs to be. Once it has been Simplified, you can easily resize it too.

If you didn’t Simplify in the Shapes menu, do it now. Right-click on the layer in the Layers panel and select Simplify Layer.

Not looking much like a cookie cutter now, is it? We’ll have to fill in those open areas using the Paint Bucket tool.

There we go! I could go ahead and just use this shape, which is more like a flower than a snowflake, but would still totally work. But if you know me at all, you’ll know I’m going to do more.

There are two ways to do this next step. I’m going to use the Elliptical Marquee tool. The other way would be to use the Custom Shapes tool and choose the Circle.

Because symmetry is still important at this point, I changed the settings to Fixed Ratio. This is handy for making perfect circles, but also can be set to make perfect ellipses too.

It’s possible to perform this on the same layer as the original shape, but I choose to put the outline on its own layer.

So I added a blank layer above the shape and made my Stroke outline here.

The stroke can be any size. Once I’d made my circle I filled it in with the Paint Bucket.

This is my cookie cutter. It needs a little adjustment – look closely and you’ll see the circle isn’t centered on the nucleus shape. I need to fix that!

Now that both layers were aligned properly, I Merged the layers into one shape. (CTRL/CMD>E)

Then I Duplicated the shape layer and set it aside for later. Right-click on the layer then select Duplicate Layer, or CTRL/CMD>J.

I didn’t need to see that duplicate layer at this stage, so I closed the eye and made it invisible.

To turn the shape into a cookie, I applied a Style. I used this creamy acrylic one from Miss Mis‘s Hustle and Heart layer styles set. Another option for this step would be to use a chipboard Style, such as one of Just So Scrappy‘s Cabin Fever chipboards (included in the GingerBread Ladies December 2017 Challenge Reward collab of the same name). That would allow you to condense this step and the next 9 into just a SINGLE WSNH step!

The only problem with this is that the cookie is too shiny. The colour looks good, and there’s a nice dimension to it, but I changed the Style settings, essentially turning everything off and shifting the light source. To adjust a Layer Style, rignt-click on the fx symbol on the layer in the Layers panel and this menu will open up.

Now it still has some dimension but the shine is gone. I’m still working on the bottom, original layer.

I picked a nice, toasty golden brown to “bake” my cookie.

Then I opened a new layer above the base layer, and selected a brush from one of the presets that came with my software. It’s called Pastel Light 118 pixels and I used it with the default settings that opened with the brush menu.

I picked a spot on the edge of the cookie, then clicked and dragged the brush all the way around the shape.

Remember this from when I showed you how to do digital inked edges? Same technique exactly. I CTRL/CMD>clicked on the layer thumbnail of the cookie layer while working on my brush layer. That selected the edges and the inside of the cookie.

Next I Inverted the selection – moving the chosen area of the layer outside of the cookie. Select>Inverse or CTRL/CMD>SHIFT>I.

Then I simply Cut away the brush that falls outside the cookie. Edit>Cut or CTRL/CMD>X.

Voilà! My cookie is baked to golden perfection!! Now to add the Royal Icing. (Or Royal Frosting, if you prefer.)

Here’s why I had you Duplicate the shape layer. I’m going to flood that top shape with my Royal Icing. But first, I resized the shape so some of the cookie layer is visible. The easiest way is to click on one of the little boxes at the corners of the bounding box then go down to the menu and type in a number less than 100. I chose 92%, which exposes some of the cookie layer but not too much. You can also just move the corner you’ve clicked on inward until it looks right.

I used another Style, this gel blue one from Just So Scrappy‘s Lucky Me. [GingerScraps is lucky to have designers who create layer styles, like Misty (Miss Mis Designs), Katie (Just So Scrappy/Ooh La La Scraps), Aimee Harrison, Marina (Magical Scraps Galore), Lina (LDrag Designs), Jo (JoCee Designs), Natasha (Ponytails Designs) and our lovely guest Karen (Snickerdoodle Designs).]

I made some tweaks to the layer style to make it look more like a flood of Royal Icing.

Then I got to the good part! I changed my foreground colour to pure white (which can be quickly selected by typing “ffffff” into the box at the bottom right of the menu).

Next I chose my Pencil tool from the Toolbox and adjusted the tip size to about 25 pixels.

If you’ve been adding realism to your stickers and overlays, you’ll already know how to draw a line with the Pencil. But if you haven’t read that tut, or you need a refresher, all you have to do is click at the starting point of your line, hold down the SHIFT key and click where you want the line to end.

You can turn on the Grid as shown below to help figure out where to start and stop your lines. View>Grid or CTRL/CMD>’

I used just the Pencil tool, but you could also use Brushes for adding detail to your snowflakes. Don’t worry about precision; if you were making real sugar cookies you’d be doing all the piping freehand, right?

You can make your snowflake as complex as you like. I played around for about 10 minutes, using the Pencil and changing the tip size.

No comment.

Now to turn all those lines and dots into Royal Icing. I applied a basic Style from the presets in Elements to add a Bevel. I experimented with all of them until I got the look I was after. In the end I went with the Simple Sharp Inner bevel.

It looks pretty good as is, with the default settings for the Bevel style menu.

Now, I could have stopped here and called it good. But again, anyone who has read my tutorials before know I had to experiment some more. But I’ve learned to do my experimenting on a copy layer… CTRL/CMD>J

Then I cleared the Layer Style (Bevel) by right-clicking on the layer in the Layers panel and choosing Clear Layer Style.

Then I hit that top copy layer with another of Katie’s Styles from Lucky Me, the gel white.

Then I decreased the Opacity on that layer to 46% (after some waffling).  Now the sharp edges are a little softer, and so are the shadows. Much better!

Once I was happy with my finished product, I Saved my cookie as a .png (which preserves the transparent background). Now I can use the cookie on a layout!

Of course, I didn’t stop there. I went back and deleted the snowflakey layers and started fresh. This time I stayed really basic. I just used one of the preset snowflakes from the Custom Shapes menu! The Styles I used were exactly the same.

If you’ve never saved a creation as a .png, or if you’ve forgotten how to do it, here are the settings I use.

And again… one of the Custom Shapes snowflakes, but with some personality.

Are you hungry now?

Shaving Shadows

As you’ve already figured out if you read my tutorials regularly, I’m a bit of a perfectionist. I like things to look a certain way, and will try whatever it takes to get the effect I want. Shadows are something I don’t like to compromise on, and I often create custom shadow layers for my layouts. But I’m also a bit of a procrastinator and leave things until the 11th hour… and then I run with drop shadow styles, either ones I’ve loaded into my Styles menu or the ones the designer has added to the template I’m using. These Styles are limited in what can be tweaked, and when I’m building a cluster, sometimes the shadows just look wrong because the style isn’t more adjustable. In that case, if I’m in a real hurry, I look the other way, but I’m not happy about it. So when I discovered a Work Smart Not Hard method of customizing drop shadow styles,  I was all over it! I was absolutely giddy!! It IS possible to erase JUST THE SHADOWS quickly and easily, to give that realism to my clusters!

There are a number of designers who have collections of drop shadow styles for sale. They make short work of shadowing a variety of elements with a single click. But they have limitations in the adjustments you can make to them. At least that’s what I always thought…

The image below shows the software’s adjustment menu for Styles. You can open this menu by double-clicking on the Style icon (the little fx icon on the right hand side of the layer in the Layers Panel). Whatever settings you choose, Elements applies across the board.

Now, if I try to erase any part of the shadow on this layer, I run the risk of erasing the flower too. But with the shadow style left intact as a style, when I erase part of the shadow, I also erase the part of the flower that casts the shadow. And it looks very odd.

If I Simplify the layer (as I remind you constantly to do with your special effects), Erasing will erase everything equally; who has time for zooming in, using a tiny Erase brush and going pixel by pixel to erase just the shadow? I don’t.

See what I mean?

Here’s where the fun starts. If I Select the flower by CTRL/CMD>clicking on the image thumbnail in the Layers Panel…

and THEN Simplify…

I can Invert the selection at any point either before or after Simplifying and it works just the same. To Invert, click on Select>Inverse or CTRL/CMD>Shift>I which moves the marching ants from the edges of the image to the edge of the document and Selects everrything in between – the shadow.

Now I can Erase just the shadow!! At this step I can use the Eraser brush at 100% opacity to completely remove the shadow, or I can decrease the brush Opacity to whatever I want to just to lighten the shadow in that area. Or I can partially erase, partially lighten. It’s a bonanza of options!

You may never have a reason to use this trick, but I’m glad I shared it with you.

Making a Stylish Sandwich

A few days ago I got a private message from Heidi1472 wanting to know more about using styles. I linked her up to some of the tutorials wherein I’ve used styles, but then I thought, “Maybe I should do a quick tut about putting multiple styles on a single layer, because maybe people don’t know that’s a thing.” So here it is!

First, does everybody know how to load styles into the Photoshop Elements? In Versions 12 and up, it’s super-easy. All you have to do is open the Styles menu on your workspace then click on the icon that looks like a stack of paper in the upper right corner. This sub-menu opens up. Click on Load Styles then find the folder holding the styles you want to use and it’ll do the rest.

I wanted to load the styles that Natasha of Ponytails Designs had created for the GingerScraps 10th Birthday MEGA collab Indian Summer.

So I found them in my stash and loaded them up. They’re BIG files, so they do take a few minutes. Don’t panic!

I had this great photo I found on Pixabay of some Amur maple leaves with some gorgeous bokeh in the background. So I decided to punch it up with a brush and a combo of styles.

I never did get to use the lovely brush Wendy of Neverland Scraps  created for us for the July 2018 Brush Challenge. It seemed perfect for this technique.

I created a new layer above my photo, shrunk the brush down a little to fit into the left-side area of bokeh and dropped it down. Then I added another layer, adjusted the angle of the brush and did it again. I ended up doing this process a total of 4 times. Putting each brush on its own layer lets me have a lot more creative control over what happens next.

Here’s what I mean about putting the brushes on their own layers.

Now it just looks like a bunch of fruit flies on a chunk of mango, but it’s not going to stay like that. See how most of the brush bits are inside the bokeh area?

Because I want the technique to highlight the bokeh and not the leaves, I went back and erased the bits of the brush that sit on top of the leaves, one layer at a time.

Then I made a copy of EVERY brush layer. You can do it the hard way, selecting the layer, right-clicking on it, selecting Duplicate Layer, waiting for the pop-up then clicking on OK, or you can WSNH and just hit CTRL/CMD>J.

In some spots, the brush still peeks out from behind the leaf, and that’s what I wanted. Then I hid all the COPY layers for later.

Now for the fun part! I clicked on the Styles button and found my GingerScraps Indian Summer glitter styles.

I started with my first brush layer and used the medium orange glitter style on the sparkles.

I let the colour and intensity of the bokeh guide my colour choices. The second brush set was over a lighter golden area so I went with the gold glitter.

The third (original) brush layer is in a darker area, so it got the darker orange glitter.

The brush at the top was over a darker area so it seemed the red glitter was right for it.

It looks really good, but where’s the layering part? I started unhiding the COPY layers one at a time and applied a glitter style to each of them too.

For the most part, I put a lighter colour of glitter on top of each original layer. I also decreased the Opacity of the COPY layers to 40%. That gives the brush layers a soft glow and a slightly different colour.

When I got to the red glitter layer, nothing looked right until I tried the GRAY glitter on the COPY layer.

You can see the red around the edges but it’s mostly covered up. But wait. I’m still going to decrease the layer’s Opacity to 40%.

Voilà! A sort of ruby look to it now.

Oh but wait, we’re not done yet! I selected all the layers and Merged them together. (CTRL/CMD>E)

If you’re a faithful reader of this tripe, then you know I still had another idea. So I made a copy of the merged brush layer.

I chose to use a soft yellow gloss style from Misty’s Miss Mis Designs‘s Hustle and Heart styles set (not shown). Then I again lowered the Opacity to 40%. It looked “okay”…

But when I moved that layer to underneath the glitter layer, it really gave a lovely glow to the brushes. I LOVE how it looks!!

Sadly, just as I was getting to the very tail end of my layout, my laptop crashed. So if you were hoping to see the final result, I’m afraid you’ll have to wait… I have to do it all over again, from the beginning…… and that’s gotta wait until after I play with y grandchildren for a few days. See ya next week!

Sketchy Simplified

Today’s tutorial doesn’t need a lot of explantation. It’s a little goodie I stumbled on when I was playing with this photo. I took it with my cell phone camera and was pleasantly shocked at how it came out, even when blown up in PSE. The sky is very flat, but that’s how the sky looked for much of my time in Ireland, so I’m not obsessing over it.

I’ve been playing with these Guided Edits just to see what they do, and the Orton Effect is amazing!

With this one, you can click the Edit button several times to create an additive change to your photo. But I only clicked it once.

The difference isn’t obvious, but it’ll be quite apparent once I change the settings.

See the change now? I barely moved the Blur slider to the right, I think the numeric amount was 4. But the whole image is softer and dreamier.

I played with all the sliders; the Noise one was the one I really wasn’t sure of. But in the end, I moved it to the right about 12 and the stone is starting to look sketchier.

By pushing the Brightness slider over about 1/3 of the way between the default and the max, I got this nice look.

As you can see, there are now 3 layers there when I clicked through to the Expert editor. Each layer can be further adjusted, Blend Modes changed to suit your mood and Opacity lowered. But I was happy with it so I just Merged them all.

But I tried a few more things on this image. I Duplicated the image layer so it would remain unchanged before I went on the add a Filter.

Filter>Stylize>Find Edges is the filter I used.

Don’t be alarmed! A simple tweak will make this work.

All I did was pull the Opacity of the top layer down to 32%.

And all that was left was to Merge the layers again. Then I saved the resulting image for use in a layout later. I plan to use it with a mask (or two) to blend it into the background a bit and that’ll add some life to the sky.

This should work with just about any photo with strong detail. Give it a whirl!

Like a Broken Record

I was fooling around with a thought I had to see how it would look and a tutorial was born! I love papers with a small pattern repeat and I adore embossed cardstock. But I can’t always find what I want when I want it, so I decided to give creating my own a try. It’s so simple!! (But let’s not put our awesome designers out of work, ‘k?)

I started out with a plain Kraft-coloured cardstock from Scraps N Pieces‘ Oh Canada… Eh! collection. Then I opened a new document (CTRL/CMD>N). I knew I was going to use something that would resemble a tile effect and chose to work on a 300 x 300 pixel square canvas. Our 12 x 12 inch layouts are 3600 x 3600 pixels, so this size will be 1/12th of the length/width of the overall cardstock.

I opened up the Custom Shape Tool menu then chose All Elements to see every shape available.

I played with more than one of these shapes before I settled on this one.

I put my cursor at the upper left corner and pulled the shape diagonally across my square canvas to completely fill it. The colour I used isn’t important because I’m going to change it later. I wanted something I could see easily.

Then I clicked Edit>Define Pattern. This is going to allow me to use this little doodad as a repeating pattern on my paper.

The Pattern Name menu opens up. I gave it a name that meant something to me and would be easy to find later. There’s a clue in there as to where we’re going to end up.

If you’re familiar with my tutorials you’ll know I always tell you to work on a separate layer when using brushes. It goes double for patterns!

You may have noticed that many of the Tools in Photoshop Elements have multiple options. The Paint Bucket has one I’d never used before but now that I know what it does, I’m SOLD! With this versatile tool you can fill an area with colour or……. a pattern!

Make very sure you’re working on the new, blank layer. Click on the Pattern Fill button, the one that looks like a square with a bunch of diagonal lines through it.

When the Pattern Menu opens up look for your new pattern.

Elements will open up your pattern in the active box as shown.

Now just click anywhere within the borders of your canvas. It’s like magic!! I have 144 little repeats of my pattern creating an Argyle effect. I could stop here and have a cute custom patterned paper. I’d love to do something like this with a tone-on-tone, or with either white or black. Then I’d Merge the layers and save it somewhere I’ll be able to find it again.

But you know me… we’re going to keep going. I want to show you how to turn it into embossed cardstock, so turn off the visibility to your cardstock layer and have your pattern layer selected. Then Layer>New Fill Layer>Solid Color.

In this menu, click the Use Previous Layer to Create Clipping Mask then click OK.

Use the same colour as your cardstock by clicking on it with the Eyedropper.

Merge the Color Fill layer with your pattern layer. Then you’re going to hit it with a Bevel Layer Style. Bevels are included with the software and can be found in the Styles menu. Below I’ve used the Simple Inner bevel. It’s a nice, rounded bevel that raises the pattern off the surface beautifully.

If you feel that the bevel is TOO obvious, you can click on the fx icon on the layer and adjust it to suit. (This is the only Bevel I adjusted while putting together this tutorial.)

Turn on the cardstock layer and voilà… Merge the layers and now you’ve got a custom embossed cardstock.

Some of the other Bevel styles work for this technique too. Let’s look at the Simple Pillow Emboss.

Is this the effect you were expecting? It looks a lot like those sheets of die-cut chipboard!

Simple Sharp Inner looks like this on just the pattern layer.

I really like the look of this one.

One last one… Simple Sharp Pillow Emboss.

This effect is really interesting. If I went into the fx controls and reversed the direction of the bevel it would raise it off the paper. Might be worth trying!

I can think of a long list of ways these simple techniques can be used to elevate my scrapping. Can you?