Tutorial Tuesday (Photoshop Elements)

Tucked Photo Frames Made Easy

[Link to PDF will go here when Ginger has a chance to do the conversion.]

Anyone who has spent any time touring the GingerScraps Gallery knows that we have some inordinately talented and creative scrappers in our midst. And some equally superlative Designers. If you’re ever needing a healthy dose of inspiration, you won’t have to look far. Karen found a layout using one of these fabulous tucked frames in the Gallery and had to try it for herself. Turns out Sheri (Jumpstart Designs) has already done ALL the work and all we have to do is customize. Here’s a link to the product in her Shop.

So how easy is it to use these gems? I’ll show you! While I’m at it I’m going to add my tucked photo to a template from this month’s Spotlight Designer, Connie Prince. (Alas, it’s discontinued, but this will work regardless.) As you can see in the screenshot below, I’m using a layered file, in this case a PSD.

The only difference with using PNG files for this is that you’ll have to add them to the template’s photo spot manually, one at a time, aligning them as needed. I dropped this photo of my grandson Aaron onto the Photo Mat layer of the PSD.

When I Resized my photo, I found it still wasn’t a great fit; there were important details I didn’t want to crop out.

But… I CAN Resize the rest of the layers to fit to the photo. I Activated all those layers EXCEPT the photo and made my adjustments. The nice thing about the Photo Mat layer being black is that it’s easy to see if the Resized frame still isn’t right.

Did you notice the tab is partially covered by the photo – which isn’t the look I want? To solve that problem I just Clipped the photo to the Photo Mat layer. There are always multiple ways of doing these types of things in Elements, and I usually will show you two of them. Right-click>Create Clipping Mat is one way. The keyboard shortcut for Elements 14 and earlier versions is CTRL/CMD>G. For Elements 15 and more recent it’s CTRL/CMD>ALT/OPT>G.

Simply by Clipping the photo to the Mat, the tab now looks like it’s part of the paper the photo/frame combo is tucked into!

Now to move it all to the template. I just moved the whole stack as one object onto the photo spot on my template. Will it still work like a PSD though? One way to find out!

Brilliant! All I did was turn visibility for the template’s photo spot off and the tab looks like it’s the same paper that’s under the photo.

As you can see on the finished layout, Clipping a paper to the template did exactly what I wanted it to do, and my photo is neatly tucked under some brown cardstock.

Now I can’t wait to try the others in the package!!

Next Tuesday, it’s YOUR turns to shine! Which Challenge will be in the Spotlight?

 

 

 

Tutorial Tuesday (Photoshop Elements)

Text on a Custom Path – Keeping the Path

PDF Version : https://bit.ly/3ToXcyv

One of the very first tutorials I wrote for GingerScraps was about putting text on a path – geek-speak for lettering that isn’t on a straight line. (If you want to see it, look here.) Early last week I got this message from Karen: “I found your tutorial on how to put text on a wavy line but what I want is for the line to stay with the text. I just cannot accomplish that.” So immediately – literally – I opened up Elements and figured out how to do it. We decided it would be a good tutorial topic, so here’s what I did.

If you’re a frequent reader, you know one of my mantras is to put things on their own layers so they can be manhandled without manhandling anything else. So of course, first thing to do is to create a new, blank layer to put your wavy line on. Then activate the Pencil Tool, with a hard, round tip at about 5 pixels in diameter. It can be thicker, but it’ll be more jaggy if it’s thicker, so choose accordingly. (It can be made thicker later if desired.) You can choose a colour now, or add a Fill Layer>Solid Color later. Set the Opacity at 100%.

Now, draw your wavy line. Moving your mouse quickly with the left button down, drag the cursor in a swooping motion. The faster you move the mouse, the smoother your line will be.

The font you choose will make or break this technique. If you’ve got a bit of a bumpy curve, using a font with a slightly wandering baseline will disguise that. But those really fancy fonts might look a bit weird. Choose one you like, and give it an audition. If it’s not what you were looking for you can change it later. I’m using one called Natalia Regular.

Activate the Text Tool and then choose Text on Custom Path Tool. The icon looks like a capital T sitting on a snowboard. The Tool will default to Draw.

The Tool Tip will look like the nib from a fountain pen. For those too young to have seen those, here’s one.

Carefully click-and-drag the Tool Tip along your curvy line. I find it easier to pull when doing this; I’m much more shaky when pushing.  But this can create problems when the text goes the wrong direction. 😉 So my advice is to draw your guideline in the direction you want your text to travel. You can take a break if you need to; to find out where you stopped, turn visibility for the master line layer off momentarily and you’ll be back in the game. Go slowly and try to stick as close to your master line as you can.

Once you’ve gotten your text line in place, click on the Modify Button in the Tool Options. Wherever your text line departs from your master line, Elements will put a dot – they’re your “handles” to move the text line to where you want it. Click-and-drag the dots closer to your master line until you’ve got the text line and master line touching each other.

Know where your Text Tool is going to put your letters. Mine is usually set to Center, so I’ve put my cursor there and clicked to activate. You’ll know you’ve actually activated the Text Tool when a blinking line appears. If you have yours set to start at the left side, that’s where you start. Now I’ll just type my text.

 

The text may not fit properly on your master line. You can easily resize it, or add some extra spaces, change the Tracking if you’re using a more recent version of Elements… or you can change it to a completely different font. Until you Simplify it, you can make all the changes you want. Once it’s Simplified, the text line that told Elements where to put the text will disappear.

All that’s left is to decide how far away you want your master line. Nudge it with your arrow keys. If your master line seems a bit too jagged at the size you’re going to use this, add a small Stroke, centered on your line. That’s easier that trying to Refine it.

Here’s another sample, this time using an arrow brush.

And then I did this, which is when I found out the Tool takes its direction from – well – the direction the text line was drawn. I had started at the top of the bell and drew down to the lower left edge, and the text ended up on the inside of the line, not the outside. UndoUndoUndo! If I Rotated the Stroke line layer, I was able to get the Text where I wanted it.

I might have to try this one again, but with a shamrock, to celebrate my Irish heritage. [Editor’s note: Shamrocks have 3 leaves, to represent the Holy Trinity, not 4. Those 4-leaf clovers aren’t shamrocks!] See you next week!

Tutorial Tuesday (Photoshop Elements)

Quick Trick: Toggling Between Tool and Color Picker

PDF Version : https://bit.ly/3V8fV2q

Today’s Quick Trick is one of those Work Smart Not Hard tips I only just discovered. Have you been using a Brush, Pencil or Text Tool in Elements and thought, “Gee, I’d really like to change colours for this fill in the blank” and then clicked through to the Color Picker, chose your new colour, clicked OK and then clicked back on your Tool? Would you like a shortcut for those 4 steps? I have one!

This Trick makes multi-coloured titles easier and much more fun to create, lets you throw a bunch of paint splatters in different colours onto your canvas, and whatever else you might use the Color Picker for. I’ve played with it so I can explain how to use it, but screenshots won’t be helpful, so don’t look for them. 😉

Once you’ve chosen your Brush or Font and applied your first colour, hold down the ALT/OPT key and click on the Color PickerRelease the ALT/OPT key, choose another colour and click OK.  Bingo, you’re back to your Brush or Font and your new colour is ready to go! If you’re working with the Brush Tool, you can change the size, shape, Opacity and orientation after you’ve changed the colour by going into Brush Settings… If you’re working with the Type Tool, you’ll love this! After you’ve changed your colour, you can also change the Font, the Size, add an Underline, turn it Bold or Italic and not have to Simplify in between!!

Okay, I lied. I have a screenshot for you. I decided to run a quick test and count the keystrokes I needed to obtain 3 different colours of paint splatter. 8. The answer was 8.

I’m going to use this Trick ALL THE TIME!!

Tutorial Tuesday (Individual Style)

Challenge Spotlight: Mixed Media

Today I’m showcasing one of the new GingerScraps Challenges for 2024. Interestingly enough, it’s hosted by a designer who was a guest at GS for many months before she made it her home: Sarapullka Designs. This is the inaugural month for the Mixed Media Challenge. So we’re seeing the very first layouts posted to the Gallery! Larisa (Sarapullka) has provided an artsy paper and a paper cut element as the foundation for this month’s Challenge; participants were welcome to add anything they liked, as long as it came from Larisa’s store. They are required elements, which makes this Challenge an ideal one for my Individual Style analysis.

Because this is a brand new Challenge, there were only 6 layouts in the Challenge Gallery this morning. I hope, by putting a spotlight on it, we can bring that number up before the end of the month – and we do have an extra day… As always, each layout appears here in the order it was uploaded, and is linked to the Gallery so you can get a closer look, and maybe leave some feedback for the Scrapper. Just click on the Scrapper’s user name and you’ll be teleported to the Gallery.

AJsRandom is up first. She used the paper in the background and turned the paper cut into a blended overlay. The layout is simple in its design and compliments her photo very nicely.

I really like how trinanne has used the paper cut element like a black stamp against the paper background. Then she used segments of the paper cut, recoloured pink and green, to frame her photo. The addition of several artsy brushes and a simple cluster in one corner pulls it all together.

This is truly a mixed-media layout from lm44west. A simple still-life with the paper cut used as a stamp in black, a handwriting brush with gold leaf foiled to it and some subtle shadowing round out the design.

Alasandra went green! I’m adoring the blended daisy photo she’s layered over the paper and the 3D effect on the paper cut.

Oh Mylanta!! This is stunning! Yvonne55 has popped a blue paper into the background, added some crosshatched brushes over the required paper and those adorable little chickadees to the dried-grass paper cut. The extracted photo is the icing on the cake.

And last, we have a layout from the Queen of Challenges, KatherineWoodin herself. To give herself lots of space for her diary entry, she greatly downsized the paper cut element and duplicated it to create a stamped border. She changed Blend Mode on the paper to bring out the pinks and blues hiding within. Her photos are works of art in and of themselves.

What do you think? Is mixed media a style you’d like to try? I think I might give it a whirl… I watched a Facebook Live on creating bokeh mixed media backgrounds for greeting cards earlier and feel quite inspired!

Tutorial Tuesday (Photoshop Elements 15+)

Ink Smudge Technique for Photos

PDF Version : https://bit.ly/3SWPxqJ

Spoiler alert: This technique is an advanced one, but hopefully I’ve made the instructions clear enough that it’s achievable by everyone. Hence the huge collection of screenshots……

As I mentioned last week, Karen is trying to stay busy and has been looking online for new things to try for her digital scrapbooking repertoire. She came across a YouTube video showing a beautifully manipulated photo and wanted to try it for herself. But the video host’s accent was really heavy and he moved through the steps really quickly and soon she found herself lost. AND he was using Photoshop, not Elements – where terminology is different and some options and tools aren’t included. She uses Elements, so she asked me to look at it. I watched the video 3 times, watching what he was doing more than listening to what he was saying, before I ventured to try it. Then I did 3 dry runs, consulting the video as needed, before I started screenshotting my work. Ready for a workout?

Another caveat: There are steps in this technique that weren’t available in Elements until version 15, so if you’re working with an older version, I’m sorry, this one isn’t for you. As usual, I’m including commands for both Windows and Mac. I work in Windows, so that goes first. 😉

First thing is to choose a photo to manipulate. I looked at thousands at Pixabay and almost chose a photo of a cheetah, but then I found this one from Jerzy Gorecki that I really like. Portraits are most effective when the eyes are the focal point, and for me, that’s what I see here. Next, I hunted for some ink smudges or smears in my digistash. I found a bunch, all from the talented Connie Prince. I chose one from Hakuna Moscato and one from My Lucky Stars. And then… I discovered as I was doing my dry runs that PNG-format ink smudges don’t work for the technique. At all. They have to be JPGs. I converted them so I could keep going, but YOU could use brushes in black on a white background, then Save As a JPG and go with that.

It’s a good idea to get in the habit of doing techniques like this on a COPY and not the original, just in case something goes sideways. Right-click on the layer then choose Duplicate Layer.

You can change the name of the layer to keep them straight; you want the Copy layer to be with the original so nothing needs to happen with the Destination Document. Then click OK. If you’re into keyboard shortcuts, you can skip these two steps and just use CTRL/CMD>J.

Filters are marvelous things. I highly recommend playing with them sometime so you can see what you can do with just a couple of keystrokes. But for right now, Filter>Filter Gallery>Artistic will do. Or Filter>Artistic – skip a step. OR… click on the Filters button at the bottom of the Layers Panel. They all end up in the same place.

The Filter we’ll use is the Dry Brush.

Any adjustments to the Filter will depend on the resolution of the image you’re working with, as well as how much you want to alter the image’s appearance. This photo is pretty sharp, so I went BIG, with a Brush Size and Brush Detail of 10, but I left the Texture at the default 1.

The effect isn’t really obvious, but trust me, it’s there. Now let’s drop a New blank Layer on top of the photo layers.

Fill that new layer with white with the Paint Bucket.

Ready for something we’ve NEVER done before in any of my tutorials? We’re going to add an empty Group to the Layers stack. This is what will let us get the special effect on the image in the end. Click on the icon that looks like several sheets of paper spread out on a table, second-from-left at the top of the Layers Panel. The default Blend Mode is Pass Through, and we’ll need to change that.

The Mode we want for the Group is Multiply.

We’re breaking a lot of new ground with this tut! Now we’re going to add a Layer Mask inside the Group. Click on the icon that looks like a blue square with a gray circle inside it, fourth from the left at the top of the Layers Panel. See how the new layer with the mask is indented? That’s how you’ll know you’ve put something into the Group.

Now go back to the Copy layer that we added the Dry Brush Filter to, down there second from the bottom. Click Select>All or CTRL/CMD>A. That will Select the photo and the Filter.

Next, click on Edit>Copy or CTRL/CMD>C. (See the marching ants around the outside of the photo?)

Move back up to the Layer Mask up there at the top of the stack. Hold down the ALT/OPT key and click on the Mask thumbnail. Then Edit>Paste or CTRL/CMD>V.

Now you know what that Mask will do… the photo turned to black and white. It needs a tiny tweak before we go on. The contrast needs some help. Enhance>Adjust Lighting>Levels or CTRL/CMD>L.

Go for drama with this step. Move the sliders on the histogram toward the middle. Watch as you adjust so you know when it’s right.

Now we’re going to turn the black and white image into a negative by first Deselecting the Mask (CTRL/CMD>D or ESC) then click CTRL/CMD>I.

Drag and drop one of your ink smears onto the canvas on top of the white layer. See how it completely hides the Mask?

Not for long! You can use CTRL/CMD>] to move it up the Layers stack and into the Group, or you can drag it up there. That’s all it takes to have some of the photo show again!

Here’s where you get to play around with it! Resize the ink, Rotate it, Reposition it, move it about until you like what it’s showing.

But first things first. Let’s change the Blend Mode on the ink layer to Multiply too.

Now I’ve added my second ink smear onto the canvas and made sure it’s inside the Group. It’s obscuring the photo though. See the edge of the “paper” background?

Easy fix!

I think I like it. Most of her face is visible, her eyes are sharp, so let’s add some colour back!

We’ll need another Copy of the Dry Brush layer for this step.

The new colour layer needs to be on top of the whole stack. There are a few ways to do that. One is to click Layer>Arrange>Bring to Front. Another is to hold down the CTRL/CMD key and use the ] key to jump it up there. Or grab it in the Layers Panel and drag it!

Some steps just don’t screenshot. This is one of them. Yeah, I’ve added an Inverse Layer Mask to the colour photo layer I just dragged to the top of the heap. That’s how the colour is going to get into our image, so let me tell you how I did it. After the photo layer was positioned, I held down the ALT/OPT key and clicked on that same Layer Mask button – the one that looks like a blue square with a gray circle in the middle. That’s all!

Then I used the Brush Tool and some Ink Blot Brushes to bring the colour up. Don’t have any ink blot/splatter/smear Brushes? Check out Brusheezy.com!! They’ve got a ton of free Brushes and 98% of them are Elements-compatible. For this step be judicious. Drop the Opacity to 40-50%, no stronger. I think I used 3 different Brushes, sized fairly large, and just clicked them one time over a part of the image. Don’t forget that you can go into Brush Settings… and Rotate them, squish them and make them less Hard. Don’t be afraid to experiment!

When you’re satisfied with your efforts, you can Merge or Link the layers and Crop the image. It’ll have a solid background so it can’t be used like a PNG, but it CAN be Clipped to a Mask to eliminate a bunch of the white space and soften the edges. Anything you can do with any other photo can be done with this.

Next week we’ll be looking at Individual Style and a Challenge Spotlight. Where does the time go??

 

Tutorial Tuesday (Photoshop Elements)

Scraplifting Mother Bear

PDF Version : https://bit.ly/3UEo7aA

Faithful reader Karen is in need of some creative distraction and has been combing through the Gallery looking for inspiration. She asked me if I could help her emulate an effect she saw on one of the layouts posted by Julie, aka Mother Bear. Now, Julie is a veteran of the digital scrapbooking game, prolific is her middle name and I’m sure she has a million tricks up her sleeve. But believe me, if I can scraplift her, anybody can. Let’s look at the layout Karen likes.

This beautiful layout was created using a non-GingerScraps designer’s product. The aspect of it Karen loves is the blended photo along the right side of the layout. I could definitely just do a rapid-fire tutorial on how to make a photo look like that, but I thought maybe I’d go all the way and scraplift the whole layout.

I found a template in my stash, from Jumpstart Designs‘ Synchronicity collection (retired), that I could easily adapt to my purpose. I’ll show you how.

The masked area of the template needed to be on the right side, so I Rotated the entire template 90° to the right. The framed photo spot was a bit big, so I resized it then made a Copy slightly larger and tilted a smidge. Some of the embellishments needed to be moved around, but here’s the basic recipe.

The mask wasn’t quite right, even with its new orientation. So I tried a combo of things until I was happy.

Julie‘s layouts always have an ethereal look, many of them with blended photos and solid, neutral papers in the background. I dropped a pretty cream-coloured paper with a hint of texture to it into the background then Clipped my main photo to the masked area. It’s a start!

To achieve the blended look the next step was to change the Blend Mode (snicker) of the PHOTO layer to Screen. Screen is one of the Modes that lightens an image. Elements has very kindly grouped those in the drop-down menu.

I know you’re going to feel cheated, but there’s only one more step to get that big photo blended perfectly. And that’s to decrease the Opacity on the MASK layer to about 40%. This step is very subjective and you may find 40% is too light for you. If you watch your canvas as you adjust the Opacity, you can fine-tune your image to your satisfaction.

Now to emulate the look of the second photo. I suspect Julie uses Photoshop filter Actions for this part. Looking at her Gallery, many of her photos have a similar and distinctive look to them… sharply detailed but faded. There are lots of free Actions available if you know where to look. I don’t want any of you to go out and buy a bunch of things you might only use once, so finding a way to recreate the look using just Elements software will always be my goal. Make a Copy of the photo, please! Right-click on the layer then choose Duplicate Layer from the menu. [Keyboard shortcut: CTRL/CMD>J]

If you didn’t use the keyboard shortcut, this cue will appear. Elements wants to know where to put the Copy. Just click OK and it’ll settle down right on top of the original.

Working on the Copy, change the Blend Mode to Screen. (This is also a really easy way to adjust those photos that are a bit too dark to be good.)

See how this change looks? (If you’re simply adjusting for an under-exposed photo, you’d adjust the Opacity of this Copy until it looks *normal*.)

… which is what I did here.

Because I never Save OVER any of my originals, I’m happy to Merge Layers here to make handling the altered photo easier. Right-click>Merge Layers [or CTRL/CMD>E] If you’d rather Link the layers instead, click on the icon at the left side of the layer looking like a piece of chain instead.

To get the sharp definition click Enhance>Shake Reduction.

Elements will choose an area of the image to focus its effort on, shown below by the marching-ants box. You can adjust the Sensitivity of the tool if you choose; I kept the defaults.

The change is subtle; I could see it easiest in her eyelashes and around her fingers. To further boost the sharpness, I clicked Enhance>Haze Removal. [CTRL/CMD>SHIFT>Z]

The defaults pretty much undo what I’ve done to the photo so far… but all is not lost.

I fixed it by moving the sliders around.

For this layout, composition-wise, the photos should be looking at each other, or toward the centre of the layout, so I’m just going to Image>Rotate>Flip Horizontal and fit it into the framed photo spots. The rest of the scraplift is simply placing embellishments in the right places.

How do you think I did?

[Photos from Bong Baby House Photos]

 

Tutorial Tuesday (Photoshop Elements)

Quick Trick: All-in-One Alphas

PDF Version : https://bit.ly/4bl74QA

January has flown by! It’s already the last tutorial of the month. Whew!

Susan asked for a tutorial on using those all-in-one sheets some designers provide with their alphas, and it just so happens that topic fits nicely into the Quick Trick deck. Now, I don’t use them, as a rule; I typically delete them and keep the individual letter files. But then, I’ve got a ton of hard drive space for that, and I know not everybody does. However, when I ran a search through my GingerScraps kits, I found more than one folder that had the all-in-ones inside – the only form of the alpha(s) provided. So I was set to get this tut out to you.

For my sample, I’m using this pink striped alpha from the GingerBread Ladies Summer Treats collab.

Once the all-in-one is in your Photo Bin, I recommend opening a New Project/canvas [CTRL/CMD>N] to create your text in a clean, no-distraction space. I have several presets in my Elements bag of tricks, including this one, a Title Strip 6 inches wide and 1 1/2 inches tall.

So on to the actual task at hand. Open up the all-in-one and using the Rectangle Marquee Tool, draw a box of marching ants around the first letter you want to use.

Now click Edit>Copy or use the keyboard shortcut CTRL/CMD>C.

Flip over to your blank canvas. It will show in your Photo Bin, as well as in the strip across the top of the Elements workspace. Click Edit>Paste or use the keyboard shortcut CTRL/CMD>V. (They couldn’t use P because that’s already in use for Print. 😉 )

And there’s your first letter! It’s just that easy. Follow the same steps to add the rest of your letters. If you’re reusing one or more, you can always use CTRL/CMD>J to make a Copy right there, rather than going back and forth between your all-in-one and your text.

Each letter you Copy and Paste in this manner will be the same size. Once you’ve got all your letters on the canvas, they’ll need to be organized and distributed, because Elements dumps EVERYTHING in the centre of the canvas, and not always in order. When you’re happy with it, you can Link or Merge [CTRL/CMD>E] all the layers so you can move the whole text box onto your layout. Then you can treat it as you do any of the embellishments you add to your layouts. Easy peasy!

I’ll be back over the weekend with the February Designer Spotlight, so stay tuned!

Tutorial Tuesday (Individual Style)

Making Multi-photo Layouts Work

PDF Version : https://bit.ly/42fFbp4

Last week I threw out a “tutorial-writer-needs-topics” plea at the end of the Challenge Spotlight. In the comments, lisar threw a couple of topics back. (For one of them I need some clarification.) “I don’t remember if you’ve done one on a gazillion photos on a page…” As someone who tends to want to scrap single-photo layouts, I’ve discovered I actually have quite a lot of multi-photo (but not quite a gazillion) layouts that turned out quite well. So that got me thinking. What makes a good multi-photo layout? So today, I’m going to pick apart a dozen of my own layouts. Brace yourselves!

I started off thinking about what I consider to be “multi”. Four photos are easily scrapped within the constraints of a 12×12 or 8.5×11 canvas, five only a little less so. That led me to only looking at layouts I’ve created with six or more photos. What became immediately apparent was that the photos I used for each had something in common. A theme, if you will. Some of them were taken on the same day, some of them were taken on different days but were linked in some way, some showed a progression.

Let’s start with this six-photo layout from my 2013 trip to Boston. The theme of my photos is the Boston Marathon bombing. Because we were there only 5 weeks after it happened, it was very much front-of-mind; the blast area was still filled with memorials. Rather than focusing on tragedy I looked at resilience. I chose a template designed by Dagmar Krupalova (who no longer has a shop at GS) because I could fit in all the memorial images I had. The photos are roughly the same size so no one image is the focal point. With the photos arranged in a loose circle gave me room to journal about the event and its aftermath.

You may have seen this layout here on the Blog. The photos are a mélange of images from my two trips to Ireland. They were selected to coordinate with the blessing I chose as my theme. The largest photo reflects both the iconic Celtic cross found everywhere on the island and my Irish Catholic ancestry, the others the beauty of the country. I used a Miss Fish template from her Travelers Notebook V.9 pack.

This layout is built on a Neia Scraps template from Enjoy the Moment V.10 (retired) to commemorate Maeve’s first week with us.  I liked it for this layout because I could have a large photo of my husband holding her the moment she became ours. The smaller photos offer glimpses into her personality. The way they overlap the large photo lets me conceal some background that isn’t interesting. Neia has quite a selection of multi-photo templates that I encourage you to check out.

My last six-photo layout for today is another travelogue with a mariner theme; the photos were taken by my sister who took a 3 week-long driving tour through Canada’s Maritime provinces. I used LDrag Designs‘ May 2019 challenge template because it has large photo spots in both landscape and portrait orientations. That let me crop the photos to keep the important elements of each. I like the asymmetry of the photo spots too. Lina likes journal cards but I tend not to use them, so I swapped them out for journal spots; there was lots to say about this fishing village. At the end I’ll talk about photo and template selection a bit more.

I have a couple of seven photo layouts to dissect next. My “celebration” of Orangemen’s Day in Northern Ireland was memorable for several reasons. The things I saw that stayed with me are a metaphor for struggle. The churches in the village of Derrylin are one kilometer apart at opposite ends of the main road and are starkly different in design. St Ninnidh’s (Catholic) is smaller and plainer than Holy Trinity (Church of Ireland/Protestant). The village is much closer to the Republic of Ireland than it is to most of Northern Ireland, which may be why there’s a visible Catholic presence in the village. Enniskillen Castle was the garrison for English soldiers and looks more Scottish than Irish; it represents the Plantation of Ulster in my mind. Okay, enough history. That’s not what we’re here for. I chose this template for the pocket-scrap organization. Each photo is quite separate and the eye moves around the page easily and it has a big spot for storytelling – which could easily be replaced with another photo.

I like the different photo spot shapes so much better than I like some of my hairstyles in these photos. I used a template from  JBStudio‘s Put It All Together V.1 that I rotated a quarter turn to the left which gave me lots of room for the quote I wanted to use as a subtitle.

Now let’s do some eight-photo layouts. The first two are a sort of diary looking at the same topic from slightly different perspectives. The first was built on a Dear Friends template now retired. The basic grid style works well to provide continuity and the varied sizes of photo spots let me show the details of each.

Its counterpart is more venting than art. I was so glad to see the last of the porta-john! The template I used is one from Tinci Designs Autumn Stories V.1. I replaced the journal card with a photo. The symmetry of the template echoes the symmetry of the new houses being built and shows the haphazard placement of the porta-john so clearly.

Another eight-photo layout captures the horror of Ronan Gillespie’s Famine Memorial in Dublin. I couldn’t leave out any of these images. It would have felt incomplete and dismissive. It’s based on another of Tinci Designs Autumn Stories V.1 templates, and again, I rotated it a quarter-turn to the left. I felt it was suited well to the photos I’d chosen; the four small photo spots let me zoom in on the faces of the statues. I moved and rotated one of the rectangular photo spots, moved the circle of paper up and rotated the paper flag to better accommodate my photos so they told a story.

Let’s move away from sad and depressing. I wanted to document the transformation of our new yard from dirt to landscaped. I like the diagonal arrangement of this Pixelily template; it took some fiddling to get the photos positioned so the overlap concealed things that should be concealed, but didn’t hide what should be visible. But it was worth it in the end. Each of the eight photos here lent itself to my story.

And last, I have a layout with NINE photos. It was created for a Journaling Challenge using another Dagmar Krupalova template. The ring-around-the-page orientation suited the photos and having the journaling in the centre added to the effect. I was able to show the significant parts of each photo clearly, despite the number and size of the photo spots.

So what’s the process for creating a multi-photo layout you can be happy with?

  1. Choose your photos first!
  2. Examine each for the parts of them you want to be featured. Don’t get hung up on orientation. Cropping can deal with that.
  3. Think about the story you’re trying to tell.
  4. Look for a template that will tell your story with the photos you want to include. If you’ve organized your templates the way I do, renaming the preview with the number of photos for easy searching, this step can be a lot simpler than it sounds.
  5. Don’t fixate on using your template exactly as designed. If you find one you like but it’s short a photo spot, look at how you can add one in. Similarly, if you like one but it has too many photo spots, how can you remove the extras? Can you make each spot slightly bigger? Can you combine two spots into one? Substitute journaling for a photo? This applies to photo spot orientation too. If you have 4 photos that are in landscape and 3 that are portrait, but the template has 3 portrait and 4 landscape, rotate the template! If other aspects need to be tweaked, tweak them! You’re cooking, not baking; you don’t have to follow the recipe exactly to have something you love in the end.
  6. Once you’ve settled on the basics, you can choose the kit(s) you want to use. You may have already picked a kit, so now you’ll need to figure out how to make all three components work together. This is the fun part.

So there you have it. Multi-photo layouts that tell your story and look great doing it!

If any of you are wondering about the shelves… I finally had them up securely on Friday by suppertime, and I only had to make one trip to Home Depot for better anchors. Sheesh.

Okay, so next Tuesday is the last of January (insert collective groan here) so it’s Quick Trick Tuesday. I’ll be filling a request…

Tutorial Tuesday (Photoshop Elements)

Texture Overlays – Whut?

PDF Version : https://bit.ly/48LXfch

Just before Christmas I had a request from Hilary: “I didn’t know where to stick this so here goes. Can you do a tutorial on the .jpg textured-overlays please? Or an explanation of how to use them? When I try using them all I’m seeing is dark splodges, you can’t see the underneath photo/picture. TIA” Of course I can! But let me start by saying that texture overlays are better suited to applications on paper, and not photos, unless you’re doing a very arty layout. The following tutorial will work with photos, with the same caveats as for papers. The textured overlay I’m using in my samples is from Karen Schulz‘s  CU Textured Overlays V.01. (CU stands for Commercial Use, meaning the item can be used by designers and others without crediting the original designer. This is in contrast to Personal Use (PU), where crediting the original designer is part of the terms of use of both the designer and GingerScraps.)

These Overlays are intended to by adjusted using Blend Mode and Opacity tweaks to achieve the look you like best. As you’ll see, there are infinite combinations which provide very different looks. I can’t show you every possible permutation; you’ll have to experiment a little. Nothing is final until you say it is! In the example below I’ve simply dropped the Overlay onto a solid colour Fill Layer, which in its unadjusted state just looked like “dark splodges”. I changed the Blend Mode on the Overlay to Multiply. Opacity here is 100%. I like it, and might use it as is.

By decreasing the Opacity to 50% the texture is still visible, but much more subtle. For most of the subsequent versions, I’ll leave the Opacity at 50% for comparison.

Color Burn gives a bit brighter look with a slight increase in the Overlay’s visibility.

Linear Burn darkens everything somewhat, even without an Opacity change.

See how Lighten changes everything? The teal is softer, the Overlay is grayer.

Screen lightens and softens everything. I like this version a lot too.

Overlay brings a ton of detail into the Overlay that was less obvious in the previous versions. Note too how the centre of the paper looks lighter and brighter.

Soft Light is very subtle and reads as almost a solid. I would keep this one in my repertoire.

Hard Light brings the detail back, lightens and brightens everything, as you would expect.

Vivid Light is really dramatic! The teal is so much brighter and the detail sharper.

Linear Light maintains the tonal change of Vivid Light, but lightens and softens it all.

Luminosity has preserved the sharper details, while changing the colour only slightly.

Now, let’s look at what happens with a patterned paper. This one is from Ooh La La ScrapsFreezing collection. It’s got a similar shade of teal in the plaid for consistency. Right here, it just looks like it’s been dragged through the mud. It could work for an arty layout just the way it is.

With a 50% drop in Opacity, now it looks more distressed and less depressed.

Switching to Multiply dampens the texture but doesn’t hide it completely.

With Color Burn, the texture all but disappears. The patterned paper does look brighter, though.

To my eye, Linear Burn gives a sort of grungy grease-stained look. Could work!

Lighten gives the appearance of worn paper in the more transparent areas of the Overlay.

Screen completely obliterates the texture and blows out the pattern too much. But… maybe it could be salvageable with an Opacity increase. Remember, I’m just showing you samples. You’re in control of your work.

Overlay isn’t dramatically different from Screen at 50%. Maybe at 25% it might look good. Here’s a tip: use the SLIDER. Watch what changes as you move it. Stop when it looks right.

Soft Light just basically makes the whole image soft and light. Boring…..

Hard Light gives some slight variation in depth, but not really a visible texture.

Vivid Light. Just no.

Pin Light shows more variation in depth than Hard Light. Think of a tiny flashlight shining on it.

Luminosity brings back the grunge.

If we go a step farther and add that solid colour teal Fill Layer between the Overlay – Opacity at 50% – and the patterned paper, a whole other world of possibilities opens up. Color Burn on the FILL LAYER at 100% changes the entire look!

Drop the Fill Layer Opacity to 50% and the texture pops back into view. With the three layers, you can tweak both the Overlay and the Fill Layer Blend Modes for an incredible variety of looks.

As I said many times before, don’t be afraid to play around with your options. It hurts nothing and isn’t permanent unless you want it to be. CTRL/CMD>Z (Undo) is your friend! If you don’t like it, make it go away. When you find something you really like and think you might use it again sometime, don’t forget to Save it. For papers the format is JPG, for elements the format is PNG. Put it somewhere that you’ll be able to find it again. 😉

The new dishwasher was installed on Friday and it’s FABULOUS! Whisper-quiet, gets everything spotless and even gets the plastic stuff dry. Now I just have to pay the credit card bill… Next week is Challenge Spotlight Tuesday. Which Challenge will I choose this time?

Tutorial Tuesday (GingerScraps)

New Year, New Challenges

PDF Version : https://bit.ly/48J0lOv

Hopefully everyone has had a smooth start to 2024. It was quiet for us, and that’s a good thing! Last year’s first tutorial was about resolutions and how those artificial goals are too easily discarded. This year’s first tutorial is also about goals, in a way, and they’re achievable goals! I’m talking about GingerScraps‘ monthly Challenges. They tick a lot of those goal-related boxes. There are some changes to Challenge Rewards, and some brand-new Challenges so let’s dive in.

Effective this month. the Challenge Reward offers some choice. Previously, each month a Challenge Reward collaborative kit was created and for all the Scrappers who completed and properly documented ten (10) Challenges in that month, a link and coupon code for the kit was sent by Private Message to the deserving Scrappers. There were some downsides to that, one being that if there was a Reward kit you really liked but your life interfered with your scrapping, you missed out on it. Those kits eventually turned up in the Shop, but it’s not the same! The opposite could also apply – maybe you didn’t love the Reward but felt obligated to download it anyway. All that has changed. You still have the ten (10) layout requirement, but now you’ll have a choice of collabs! There will still be a new collab created for each month, but you can also look in the newly-added Challenge Rewards section of the Shop for something you might like better. You’ll receive a coupon code in your Private Messages (value $7.00) that can be redeemed for any one of the collabs in the Rewards section.

What hasn’t changed is the ten (10) layout rule. To review, you’re eligible for the Challenge Reward in the month you’ve documented a total of ten (10) Challenge Layouts that meet criteria. (More on that in a second.) For example, in October you complete and document three (3) layouts. In November you complete five (5) layouts. In December you complete three (3) layouts. That’s eleven (11). That eleventh layout won’t be counted, it doesn’t roll over to the next month. So be efficient! Keep track of your layout count so you know where you are. This isn’t as important now as it was when you might miss a Reward you really liked, but it’s still a good idea. Each month a member of the GingerScraps staff verifies and validates the Cookie Jar counts and tracks totals. For your own peace of mind, figure out a way to keep track in your own way. I’m a folder-maker; each Challenge layout has its own folder, and when I’ve uploaded and documented that layout, I add a number in brackets to the folder name so I know where I am. See below… In December, I got 4 layouts done. So when I made my January folder, I put a [4] after the folder name and I know exactly where I am.

Let’s talk about eligibility and documentation a little. For your layout to qualify, it must meet the following criteria:

a) It actually fits the description of the Challenge – such as “include at least 5 snowflakes somewhere on your layout“.

b) You’ve used a minimum of 80% product from a currently active GingerScraps designer. (The product can be a retired one, or one you found somewhere else, but the Designer must still have a presence in the Shop.) As explained in the Challenge Reward System update in the Forum, if a Designer leaves the Shop mid-month, their product is still eligible for the remainder of that month, and only to the end of that month. Another thing to pay attention to… That brings me to credits. When you download a Designer’s product, you literally agree to give that Designer credit for their work whenever you post that layout publicly. The easiest way to do that is to include the information in the description of your layout. One word of warning… sometimes the internet gremlins play with things behind the scenes and when your layout posts, your credits have disappeared. When you’re in the step between uploading your image and actually posting it, you’ll know your credits will also appear if you see them in the description box. If that box is empty, fill it in before you click your final Submit button.

c) Each Challenge requires a unique layout. For example, you can use the template from one of the Challenges to create your All About Me layout, but it can only be counted for one Challenge, whichever one you choose.

d) Your layout must be uploaded to the appropriate Challenge Gallery – there’s one for each of the Challenges within the larger GingerScraps Gallery. Just pick the one you’re adding to from the drop-down menu in the upload screen.

And finally, e) you’re required to track your layouts in your Cookie Jar.

Now for the fun part! There are THREE new Challenges this year!!! That brings the total to thirty-six (36) opportunities to create.

The first of these new Challenges is Documenting Your Life, hosted by Diane of ADB Designs. Diane is, like I am, a family historian in the genealogical sense, and many of her designs reflect that interest. Each month she’ll provide a prompt or two to guide your process.

The second new Challenge is Everyday Memories, hosted by Miss Juli Fish. Each month will bring a new prompt reflecting literally the everyday ordinary parts of our lives that we lose track of. This month’s is “START”.

And the third? It’s the Photography Challenge! It’s hosted by Triple J Designs and the goal here is to learn more about what makes a good photo to build our layouts around. The inaugural principle is “the rule of thirds”, a concept that forms the basis for all truly noteworthy photos.

Challenges are the best way for new digi-scrappers to learn new skills and for all memory-keepers to get those special moments immortalized. Check them out!