Lesson Two Color

Cheryl Machat Dorskind Lesson 2 Painting Photos ! ! Lesson Two! Color! ! "I understand how scarlet can differ from crimson because I know that the smell of an orange is not the smell of a grapefruit ... Without color or its equivalent, life to me would be dark, barren, a vast blackness..." Helen Keller, The World I live In, 1908 ! You could spend a lifetime studying color. Ranging from the highly technical, scientific, physiological, and psychological to the sublime, there’s so much information on the subject. The process of painting photographs (also referred to as handpainting, handcoloring, and/ or hand tinting) poses questions regarding the nature of color. How you see the world and how you intend to illustrate this vision is dictated by color. Handpainting takes photographically perceived forms one step further, giving them refined definition through the selective addition of color. That is the power behind the art of painting photographs. The use of color and its narrative voice is a tool to enhance photography, adding a new dimension, and perhaps, new meaning.

In 1987, I had an opportunity to spend an afternoon with the poet and photographer, Allen THE STRONG CONTRAST OF THIS PHOTO PROVIDED AN EXCELLENT CANVAS FOR VIBRANT Ginsberg. The comments he made while COLOR SATURATION

© Cheryl Machat Dorskind ALL RIGHTS RESERVED Page !1 of ! 16 Cheryl Machat Dorskind Lesson 2 Painting Photos reviewing my portfolio helped focus my objectives as a handpainter. He asked, "Why did you handpaint this pink sunset? Is this the color you saw? Is the color saying something? Defensively, I replied that I chose my colors because I liked them. But he insisted that liking isn’t enough, adding, “You have to know why you’re handpainting. Your photographs are beautiful in themselves so why put paint on them. What are you trying to say?” ! These questions resound even today while I paint my photographs. Certainly, I could have painted the image in a more realistic fashion, or could have settled for black and white photographs, but I didn’t. What am I trying to communicate? Color must be understood and respected in order to have power. Handpainting can be a random display of exuberance, a replica of reality, or a precise expression. As Gustave Flaubert pointed out, “One must not think that feeling is everything. Art is nothing without form." ! The form under examination is color. The colors of the spectrum are wavelengths of light made up of electromagnetic energy. However, the light waves aren’t the colors themselves; their color originates in the human eye through color absorption and reflection. An object or pigment appears to be a certain color depending on which light rays it reflects or absorbs. For example, a lemon appears yellow because it absorbs all but the yellow light waves, which are reflected back to the eye. To better understand, use, and mix color, let’s consider a few basic principles of color theory. ! !

The Color Wheel

The color wheel is a universal visual tool useful in depicting and explaining the logic, organization, and properties of color. It helps the painter understand color mixing and paint applications. Ultimately, a well executed painted photograph must incorporate the fundamental principles of color. Even if you have a good, innate sense of color, you’ll inevitably reach a point at which your next color choice won’t be readily apparent. A wrong color choice can throw off an entire picture. Informed color selection and mixing heightens your ability to create successful painted photographs. ! The color wheel comprises 12 colors, and its foundation is the three primary colors—red, yellow, and blue—so termed because they cannot be produced by any other colors.

© Cheryl Machat Dorskind ALL RIGHTS RESERVED Page !3 of ! 16 Cheryl Machat Dorskind Lesson 2 Painting Photos ! The secondary colors are created by combining any two primaries—red and blue make violet, red and yellow make orange, and blue and yellow make green. Notice the placement of the secondary colors on the wheel: each secondary lies between the two primaries that yielded it. Tertiary colors are formed by mixing a primary color with a secondary. There are six tertiary colors: red-orange, red-violet, blue-violet, blue-green, yellow-green, and yellow-orange. Notice that like the secondary colors, the tertiaries also fall between the two colors that created them. ! Complementary Colors Two colors that fall directly opposite each other on the color wheel are known as complementary colors or complements. Complementary pairs consist of one primary and one secondary color—

IN THIS COMPOSITION, WHICH WAS COMMISSIONED FOR A BOOK COVER BY RANDOM HOUSE, I PLACED THE COMPLEMENTS OF RED AND GREEN SIDE-BY-SIDE TO HELP FOCUS THE VIEWER’S ATTENTION TO THE CENTER OF THE IMAGE.

© Cheryl Machat Dorskind ALL RIGHTS RESERVED Page !4 of ! 16 Cheryl Machat Dorskind Lesson 2 Painting Photos for example, red and green, yellow and violet, and blue and orange. When mixed together in the correct proportions, complementary colors produce a neutral or gray color. ! Familiarizing yourself with complementary colors is useful for creating dramatic effects in your photo paintings. Complements placed directly next to each other in a composition invoke a bold sense of color, each intensifying the other. Combining a color with its complement subdues the intensity for that color. For example, if you want to temper the strength of a red a ball, mix the red paint with a touch of its complement (green). Complementary colors can be bold or subtle, but the properties of compliments remain constant and maintain their function as a tool for the artist regardless of their value (relative lightness or darkness.)

HERE, THE VIBRANT GREEN ON THE WINDOW MOULDING IS ACCENTUATED BY ITS COMPLEMENT RED FOUND IN THE BARBER SHOP POLE. THE REDDISH RAILING IN THE FOREGROUND FURTHER LEADS THE EYE INTO THE PICTURE.!

© Cheryl Machat Dorskind ALL RIGHTS RESERVED Page !5 of ! 16 Cheryl Machat Dorskind Lesson 2 Painting Photos ! The Colors of Light! Painting Photographs embodies two perspectives of color theory; one describes the painter’s world of color (paint) and the second defines the photographer’s realm of color (light). Photographic colors (film, digital photograph) have different properties than the painter’s world of color. ! White light is made up of Red (R), Green (G) and Blue (B) wavelengths. These are photography’s primary colors (additive colors) and theoretically all colors in a photograph can be derived from mixing any two of these colored wavelengths. Mixing Red, Green and Blue in equal proportions creates white light. Mixing any two of the primaries colors creates a secondary color of which there are three; Magenta, Cyan, or Yellow. Mixing any two of the three secondary colors creates one of the primary colors; Red, Green, and/or Blue.

Pigment primary colors are different. Green is not considered a pigment primary because two colors mixed together can create green; blue and yellow when mixed together create green. The rule in pigment primaries is that each color can not be reproduced by any combination. ! When we reach the printing phase of this class you will learn about another set of color principles, CMYK. !

Color Temperature Color temperature is a way to describe light by using Kelvin measurements. White light represents an equal proportion of R, G, & B. White light is measured as 5500 K and is achieved during the midday direct sun or with flash. When the color temperature is higher than white, light is bluer. When the color temperature is lower than white, light is redder. Consider the chart below:

Color Temperature Light Source

1900 K Candlelight

3100 K Daylight at Sunrise/sunset

3400 K Tungsten lamp, one hour before dusk/dawn

4300 K Early morning or late afternoon

5500 K Electronic ﬂash, daylight at noon, direct sun

7000 K Daylight on overcast day

8000 K Average summer shade

9000 K Daylight on dull/foggy day !

Color Harmony The term harmony implies balance and order. Harmony in a composition is the result of a balanced relationship between all the visual elements. Color harmony in a painted photograph is achieved when there’s a pleasing relationship between the three dimensions of color: hue, value and intensity. While personal taste plays a large role in your vision of color harmony, a general understanding of these three standard aspects of color is important. !

Hue The word hue simply refers to the name of a color. Yellow, sap green, red-violet, orange and aquamarine are all examples of hues. ! The 12 colors identified on the color wheel are all hues. However, within these color categories fall other pigments; there are many pigments within each category. Consider the number of oil paint colors available. For example, red-orange is a hue, and vermillion is a pigment or paint color belonging to this red-orange category. To change a hue, you simply mix it with another color. For example, mixing blue with green creates a bluish-green hue. !

Value This term describes a color’s approximate lightness or darkness in relation to white and black. When a color is closer to white we say that it is lighter in value. For example, yellow is lighter in value and closer to white than violet, which is darker in value and closer to black. ! Just as you can change a hue through color mixing, you can also alter the value of a hue, making it lighter or darker. Every hue has a value range of tints and shades. To lighten a hue, creating a tint, you mix it with white or a diluent of some sort. To darken a hue, creating a shade, you mix it with undiluted black or a darker pigment within the same hue category. Note that the black and gray tones in your photograph will also help darken a hue. !

Intensity Sometimes called chroma, the term intensity refers to a hue’s strength, brightness, or purity. Color theorist Albert Munsell recommends “Balancing hues with their complements, values with their opposite value, intensities with opposite intensities, areas of strong color balanced by weak (low intensity) color, large areas balanced by small, warm colors balanced by cool colors.” ! In photo painting, the intensity of the pigment hues must follow the logic of the picture and correspond to the values of the photographic gray scales. The darkest picture areas of a photo should receive the most paints at its purest chroma saturation (straight from the tube), whereas the highlights should be light washes of paints (diluted or tints). Mid-range grays of a photo should receive a mid-range intensity of paint. Higher-contrast print (containing true blacks and whites, and little gray) calls for stronger color values and intensity. ! A high-key photograph, which consists primarily of light and middle gray values, benefits from the use of pigments that are lighter in value, and lends itself beautifully to capturing poetic moments. A low- key photograph on the other hand, consists primarily of black and dark gray

values, which often create a dramatic mood. Low key images work well with rich, saturated colors, and when you are coloring only certain elements of the photograph.

Expressive Color Knowing your intended visual message before you begin is a helpful previsualization tool, both when painting and photographing. For instance, when striving for a soft look, I might overexpose the image (when taking the photograph) and print light. I’d further achieve a soft, painterly effect with my color palette. ! For example, I might select three colors that appear side by side on the color wheel. These are called analogous colors and they create a feeling of harmony when used together, more or less exclusively, in a painting. Or, I might work with a muted color scheme by limiting my use and intensity of colors. Analogous or muted colors enhance one another, contributing to beautiful hue gradations and value contrasts. The values of the selected hues add vitality and resonance to a painted photo. Due to their related or limited hues, analogous and muted color schemes often suggest a dominate mood. !

NOTICE HOW THE BLUE TINT INSTANTLY CHANGES THE MOOD Cheryl Machat Dorskind Lesson 2 Painting Photos

Color can create a sense of time, weather, place, or emotion. It can be the subject itself, of it can be used to create abstract images. Colors, whether loud or quiet, tell a story. Patterns, repetitions, or similarities of colors and shapes help create movement within a photograph. Always respect the power of color. Keeping this in mind, you might choose an achromatic color scheme, which is one that appears to lack color and be composed primarily of black, gray, and white. A predominantly dark, achromatic photopainting conveys an ambience of gloom, mystery, or despair, whereas a predominantly light, achromatic composition can create a mood of hope, spiritually, and peace. ! Or, you might try a monochromatic color scheme, one that uses mainly one color to achieve visual harmony. Variations in the values and intensity of this one hue, in conjunction with the variations in the values of the photographic gray tones, make the monochromatic image a strong photopainting.

Color Temperature as Descriptors Colors are described either as warm or cool. Yellow, orange, and red are commonly described as warm colors—those related to sunlight, fire, anger, and even body warmth. Cool colors—green, blue, violets—are associated with shadows, water, winter, and ice. Many colors, most commonly green and violet, are considered to have both warm and cool qualities. Color temperature is also relative and variable. For instance, a warm color may appear cooler when placed next to an even warmer hue; plus warm colors appear warmer and cool ones cooler when contrasted with their complements. In addition, while red is usually thought of as warm and blue as cool, there are cool reds and warm blues. ! Using the appropriate color themes helps reinforce the mood you’re trying to create. Warm colors are associated with passion, hope, sensuality, and exuberance. Cool ones with logic, sensitivity, intellect, restraint, melancholy, meditation, and calm. Consider these associations when planning your color strategy. Also keep in mind, as mentioned previously, that warm hues

© Cheryl Machat Dorskind ALL RIGHTS RESERVED Page !10 of ! 16 Cheryl Machat Dorskind Lesson 2 Painting Photos move forward toward the picture plane, and cool ones recede from it. Used strategically, color

TO DEMONSTRATE THE PSYCHOLOGICAL PROPERTIES OF COLOR, I TONED THIS BLACK AND WHITE PHOTO. YOU’LL NOTICE THAT THE HIGHLIGHTED LAYER (IN BLUE) CALLED “SKETCH” IS A FILTER I APPLIED IN PHOTOSHOP ELEMENTS. I THEN ADDED A BLUE AND YELLOW LAYER TO CREATE A GREENISH TONED IMAGE. temperature can create movement and mood in your photopaintings.

I CHOSE A BLUE COLOR FROM THE COLOR PICKER (EYE DROPPER TOOL) AND FILLED THE LAYER WITH 30% OPACITY

THE SEPIA COLORING CREATES A WARM EFFECT

NOTICE HOW THE BLUE FILTER LAYER IS UNCHECKED (NO EYE) AND THEREFORE ONLY THE YELLOW TONE AT 30% OPACITY COLORS THE SCENE

Psychological Aspects of Color Color can have psychological and emotional effects on the viewer. You can manipulate and control the mood of your photopainting through selective color choice. Consider the most common color association. Red is often seen as the most emotional color; it is associated with excitement, courage, ardent love, fire, and in its most ominous sense, with sin cruelty, and violence. Yellow, the lightest of colors, is often associated with happiness and divine love, and is considered a cheerful color. In its evil sense, yellow signifies cowardice and deceit. Blue denotes wisdom and serenity. It is also associated with constancy, loyalty, and peacefulness. Often blue symbolizes virtue or purity in a sense; for example, in paintings and altarpieces of the Italian Renaissance, Mary is always dressed in a deep, almost royal blue. For some, blue also represents a certain elegance and maturity.

BLUE CONVEYS A SENSE OF COLD APPROPRIATE FOR THIS SUBJECT MATTER. TO EMPHASIZE THE CHILL, I ALSO ADDED PATCHES OF COOL VIOLET AND COOL YELLOWISH- GREEN TO THE SNOW AND BENCH ! ! !

SELF PORTRAIT #3 FOR THIS IMAGE, I LEFT MYSELF AND FLOWERS IN THEIR ORIGINAL BLACK AND WHITE. I ONLY ADDED COLOR TO THE SHADOWS, BACKGROUND, AND TABLE TO HEIGHTEN THE DRAMA OF THE MOMENT AND EMPHASIZE THE COMPOSITION

Value Painting vs. Colorist Painting As a photo painter, there are two styles of painting techniques that you should consider when exploring and developing your visual voice: value painting and colorist painting. The former is a style in which the artist paints all the values of color to create a study of light and shadow. In this way, a feeling of three-dimensionality is achieved by defining shapes through the contrasts of tone, value, and color. Colorist paintings are a style in which the painter uses flat, saturated colors without expressing shadows; a feeling of two-dimensionality prevails. ! Vincent van Gogh (1853-1890) and Edgar Degas (1834-1917) were value painters. Look at their works and see how many colors there are in the highlights and shadows. Van Gogh, especially, used color to express his mercurial personal emotions, and his paintings embody a study of light and shadow. Henri Matisse (1869-1954) and Paul Gauguin (1848-1903) were colorist painters with the emphasis on creating forms with well-defined shapes of color. !

EAST 79TH STREET ! AT FIRST GLANCE, THIS BUILDING SIMPLY APPEARS RED, BUT ON CLOSER INSPECTION, VARIOUS HUES WERE LAYERED, INCLUDING ORANGE, YELLOW AND BROWN. THESE RICH DETAILS AND NUANCES OF COLOR, IN BOTH THE HIGHLIGHTS AND SHADOWS ENHANCE THE PHOTOPAINTING!

After you become familiar with the painting process, you’ll probably decide which style of painting and color representation you prefer. I tend to be a value painter and enjoy the subtle and often complex nuances of color. Where some people see only brown, for example shoe polish brown, I see sepia, ochre, burnt umber, raw umber, moss green, and yellow ocher. I see not only colors, but paint pigments and values as well. Following in the value painter’s tradition, I work with an entire spectrum of colors, building up form and contrast in my subject matter with a variety of hues, values, and intensity. Over time, you too will determine what works best for you.

The world of color is an exciting, sensual place. Notice how the light hits the trees. Study a familiar scenic backdrop. Pay attention to the color of people’s clothing on the subway. Be in the world, and see your world. This will undoubtedly lead to richer photo paintings. As you begin to

© Cheryl Machat Dorskind ALL RIGHTS RESERVED Page !15 of ! 16 Cheryl Machat Dorskind Lesson 2 Painting Photos paint, keep in mind the words of Vincent van Gogh who said, “I study the colors of nature so as not to paint senseless colors.” ! Assignment #2 follows.

! Upload your three best efforts with a few sentences detailing your goals and strategies. ! Assignment A Create an artistic border using one of the two methods outlined below (ink template and/or using the modify border tutorial). Assignment B Create a digitally inspired Polaroid Transfer. This is another project that encourages playful experimentation. Put on some music, relax, and have fun. Upload your best creation, include a before and after picture with captions detailing your strategy, method, and self-assessment. The step-by-step lessons are to be viewed as a springboard. By all means, use these guidelines as a means for creating your own methods. cherylmachatdorskind.com #1 © Cheryl Machat Dorskind Painting Photographs Assignment #2

Artistic Borders ! Creating artistic borders instantly elevates a digital photo into the artist’s realm. There are many ways to create borders. First, have a look at what your editing software offers before you go out and purchase. Let’s go through the steps of creating your own borders. ! Making an Artistic Border Step-by-Step ! Many photographers have recipes to create artistic borders You’ll find that once you try a step- by-step tutorial, you’ll veer off course, like you would a food recipe, and add your own personal photo editing tool favorites and artistic style. One thing for certain when it comes to photo editing is that there are many ways to accomplish the same task. The trick is in finding a method that you enjoy. ! Step One Open an image. Image>Image Size. Make sure you are working at 300 DPI and that you are working with a Tiff file. File>Save As>TIFF>Name. !

cherylmachatdorskind.com #2 © Cheryl Machat Dorskind Painting Photographs Assignment #2

! Step Two Unlock the background by double clicking the layer. Name it “Image”. Next create two new layers, Layer 1 and name it “Background” and Layer 2 and label it “Modify Border. Stack them in this order: “Background,” “Image,” “Modify Border” as indicated in picture 2.

Canvas Size Canvas size enables you to add space beyond the digital image’s perimeter. This is a helpful tool when creating borders. Unlike the Image Size command, altering Canvas Size does not change the image at all. It will simply provide more space around the perimeter; you can use any color you wish for the canvas. !

cherylmachatdorskind.com #3 © Cheryl Machat Dorskind Painting Photographs Assignment #2 Step Three Click on the Image layer. Open canvas size (Image>Canvas Size) and increase the size on all four sides by 20% !

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Step Four Select the “Background” layer, set your background color to white by selecting Edit>Fill>Background. The border should now be white. !

Foreground and Background Colors ! Photoshop uses foreground colors to paint, fill, and for stroke selections. The background is used for gradient fills and to fill in erased areas. ! Foreground and background colors can be changed by a number of methods including the eyedropper tool, the color picker, and the color swatch palette. ! By default the foreground color is black and the background color is white. Use the “D” key on your keyboard to automatically return to the default setting. ! ! To set a foreground or background color, access the color picker by double clicking on the foreground square (black); the color picker palette will automatically open. Once open, when you move your cursor outside the color picker palette, the cursor changes into an eyedropper. You can then move the eyedropper to any color you would like to use within your photograph. !

! As this screen illustrates, I have selected the foreground color black as indicated by the !R, G, B colors values (0 for each). ! Color Picker ! To open the color picker, place your cursor over the foreground color. The color picker dialogue box will automatically open. ! The color picker palette is loaded with useful information. For now, we will focus on the column on left on the left (H, S, B, R, G, and B). All digital colors have a numeric value. Black is zero and white is 255. ! All colors (Hues) are assigned a number with a degree between zero and 360 degrees.

! Step Five Select the “Image” layer. Using the rectangle marquee select the image. Once selected, click on the “Modify Border” layer. Choose Select>Modify>Border and set it to 14 – 40 pixels. You’ll cherylmachatdorskind.com #7 © Cheryl Machat Dorskind Painting Photographs Assignment #2 notice a double-edged selection. !

! Step Six Confirm you are on the “Modify Image” layer. Using the eyedropper tool, select a dark color in the photograph you would like as your artistic edge and set it as your foreground color. ! Step Seven Open Edit>Fill> Foreground Color and fill the selection. You will now have a colored edge. ! Step Eight ! To roughen up the edges a bit, select the eraser tool. But first duplicate the layer, label it “Roughen Edges”; if you do not like the results, simply delete this duplicate layer and try again. ! Open your brush palette and select a soft wispy brush. Select airbrush, noise and dynamic shape Opacity 50%, flow 50% and slowly and carefully, erase a little of the border. ! Now that we have gone through the lesson, try it yourself. First follow my recipe step by step. cherylmachatdorskind.com #8 © Cheryl Machat Dorskind Painting Photographs Assignment #2

When you are comfortable change the percentages and colors and see if you can find your own style. Or use a brush and paint a border onto the picture.

! The above instructions are for creating a subtle border. Now why don’t you see what type of border you can come up with? Keep in mind that the size of the border you create in step five (Modify command) creates the size of your border. If you want a wider border, select a large number. As an alternate plan, try using the eraser tool and a wispy paintbrush and paint the cherylmachatdorskind.com #9 © Cheryl Machat Dorskind Painting Photographs Assignment #2 border by erasing the edges. You can also try creating a border by using a pint brush and painting one onto the picture’s edge. If you choose this route, please specify the brush number, opacity, and flow levels along with the submitted photo. ! Create a Template for an Artistic Border, Step by Step, #2 ! Our next border will be created using paper for background templates. ! Materials • Black ink • Paint brush –coarse and cheap – ½ inch- 1 inch wide. One from a DIY store (cheap) is fine. • Watercolor paper • Newsprint (to protect your surface when you brush on the paint). ! Step One Dip the brush into the ink and create rough strokes vertically and then horizontally. Either create a rectangular template, common for 35 mm film, or a square format, more common with Hasselblad. Work on an area that is approximately 5x5 or larger. Let it dry. ! Step Two Scan the background at your scanner’s highest resolution. Crop tight around the black area before you scan. Scan it as a RGB file (even though it is a black and white image).

! Tip When scanning, it’s best to not sharpen. Instead, sharpen in your photo-editing program. While editing, I begin with an onscreen sharpening layer (Cap Sharp) so I can clearly see details as I work on an image file. I will later discard the cap sharp layer, and add a new sharpening layer based upon the output intent. Each output requires a different sharpening resolution. For instance, sharpening for web (72 DPI) requires much less sharpening than an image file for publication. ! ! Step 3 Save this as an edge template. ! Step 4 Open a picture file while the edge file also remains open.

!Step 4 ! Step 5 Make the picture active and choose Select >All. The picture will now be selected. ! ! ! ! ! ! cherylmachatdorskind.com #13 © Cheryl Machat Dorskind Painting Photographs Assignment #2

! ! Step 6 Copy this file: Edit>Copy. ! Step 7 Return to the template file. Select the magic wand tool and click anywhere within the black border. The entire black template should be highlighted. If not, change the tolerance level until the entire border including its frayed jagged edges is selected. ! cherylmachatdorskind.com #14 © Cheryl Machat Dorskind Painting Photographs Assignment #2 Step 8 Select Edit>Paste Into> and the picture should now appear within the black border. ! Step 9 Select Edit>Transform and move the picture within the template until you like what you see. Then consider changing the border from black to a color that is more harmonious with the image. You could select a color with the color picker, or use the eyedropper tool and select a color in the picture you would like for the border. Return to the template (background layer). Fill with the selected color. ! !

! ! ! Alternative Method There are many methods to accomplish a task in Photoshop. An alternative approach is to Copy > Paste the edge template into the photo image file, blend with screen mode, and adjust the image size Image>Transform. ! cherylmachatdorskind.com #15 © Cheryl Machat Dorskind Painting Photographs Assignment #2 ! !

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cherylmachatdorskind.com #18 © Cheryl Machat Dorskind Painting Photographs Assignment #2 ! ! ! ! The point of these tutorials is to spark your curiosity. While I can provide step-by-step direction, there are countless ways to accomplish any one task. The fun and creativity unfolds once you begin finding your own path. ! ! Polaroid Transfers ! ! Materials required • Waxy paper such as the paper labels are attached to • Inkjet printer • Water color paper ! Select an image you would like to alter and bring it into your photo-editing program. Increase the contrast and tonal value considerably; begin at 30% more. Take the labels off the paper and load the waxy backing paper into your printer, waxy side up. Print with added intensity. While the print is printing, soak the watercolor sheet of paper in water. Remove from water and hold it over the sink at one end and allow the water to drip. Bring the paper to a workstation. Blot excess water with a paper towel or rag. Carefully remove the printed picture and place it face down onto the wet water colored paper. Gently but firmly press and rub the print, transferring the image onto the watercolor paper. Careful not to move the paper, gently lift it off the watercolor paper. You will have your digital transfer. You may alter it with a paintbrush while wet or you can decide to use colored pencils for later enhancement when it is dried. !

! ! To complete this image, I copied and pasted it into a Polaroid edge template. I will give you some templates to get you started. ! Please visit (and subscribe) to my YouTube channel to watch two more step-by step tutorials: ! http://www.youtube.com/user/cheryldorskind ! In addition, below are a few private url links to help you create creative borders. Please note, these links have been test, but if they do not load immediately, copy and paste into your browser): cherylmachatdorskind.com #21 © Cheryl Machat Dorskind Painting Photographs Assignment #2 ! Resizing ! https://youtu.be/wPGuBBo2hys ! Creating a Photo Border ! https://youtu.be/OXtM421n2EM ! https://youtu.be/t0vxi14vFGs ! Paste Into Adobe Photoshop Elements ! https://youtu.be/I0A39-8v-88 ! Stroke Tool https://www.youtube.com/watch?v=GQxMx9Sa_qk !

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