Most of the photographs we take with our cameras, can be turned into something far more exciting and imaginative. I remember walking on the millennium bridge in London, when a local Londoner walking with his lunch date, made a loud comment as if he wanted me to overhear him: “I don’t understand why tourists take all these photos all the time”.

Corel PHOTO-PAINT tools and effects while working on the mask; third, changes are displayed immediately. Folder Program Files Corel CorelDRAW Graphics Suite X4 Tutorial files). If necessary. Cara Membuat Mail Merge.

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Well this Londoner did miss a point – I may have been a tourist but I always take reference photos as well. This is kind of in my DNA as I never know what my next design & illustration work will be about.

Take this photograph for example, which I took on a trip to the former East Berlin Mitte district in Germany a few years ago. Quite ordinary, right? I walked the streets and came to a bohemian neighborhood. I took several photos, and this one is the one I will be using for this tutorial, so it came in use. Corel PHOTO-PAINT the magical tool Open the photograph in Corel PHOTO-PAINT X7 and look at where the present lighting is coming from. The lighting is very bland, almost dull. But what is good, is that it’s possible to work with the light and shadows and contrasts.

I noticed the shadows under the outdoor seating and the tree at the bottom right corner of the picture and will have that in mind later on. I start by creating a New Object in the Object Manager Docker ( Object > Create > New Object), and using the Paint Tool( Toolbox > Paint tool), and a soft edge brush nib to add sun rays. I chose the Art brush > Large Soft from the drop-down list in the Property Bar. I increased the width of the nib slightly using the Nib Size settings in the Property Bar. I now painted 7 sun rays from the sky down onto the street towards the square, using white color. I then adjusted the opacity of the brush stroke object by tweaking the Opacity slider at the top of the Object Manager Docker.

Next, I used the Mask Tool to mask the sky and copy and pasted this ( CTRL+C, CTRL+V), to create a Group object with it. This way I only make adjustments to the sky, and not the entire image, when I use the Lens Object Adjustment features.

I make 2-3 duplicates of the mask, so that I can apply different changes to the sky, and quickly turn the specific objects on or off. When I am done, I simply delete any mask objects I don’t want to keep. So I will end up with one mask object of the sky. While selected, I applied a Tone Curve Lens ( Object > Create > New Lens > Tone Curve) to increase contrast, making dark areas darker and with a rather soft S-Curve (Values in the dialog window: Black approximately 51,54 and White approx. Also adding a Contrast Enhancement Lens Object effect, placed hierarchically under the Tone Curve object and with a Input Value Clipping of 12 – 255. I now clean up parts of the mask I don’t want to keep using the Eraser Tool ( Toolbox > Eraser Tool).

I also applied Dodge & Burn effects, increasing shadow effects with the Effects Tool > Dodge & Burn > Burn Highlights, on the windows and facade of the buildings. However, before I use the Dodge & Burn tool I first use the Mask tool to copy and paste those parts of the image, and save them as separate objects in the Object Manager Docker.

On some mask objects I repeated the Dodge & Burn effect like a paint brush. This gives me the freedom to paint the shadows and contrasts on to the image with the Effect tool, like painting with Gouache water colour paint, traditionally used by illustrators and designers before the age of computer graphics.

Each coat of the exact same paint, or in this case, each coat of Dodge & Burn, makes it darker. In my photo it makes the plaster and cement look more real and adds depth. On the red building to the right, I repeated Dodge & Burn quite extensively, adding more contrast, depth and darker shadow. This brings the windows more to life.