Flypaper Textures



Flowers are my easy option when it comes to photos, they stay still -well the ones inside do anyway, don’t talk back and go well with textures and today I felt like an easy photo to process after several aborted attempts with other photos.
I started off adding one texture to this and ended up using four of our Flypaper Textures.
Uranium Paper @ screen 18% masked over the flower centre.
Bruised Saffron @Colour Burn 15 %
Apple Blush @Overlay 51%
Nora Batter @overlay 55% (with it’s saturation reduced with a hue saturation adjustment)
Finally a black and white adjustment layer at a reduced opacity to de-saturated a little.

A view from a Roman Bridge

Taken during an evening dog walk across our ancient Roman Bridge, located in central Beziers in the south of France.
The view looking back was illuminated by the misty setting sun.
Only through the use of texturing was I able to bring anything like the golden glow I saw back into this image.
As ever, the textures are from the bottom up.
First, Apple Blush – Soft Light @ 18%
Raw Linen – Vivid Light @ 40%
Caramel Soft – Soft Light 100%

Mistaken Identity

If you’re thinking this is a tulip then think again -yes Paul, I’m thinking of you here 🙂
It is in fact the unopened flower of the clematis that’s brightening a corner of my garden at the moment.

Processed simply using Pompeii Stucco Soft Light 72%
A colour fill layer #02303f @Exclusion 100%
Shagreen bone @Overlay 14%

Martine Roch

French surrealist artist Martine Roch is well and truly stuck on Flypaper textures! So, to coincide with her new exhibition this weekend,
we thought we’d do a little Q & A feature on her.
Martine is  a professional artist/illustrator and Getty photographer.
Her muse is her famous female Labrador ‘Boudi’. They are based in Dijon, north east France.
Recently Martine has wowed Paris with her large selection of greetings cards and small stationary items. These are to be found in the best card shops world wide, or can now be ordered online HERE in time for Xmas!

“desperate housewife”

You use our textures mostly as backdrops we notice…?
Yes I do ! your textures are too good and I like using them to give depth to my images.

We see ‘image above’ you are venturing into real printed Canvas, do you have any processing tips to share for our readers also wishing to print on this medium, did you come across any printing problems that caused you to have to re-jig your images to get them ready?
Yes many problems! But really it’s not problems it’s only about to get rid of the difference between screens and printed result. The main thing is to find a very professional person who with you can fix the colours problem, light and so on, before printing. I mean you need to see your image on his screen, that screen connected to the printer, and the printer must be really well adjusted. Then you’ll have a very good result. You need professional quality canvas too…

Would you like to share with us your printing company contact details for our French readers?
His name is Thomas HAZEBROUCK, and his telephone number : 0677845465, city of Dijon. Plus, he is the nicest guy on earth !

Do you have any tips etc for our readers?
You mean to use textures ? Texture can be used in so many ways… it’s difficult to give some tips. Really it depends on what people wants to give to their image. There is no recipe, only working on the image to get the result they want. Photoshop is a tool box : use it !

You have a live show opening on Friday, I’m sure you’d like to offer our readers the details?
With pleasure. It’ll be Galerie Inspirations, 16 rue de la Paix à NANTES 44000, NW France – tél. 02 40 35 37 09 I’ll be there on Thursday afternoon and all day this Friday, 6th Nov.

Please visit Martine on Flickr or on her  Website 
Her cards, notebooks and other products are available HERE
Or visit Martine and say ‘hi’ to obtain personalised, signed art and stationary at the all day Vernissage on Friday 6th Nov. at the gallery!

Voyageur map

I’ve been asked if I also use other ‘enhancement programs’
Both Jill and I have programs such as ‘Lucis’
but I’ve never shown a picture using it.
You can use these programs on your images before following our recipes.
A while ago I described how I get my painterly look before texturising.
I now repeat it here:

“To achieve the painterly effect, I simply use the ‘Colour Noise filter’ at a very low setting, then sharpen this with ‘Poster Edges’ Filter at around 10%.This pulls it together again, the other layers are those with various light levels at differing depths, I sometimes also use the ‘Paint Daubs’ or ‘Water Colour’ filters at a low setting and then Poster Edges @ 10% max”.

Don’t you find the ‘before’ a little bit ‘David Hockney’?
This beach picture was treated first as above to get the painterly look.
Then to hide the Hockney and frankly update that look,
I’ve not had to do too much.
Again from the bottom I started with:

Raw Linen – Hard Light @ 52%
Elysium – Overlay @ 35%
Voyageur Map – Overlay @ 50%
Voyageur Map again – Overly 16%
Both have some paper texture brushed off the beach section.
Finally the top layer is a doubled up layer of the base image
@ soft light 12%
(Voyageur Map is from flypaper Tex Box 2)

Quince Trio

Quinces are such beautiful fruit, well not to eat raw, but cooked they’re delicious,quince conserve, quince paste….yum!
As well as being nice to look at they have such a lovely fragrance -a bowl of quinces can scent a room.
Another photo from last autumn, these quinces are from my tree and were turned into quince paste after their “modelling’ session.

I processed these using
Necropolis @ Overlay 54% (with the layer mask over the fruit to remove some of the texture)
Necropolis this time at Multiply 25%
and lastly a layer of Orient Express Multiply 24%


I put my wonderful but neglected macro lens on this morning and went for a quick expedition round my garden. This Clematis montana is in full bloom, and the flowers were sparkling with droplets after overnight rain.

I processed this one by duplicating the background layer and then blurring it using the lens blur filter, then I added a layer mask and removed some of the blur from the central portion of the flower.
The textures I used were
Caramel soft, blurred slightly at Overlay 59%
Caramel soft again, blurred at Soft light 59%
Apple Blush, which had had it’s colour tweaked with a hue saturation adjustment so it was warmer and darker @Soft Light 80%

Barge through the mist

Another from my misty day shoot!
This time along our famous Beziers ‘Canal du Midi’, built by Paul Riquet
The most famous son of our city of Beziers.

It connects the French Atlantic West-coast with the French Mediterranean, a huge feat of civil engineering for its time.

This barge appeared out of the dark mist, looming and silent, the light was all I could see for several moments,
then the boats prow and the guy steering.

For this image, I didn’t do much at all, I just used our Apple Blush texture twice, first the normal way in Overlay @ 43%
then I flipped it, to get some of the warm tones on the other sides trees, but needed to brush out a little from the middle.
This texture was also in Overlay mode but at 47%
A final tweak was necessarily with curves to bring out the tones.

Pines in the mist

A rare misty day in our part of the world.
These mists are so far and few I have to dash out with my camera!
This picture was taken on a strange atmospheric hill that sticks out of the old sea marshes, or ‘Etang’ in French.
It now rises out of a sea of golden vineyards.

On top was a Roman settlement, guarding the road to Narbonne,  called Oppidum in those days an important sea port, now silted up and landlocked for over a thousand years.
On top of the hill, there have been archeological digs for more than one hundred years.
It’s ‘Necropolis’ was a veritable treasure trove, its bounty being so rich that a Roman Museum was built on top of the hill to house the finds.
The Romans were finally forced to abandon this strategic hill after the area became Malaria infested.

The order of Textures can be important,
so I’m showing a screen shot of my layers, I list them from bottom up.

Raw Linen – Multiply opacity @ 39%
Apple Blush – Overlay opacity @ 73%
Apple Blush – Soft Light opacity @ 68%
Bruised Saffron – Soft light opacity @ 23%
Raw Linen – Linear Burn opacity @ %19
(both Raw linen textures were blurred)
The top layer is a copy of the trees placed on top of the textures to bring them out of the textural mist!
Top image copy – Soft Light opacity @ %100

To see the brightend version – with curves, please go to my Paul Grand flickr site

Family Walk

Another day another beach! I took this last weekend when we went for a quick walk at Doctors Point near Dunedin. Since my family isn’t cooperative when it comes to photos I have to make the most of any opportunities when it comes to getting some human interest in my photos, taking photos of distant strangers for example 🙂

I processed this using Shagreen Bone at Overlay 63%
Followed by Caramel Soft at Overlay 100%
As well as adding texture the Caramel Soft layer also gave the photo most of the warm colour you see, in fact it added a bit much warmth to the sky so I added a layer mask to that layer and using a large soft brush set at about 32% opacity and removed a bit of the texture from the sky.
After the additon of a curves layer to tweak the tone and contrast, I called it done!