"Gallery" takes the lettering a step further. In this particular logo, I used two spots while lighting during text modification. I wanted the two spots to be part of the final image, and smoke makes the lights visible. (The smoke is a cloud rendering with a layer mask in the shape of the light cones. The same light cones were used as a selection, filled with a gradient for the light fall-off, and the lights given a "hard light" attribute over the clouds.) I had to repeat the lettering over the smoke, with an "overlay" attribute, to restore color to the letters.

I'd wanted to do a "bronze mask" of my face. By using a photo of myself as a texture map, along with a lot of editing, I did that. But I couldn't take it to the next step that I wanted to do, so instead I let the mask fade so that I could show through.

The tree is a stunted, "natural Bonsai" found on a mountaintop in Oregon, near the tree line. It's about 18 inches tall, and probably 30 to 50 years old. The water is from Doc Ozone's collection of backgrounds, stretched, skewed, overlayed on itself, and otherwise twisted like taffy.

The overall structure is an extreme close-up of a multi-layered hibiscus. The figure was done in Poser; the background was imported to help scale and pose the figure, but placing the figure and background in the final image was done in Photoshop. The blood started as liquid metal in Painter, then was colored and otherwise adjusted in Photoshop. A tutorial is available.

An exercise in edges. Starting with a tropical sunset, "find edges" whitened the image. Using the same original sunset, I did "accented edges" and a black-and-white bas relief; the bas relief is overlayed on the accented edges image. I added a layer mask to this, using the "find edges" layer image as the mask. All of this sits on top of the "find edges" image at 90% opacity.

Playing with Photoshop's new history brush, cutting through filter effects down to the original image.

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