Step 1.
Create a new 450X350 pixels document. Set a black color for a foreground and white color for a background. Apply Filter > Render > Clouds. Apply Filter > Artistic > Poster Edges with the following settings: Edge Thickness -> 10, Edge Intensity -> 10, Posterization -> 6.

Step 2.
Apply Filter > Blur > Radial Blur with the following settings: Amount -> 10, Blur Method -> Zoom, Quality -> Best. Then apply Image > Adjustments > Hue/Saturation with the following settings: Hue -> 36, Saturation -> 47, Lightness -> +7.

Step 3.
Aplly Filter > Blur > Radial Blur with the same settings. Apply Image > Adjustments > Brightness/Contrast with the following settings: Brightness -> -25, Contrast -> +13. Duplicate this layer and set the Blending Mode as ‘Soft Light‘. Then Merge down all layers.

Step 4.
Apply Filter > Artistic > Rough Pastels with the following settings: Stroke Length -> 1, Stroke Detail -> 2, Texture -> Canvas, Scaling -> 55%, Relief -> 4, Light -> Bottom. Then apply Filter > Blur > Radial Blur with the following settings: Amount -> 8, Blur Method -> Zoom, Quality -> Best. And that’s it.

::GFXZoOM::source:pstutes.com::

1.Change photos’ color:

Open your photo you want to make it impressive.

Anh choose this photoshop here:

There’re so many methods to change your photo’s color, but I will show you some best ways to do that, easy to edit.

First method:

Go to menu Layer ~> New Adjustment Layer ~> Color Balance.

With this Adjustment layer, you can change your color variety. OK, let’s pick some nice color :

::Warm Color :

Result :

::Cool Color :

result:

::Emerald Color :

result :

::Special Effect :

Open your photo, go to menu Layer ~> New Adjustment Layer ~> Gradient Map…

Choose this Gradient :

Result :

Zoom out your model :

Pick Eraser Tool , set foreground color to White and start erasing on your model :

Tip : set foreground to White = you have color areas

set foreground to Black = you have black and white color

Press X when brushing to switch between black and white.

Keep brushing on your models and you will have something like this :

::GFXZoOM::source:tu-torials.com::

::GFXZoOM::source:photochopz.com::

1 PREPARE THE PHOTOGRAPH
First we need to choose and prepare the photograph onto which we’ll add our logo. We chose an image of a blank T-shirt from iStockphoto.com, deliberately picking one that contained noticeable folds. If the folds are a little too subtle, use the Burn tool to darken the shadows a little and the Dodge tool to slightly lighten the highlights.

2 PREPARE THE DISPLACEMENT MAP
The Displace filter uses a grayscale map to distort the imported object, so we need to create a map for our project. First duplicate (Image>Duplicate) the T-shirt photo and then convert it to grayscale. Although it’s not an ideal day-to-day way to make a beautiful grayscale photo, we’ll use Image>Mode>Grayscale to convert the photo (which works just fine for a displacement map). We don’t want too much texture detail in the map, so use Filter>Noise>Despeckle to soften the texture without losing too much overall detail. Save the map as a PSD file.

3 BRING IN THE ILLUSTRATOR LOGO
In Illustrator, keep the logo as editable and possible, then go to Select>All and Edit>Copy. Switch to the original color document in Photoshop and select Edit>Paste. From the four Paste As choices in the Paste dialog, choose Smart Object, and click OK.

4 POSITION AND SCALE THE LOGO
When the smart object appears, use the handles to scale and rotate the graphic. You can also click-and-drag to position it. Once you’re happy, press Return (PC: Enter). (Note: Since the resulting layer is a vector smart object, that means you can always make further adjustments to the size and position of the logo without losing any quality.)

5 CHANGE THE BLEND MODE OF THE LOGO LAYER
To help make the logo look more printed on the shirt, change the blend mode of the logo layer from Normal to Multiply in the Layers panel. Depending on the colors in your design, you may also want to slightly lower the Opacity.

6 RUN THE DISPLACE FILTER
With the logo layer (Vector Smart Object) active in the Layers panel, use Filter>Distort>Displace. In the Displace dialog, enter a value between 5 and 10 as a starting point for both Horizontal Scale and Vertical Scale. Since this layer is a vector smart object, the filter will appear in the Layers panel as a smart filter, which means you can always edit the filter settings (see next step). After clicking OK, you’ll be asked to choose the displacement map, so navigate to the location of the PSD file you saved in Step 2. The logo will be distorted to follow the folds of the shirt.

7 EDIT THE SETTINGS OF THE SMART FILTER
If the logo looks too distorted (or not distorted enough), double-click on the word “Displace” under Smart Filters in the Layers panel. The Displace dialog will appear, allowing you to enter different settings. Once again, after you click OK, you’ll be asked to choose the displacement map.

8 EDIT THE ORIGINAL GRAPHIC
One of the benefits of bringing in Illustrator graphics as a smart object is the option to edit the contents, even after the Displace filter has been applied. Double-click on the Vector Smart Object thumbnail in the Layers panel to jump back to Illustrator. A copy of your logo will open in Illustrator, where you can make changes to the design. Here we changed the color of the background shape and added a second yellow background shape. After saving the Illustrator file, the logo automatically updates in Photoshop, reflecting whatever changes we made in Illustrator.

9 CONTINUE TO EXPERIMENT
Thanks to the vector smart object and smart filter combination, you can continue to experiment with the size, position, and content of the logo. If you reposition or scale the graphic, double-click on the Displace smart filter to reapply it. To change the contents of the logo, double-click on the Vector Smart Object thumbnail to return to Illustrator to edit the file. Or, start all over again with a completely different photographic object….

::GFXZoOM::source:layersmagazine.com::

1 MAKE NEW DOCUMENT; ADD GRADIENT
Create a new document in the size you need and fill the Background layer with a color or a gradient. In this case, we used the Gradient tool (G) with two shades of blue. To create a custom gradient, click on the gradient preview thumbnail in the Options Bar to open the Gradient Editor. Double-click on the color stops below the gradient bar to change their colors and click OK. With the Gradient tool, click-and-drag from the left edge of the document to the right edge.

2 ADD STRIPES; FLATTEN LAYERS
We need to add a series of slightly darker stripes. Click the Create a New Layer icon, choose the Rectangular Marquee tool (M), drag out a selection across your background, and fill it with a darker color. Press Command-J (PC: Ctrl-J) around 10 times (depending on the size of your document), then using the Move tool (V), Shift-drag each of the darker stripes to a new location, leaving space between. Do this until your document is filled with the alternating pattern. Select all of the stripe layers, then click the Distribute Top Edges icon in the Options Bar. Choose Layer>Merge Down, and change the blend mode to Overlay.

3 DRAW CIRCULAR SELECTIONS
Go to Layer>Flatten Image to merge all of your elements into the Background layer. Click on the Create a New Layer icon in the Layers panel. On the new layer, draw a few circular marquee selections using the Elliptical Marquee tool. To draw multiple selections, hold down the Shift key. (Tip: To reposition a selection while you’re drawing it, press-and-hold the Spacebar make sure you’re still pressing the mouse button, move the selection to the desired location, release the Spacebar, and then finish drawing your selection.)

4 USE LAYER STYLES TO ADD DIMENSION
Fill the selections with any color and then in the Layers panel, lower the Fill opacity to 0%. Click the Add a Layer Style icon at the bottom of the Layers panel and select Bevel and Emboss. Experiment with the Depth, Size, and Soften settings to create a soft edge. (We used Style: Inner Bevel; Technique: Smooth; Depth: 61; Direction: Up; Size: 24; and Soften: 14.) Change the Shadow Mode to Soft Light and click its color swatch and change it to white. (Optional: Change the Gloss Contour to add to the effect: here we used Rounded Steps.) Click OK.

5 CREATE A “DROPLET BRUSH”
Click on the Brush tool (B) and then use the Brushes panel (Window>Brushes) to edit the brush settings. Start with a 35-pixel hard-edged brush, click on Brush Tip Shape, and change the Spacing to 95%. Then in Shape Dynamics, change the Size Jitter to 50%, Minimum Diameter to 10%, Angle Jitter to 25%, and Roundness Jitter to 50%. In Scattering, use a high value for the Scatter (we used 650%), a Count of 2, and a Count Jitter of around 40%. Of course these are just guidelines: take advantage of the preview at the bottom of the panel to tweak your results.

6 PAINT IN SOME DROPLETS
On the layer where you originally created the ovals, press Command-A (PC: Ctrl-A) to select the shapes and then press Delete (PC: Backspace) to delete them. Now you can paint with your new droplet brush. (Since the Bevel and Emboss style is active on this layer, your brush shapes will automatically have the look we want.) (Note: Make sure that the blend mode of the brush is set to Normal in the Options Bar and that the Opacity and Flow are both set to 100%.)

7 ADD TEXT
Use the Type tool (T) to add some text using a handwriting- or grungy-style of typeface (we used A Bite, available from www.dafont.com). Hold down Option (PC: Alt) and click-and-hold on the word “Effects” under the droplet layer in the Layers panel and drag it onto the type layer (to copy the Bevel and Emboss layer style). Lower the Fill opacity of the type layer to 0%. If necessary, double-click on the Bevel and Emboss effect to adjust the settings for the type layer. In this example, we lowered the Size and Soften settings and set the Contour setting back to Linear.

8 MASK PORTIONS OF THE TYPE LAYER
If you used a smooth-style typeface as shown in this example, you’ll want to beat up the text a little to add to the water effect. Click on the Add Layer Mask icon at the bottom of the Layers panel to add a layer mask to the type layer. With your Foreground color set to black and a small round brush (not the droplet brush), paint over several areas of the type to create gaps in the text.

9 LIQUIFY THE BACKGROUND
To add to the look, we’ll liquify the areas under the droplets. First, hold down Command (PC: Ctrl) and click on the thumbnail of the droplets layer to load these shapes as selections. Then hold down Shift-Command (PC: Shift-Ctrl) and click on the type layer thumbnail to add the text to the selection. With the Background layer active, choose Filter>Liquify. Liquify will open with a mask based on your selection. Use the Forward Warp and Bloat tools to paint over the droplets to distort the stripes.

10 ADD OTHER ELEMENTS TO COMPLETE LOOK
In our final example, we added additional text and an image to create an ad for bottled water. I encourage you to experiment with this technique on objects, as well. Just use the Marquee tool to select any object, such as a person or can of soda, and then drag-and-drop the selection onto your striped background. After creating a layer and filling the selection with a color, lower the Fill Opacity to 0% and copy the droplet layer style onto this layer. Then added a few more drops with your droplet brush as needed.

::GFXZoOM::source:layersmagazine.com::

The main difficulty with trying to separate an image from its background is that there are pixels which cover an area of the picture which is partly foreground and partly background. With any of the aforementioned methods, you have to declare whether a pixel is either foreground or background, even though it may be both.

Believe it or not, there is a way that you can cut pixels in half. In Photoshop, the way it works is that if you cut a pixel in half, you’ll have the same pixel, but it will be 50% transparent, so it will be affected by what colour you put under it, just like the difference between coloured paper and cellophane.

1 – The original image

Select the Freeform Pen tool from the Toolbox (click and hold down on the pen tool if it’s not immediately visible.)

2 – Creating a Path

Use the Freeform Pen to draw a rough outline around the object. (Make sure you have the “Paths” option at the top left of the screen selected.) Generally err on the side of cutting into the image rather than leaving a gap.

Use Ctrl+Click to manipulate the points, and drag their “arms” around to change the curve. To insert a new point, just click on the line.

When you’ve finished, right-click the line, and click Make Selection. This turns your line into a selection.

3 – Removing the background

Cut out your object and paste it into a new layer. (Ctrl+C, then Ctrl+V) You can then replace your background layer with whatever you want.

I’ve put in this magenta (opposite of green) background to show up any green bits that might still be stuck to our budgie.

Notice there are no jaggy edges, and there is no visible green outline.

::GFXZoOM | source:pegaweb.com::

1 – New page & the green bar

In Photoshop, create a new Image, 500 pixels wide, and 300 – 500 pixels high.

Select a long rectangular area.

Choose the Gradient Tool, and use it to fill the area with a gradient from very dark green to a midtone green. (I chose green here, firstly because it’s nice to get away from blue, and secondly because dark green and dark purple are excellent for giving a regal appearance.)

2 – The yellow text

Using a serif (curly) font (Times New Roman, or preferably Palatino Linotype), type in your heading.

If the option is visible, change the “Tracking” from 0 to about 500, to space the letters out. For PS 5.0 users (or lazy people , you can just type out your words, and then repeatedly press Right Arrow, Space.

Double-click the layer, and give the text a Drop Shadow, and a Stroke (outline). Outer Glow is the nearest Photoshop 5.0 equivalent of Stroke. You can set the outline to 50% Opacity to tone it down if necessary. If you’re using Photoshop 6.0 or 7.0, you can also add a Gradient Overlay (set the gradient to “Overlay”, not “Normal”, and make its direction north-south on the little dial.)

3 – The Picture

Unless you have stock photography CD’s or a picture you’d like to use, find yourself a nice picture, such as these flowers.

Preferrably without stretching or enlarging it, crop it and put it at the top of your image.

4 – A pearly menu bar

After the vivid colours of the other two elements, another colourful bar would look bad here.

Select the area for the bar.

Fill the area with yellow (any yellow will do). Leave the area selected afterwards.

Make a new layer.

Fill the selected area with a black-white-black gradient. To do this, click the gradient tool and select the “Reflected Gradient” option – it’s the one that looks like the side of a steel tube. Switch your colours so that white is your foreground colour and black is the background colour. Once you’ve done that, click and drag from the centre of the bar to the top (Hold down Shift to make it perfectly straight.)

Change this new layer from a Normal layer to an Overlay layer.

Go to your yellow layer, and press Ctrl+U to change its Hue/Saturation properties. Using the sliders in the pop-up window, decrease the saturation, and increase the brightness (alter the hue a bit too if you like). Do this until you’re happy with the colour of your bar.

For the text, I used black size 12 Lucida Sans Unicode, with strong anti-aliasing. Between each word, put two spaces, then a “|” (Shift-Backslash).

5 – Areas that don’t match

Because people’s screen resolution is probably not 500 pixels wide, you need the flowers to continue on either side of the header, to fill up the whole width of the screen. If you just put a repeating background for the header cell, the flowers at the end of one repetition wouldn’t match those at the start of the next repetition. (Have a look at the diagram – if I were to simply repeat the header several times, the A section would join to the B section, and it wouldn’t quite match up, leaving a visible line.)

6 – Making the image tile-friendly

Use the Selection tool to select half the header image. Right-click the area, and click “Layer via Cut” if you can. Instead, you can always just press Ctrl+C and then paste it on a new layer with Ctrl+V.

In the diagram, I’ve used the Move Tool to swap these layers over.

Notice that the parts labelled “Z” were together, and if they are put back together now, everything will match up perfectly.

There’s still an obvious join-line here, but it’s in the middle (note that the ends now match up perfectly). In the middle of the image, it can be worked on easily.

7 – The tiling line, Before and After

Zoom in, by pressing Ctrl and the plus key.

Choose the Clone Stamp Tool (Hotkey: S). Click on what you want to “Clone”, and then start drawing somewhere else, and the brush will copy the picture from where you clicked at first, to where you’re clicking now.

To extend the green grass at the very bottom, I clicked the clone brush on the grass, and then started drawing new grass to the left of it.

In the centre, I used the brush to extend a flower from the right to the left, and another one in the opposite direction.

In the top left-hand corner, I also cloned a bit of grass from the top centre, to help cover up the line where it changes from green to brown.

8 – Separating the images and creating slivers

For this step, it’s also possible to use the Slice Tool, if you have Photoshop 6.0 or 7.0.

If you’re using Photoshop 5.0, one by one, select each element (pictorial header, title bar, menu bar), and click Image > Crop to cut everything else off.

Click File > Save For Web. Choose Jpeg, Quality 60. If necessary, also save a one-pixel wide vertical sliver of that picture, as shown above. After you’ve done each area, use the History to undo your steps, until everything is uncropped, and you have your original image.

9 – Creating the web page

In your web editor, create a table with five rows, and one column. Set the table to 100% width, with no cell borders, padding or spacing. Set the Page margins to 0.

Set the top cell to have your flowery grass as the background. Set the background of the next cell to be the sliver of your green menu. Then put the actual menu image in that cell, and centre it. In the next cell and the very bottom cell, repeat this process for the menu and its sliver image.

Now, the web page layout will expand to seamlessly fill the full width of the screen, regardless of how wide the screen is.

::GFXZoOM:source:pegaweb.com::

1 – Setting Up

Take your object (Australian flag in this case), and make some space around it, by clicking Image > Canvas Size, and putting in a greater height and width for the canvas.

2 – Creating a Gradient

Now make a new image, the same size as your first image.

Select the “Gradient” tool, and edit the gradient (Click on the visual representation of the gradient, or click on “Edit” on the Options tab.) Put in lots of black and white markers, as I’ve done in the image (this will make your gradient produce black and white bars).

3 – Applying the Gradient

Hold down Shift, and apply the gradient across your new image from left to right.

4 – Softening the Gradient

Click Filter > Blur > Gaussian Blur, and blur your image a bit. This image is now your “displacement map”. Save this image (I generally use the name “dispmap.psd”).

5 – Applying the Displacement Map

Now go back to your original flag image, and click Filter > Distort > Displace. Put 0% in “Horizontal Scale” and 5% in “Vertical Scale”. (You can go higher if you want the waves to be bigger.) When it asks for a file, select your displacement map. (This will distort your image depending on how dark the displacement map is at that point.)

6 – Bringing in the Displacement Map

Now grab your displacement map image, and drag it onto your image. Use the arrow keys to nudge the displacement map until it covers the whole image.

7 – Using an Overlay to Create Some Light

Change the displacement map layer’s Mode from Normal to Overlay, and reduce its opacity (75% is good).

Voila, a funky flag. Scroll up and compare this image to the first one, and you’ll really notice the difference.

This technique can also be used to make realistic curtains, ribbons, and banners.

::GFXZoOM|Source:pegaweb.com ::

This tutorial goes through the steps of making a left-oriented website.

GET START

Choosing a background for your website :

White website background
(reputable, mainstream) A white website background should almost always be used on a company website, or a site that is trying to sell something. The “white” theme can also be done with a navy blue background, and white text.

Black website background
(cool, different) A black website background should be used for any website that’s even slightly non-corporate – games websites, adult websites, personal websites. If your website is a bit different, use black.

Graphical website background
(natural, real) Making your website background graphical (e.g. by tiling), is dangerous, and rarely looks good. A very faint photo or a well-done watermark is okay. I had to tone down the background on my old website several times to get it right.

1 – Setting up the menu area

Your website should always start in Photoshop, not your web page editor.

Make a new 500×400 pixel image.

Zoom out and use the Freeform Pen tool to make an appropriate shape for a website menu. Remember to hold Ctrl whenever you want to move your points around, or drag their “arms“. Make sure you have the “Paths” option at the top left of the screen selected. (You must zoom out or maximise the little window you’re working in, otherwise you won’t be able to drag your points into the grey area.)

Turn it into a selection. (Right click on it and choose “Make Selection“.)

Make sure that your points make almost a complete circuit, as the first and last points will connect up when you turn the path into a selection.

2 – Designing the menu

Create a new layer. 

Fill the selected area with a left-right gradient of a colour and a darker shade of that colour. (I used red and dark red.)

Right-click the layer in the layers list, and choose “Blending Options” (Adobe Photoshop 6.0 & 7.0) or “Effects” (Adobe Photoshop 5). Give the area a shadow, bevelling, contour, and a texture (I used Carpet here).

3 – The watermark

To create a watermark (lightened area), use the Wingdings font, and type in “jk”. It should come out as two swirly symbols.

Press Ctrl+T to rotate them, then make them into a watermark by changing them to an Overlay layer. 

If your watermark extends over the edge of your menu area, just right-click it in the Layers list, and Rasterize or Render it, to make it editable. Then Ctrl+Click on your red menu layer, click Select > Inverse, and press Delete, to delete the unwanted part.

4 – Making a logo

The bulbous area at the tip is where the website’s logo goes.

Use Times New Roman font here, and put some appropriate text in.

The easiest way to put the horizontal line in is by just typing underscores. ( __ )

GRight-click each of these layers, and choose Blending Options (Photoshop 6.0 and 7.0) or Effects (Photoshop 5.)

Give each of these layers a 0.5 pixel black Stroke (outline), a Drop Shadow, and a Bevel.

If a black outline of one pixel is still too much,  just make the outline 50% opacity, and it will look like it’s half as thick.

5 – Making some buttons

Create a new layer.

Use the Shape Tool to put in a rounded rectangle. (Select the little square button at the top left that says “create new work path“). Create the shape, and then right-click it and convert it to a selection. (This step is Adobe Photoshop 6.0 and 7.0 only – just use a rectangle in Adobe Photoshop 5.0)

Put another light-to-dark gradient across the shape (I’ve used green), and then give them the usual bevel/contour, texture, stroke, and shadow.

Give the button some text (I’ve used bold Tahoma), of a new colour (I’ve used yellow), and give it the usual effects, but without the texture.

6 – Adding a picture

The final touch, which adds a nice effect, is to put a picture of something relevant in behind the menu. You can find stock photography easily on the web.

Use the Clone stamp tool to extend the top and bottom of the photo if it’s not big enough.

While holding shift, run a white airbrush along the right side of the image.

Don’t worry about the bottom of the image for now.

When you’ve finished doing any website design, always select any non-picture elements (e.g. the menu bar, header text, buttons, and button text) and press Ctrl+U to colour-shift them. Play around with the sliders until you like the colours. (I haven’t done this here, because I already knew which colours would look best.

7 – Creating a “sliver”

A sliver is what I call a thin slice of an image that can be repeated indefinitely on your website, to fill up an area of any size.

Save your work here, and do not save it again from this point, as the image will be flattened, and you want to keep your layers for future work.

This step can also be done easily with the Slice Tool, but for simplicity, it has been omitted here.

Select an area towards the bottom of the image, about a centimetre tall, and as wide as your image.

This area should not have any watermark on it, or any outstanding features in the photo.

Click Layer > Flatten Image, then Image > Crop, to remove everything but the selection. (If you don’t flatten the image, it will apply the bevel to the top and bottom edges of your sliver, which is not what you want.)

Click File > Save for Web, and choose Jpeg, Quality 60.

On the History Palette, undo the Crop, but not the flattening.

Select the area of your menu, and click Image > Crop. This selection should be exactly the same width as your sliver.

Click File > Save for Web, and choose Jpeg, Quality 60 again.

8 – Table layout

In your web page editor, make a table with two columns.

Set the width of the left column width to be equal to the width of your menu image, and set the right column to be around 500 pixels wide. Make the width of the whole table equal to the sum of these two numbers.

Set the background of your left cell to be the sliver image. Then insert the menu image into that cell. Depending on your web page editor, use Hotspots or an Image Map to turn the buttons into links.

To finish up, some words about text…

Obviously, the body text of the page should be black, but what about the headings?

Scroll up and look at the image. The aim is to balance the primary colours – red, blue and green. Which colour is there the least of?

The red menu bar, and the green buttons and grass are each more prevalent than the blue water, so the best colour for the text headers on the page is blue. (Always use a dark shade of that colour when on a white background.)

::GFXZoOM |source:pegaweb.com::

1 – Creating Clouds

In Adobe Photoshop, make a new image, the same size as your screen resolution (I used 1024 x 768).

Choose the colours black and white (if they’re not already selected), and click Filter > Render > Clouds.

2 – Making the clouds blue

In the Hue/Saturation properties (press Ctrl+U to access them), select “Colorize“, and move the Hue slider until the clouds are a realistic blue colour.

3 – Creating the Gradient layer

Make a new layer above the last one.

Use the Gradient Tool to put a black-white gradient across it.

4 – It’s O.K. to be different

Click on the layer Mode (where it says “Normal“), and change it to “Difference“.

This is the Help File explanation of what’s happened:

“Difference looks at the color information in each channel and subtracts either the blend color from the base color or the base color from the blend color, depending on which has the greater brightness value. Blending with white inverts the base color values; blending with black produces no change.”

Essentially, what has happened is that where your gradient layer is black, nothing happens (note that the clouds at the left are the same as the clouds you had before, because the gradient is basically black).

However, where your gradient is white, the clouds are inverted, with the blue areas becoming orange, and the white areas becoming black, which looks a lot like fire and smoke.

5  – Changing orange to red

The final step is to change the orange to red. (Of all the combinations, blue and red looks far more appealing and realistic than the others.)

Merge the gradient layer with the cloud layer, by clicking the gradient layer, and pressing Ctrl+E. (This is done because you only want to colour-shift the orange part of the image – if you don’t merge, you can’t alter the orange part, because there is no orange part, it’s just those same blue clouds hiding under a difference filter. You can try, and your orange area will go red, but your blue area will go green at the same time.)

After having merged the layers, bring up the Hue/Saturation options again (Ctrl+U), and select “Reds” on the menu. Adjust the Hue, Saturation and Brightness just a little bit, until the orange clouds have gone a reddish colour. (Don’t move the sliders more than a touch – if you try to get a pure red colour, an unsightly line will appear.)

If you want to do something psychedelic, just go to Master (not Reds) on the menu, and shift both colours – you can make pink and green clouds if you like.

This is a link to a full-screen nebula. It makes a great desktop background. Click on the link, and right-click the image when it appears.