This picture is an interpretation of lines of a hymn:
Towering o'er the wrecks of time
Each picture was imported into the image on a separate layer, and masks were used to isolate each building from its surroundings. Some of the bulding images were lightened and given more contrast, and the Eiffel Tower and the Sydney Opera House were resized because when taken from their backgrounds they were too small in relation to the other buildings.
The cross was a clipart image, and Serif Draw Plus 2 was used to separate the cross and its halo into two images, which were each given their own layer. Blade Pro basic glass preset was applied to the halo. Three separate Blade Pro presets were applied to the cross, each on its own layer. Gold Furnace was used first, followed by Glass 1, with Basic Glass as the top layer. The level sliders were adjusted to give a textured golden cross, not looking as though it were made of glass, but with a solid 3D appearance.
Finally, a new top layer was created, and on this, using the spray can set to mist, with a round brush tip size 25, Opacity 67, Hardness 0, Density 61, Step 10, and yellow colour, the light streaming from the halo was added. The tool was moved slowly when near the cross, but speeded up as it moved across the image, to give the appearance of the light being more intense close to the cross. The spray can was also used underneath the horizontal bar of the cross and down the sides of the upright near to the bar, to make the cross appear to be glowing.
The frame is a PhotoImpact 4 3D frame, with natural texture, leather. The title is simple 2D text in Arial size 9.
In the centre of this picture is an old photograph of the waterfall over which Frank Lloyd Wright's 'Fallingwater' is built, before the house was there. This is what Frank Lloyd Wright saw, and what inspired him to design 'Fallingwater'. In the spheres surrounding the photograph are small images of the finished house - the realization of Wright's vision.
The circular cutout from the site photograph was placed on its own layer against a black background. It was then selected and promoted to a second layer, on which Blade Pro was applied. The preset, which I call Sepia Etch, is a modification of Yellownet - the grass.bmp texture file replaces the one used in Yellownet, but all other settings remain the same. The layer slider was adjusted so that the black and white photograph showed through clearly, but with a textured sepia look.
The five circles were cut from much reduced photographs of the house scanned from books and calendars, apart from two which were grabbed from the bubble pictures in the CD ROM 'Frank Lloyd Wright's Fallingwater', by Omniview (now Ipix). The circles were selected and then, using Selections/Modify/Feather with a 12 pixel setting, given a fading edge. Each was imported to the image on its own layer
The glass spheres and highlights were made with Paint Shop Pro picture tubes designed by Hoods. The spheres were placed over the house photographs, each on its own layer, and the slider levels adjusted so that both images and spheres were visible. There is no royal blue sphere in the Glass Balls tube, so the green one was used and the colour adjusted using Colors/Adjust/Red/Green/Blue. The sparkles were added all together on a single layer, the top layer of the image. A green sparkle was made by adjusting the colour of the blue one.
In a second copy of the image, all the layers were merged and a bitmap copy saved. This was imported into PhotoImpact to have the frame added. The frame, one of the magic frames, covered part of the image so a white canvas, 10 pixels wide all round, was added, so that the frame could cover that. With some of the PhotoImpact frames there is the option of making the frame inward or outward, and the outward frame does not cover the image. This option is not available in the magic frames, and if the image is not to be covered, a canvas edging has to be made to take the frame. The noise setting was increased in this frame, to darken the silver edging.