Filtering isn’t just about making an image “better.” It’s about exploring possibility—moving sideways, not upward. In this tutorial, I’ll walk through how I use Prisma and Sketchbook together to create layered, painterly tribute works.
1. Starting with Prisma
Prisma takes a photograph and applies pre‑designed filters. At the bottom of the app, you’ll see a row of options, each representing a different style. I cycle through them, not looking for perfection but for potential—textures, colors, and moods that might serve the final piece.
Prisma applies the filter to the entire image. You can’t isolate areas yet, so I save multiple filtered versions of the same photo. These will become building blocks later.
2. Moving into Sketchbook
Next, I open Sketchbook and bring those filtered versions in as separate layers. On the right-hand side, you can see them stacked. Sometimes all layers are identical in size; sometimes certain portrait filters come in smaller. That’s fine—I adjust later.
3. Blending Layers
This is where the art begins. I choose a blending mode—most often “Darken”—to merge filtered layers. But don’t stop there. Experiment with Multiply, Screen, Overlay, and others to see how effects stack and interact. What looks unusable alone can become essential when combined.
If a filtered layer doesn’t align perfectly, I make it semi-transparent, resize it carefully, and zoom in to line up edges exactly—neck, chin, and eyes are the reference points. Clean alignment keeps the image crisp.
4. Selective Erasing
Prisma filters can be dramatic, but I rarely keep them wholesale. Using a soft-edged erase tool, I remove large sections I don’t want—backgrounds, clothing, shadows—leaving the filter only where it matters. Hair, skin, and other focal points usually get the most attention.
5. Restoring Detail
Filters blur fine detail. To bring it back, I create new layers and redraw what’s missing: eyelashes, individual strands of hair, edge highlights. Zoom in, use a fine brush, and work slowly. Each restored detail breathes life back into the piece.
6. Adding Highlights and Texture
Sometimes I add soft highlights manually. I create a new layer, lay down a pale stroke, smudge it gently, and lower the opacity until it integrates naturally. This works beautifully for skin tones and reflective surfaces.
I also use the smudge tool to soften harsh transitions and remove digital artifacts. Smudging blends edges and adds a painterly effect without destroying the underlying layer.
7. Iteration and Patience
The process is iterative. Build color upon color, filter upon filter, layer upon layer. Save working files frequently. Try combinations that seem wrong; they often lead to unexpected results.
The goal isn’t hyper‑realism—it’s to create a clean, textured, and intentional image. Every layer adds depth, every erased line is a choice. Over time, the filters disappear into the work itself.
Closing Thought
Digital filtering isn’t shortcut artistry. It’s a conversation between tools, textures, and intuition. You can’t cross the same river twice—the filters evolve, the tools change, and so do you. Every piece is a one‑off.
Some roads have thoughts. They remember us. Our choices are pressed into their surface like faint scars —
each corner holding the weight of what could have been. Every return is a negotiation between memory and motion.
I know this stretch too well. Its lip-like curves smile every mile, but there’s bite behind them. Once, on a curve, I chose between control of the wheel and the hunger in my hands. I grazed the guardrail, creasing my steel, walking the edge of the reservoir on two wheels. Empty road, no witnesses — except the road itself.
Sometimes, if I listen closely enough,
beneath the hum of tires I hear it whisper, “I did not take you.”
And later, another bend, a sharper descent,
where I once thought the deer would come…“Not yet.”
Even in daylight, I feel them — the unmarked graves of moments-that-didn’t-happen, stitched into each shoulder, each seam of asphalt. Every ride is a crossing back through chance, a wager made quietly.
And always, beneath wheel and wind, the faintest undertow: “I keep the record.”
Whether witness or judge, I cannot tell. But something waits here, layered beneath the years, beneath the asphalt, holding memory tighter than I ever could.
Why have I never seen his work? I’m not exactly uninformed, I paid attention in Art Appreciation, after all, I taught it for 10 years. I suppose I wasn’t ready to appreciate him in my youth, or even middle age. It’s like he was a hidden snack at the back of the cupboard, safe until I was really hungry.
So I’ve spent a couple of days researching, down loading images, redrawing a few that struck me. I’m very pleased to ha ve met you!
Ha! Soon I will have a procedure to address my Afib, an irregular heartbeat. I will not be conscious, I am told my heartbeat will be stopped, then shocked back into a correct rhythm. Dead then alive. At least one will hope! In case something else happens I thought it might be important to craft one more ponder. I’ve heard the phrase “Legacy Letter”, not exactly sure what that means, but I will take a stab.
A Legacy Letter
To those who will speak of me, and to those who will not— I do not ask to be remembered perfectly. I ask only that the hush be heard.
I was not one thing. I was a roll, not a role. A technician who shaped silence. A father who returned. A teacher who unlearned hierarchy. A performer of thresholds.
My life was not a line—it was a loop. Marked by cairns, not conclusions. I left fragments, not monuments. I trusted error to guide me. I let metaphor do the heavy lifting.
If you tell my story, tell it with overlap. Let the sculptor interrupt the philosopher. Let the technician whisper to the memoirist. Let the hush speak louder than the archive.
I do not fear misremembering. I fear forgetting the hush, the ajar, the ache of return.
So speak of me, if you must— but leave space for silence. Let the door remain open. Let the wind stir the curtain.
And if you find me in your own story, know that I am not gone. I am paused. I am listening.
It’s 2:30 a.m., and the house is quiet. This house is quiet— not like the last one.
The old house always had noise. Subtle, yes, but constant— a language of creaks and sighs, branches tapping glass, timber pressing against timber, plaster cracking like distant footsteps.
It was an older house, always in motion, slowly pulling itself apart as it settled into the hillside.
This newer house is better built. No cracks. No hillside. No thousands of pounds of earth urging it to move.
The quiet is both discerning and disconcerting.
I sit in the shadows, tilting my head toward invisible sounds— but hear nothing.
Their shape, their distance, gone. My reference is lost. And somehow,
While watching videos of artists working in graphite, I often see the same beginning: a skull. As if the foundation of every portrait must begin in death. Like forensic experts, the artist builds upon the bone—layering tendon and sinew, then the delicate muscles of expression, and the softening pads of SMAS. Eventually, skin covers it all, hiding the secrets within.
We’ve done the same with dinosaurs—assembled skeletons into towering forms. But we know so little of the quality, color, or texture of their skin. There may be feathers, even when there is no flight.
Yet our graphite artists know the human model. They craft a reasonable likeness in shadow and light, in gesture and restraint.
In the same way, AI can take the bones of an idea and flesh it out with tangential thoughts—full of adjectives, nouns, and even verbs. But will it resemble the creature of the original thought? Or will it come cloaked in a rainbow of fluorescent feathers?
One of my favorite Da Vinci paintings is The Lady with an Ermine. It’s housed in a museum in Kraków, but it’s been widely published and researched for years. Painted around 1490, it depicts Cecilia Gallerani—a young woman of intelligence and beauty, though not of noble birth. She was the mistress of Ludovico Sforza, Duke of Milan, and Leonardo was the court painter at the time.
Sforza, interestingly, had a nickname: the White Ermine. So Leonardo, ever the clever court player, painted Cecilia cradling just that—a white ermine. It was more than a symbolic flourish; it was a bold, layered connection, likely understood by anyone familiar with the court’s dynamics.
I’ve reworked this image several times—sometimes with AI filters, sometimes by retouching the cracks and color shifts, and occasionally with hand-drawn overlays. Most museum scans are decent, but recently I was stunned to find the largest, highest-resolution version I’ve ever seen—on Wikipedia of all places. So large, only one app on my iPad could even open it. Naturally, I resolved to clean it. Painstakingly. Every scratch, every scar, every stray fleck of digital dust—gone.
The painting carries its own backstory. It was one of the many works looted by the Nazis and hidden in a salt mine. It was marked for destruction, but the local miners, at great risk, sealed the entrance to protect it. The painting survived. The Lady with an Ermine even makes an appearance in the film The Monuments Men, one of the pieces the Allied team recovers.
But back to me—hours in, zoomed to the highest magnification, delicately brushing out each pale speck against the dark background. And I start to laugh.
The tiny white dots I’m erasing—they look like stars in a night sky.
Stars? Constellations?
Is it possible? Did Leonardo embed a cosmic pattern? Was this some celestial code hidden in the background? Was I erasing a secret?
The answer, of course, is yes—he was absolutely that devious.
A long-time friend wrote a few pages about his years in the High Sierra. The following is a summary of his late evening thoughts before the next day of hiking.
Fears
Beyond the edge of wonderment there’s always a wisp of worry— that raw conditions lie just beneath all this wild beauty. Thinking about tomorrow’s unknown pass, or an ominous talus canyon with thousand-foot walls, or the weather itself— all of it can take on a life of its own. Nervous irresolution creeps in, undermining the grit it takes to push forward. Maybe that’s why, at the first hint of a cloud, there’s a frenzy to throw up a tent— that absurd little island of security.
Part ritual, part defiance, part comfort.
And in a storm, it works. A tent staked before the first drops becomes a small miracle of dry safety. Wait too long, though, and you end up in the frantic, ugly battle of mountaineer versus flapping nylon versus driving rain. Crawl in late, soaked to the skin, and find the inside as wet as the outside.
You move it with your spiritual hands to the ground beside you. Though it stays heavy, you are free to walk away.
Forgiveness isn’t magic. It doesn’t erase what happened. It doesn’t wave a wand and make the weight disappear. It’s still there. Heavy. Dense. And yes, it slows you down for a while.
What changes is this: instead of carrying it, you put it down. It’s still a block in your path, but now it’s on the ground and not in your hands. You make a note of it—so you don’t stumble over it again— and you move on.
A snippet on the radio, out of context, where someone declared an object completely useless. It caused me to ponder. Things that are made, are generally made for a purpose, thereby the objects are given the label “useful”. Often, the objects are tested in real-life conditions, and fail in different ways. The object then earns the label “useless”. All this is based upon human experience.
The trouble with this structure is that with time, the specific purpose is sometimes lost, and the labeling system continues apace. When a society declares something useless, it often means that the current rhythm of life has no patience for it. It is not the object that is useless, but the frame that has shifted.
An interesting point, it is not the object that has changed, it’s the purpose, and maybe even that is still valid, it’s just lost.
Then again, every so often, someone remembers, and the thing—once dismissed— finds its hand again. Uselessness was only amnesia.
Objects have a way of slipping their first purpose, and waiting to be found by a different one. They are patient. We are not.
At the edge of use and useless there is a quiet place where meaning pauses. Not everything has to hurry back into the center.
A Work Progressing 
The Art of Filtering
A Practical Guide to Prisma and Sketchbook
Filtering isn’t just about making an image “better.” It’s about exploring possibility—moving sideways, not upward. In this tutorial, I’ll walk through how I use Prisma and Sketchbook together to create layered, painterly tribute works.
1. Starting with Prisma
Prisma takes a photograph and applies pre‑designed filters. At the bottom of the app, you’ll see a row of options, each representing a different style. I cycle through them, not looking for perfection but for potential—textures, colors, and moods that might serve the final piece.
Prisma applies the filter to the entire image. You can’t isolate areas yet, so I save multiple filtered versions of the same photo. These will become building blocks later.
2. Moving into Sketchbook
Next, I open Sketchbook and bring those filtered versions in as separate layers. On the right-hand side, you can see them stacked. Sometimes all layers are identical in size; sometimes certain portrait filters come in smaller. That’s fine—I adjust later.
3. Blending Layers
This is where the art begins. I choose a blending mode—most often “Darken”—to merge filtered layers. But don’t stop there. Experiment with Multiply, Screen, Overlay, and others to see how effects stack and interact. What looks unusable alone can become essential when combined.
If a filtered layer doesn’t align perfectly, I make it semi-transparent, resize it carefully, and zoom in to line up edges exactly—neck, chin, and eyes are the reference points. Clean alignment keeps the image crisp.
4. Selective Erasing
Prisma filters can be dramatic, but I rarely keep them wholesale. Using a soft-edged erase tool, I remove large sections I don’t want—backgrounds, clothing, shadows—leaving the filter only where it matters. Hair, skin, and other focal points usually get the most attention.
5. Restoring Detail
Filters blur fine detail. To bring it back, I create new layers and redraw what’s missing: eyelashes, individual strands of hair, edge highlights. Zoom in, use a fine brush, and work slowly. Each restored detail breathes life back into the piece.
6. Adding Highlights and Texture
Sometimes I add soft highlights manually. I create a new layer, lay down a pale stroke, smudge it gently, and lower the opacity until it integrates naturally. This works beautifully for skin tones and reflective surfaces.
I also use the smudge tool to soften harsh transitions and remove digital artifacts. Smudging blends edges and adds a painterly effect without destroying the underlying layer.
7. Iteration and Patience
The process is iterative. Build color upon color, filter upon filter, layer upon layer. Save working files frequently. Try combinations that seem wrong; they often lead to unexpected results.
The goal isn’t hyper‑realism—it’s to create a clean, textured, and intentional image. Every layer adds depth, every erased line is a choice. Over time, the filters disappear into the work itself.
Closing Thought
Digital filtering isn’t shortcut artistry. It’s a conversation between tools, textures, and intuition. You can’t cross the same river twice—the filters evolve, the tools change, and so do you. Every piece is a one‑off.
That’s The Art of Filtering.