HOW TO CREATE A MAGICAL FEEL IN PHOTOSHOP
Recently I have been enjoying taking images and creating something a little different with them – I like to think of it as giving the image a “little magical” feel. This is probably because of the various new brushes recently bought or downloaded. Last week’s blog was on some new brushes I discovered and a new technique for adding some variable color to those brushes. Since the brushes seem to be a major factor to getting this magical feel, I thought I would explore some other techniques using Photoshop brushes. The image above is just a quick phone snap of some beautiful pink agapanthus (Tulbaghia violacea) growing in my neighborhood. I have to be honest and say I added the Monarch butterfly to the image to add interest – I do not believe Monarch likes this particular flower. To start my workflow, below is the original image from Lightroom and the image before adding Topaz Impression filter at the end.
As you can see, the original image is not exactly a beautiful shot, but for some reason it just had a look that I liked. I worked with this image a long time in both Lightroom and Photoshop, and almost gave up on it – just did not work as a realistic photographic image. For the final result not much was done in Lightroom, just a little Basic slider adjusting and a little sharpening with the Adjustment Brush. In Photoshop Topaz (see sidebar at my Tidbits Blog for website link) Clarity was applied and then on a duplicated layer, Topaz Glow was applied and the layer set to Overlay blend mode. (See Image 1 below for settings of the these filters.) Remember these are great filters, but similar results can always be obtained in other ways like using Photoshop sharpening techniques and adjustment layers. Now a few New Layers were added on top and some different brushes were selected to fill in and add color. The image on the right shows what results were obtained by adding in different brushes in different colors and using a Topaz Glow layer. I still really like Aaron Blaise’s Foliage Brushes so several layers used his weed and reed brushes to fill in the front brown areas. Several soft strokes were also added in the mid ground and background just to add some color that was sorely missing. With his brushes, not many changes were made in the brush engine as he has done a wonderful job of setting them up to give good results.
Also used several of Deviant Art’s Frostbo Grass Set 2 brushes. (Be sure to read his usage rules for use.) Frostbo is one of my very favorite brush people and his brushes are all free – check out his other brush sets too. These 11 grass brushes were very basic and created in an older version of Photoshop, but that makes them very easy to manipulate with the Brush Engine. Two of his brushes were manipulated and added to this image. Brush 010 was selected, and in the Brush Engine, changes were made to Frostbo’s settings: Brush Tip Shape Spacing from 25 to 1000, Size 137 to 800; Shape Dynamics Size Jitter from 51 to 0, Control Pressure Off, Min Diameter 0, Angle Jitter 2, Roundness 0, Min Roundness 0, checked Brush Projection; Scatter not used; Color Dynamics Control changed from Pen Pressure to none, Hue Jitter from 19 to 4, and Saturation Jitter from 20 to 8; and checked Wet Edges. These changes created a slightly different brush that worked better for this image. A similar change was done to Frostbo’s Brush 004. There are no additional settings applied his original brush other than the Brush Tip Shape settings of Size 154 pixels and Spacing 25%. The changes I made to this brush are: Brush Tip Shape Size 700 pixels and Spacing 331%; Shape Dynamics just Angle 4 and Check Brush Projection; Texture Scale 78% with a really obvious light and dark watercolor pattern selected, Brightness 9, Contrast 5, check Texture Each Tip, Mode Color Dodge, Depth 100%, and Depth Jitter 0; Color Dynamics check Apply Per Tip; Foreground/Background Jitter 100, no Control on, Hue Jitter 3 and all the rest o; Transfer Opacity Jitter 8% and Flow Jitter 71%; Wet Edges check on, Build-up checked on, and Smoothing checked on. This created a very different effect. Below are what the brushes looked like before changes and after changes.
The After brushes look different – not a lot different, but different. One reason is that the Brush Projection is checked in my variants so the brush stroke can be stretched or squished depending upon how you tilt and move your stylus. The bottom row shows several variations of the same brush stroke with it turned on. It can add that additional variety needed to give the random look to the brush. Just uncheck it in the Shape Dynamics section if you do not like the effect.
The Monarch butterfly (an object I had cut out of another image) was added and a layer using Kyles Real Watercolor Salt Medium brush was used to add some of the little dots throughout the middle part of the image. Any splatter brush can do this, I just liked his. A stamped layer was created (CTRL+ALT+SHIFT+E) and Nik Viveza 2 was used to bring in the butterfly as the focal point. Next more Frostbo brush strokes were added on a New Layer and set to 56% layer opacity. On another New Layer above, the feel of small blooming flowers was achieved by using Kyle’s Real Watercolor Spatter Spread Brush set to 22% layer opacity and a Bevel & Emboss Layer Style added to give a little depth to the back area. A New Layer with Kyle’s Real Watercolor Spatter Mixed brush was used to add in the circles that I just liked and set to 80% layer opacity. This is where I was at in the right image above. Not a bad look, but it still needed something. That is when Topaz Impression was added – again using one of my own presets. These settings are also listed below if you would like them. Finally a Curves Adjustment Layer was added to correct overall contrast and another one to light the middle of the image a bit more. By filling the second Curves Adjustment Layer mask to black (CTRL+I in mask), then painting back the areas to brighten with a 30% brush opacity, the effect could be localized. That was it. The image was transformed into a magical colorful field of color.
Here is another example that actually is very similar to the first image. This time three images were composited to get this magical effect. They are all of weeds on my back porch (no comments please) and the base image is of the center weed in front of a step up. The pretty wild flowers and the front right green were masked from their backgrounds and Refine Edge was used to clean them up. It did an amazing job as it was difficult getting all the stems in the flower looking nice. They were then arranged in the original image and just a lot of exactly the same brushes used above were used to fill in the area. Tinkerbell brush was from Camilak3 on Deviant Art and on a layer below, her skin and clothes were painted in using a watercolor brush. To get the final feel, three four filters were applied as I just could not get it looking the way I wanted. They were Topaz Glow, Nik Viveza 2, Topaz photoFXlab and Alien Skin’s Snap Art 4. I will give the preset settings below under Image 2.
One of the things I am starting to understand is that you can take any brush and basically “own it” by going into the Brush Engine and start playing. Once you like a brush, be sure to save it down as either a Brush Preset by clicking at the bottom of the Brush Panel or Brush Preset Panel, or as a Tool Preset by going to the top left of the options bar and clicking on the tiny arrow to open-click on the Tool Preset icon on right. That way your own version is ready to use over and over. There is no limitation on what you can do with a good basic brush. I have always loved my basic Chalk 60 brush – it just works for me. But now I have been experimenting with more object type brushes and they are turning out to be quite flexible when settings are changed also.
This week I just wanted to let you see how this can be done – it did take several hours to do each image, but they were a lot of fun to do. Since that is what I like to do, it was just perfect. Hope you enjoyed some of the tips and try out a little “magical look” to your images. Have a great week!…..Digital Lady Syd
Image 1: The Topaz Clarity preset is one I created called SJ White Tulip and here are the settings: Clarity Dynamics-Micro Contrast -1.00, Low Contrast 0.05, Medium Contrast -1.00, and High Contrast 0; No Tone Levels or Hue/Sat/; and Lum Red 0.09, Yellow 0.42, Green -0.08, Blue 0.38 and all others 0.00; and Tone Level Black Level 0.11, Midtones 0.22, and White Level -0.33; and Sat Yellow 0.22, Green 0.08, Purple 1.00, and Magenta 1.00. Topaz Glow setting is also one I call SJ Mysterious II Water and here are the settings used for it: Primary Glow: Glow Type Dark, Glow Strength 0.30, Effect Sharpness 0.63, Electrify 0.14, Simplify Details 0.17, Edge Color 0.28, Detail Strength -0.06, Detail Size 0.20, Brightness -0.56, Contrast 0.44, Saturation 0.00, Line Rotation 0.00, and Glow Spread 0.00; Secondary Glow: Glow Type Light, Glow Strength 0.00, Effect Sharpness 0.22, Electrify 0.03, Simplify Details 0.00, Brightness 0.45, and Contrast 0.64; Color Overall – all set to 0; Red Sat 0.34; Orange Sat 0.33; Yellow Sat 0.03 and Lightness -0.29; Blue Sat 0.42 and Lightness -0.43; and Magenta Sat 0.75 and Lightness -0.35. Topaz Impression preset is one I call SJ WC like effect on bldgs – here are the settings: started with Watercolor II preset and these were the final settings: Stroke Type 04, Brush Size 0.91, Paint Volume 0.42, Paint Opacity 0.87, Stroke Width 0.33, Stroke Length 0.89, Spill 0.23, Smudge 26, Coverage 1.00, Color Overall Hue 0.15, Saturation -0.20 and Lightness 0.06; Red Sat 0.47 and 0.14; Orange Sat 0.60 and Lightness -0.42; Yellow Sat -0.33 and Lightness 0.13; Green Sat 0.20 and Lightness -0.32; and Blue Sat 0.36; Lighting Brightness -0.04, Contrast 0.39, Vignette 0, and Light Direction X0.33 and Y0.06; and Texture Strength 0.78, Size 0.30, Canvas IV, Background Type solid white, and Background color used #d38967 – all other settings not listed at 0.) Adjust your color swatches to get other color tones.
Image 2: Topaz Glow preset used is called Room Glow by Blake Rudis. (See my blog How To Get the Soft Glow in Topaz Glow for info on creating this setting.) Topaz photoFXlabs is a plug-in that does not support Photoshop CC2014, but can still be used with Photoshop CC which is what I usually use. I love the InstaTone setting in it and it was used for this image. Here are the steps and settings used just in case you own it: First set Dyanmics slider on duplicate layer to -30; In Brushes, painted in burning around Tinkerbell and then used Detail brush to sharpen her and the line behind her; then set to Smooth to soften the lines in foreground. Instatone Photo Library using
last image top row to get a nice tone to the image. Then Adjustments Temp -9, and Dynamics 64. This time Alien Skin’s Snap Art 4 was used to apply just a gentle painterly feel to the final image. Here are the settings used to get the final result of the image: Oil Paint Detail preset modified: Background Brush Size 14, Photorealism 62, Piant Thickness 84, Stroke Length 11, Color Variation 18 and Brush Style Default Brush, and Random Seed 7556; Detail Masking Effect on Mask 1 – Brush Size -30, Photorealism 80, Paint Thickness -40, Stroke Length 0, Color Variatino -29, and Brush Style -29 painted over Tinkerbell and some of the splatters and the front two flowers; Mask 2 – Brush Size 23, Photorealism 43, Paint Thickness -40, Stroke Length 0, Color Variation -29, and Brush Style Default Brush and painted in some of the center weed; and Mask 3 – same settings as Mask 2 and painted over the line at top; the Mask Tool was set to Size 11, Feather 50 and Amuont 85. Color Brightness 10, Contrast 12, Saturation 14 and Temp 0; Lighting Highlight Brightness 30, Highlight Size 35, Direction 280 and Angle 66, Highlight Color White, Vignette None; and Canvas No Texture.