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Adobe Photoshop 2020: The Complete Guide Bootcamp

Lesson 56 of 118

Paint Brush Tools


Adobe Photoshop 2020: The Complete Guide Bootcamp

Lesson 56 of 118

Paint Brush Tools


Lesson Info

Paint Brush Tools

as we move further down in our tool panel. Next we have a slot that has a bunch of retouching tools. We covered the majority of these when we had a lesson on retouching, So next coming down would be our paint brush tool. Let's create a brand new document to work with and take a look at some of the settings related to our brush. When you have a brush tool active, you're gonna be painting with your foreground color. If you want to change your foreground color, just click on it. Choose a color from this vertical bar and then choose a shade of it from the big square on the left. Then we have our brush settings. If you go in your options bar at the top of your screen, you'll see a an example of your brush edge. Click on it. There we can change the size of our brush. We can also change how hard the edges on our brush and below that we can click on presets, toe load various shaped brushes just by clicking on these. But there's more to those presets than what you see here. If you go to the win...

dow menu. There's two choices. One is called brushes, which is the same as what we saw in the lower portion of that screen we're on a second ago, and then the 2nd 1 is brush settings, so the one that's just called brushes are presets. That's where you can load in various brushes that you've designed previously in the brush settings or the actual nitty gritty of what makes up your brush. So let's take a look at what some of the settings do in our brush settings. There are so many settings here that we won't have time to get into all of them. I would do that if I had a class specifically about painting, but I can give you a pretty good overview of what the settings mean. If we look down here in the lower sections, you will find a bunch of odd shaped brushes, and we could choose any one of these to paint with. And as you go on top your image, you'll see that you don't have to have a round brush. I'm gonna come down here and just scroll down quite a ways to see if I can find something that I think would be an interesting brush to work with and let's see, just can't choose or so many choices available How you're supposed to choose. I'm gonna go with this guy. Alright, so I've chosen the shape of my brush. Then just click with it and you can see what your brush looks like. And if when you're painting, you're going to find that there's a setting down near the bottom called spacing, and it has large change how it works with your picture. Let's say I chose this star brush, what with the star brush. If I click and drag to paint with it, you think you might just see a bunch of stars, But instead you see just their tips, and you see that there's a certain amount of space between them. That's because when you paint, all photo Shop is doing is clicking. Add one of these shapes. It's moving over a certain distance and clicking again. And then again, and then again, it's just doing that for you. In the spacing setting determines how much space there is between each one. If you increase the spacing setting so it's above 100 then you're gonna find the stars don't overlap each other, and therefore you could give them spaced out like that. So now that we've seen, what spacing does you might know, then why? When you use a normal round brush, sometimes the edge doesn't look smooth. Let me go back to a normal round brush, and I'm gonna use one that has a hard edge on it. When I use one with the hard edge, especially if I use a large one watch. What happens is I paint. It's really going to depend on the spacing setting. This looked relatively smooth, but the default setting for spacing is usually 25%. So let me bring it up to that setting because most of the time when you end up using a round brush, especially a large one that is hard edged, you end up getting an edge that doesn't look smooth. Do you see this where you can see it looking kind of round on the edge? Well, that's your spacing. So when you use a soft edge brush, just bring that hardness setting down a bit. You don't notice that edge being little bumps going around the edge. And so it's mainly when you end up getting your hardness turned up to 75 or higher that you got to be careful. When have you ever used a large brush? Anytime. Use that large brush, you're not going to get a smooth edge in. Therefore, even though I might want to cover a wide area, I'm probably going to end up with a smaller brush because it's going to look smoother on the edge. It still has that little roundy edge on it if you look close enough, but as you get a smaller and smaller brush, the amount of space between it goes down. You might think that you want to set your spacing really low, like I bring it down to 1%. And that could be great because now it's only gonna move 1% of the width of my brush. And so when I pay, it looks pretty smooth. The problem with that is, if you ever work with your opacity turned down, let's say I bring my opacity on really low like 10%. Well, now that could end up building up rather quickly, because when it puts down the different paint strokes, it can build one on top of another. Especially if you end up using settings like Flo. We'll end up covering flow in a moment. So anyway, you have to be careful with spacing and realized that the default is 25%. It will mainly affect cartage brushes because soft edge brushes you don't notice it so much. And now let's go back to amore. Oddly shaped brush in C. What kind of settings are related to it? Here's the brush shape that I currently have chosen. It just creates a curved line that gets thinner as it gets to the tip. Doesn't look like anything special. Well, if I go to the left side of my brush studies, here is an entire list of settings that we can apply to our brush. And if you click on not the check box that's here but the name of a category. This area on the right is going to populate with settings related to that. So let's figure out what some of those settings do. Any time you see the word jitter, it means randomly, very this setting. So here we have a choice called size jitter. It's currently set to zero. That means if I paint the size of this brush is not going to vary. But if I bring size jitter up, then look at the preview that has found down below. And as I bring this setting higher, do you see that it's showing it very more in height? Well, now, if I end up painting with this brush, you'll find that it varies in the size of the brush application. Each little brush tip. Well, let's say that these I wish thes applications were a little spaced out further. Well, that's where I could go to brush tip shape, and we had spacing if I brought it up really high. Just look at the preview. Down here, you see the amount of space between them. I bring it really low, they'll be much more densely packed together. But if we go back in here to shape dynamics, let's take a look at what some of the other settings are here. It says minimum diameter. The minimum diameter is how much can it vary the size of my brush? Is it able to go down to a tiny, tiny version of it or not? So as I bring this up, it's going to say I can go from 100% normal brush size down to how much smaller? So if I only wanted to vary a little bit, maybe I bring this down to 70%. If I wanted to be very a lot, I could bring it down a lot further. So then here we have angle jitter. Remember it, general means randomly vary something. So in this case, it's gonna change the angle of my brush. Watch the preview down at the bottom so it could make it so it rotates them all the way around. But maybe I want this to look a bit like grass. And if that's the case, the base of the grass should always look at what's coming from the bottom. So I think the most I could vary. That would be about seven or 8%. But now, when I paint, you can see that they vary an angle. Then we have roundness, jitter, and that means Kennett scale my brush vertically so that it's not as tall. Just watch the preview down at the bottom. As I bring this up, you can see it's squishing them a little bit vertically and so I might have it turned up just a little bit so they can vary. Then here we have minimum roundness, which is similar to the minimum diameter, which this means how much can it vary? It We bring it really low. Then it could bring it all the way down to 1% so it can, uh, scale it quite a bit vertically where you can limit it. Let's look through some of the other settings that air here we have scattering in scattering is going to make it so each brush tip instead of going in a perfect line where you've painted, it's going to deviate from the line that you're painting. So watch the preview at the bottom. You'll see things moving up and down, and therefore I can get it so it doesn't look quite as orderly when I paint. So now if I paint, it's going up and down there both nicely angled as well. Then we have count, which is how often is it gonna put in a new one of these? And if I bring that up, it's gonna put in more. Fill it in very quickly, But the main thing is count jitter is gonna do it randomly, so you get a little more kind of clumping, but you have to have a count up a little bit if we continue going down. I mean their whole sections here that we could skip over because they're very similar. If you look at a word and you see the word jitter, it means randomly vary it. So once you get used to some of those settings, then you can figure these out on your own. Here we have color dynamics and let's say that I changed my foreground color. Since we're making something looks similar to grass. Maybe I choose a greenish color. Then here it says, Huge inter. That means the basic color. Can it vary it? If I bring it all the way up, it could have all sorts of variation in the the hue. We could have saturation jitter, which means it will randomly make it more or less colorful, same with brightness, and therefore, if we do all of those things, we can suddenly get it. So the color of these is all over the place. Now, with that huge inter, it only picks the color of the first time you click in, so therefore you'll get just different colors each time. If I want to, I could bring that down just a little so it's barely turned on. Therefore, will primarily get color similar to my foreground color. But if a let go and click again, it will very. It's just gonna very closer to the color I started with the color I requested anyway, there's all sorts of things in here. We can have more than one brush tip where one brush trip kind of crops the other, Um, we can even have brushes that have what looks like what edges. But the more you experiment with this, the better. And if you get a brush that you really like, then you want to be able to save that brush as a preset, and so we can do that. Go over here to the brushes and at the bottom is a little plus sign. And that's where I can call this grass, and I can tell it to include my foreground color so that therefore, it always does green because I wouldn't want bluegrass or black grass. Ah, and that kind of thing. And I can also see, should the size always start at this size or not turning on that check box? But now I have. That is a preset, and I can tell by looking at the preset that includes the color Ah that I would use. Therefore, it's gonna be very easy to make grass in the future just by clicking on that preset. But let's continue working down our tools panel here and see what other tools we have, so we don't spend too much time on any particular tool when you go to the paint brush tool. If you click and hold down on it, you'll find there's more than one tool in that area. The pencil tool is similar to the brush tool, but it will create a completely hard edged line. It's very rare for me to use it, but on occasion, if I need a completely crisp edge, that's what ID use. Here we have the clone stamp tool. It has two versions. Clone stamp and Pattern stamp Pattern Stamp would simply apply a pattern, which means a repeating shape that it goes over and over, not something usually need that often

Class Description

All individual classes that make up this bootcamp are also available here for individual purchase.


  • Develop an understanding of how Photoshop works
  • Create your ideal workspace
  • Configure the essential preference settings
  • Set up Adobe Bridge and Lightroom for optimal integration with Photoshop
  • Navigate multiple images seamlessly


Adobe® Photoshop® 2020 is a feature-rich creative force, perfect for turning raw ideas into audience-wowing images. With Ben Willmore as your guide, you can master it faster than you think and take on a new decade of projects.

Ben takes you step-by-step through Adobe Photoshop 2020 as only he can. With an easy pace and zero technobabble, he demystifies this powerful program and makes you feel confident enough to create anything. This class is part of a fully-updated bundle – complete with 2020 features and more efficient ways to maximize the tools everyone uses most.

Whether you’re a 20-year designer or you’re opening the app for the first time, this is the perfect way to learn and love using Photoshop. From retouching to masking to troubleshooting, Ben unpacks all the essentials and hidden gems, while giving you real-world examples to drive each lesson home. By the end of the class, you’ll feel eager to make serious magic with Photoshop 2020.


  • Beginner, intermediate, and advanced users of Adobe Photoshop.
  • Those who want to gain confidence in Adobe Photoshop and learn new features to help edit photos.
  • Students who’d like to take ordinary images and make them look extraordinary with some image editing or Photoshop fixes.


Adobe Photoshop 2020 (V21)


  1. Introduction To Adobe Photoshop 2020
  2. Bridge vs. Lightroom
  3. Tour of Photoshop Interface
  4. Overview of Bridge Workspace
  5. Overview of Lightroom Workspace
  6. Lightroom Preferences - Saving Documents
  7. How To Use Camera Raw in Adobe Photoshop 2020
  8. Overview of Basic Adjustment Sliders
  9. Developing Raw Images
  10. Editing with the Effects and HLS Tabs
  11. How to Save Images
  12. Using the Transform Tool
  13. Making Selections in Adobe Photoshop 2020
  14. Selection Tools
  15. Combining Selection Tools
  16. Using Automated Selection Tools
  17. Quick Mask Mode
  18. Select Menu Essentials
  19. Using Layers in Adobe Photoshop 2020
  20. Align Active Layers
  21. Creating a New Layer
  22. Creating a Clipping Mask
  23. Using Effects on Layers
  24. Using Adjustment Layers
  25. Using the Shape Tool
  26. Create a Layer Mask Using the Selection Tool
  27. Masking Multiple Images Together
  28. Using Layer Masks to Remove People
  29. Using Layer Masks to Replace Sky
  30. Adding Texture to Images
  31. Layering to Create Realistic Depth
  32. Adjustment Layers in Adobe Photoshop 2020
  33. Optimizing Grayscale with Levels
  34. Adjusting Levels with a Histogram
  35. Understanding Curves
  36. Editing an Image Using Curves
  37. Editing with Shadows/Highlights Adjustment
  38. Dodge and Burn Using Quick Mask Mode
  39. Editing with Blending Modes
  40. Color Theory
  41. Curves for Color
  42. Hue and Saturation Adjustments
  43. Isolating Colors Using Hue/Saturation Adjustment
  44. Match Colors Using Numbers
  45. Adjusting Skin Tones
  46. Retouching Essentials In Adobe Camera Raw
  47. Retouching with the Spot Healing Brush
  48. Retouching with the Clone Stamp
  49. Retouching with the Healing Brush
  50. Retouching Using Multiple Retouching Tools
  51. Extending an Edge with Content Aware
  52. Clone Between Documents
  53. Crop Tool
  54. Frame Tool
  55. Eye Dropper and Color Sampler Tools
  56. Paint Brush Tools
  57. History Brush Tool
  58. Eraser and Gradient Tools
  59. Brush Flow and Opacity Settings
  60. Blur and Shape Tools
  61. Dissolve Mode
  62. Multiply Mode
  63. Screen Mode
  64. Hard Light Mode
  65. Hue, Saturation, and Color Modes
  66. Smart Filters
  67. High Pass Filter
  68. Blur Filter
  69. Filter Gallery
  70. Adaptive Wide Angle Filter
  71. Combing Filters and Features
  72. Select and Mask
  73. Manually Select and Mask
  74. Creating a Clean Background
  75. Changing the Background
  76. Smart Object Overview
  77. Nested Smart Objects
  78. Scale and Warp Smart Objects
  79. Replace Contents
  80. Raw Smart Objects
  81. Multiple Instances of a Smart Object
  82. Creating a Mockup Using Smart Objects
  83. Panoramas
  84. HDR
  85. Focus Stacking
  86. Time-lapse
  87. Light Painting Composite
  88. Remove Moire Patterns
  89. Remove Similar Objects At Once
  90. Remove Objects Across an Entire Image
  91. Replace a Repeating Pattern
  92. Clone from Multiple Areas Using the Clone Source Panel
  93. Remove an Object with a Complex Background
  94. Frequency Separation to Remove Staining and Blemishes
  95. Warping
  96. Liquify
  97. Puppet Warp
  98. Displacement Map
  99. Polar Coordinates
  100. Organize Your Layers
  101. Layer Styles: Bevel and Emboss
  102. Layer Style: Knockout Deep
  103. Blending Options: Blend if
  104. Blending Options: Colorize Black and White Image
  105. Layer Comps
  106. Black-Only Shadows
  107. Create a Content Aware Fill Action
  108. Create a Desaturate Edges Action
  109. Create an Antique Color Action
  110. Create a Contour Map Action
  111. Faux Sunset Action
  112. Photo Credit Action
  113. Create Sharable Actions
  114. Common Troubleshooting Issues Part 1
  115. Common Troubleshooting Issues Part 2
  116. Image Compatibility with Lightroom
  117. Scratch Disk Is Full
  118. Preview Thumbnail


a Creativelive Student

Wow. I cannot communicate the value of this course!! The true value in this course is how the instructor identifies workflows you'll need before you'll ever realize it, repeats important information without it becoming annoying, and explains the "why" behind the techniques so well that even if you forget the exact method, you can figure it out via the principles learned. Excellent value, excellent material, excellent instructor!!!


The short lessons makes it easy to find things. Clear explanations, structured content, great examples, handbook plus practice images - this class is worth x10 the price! I have seen many of Ben's classes and I'm so happy you created this one, love it

Madelaine Enochs

Ben's class has been extremely helpful for understanding how everything works in photoshop. I am so grateful for his classes. Easy to understand and thorough. Thank-you Ben!