Building Your Brush Toolbox
So we have a lot of different ways to do this and we may be doing a lot of different textures with that kind of just want to dig into it and start getting our hands dirty and mess with this so you guys have your sketchbooks in front of you um I think you should all have crayons right? So crayon is a really cool way to do it now the on ly riel parameter that I'm going to give you on how tio use this stuff try to do something that's going to be able to be encapsulated inside of a square that is where we get technical saying to make the front making the photoshopped brush easier let's put it inside a square so big line isn't going to be a cz useful as a square and all gonna make sense later but let's see ok so let's start with this crayon what I want to do with this we'll turn this sideways and I just kind of want to get a square so I'm just gonna be light with it and I'm not get well there's something here that's hard to see we'll push hard so you can see it so we're getting something th...
ere I know that's a little bit harder to see but so just make a square so just go flat and pull it down and make a square so you already have a really great photo shop brush um see if you can push hard in the middle of the crayon it makes some make it a little more circular. So what happened there? Um I'm gonna take it around and I'll show it to you guys is this little area got it faded out? Naturally it fade out organically the edges of the crown obviously put a hard line in there on the edges but this little middle part that's gold and remember this stuff's going in the photo shop so we can cut this out use that as the top bottom middle, whatever we can do whatever we want inside photoshopped this is kind of the goal that I want the person you have this little area here and that's that's what you want so when we get in, the photo shop will cut out those lines and all that stuff. But this little circle um that makes a great photo shot brush so that's a method using a crayon me do one more of these okay and it's fun and just get stuck with whatever you d'oh you know, I'm saying so don't try to make yours look like mine just do whatever you end up doing and we'll make it into a photoshopped brush so problem of say that will scan it and later um here is you guys airbrush pen still from yesterday ok, so in another class we learned how to use a brush pin for lettering so everybody you know if you're interested in lettering doing lettering with brush pin this is a great way to do it another way to use a brush up in is to make textures so what we need to think about here is that inside photoshopped um we can invert this stuff so what I mean is your whole area can be mostly black and the brush is going to end up being the white stuff so we're gonna invert that in that white area and that being black on the computer so try to just fill up a square with your brush so I'm getting little white vertical lines inside mine yes see that there's something fun and natural about like doing the best you can and it being in perfect so drugs straightest line you can and I hope it doesn't end up straight that's sort of the goal I find everything I'm doing by hand okay, so what I'm seeing here is an s l a a bunch of thick black lines I'm saying just a few thin little white lines that are inside the interior of this thing I mean scribble using this brush paint actually the plastic is touching most of the paper so I'm only letting the tip touch a little bit so now I'm getting all that tooth of the paper there and I'm gonna come over here and try to fill it in michelle from online who says old cemeteries are full of great texture? She says she sees marble would cement lots of great stuff great finding that, you know, finding that solid part of the you know, of the graves of the monument, you know, that's where you can really find out this things, things those things have to go through all the weather and they grow moss and in the age over time and there's really cool things that's a great idea yeah, we have erin, who says, I'm just noticing this old piece of black fabric tape on the back of my sketch, but all the warren and lovely that's great that's the staff man it's everywhere it's on the bottom of cups, you know, I'm saying like whatever the cub has to deal with, there's a bunch of the stress on the bottom of that um ok, so we've got we've got crayon we've got the brush pin, you might as well take your pencil and just try to fill in space with the scythe, so those are all really kind of like consistent textures and I don't necessarily want consistent textures all the time, but the very usable let me see now some of your guys this stuff is turning out tyler's got this consistent fade on this one it starts out a little bit darker and it gets thin as it goes along but like the good stuff is when the middle gets a little darker you know saying that's the stuff ends up but you'll find is really usable as a brush and this is this is a really good consistency this has a little gaps and stuff and that has more of the personality in there and so we'll try to do this but when this happens on when it's inconsistent I think that ends up being a better brush and it's going to be more recognizable to you the client may not always notice it but again you know as you know as we've talked about in other courses like we need to find a motivator for our work and these things can act as a motivator so what's the coolest part of this is where they intersect so there's something going on where they intersect and you did a good job of like separating these lines there's a lot of cool little other textures that are happening in here um and inside photoshopped weaken blur out all this stuff so we can start using it as a as a brush that doesn't really have edges cause you I kind of find edges to your brush kind of ah you don't want to like put eight brushes over top of a piece and you see where they where they intersected so there's a lot of really good lights and darks on this one so these and with magna lines to there's just a lot of cool things and let's go about this as if it's gonna work better as vertical lines we just rotate that side photoshopped works betters horizontal we just rotated or if diana works it's all you know so again, there's nothing we can do on paper that we can't fix and photoshopped. So I want you to feel like you can do whatever you want on paper and created anyway you want because all those little flaws that you may think of flowers when you get a photo shop, just fix him if you think they need fixed, right? So percy's got those interior white lines that are happening and once we mess with levels inside photoshopped, we start pulling out all this stuff. Now this is a really light way and that ends up being really, really usable inside photo shop, so I wanted, you know, we can pull all those little dark, dark spots out and I mean, the thing that's going to end up being and photo shop is going toe kind of look completely different everything you make, so let me just do a little more, uh, with I mean, with the pencil that has that inconsistency all right, cool, so these air, similar to a lot of what you guys did, and then I'll be able scan these, and I'll show you how we how we mess with these. So, um, let's use the water color has got everything you need to water color, you can use whatever color you want. Um, I want to say use black, but it doesn't really matter, because if you use yellow or orange or something, you're going to get the texture out of that, too. So, um, nothing like I said, I want to say nothing is the wrong way, but I would say the only wrong way is to not think about the computer a little bit and not try, you know, I think you should try to get this inside of a of a square shaped get it something usable but isn't so definitive that you're going to see the repetition. If you have some really, really, really significant thing in the middle of it. Well, you can use that brush, but if you can't use that brushing a repetition, you're going to start picking out the repetition, which you don't want. So what I like to d'oh with water color to make a watercolor brush, and I use this a lot for you know, vintage in distress effects I'll have a whole other course on vintage in distress effects where we can see to how to take this stuff and actually start applying it and figure out different ways of implementing this tool but this course is about building the tool and starting your tool box and I'm starting to have this arsenal of stuff that's made by you unless you just want to make a brush with your signature on it and put it on all of your work and see how your clients like that okay, so what I'm going to do with this water color I would get a lot of water I'm actually gonna start with mostly water and I feel like I said before I'm just kind of creating a little, um circle and I'm always saying that because I just keep finding of these circles of the most usable when I get in there so I just got a little bit of black now let's get a little more black ok, now we're letting the water color just do its thing so I'm gonna artist like jackson pollock it's like it's fun tio just let let it go and see how it has the canvas you know it's fun the like lose control of it and not try to control every little detail and just let it happen naturally so just try give yourself a variation of really dark spots really light spots and then figure out what you could do in between you know ok, so this is mostly water I'm going put one little piece of dark pig pigment in the middle of it and see what happens if we get like a tide I effect with that one which could be a totally awesome brush oh man, that looks sweet so it's just dabbing the brush right in middle of it ok, so now we're getting a little darker here and again if this is mostly black and I'm probably going to invert this when we get in and pull out the whites if you don't understand that you will understand it in a few minutes I want to go into the computer um take okay now let's try try to just rip this of the perforated edge here be careful with so you put it to the side and let it dry supposed to just fold it around in your notebook here's the whole I'm gonna go horizontal on this and I mean he's the hole thing but one big blob in the whole, um page and what I'm trying not to do is have any defined edges um on it all just kind of fade so I already feel like I put too much pigment and so the rest of this I'm just going to be using water to pull this pigment down but the goal is all the things that happen in between kind of the stuff that you can't really control. Ok, so here's, what I'm left with here, but I wanted to have kind of more personality inside it, so I'm kind of going to start just dad in the stuff. So there's, if I'm applying this brush over top of elements, you know, I can see all the texture of just one little, you know, you see the texture, the bob so it's all there's gonna be a little pieces of it. So if there's a little more interest inside there, um, the brush will be more valuable, and what you're going to do is you're going to put together this toolbox of all these brushes, and you're going to find that you created thirty brushes, and then you use three of those brushes and that's totally, totally fine. I feel like I use I have four brushes that it used for everything, and I have probably, you know, two hundred brushes on my presets cool. So see how this kind of got this little almost want to say a tide I effect to it, but there's something else going on there? There's a little bit of a little bit of a interior texture happening so that's that's exactly what I want you go with the only bummer? Well, maybe it's a good thing um making using the water colors and stuff is that if you're in a hurry get away for this stuff to dry so like, no matter what the deadline is it's like that thing still has to dry or else you just get stuff all over your scanner, which is ok tyler's gone in a circular motion here so there's a lot of cool stuff happening inside so there's like, you know, actually this outside line is really awesome and that could work really well for this club and I'll show you how a big blob also works so a big opaque blob works as well. These are all really, really, really usable brushes here she's got all these little and here things she's got some dots in there she looks like she flicked the flick the brush to get some splatters in there. She got really good spiders here, so like inside photoshopped. Well, then we just select all the little splatters that air usable. So these spiders out here don't get used, but these ones and in the middle become this really effective brush that we can use for a lot of different stuff, so jenna's got all these interior lines and things, so they're just big stories is actually almost looks like a storm like this looks like a cloud raining down on that looks like I could treat a field of trees and stuff well, you call that a forest don't you feel the truth? Um so yeah, I think she's got all kinds of cool little things they're having so it man this is the brush or this is the brush or whatever, you're going to find something in there that ends up being the most usable. So like I said there's a technical side to this like what ends up being usable but here this is where we get to just do our thing this is this is where we just get to be artists and get to be free and make whatever you want to make, so she's got a lot of variation in the interior of this, so whatever we pull out of that is going to be really, really valuable again, great interior lines and the stuff that's light might even be more effective to so it's just really cool it's kind of unpredictable see how this stuff's gonna work once we get it inside photo shop because I guess I just just like the other work we do with with lettering or with, you know, with any graphics we make it turns into something else once in the computer so you're not you're never really tied to any specific spot that you do it you know what I mean like you you don't have to stay dedicated thing you originally painted you don't have to stay dedicated to the letters you originally drew you just need to make it the best you can with ever whatever you're using at the time so we're making the best we can do with watercolor brushes and with pencils and with brush pens and with crayons and then once we get inside photoshopped we're going to do the best we can with the photo shop tools so one of the other things and I know that this isn't as popular and this probably people wouldn't use this is often but this breyer ended up making my favorite brush so the way I would use this prayer and this is going to get too messy for me toe have you guys do all this but what I it's just a breyer so you go to any art this's for block printing you get any art store find one of these I think the one that I usually use a little bit narrower than this but this is this will work perfect this's just acrylic black pain what I'm going to d'oh I'm gonna put paint over here just a little dab and this side is really just for this is really just for getting the paint on the roller it's not necessary for applying it so here take this go over it and whatever end of doing here that maybe the brush too um but before that I kind of just want to see what happens here so there are some gnarly little wood grain looking things in there that I didn't mean to do and it's really great and that's the joy of the stuff is that you just do whatever ends up happening so that's what happened with this one I'm not goingto putting more ink on this um I had hardly any pressure when I did this one um and I would put a little bit more pressure here actually so I can get a little more and I'm gonna do it this way so now we created these little tiny little things that will totally be usable is brushes also so let's go get this ink again more ink yeah I could use that when I start making brushes in my office there's just stuff all over the place so like you know my mother of course we talked about lettering and the different lettering things that I try to do I just have papers all over the place of different things I tried especially from using wet paint but it's fine they just keep on messing with it on dh you know this is when we get to be a free spirit good to just be an artist and try fun things and do whatever we feel like we have kind of no restraints a little morning and again I'll do all this stuff and I find out that's the best brush, you know that? Maybe the miss usable brush. Yes. So this one's really cool? This one's got a lot of light. Great texture that, um yeah, the nashville hatch prince block printing type of texture. So it's simple. You saw a quick it happened. It's in there, it's. Great. Um, so that's, that's, the breyer and that's, the roller, we think, um, I kind of like, so we got some, uh, we got an ink pad here. Creative life has just given me all their random art supplies. Um, so we have an ink pad and a sponge let's do that. So that becomes a really, really cool brush, and it makes us feel like an artist when we just started grabbing stuff from around the house and doing stuff with it. So these air just a few methods that we can use when we're, you know, trying to make brushes, they can be made out of anything. So here we've got a stamp pad. We've got ink on a breyer roller. We've got water color, we've got brush pins, we got pencils, and we have crayons, um, and weaken scan all this stuff in