Up Close & Personal with Brushes in Adobe® Photoshop®

Lesson 1/1 - Getting Up Close and Personal with Brushes


Up Close & Personal with Brushes in Adobe® Photoshop®


Lesson Info

Getting Up Close and Personal with Brushes

I hope you guys are ready for this because we're gonna have some fun right? And you have been having fun all day already and we're going to find all week but today right now we're going to talk about brushes in photo shop which is something that's really fighting because you can do so much of it but it's also one of those things that I think a lot of people get kind of freaked out about when they're newer to photo shop because there's so many choices and they're so money controls and options and it can feel really overwhelming so we're going to start at the very, very basic stuff, right? So first things first what who knows the keyboard shortcut for brush tool be right? Yeah, maybe for brush so that'll pull up this this tool family right here and there's all different kinds of tools in there, but we're just going to focus on the regular old brush tool and the stuff that we're going to be talking about doing today can apply to any brush tool. So whether that's an eraser or any of the yo...

u know, healing including stuff, they're all brush engine tools so you khun dio all kinds of manipulation to them as well, but we're just going to focus on the one tool right here so now that we've got that selected, I think one of the best places to start is learning how to control the size of our brush that's huge and there's a lot of ways to do that but one of my favorite methods is with the keyboard and even with the keyboard there's more than one way of doing this believe it or not, but we'll just start with the basic and the first thing we're going to do is learn the right bracket key that makes our brush bigger and the left bracket key makes it smaller so that right there is really really handy and I'm going to go ahead and make this a hard edge brush here and let's just talk about this so we're going to talk about some basic strokes and some basic controls for the brush and then we'll get into all the ways we can really go wild with it. So now that we've learned about the size let's talk a little bit about the marks we can make with this I just have a round brush right now and if you've never played with any of your brushes before our changed your brush then this is what you may be used to. So I've got a hard round brush and if I just click with it I get a dot if I click and drag I get a stroke and it's hard edged so if we want to try something different and take this hard edged round brush and make it soft the best way to do that is with the keyboard as well. So that's the same left and right bracket keys. If we add the shift key, we can change the softness or hardness, so if I hold shift and I do less bracket keith, I'm going to make my brush softer, and if I do shift right bracket key, I'll make it hard again. So shift left bracket to make it soft, and now I'm going to get a fuzzy mark like this. So those are two really basics right there that make that really easy to adjust if you've not done it with your keyboard before, you may have seen it up here, up in the options bar, we have this drop down here and here's where we can find the size and hardness controls for our brush. And so when we're doing the left and right, bracket keys were changing the slider right here, and the left bracket key makes it smaller. The right bracket came, makes it bigger, and then when we had shift, we're adjusting hardness, so shift left bracket keys going to drag the slider this way and shift right bracket keel, drag it back up like that well, now, it's huge, so the benefit of doing this on the key word rather than massing over and doing it this way. Is being able to see what you're doing because if I come up here and I dragged the size down something like this and I've got thirteen pixels, I don't actually get to see what that brush looks like until I mouse back over in my document and then I realize it's so tiny that duty is putting the photos ops, putting little crosshairs around it, and so you can kind of be like goldilocks all day and playing around here and now it might be too big or too small, so it's really handy to be able to use those keyboard shortcuts like this, so that is really great. A couple of other things we've got a pair in the options bar we can control the opacity of the marks as we make them, we can also change the flow, which is basically how much pain is going to come spilling out of our brush. We also have blend modes over here so we can change the way that that paint lays down on our canvas similar to like the blend modes in the layers palette that we may be used to and what's also very cool is we have these options right here and these work with tablets, so I have a tablet with me here today and I don't know if we can see this, but this is the bamboo tablet from welcome and the's a really great. They come in all different sizes and different price points and they're really great because they let you use the brush more like you would be used to in the real world when you have a pen on paper, you know, paint and that sort of thing. So it's cool too is this little button right here is going to adjust the opacity based on my pen pressure. So if I brush really softly, I get a really light stroke. And as I press harder, I'll get a darker stroke. So that's, another reason that these could be really fantastic. So that's this button right here that is just the capacity. And then over here, this one is going to change the size of the brush based on how hard I pressed so I can make my russian bigger. Or if I press less, the brush will actually get smaller. That makes sense. So the tablets are pressure sensitive, which is why they're pretty great. Another thing that we can look at here is our air brush control. So if I have that off right now and I paint with it it's just if I press and hold my brush down, I get basically one squirt of paint, but if I turn on the air brush and then I just precious present hold, you see how it's bleeding out as you would expect if you were painting with an airbrush it's just going to spray on out like that. So that's a little bit about these controls up there pretty basic stuff, but now we're going to take this and actually make some fun stuff. We'll throw away my little layers here, and one of the things I like to teach people if you're playing around with brushes and just one experiment works really well that just have a blank document and add empty layers and kind of, you know, just like when you were in preschool and you would have a drop cloth and do some finger painting it's a great way to just explore if you never made a blank document before, all you have to do is coming to the file menu and choose new, and then you can actually enter in whatever dimensions you want, fear blank documents. So sometimes people spend a lot of time working on photos and photo shop, and they never realized that you can actually in pink blank documents, too. So from the file menu, if you just choose new and it's one of the rare places and photo shop where you can just come in and put however many pixels you want into your document on dh because you're actually creating it from scratch. So that's what we have here so we're going to go ahead and play with us and actually make a fun little picture, and we'll be talking about text in our next session, but these cute little whale doodles are actually ding bats from a font, so this is actually just text right here, and we're going to go ahead and use them to colorize them and have some fun with it. So first thing I'm going to do is we've got this blankly right here so that's perfect, so make a blank layer and then we're going to get into changing our brushes and talking a little bit about how we pick color and such so up in our options bar up here we have this drop down here where we saw the size and hardness, but we can also choose different brush tips, and there are some right here this is one way to act assess them, but if we click this button here we get our brush panel and nested along with our brush panel is our brush presets okay, so brush presets here or you can come up and do it this way, but once you get into it, I think that this is probably the easiest way to go. So I'm going to open my brush priest, that panel, if we scroll through here these air, the default brushes that just that ship with photo shop and there are a ton of them, so this may look familiar. You may have played around in here a little bit, andi, we'll just start with some of these basic ones. I'll scroll down and grab maybe, like, how about we'll do water color? And this little preview that pops up is because I've got my tablet here. Um, so it's going to show me a little bit about how the brush is going to interact with my work space? If the bugs you tow have that on your screen, you can turn it off by clicking this button down here, so I feel like my screen has enough going on, so I like to turn that off because it makes me dizzy to watch that thing spin while I'm working. So I'm going to go ahead and turn that off, and then you choose the brush that you want to try just like clicking on it, so I'm gonna pick up this watercolor brush on dry and let's get some paint going on so I'm going to come over here to my color swatches this is my foreground and background so much and actually I'm going to draw in the water behind these little whales here to start with, so I'm going to start with black so that's a default color your black as your foreground in white is your background and you can get those colors back at any time by either pressing this little button right here that's its entire sole purpose, which I think is really refreshing, right? Because photos off so many things do so many things and this little black and white button that's all it does it gives you black and white so you can click on that or you compress d for default, but I'm going to pick that up and get some black paint and I'm just going to draw a little um let's actually get something a little more standard here this guy for this and we'll draw in some water and we'll leave that for now. Um let's go ahead and color in our water so we'll add another layer and I'm going to drag it underneath the water layer so label this by double clicking and we'll call it water and we'll call this the c I guess and now we'll go ahead and fill it in, so if I don't want to probably paint the black sea black I wouldn't work very well we'll go ahead and pick a different color and there's a lot of different ways you can do that too you can pick your colors watch right here if you just click on your foreground color you get what's called the color picker and you've got so many possibilities for color here that it can be overwhelming if you're not familiar with the color picker don't let it scare you um I like to think of it as a universal translator because it speaks color in five languages which is really cool right? So we have a chess beav values here so the h stands for hugh the ss saturation and brightness we have rgb values here l a b, c m y k and this is called hex code so when you're entering when you're picking a color you can type it in my number if you happen to know a specific color that you need to match or you can scroll around in here and just pick you know pick a hue that you like and then click in the box to get a specific shade and then we're ready to paint so let's find something fun to paint in this sea with maybe not the water color one that I thought earlier we'll do maybe like a fun charcoal so I'll make my brush all bigger and then I'm just going to go ahead and paint this in and some of the brushes air going to take awhile tio render as this one is doing depending on your system so we'll let that finish out there we go let's try maybe something different one of these fan rushes there we go so when you go ahead and just color in this see right here and then perfect and depending on your settings which we'll get into an imminent we can control the opacity of some of these and right now my flows at sixty four percent so that's what allows it to have some different color variations and it can build up on top of itself which can be a really nice effect so there we have our c let's add another layer in here to paint in our whales and I'm just going to grab a gray and we can keep our fan brush but I'm gonna make the smaller and I'm gonna come in here and just paint paint this guy and we've got to do some layer readjusting that way s I'm changing my brush size and was going to paint in the little a little whale and let's get this on top of our water for one thing and we'll drag our flow up to one hundred percent because we don't want to see you don't want to see stuff behind these guys there we go and we'll choose a lighter a lighter gray maybe for this list get him a painted in all right, so there were, you know and some effects to these within the brushes we've got all these different kinds of round brushes we've got flat brushes and all of the brushes have different attributes and different characteristics that are assigned to them that changed the way that they behave and this looks like a lot of brushes but this is only the beginning of the brush is ok, so we even have some for example ah, the talk brushes here we'll just do some quick doodling to show you how these work when you enlarge the cursor the cursor looks a little crazy especially if you're used to just a nice, friendly round cursor this look a little menacing and the marks that it makes our different if I breast press and hold with it I get this kind of blob like this, but if I street with it I get a a shape that wouldn't be possible with just a round brush. So that's, why we have so many different things to start with um in addition to this, we have even more if we come to the brush presets and we clicked this panel look at all these different sets of brushes that come with photo shop and this is just the default set right here so let's take a look at the photo finish brushes well go ahead and replace that list with this so now we get fun things like mesh brushes, plastic wrap and rolled rag brushes sea sponge that might be nice for our water will come back to that on going to grab this texture comb which I think is really fun and if you have ever checked out the martha stewart section at your home depot she has a whole kit for this and we have it right here in front of shops so that's kind of fun going to pick up this brush and I'm going to come up to the opacity here and I'm going to dial this down and I'm gonna turn off these controls some people really like to work with their pressure sensitive options turned on for their panel for their tablets but I don't know sometimes I feel like there's so many other things going on with the brushes that I want to know what my capacity is and I don't want to worry about how hard I'm pressing on the tablet so I like to personally I turn those off but that's just me so I'm gonna come in here with this I've got a lighter shade of gray and I've dropped the opacity down and we will do twenty percent and by the way you can adjust the capacity you don't have to come up here and click on your keyboard if I want twenty percent I'll just hit well, now that we have it set like this, you could just prince the number, so if I hit seven and I get seventy percent if I hit tio I'll get twenty percent so many coming here and I can just stroke over this wail let's zoom in so we can see a little better, huh? And I can just stroke over this and give him kind of this funky pattern going on which gives him some texture or maybe that's a her whale I'm not sure we'll give this one some darker starker stripes something like this we're going for the hand drawn look today three organic ceiling um all right, so there you go that's the texture comb brush so we've got that filled in let's go back to our c layer and maybe we can add some see sponging on it and we'll pick a different color like this and we'll keep our opacity nice and low and if I make my brush really huge I can just kind of click over it and fill in the water with some different how fun is that so it's like, you know you could print this out and hang it on your fridge because it's going to be too like that all right um let's go in the sky and then and then I'm gonna blow your mind with some really crazy stuff but we'll fill in this guy first on dh let's try let's use leaves another set of brushes here called and I like the m brush collection there's a really fun stuff in here so we'll grab maybe thiss rough wash and maybe like a yellow and we'll bring her rapacity up quite a bit and just paint this in those kind of with this fun finish that you might you know you might pay big money for someone to come into your house and do this on your walls if only it could easily photo shop your walls I mean that'd be nice all right? So we've got that going on that is looking good but let's let's take this a step further right because we could actually make our own brushes and I don't know if you guys have tried that before but it's really fun and uh and anything goes so in order to make our brushes first thing I'm going to do is actually make a new document and we'll do that in a new document just to keep it clean um and I'll make this like I don't know eight by eight three hundred pixels prints that were going to make a new blade document where did it go? I was so small did I say pixels that's the wrong size, isn't it it is let's try this again I would sing pixels inches that will help I am a three hundred people french there we go all right, that makes more sense all right? So you can make brushes out of anything, which is why they're so cool so you could make a brush out of other brushes you can make our brush out of, you know, I could draw something really embarrassing like like a smiley face and we could make this a brush, but we won't do that so you can make anything a rush you could make a photo into a russian, so we'll be doing some of that as well, but we're going to start by actually taking one of the shapes. Andi, we're going to turn one of the customers shapes here into a brush, so grabbing the custom chic shaped tool and from this whole selection here I am going to ground the heart rate here so I grabbed the heart and I'm just going tio draw a big heart like this oh, and we have some things ascribed to it oh goodness let's just keep it simple. There we go when you're making your brushes. The key is that you want to make them with black because anything that's black will convert into an actual brush and anything that's white is just going to be transparent so it won't be part of your russia all so you always want to make it with black and you also want to make them at at least the biggest size you think you would ever use it because brushes are going to exist on lee it the size you create them, and unlike shapes that are vector objects, rates so they're defined mathematically and you can scale them, and you have to worry about pixels and resolution and all that stuff brushes are not like that, so they are pixels their pixel based, so we need to make them at the size we want if you make them too small and then you, you know, find out later that you want to use them quite large, then you're going to be you're gonna be upset because they're going to get pixley and pretty gross pretty quick, so you want to become big, so make a nice big heart like this, and then to go ahead and turn this heart into a brush, we're going to just use the marquees selection tool and just draw a marquee around it simple enough, and we'll come up to the edit menu and she's at it define brush preset time, so we'll go ahead and do this, and we're going to call it like my heart there we go and you'll see that it pops up right over here in our brush panel now here's the thing it's in her brush panel but it's not there forever it will be there we can close photo shop and we can reopen it and will be there but if you switch to a different brush library you will lose it because it's not saved with this collection of brushes ok, so we're going toe create a new collection so we can save this so once we've gotta brush created we're going to come over here to our brush preset panel menu and we're going to choose preset manager and this is where we can set up our brush collections however you want so if there's some brushes that you're like oh I never want to see those again you can banish them but I wouldn't recommend it on dh you can reorder them like maybe you have a certain set of russia's you always want at the top you can rearrange them in this panel right here but what we're going to do is actually create a whole new set of brushes so I'm going to select all of these and delete them they're not gone off my system there just gone from the set that were about to create so don't panic you can get him back by by choosing that collection anytime so I've got my brush right here and then I'm just gonna click on it and hit save set on I'm going to name it and we'll call it best brushes mba within eight and we'll hit safe and then we can close this out will hit done now we need tio actually restart photo shop in order to see this where it's that so don't panic, we'll save this and can close this out, and we'll quit photos up and will realize it, and then it will recognize that panel. So now when we come back to our brushes, we see the best brushes ebola right here and here's our brush. Okay, so if you our find that you're going to be making a lot of brushes, it might be advantageous to put it in his own set like this, otherwise you can also just save it along with whatever set of default brushes that you want, so you don't have to make your own set, but it's just kind of keeps your panel a little more organized and who doesn't like that? So we've got this heart brush here we'll go back and open our way all document all right, so here we are and let's see what all the fun things we can do with this brush. So, first of all, huge because we made it that way so that's a good thing, because that means we have options and we're going to come up in here and make a new blank clear now we've seen a little bit about the different existing brushes and all their different presets but we can tweak the way that they behave and by that I mean we can do much more than change the size of the brush the hardness of the brush for the passage of the breast like if you've never messed around in the brush panel before look out here we go all right so we've got our heart brush and in the brush panel we feel a preview of the stroke right here and that looks crazy like who would use a brush to ally but but we're gonna have some fun with this and the first thing we're going to do is adjust spacing of the brush so if I dragged that to the right we see that the heart's spread out into something that actually looks like a heart and if it helps you can think of this panel kind of like a buffet right it's a buffet of awesome brush options so on the left over here we have different setting different collections of setting so we have the brush tip shape we have shaped dynamics and scattering and so on this big long list and then on the right sand side we can adjust the corresponding settings so under tip shape we get a just spacing and we can adjust angle right here so we can spin the heart's any which way that we want well go ahead and leave them upright for now and then we're going to come down to sheep dynamics this is where it starts to get really fun at the top here there's something called size jeter so I may have my brush set to be the size right now but maybe I want it tio jitter and change sizes on its own so as I dragged the slider around photo shop will randomize different sizes as I am painting that all right so you'll see in a minute I know it's hard to appreciate right now but we're gonna change the size jitter a little bit on obviously the higher we make the jitter the more extreme variations there will be within sizes of the heart so we'll just do something like twenty five ish percent we can also deter the angle so you know we probably don't want all the hearts to just appear perfectly upright that's really stiff so if we adjust the angle deter than some of the hearts can kind of spin around and go other different directions so we'll start with that for right now here's where it gets really magical scattering christ I'm going to come down to scattering and that's going to allow me to take the hearts and scatter them about look what they're doing down here so as I'm brushing instead of all the hearts being in a perfect little line they're going to kind of just get tossed sort of like the way the flower girl tosses pedals down the aisle hopefully she doesn't just dump them all out in one spot so we're going to scatter scatter this around we can also change the count so do we have a lot of heart it's or just a few hearts and then does the count dinner as well? So does that very possibly we'll see a lot of this is really experimentation and I think it's important to keep to keep that in mind because I think when I've taken workshops and I'm watched and learned from other instructors especially when I was first starting out they would be like oh here's my brush set up and they would you know, change all these things and then they would make a dash across the campus and it was like perfection on then I was like, oh, I'll never be able to do that how did they know that the jitter for the count should be ten percent? How did they know that? And it really just comes from experimentation and no taking so a lot of this just be prepared when you're playing with your brushes is you you change some sightings, you paint some stuff and then you go back and you tweak it because it's really hard to know exactly how everything is going to behave just straight out of the gate so we'll tweet the dinner a little bit and another really fun one is color dynamics so in order to get this to work the way that color dynamics works it has a couple of things it can pull from your current for background and background colors which right now I have black and white so that's not very fantastic so let's pick some different colors so pick like orange and then if I command click well do I don't know purple or something? Eso I've got orange and purple for my colors now so that's going to be a little more exciting and then we can have it jitter back and forth between those colors or I can also come down to the huge inner control and I can just set it all the way crazy like two hundred percent and we can get rainbow hearts going on just wait this is really ready for this let's go ahead and do this all right so here we go so we've tweets are brush it's a heart we got it from the shapes panel we turned it into your breasts and now watch when I paint with it oh let's not do it at twenty percent capacity, kara that was terrible there we go, we get green hearts because we didn't turn on a playa partick if we turn on apply per tip it's now going to take these settings and randomize them like this right you know you don't want to go home and draw whales and heart now um so isn't that fun? And now you're thinking that's crazy all never use that, but let me show you we're going we're going to rewind and then we're going to make this a little more practical but you can take any rush and do this so it's also I guess important to keep in mind especially if you do a lot of designs for like announcements you know, birth announcements or save the dates or any of those kinds of fun design pieces aa lot of times when you make brush something like this, you're creating it not so much to like paint and fill in or do some like of those types of brushing, but you are using it more like a sting up so you can kind of stamp with it and it'll be, you know, randomized a little bit like that, so all right we're gonna undo this and we're going to take it another notch ahead, another layer deeper and we're going to combine our heart brush with another brush did you know who? All right, I know it's getting hot in here now that's crazy all right, so first things first let's make this brush not so crazy, so we'll turn off all the craziness about like the color and stuff um we can keep the scattering and such but now we're going to make a whole new brush like from scratch eso we'll make another new document with the right settings we'll go with inches again and I'll just be like eight by eight three hundred because I like to make my russia's big and you can always downsize them all right? So what we're going to do here is actually make another brush out of ten axed and will be covering text in more detail in the next session so don't panic if you've never used it before but what I'm going to just do is pull up the type tool and I'm going to make a call him a text something like this and I'm going to the typeface like american typewriter um how big's my cursor something like that and rather than type of a big article in here, I'm just going to fill it with text by coming up to the type player and choosing tight menu and choosing paste warm ipsum um and we want it black there we go and we'll need to adjust our letting it looks like s o we will talk about some of these type options coming up, but basically if you're not familiar with laura um it's um it is basically gibberish and so I'm going to pay some gibberish into this box and format it like so and that's looking decently good and I'm just going to duplicate this a few times and maybe we'll change we'll change this and make this maybe times new roman and maybe we'll make it bold again we'll be talking about text here shortly, but what I'm just doing right now is trying tio randomize some text so I'm going to get some columns out on here and I'm gonna scale some of them different sizes and we'll make some of them a little bit wonky spin them a little bit like thiss so anything goes when it comes to making brushes, which could be a lot of fun I mean, you can also scan things to you I mean, you can scan your signature and turn it into a brush that's kind of a popular one for people, you know who like toe watermark, their stuff and all that all right, so let's do one more in here this way maybe oh yeah, that look good and disheveled. All right? So we made kind of a mess out of text random text and what we're going to do now is I'm going to come over to my layers palate and I'm going to select all these layers and I'm going to press command g to group them and the benefit is that now I can add a layer mask from the bottom of the layers panel and using my brush tools we'll come back to our brush presets, then we'll swap groups. We've got a lot of panels going on don't me here we go, um, we'll go back to our let's do your faux finish brushes, and we'll grab something like a roll drag brush. We'll make this big and we'll paint with black and a lower the capacity down to, like, twenty percent, and now I can kind of come in here and fade some of this away and rough it up a little bit, right? I don't want this to look so perfect in computer e and all of that stuff, so I'm going to kind of rough this up just ever so slightly, and we can see in the layers panel the mask that I'm making here so that's that is having a good effect, and then we can go ahead and turn this into a brush, so we'll go ahead and flatten the layer just for good measure. Flatness will select it, and we'll come up to edit, await best practices. We want to get back to our proper panel that we have right? Because whichever panel, we have active that's, where our new brush is going to go lift, so if you make a lot of brushes, you want to get in the habit of remembering. To go get your panel and pull it back up so it got this elected and we'll go back to edit defined brush preset and I'm gonna call it news print and there it isthe and now we can actually popped back over to our lovely whale image and by the way, if you've ever been working with brushes and your cursor changes from this big monstrosity into this, have you guys ever had that happen? And then I don't know about you, but when I, um it was early in my photo shot dave, this happened to me all the time and I couldn't figure out what it was and I was actually like this close to calling adobe and complaining that my version was corrupt and I had conservative possessed copy of photos shot because no one was talking about it and I couldn't figure it out and anyway, it's really just the caps lock key so that's like a million dollars tip right there because I almost pull all my hair out trying to figure that out. And then as luck would have it after I figured it out, I read it in like five different articles the next week somewhere so there you have it so that's the caps lucky but now we can go into our brushes and I'm going to take my my heart brush, so I've got that selected as my my main key brush and I'll go into my brush panel over here where we can control all of this and now I lost all my settings will come back into shape dynamics and we want some angle dinner and some size deter I don't want roundness dinner we want our scattering um for sure space this out all right so we've got our main heart brush and now if we come down to this option for dual brush we can pick another brush to combine with the heart so how about that newsprint and then these settings right here will control the newsprint so we wanted to be pretty large so it covers the hearts soc right here if we make this too small they won't overlap so the way that this works is that this fresh is going toe overlap with the heart brush so I'm going to change the size I can adjust the spacing to get it however I feel like looks good um scattering maybe not so much all right and now we'll get a color that we weren't like this orange right here ready for this I hope I'm not going to be anti climactic again we have everything set one hundred percent capacity you never know all right here we go and now when I click with it boom I'm giving hearts with newsprint inside of it right so cool so what I might actually do with this is sometimes I might come into st dynamics will turn off may well turn off scattering and shape dynamics off we'll just leave the dual brush on and that way I can know exactly what I'm getting, so if I want my brush this big, I make it this big and I click and I'll get it and I can also come down and then just change the angle right here so I could actually hand tool every mark every different slots that I want to make, I can hand tool it by adjusting this right here. How fun is that awesome, great cool stuff all right, let's take a peek at another one because it turns out that you can also you can load brushes that other people have made so you can make your own from all kinds of different sources, but you can also load rushes from other people so let's, take a look at some of those to get those loaded, you're going to come into your brush priest that panel and click the drop down over here and just choose load precious and I have a collection over here in my files called a br files and so these are the different russia's they're usually going to be dot cbre's we'll just load, I'm loading a lot here, but they're really fine now where do you get these things? A number of places, right? You can get them from places like brush easy is a good one, and these links are going to be in that resource guide, but brush easy has lots of free free press is that you can download, and their collection is kind of amazing, like, you can go there and be like, I want an old world compass, and you type that in, and you will find people have made brushes out of compass is before so crazy, so anything goes or coffee stains like rings from your coffee and that kind of stuff. So all kinds of things and that's where he found some of these, so some of these really fun ones are like these retro crazy brushes. So what we're going to dio is use the marquis tool, and I'm gonna draw frame out something like this, and we'll fill that with black, and then we'll just start having some fun with it. Some of these tools, some of these brush marks that were here, so lots of these funnel retro shapes like this crazy thing, eh? So I'm just going to take some of these and add them in by clicking like this, so I made it basically going to rough up this in all kinds of fun ways do some stuff like that, maybe we'll some of this action and well, that's, a lot of first bursting going on. So now that we made all of this, if I wanted teo, I could just select this and turn this into another brush. Right? And then I could keep this for for later so you could make brushes out of other brushes. And we can call this like, retro frame, all right? And then it's a simple as maybe we do something fun, like grab this picture of seattle. I shot this on my phone last time I was in town. Little did I know I would get to show it to you here in this funny example so we can drag in this image here, and I'm just going to place it on top of this monstrosity that we made. And if I option, click and the space in between, it will place this photo groups. It will please this photo within. Um, let's get here. It'll place this photo within the splotch so that I can move it around and it's going to be in this watch just like that, and we can add some text. How fun is that? So you can get brushes from lots of different places brush easy is one of the best places. Also, you can find them on scrapbook websites like two peas in a bucket. Dot com is another really great one and that's also in the resource guide but they sell lots of fun brushes that some of them are hand drawn some of them are stamps that people have made from scanned items or we can also do it from a photo so we'll open up someone was asking about this london cab picks earlier so here's this one and another photo I shot with my phone and we're going to actually turn this taxi cab into a brush so it's a simple is obviously just we're going to make this black and white and then we'd select the taxi cabs so I've done that ahead of time thankfully we'll get that selected pop it out of the background delete this and we'll do define brush preset london cab there we go and let's go ahead and fill in like a fun on color over here there we go and we'll take a peek back at some of these brushes whoa look your cursor that's it's kind of nice have caps locks you could just hide that when it's a little too crazy um well go ahead and put this in here first so here's our cab and now it's a brush so we can do anything with it that we that we've done previously so that means we can we can make it scatter weaken slip it back and forth we can combine it with other brushes you know we can have it shooting rainbow that repair and changing colors with the scattering options and all of that kind of stuff so really the sky's the limit here I mean, you guys can just do anything you want but let's take a peek at some of the other really fun things that I've been able to find on brush easy these are always really popular rate these fun spinning so we'll put something like this and we'll fill it with maybe yellow how about shooting out of the camp see where we're going with this? Yes, very austin powers um and they even had all these really cool vintage you know, hand signs and post male kind of stuff um it was this one sometimes you just don't know until you get it out there oh, here this is fun get orange again make a new layer when I'm doing a lot of these kinds of composites and things I think there's a huge advantage that comes from putting things on their own layers because that way you can control them all independently, right as I'm sure that you'll be hearing all about this whole week um and then we might want to go in and change the blend mode of some of this stuff and see like that's kind of fun um and we needs more drippy fund patterns so that's kind of how you would have a lot of fun with this stuff. I mean, we put some newsprint in here as well. What sea? Another thing if you guys that maybe you guys know this this is one thing that's a little easier on the pc actually, believe it or not is scrolling through your blood modes on the pc it's really easy you can just click over here and scroll through it on a mac you have to actually have the move tool active and then you can do shift plus or minus and it'll breeze through the different blend mode like that um so we can get that in there. There's also some great talk bubbles, of course from you can find some brushes that have that or you might come up and grab one of the shapes, grab a shape tool and her face and then shortly this afternoon will be talking about text need I need a life that may be good hopefully got one right now. Cuomo how fun some of my favorite artists that do some really amazing things with brushes are berkman roy I don't know if you guys are familiar with burt's work, but he's an amazing photo realist and he paints the most fantastic like scenes that you just would never believe came from photo shop so he you can check him out at birth monroy dot com and another one if you're on youtube and if you want to google beyonce speed painting that's one of my favorites I have it in my favorites if you find me on youtube I've got it in there but beyonce speed painting is a really cool one and it's in fast motion and you can see an artist and I think he's from somewhere in south america I forget exactly but he does this amazing painting of beyonce from scratch that is just incredible so I totally recommend that you give that a gander I guess but do we have any questions from the internet while we're well we have a moment we do have some questions coming in from the internet but I just want to say overwhelmingly everyone loves your illustrations people dio creating this latest piece everyone was like oh happening out there for everyone I do have a question from kohli and he says when creating your own brush from an image and you only want to use part of the image for example a photo of a pet but you only want to use just the pet and not the entire image what would the best way to what would be the best way to do that? Well out of the great question so yeah, you definitely would want toe separate the pet from the background so you know there's a myriad of selection tools and I'm sure somebody this week is going to be talking about masking and all of that kind of stuff, so you want to make the selection around the pet on and isolated from the background, so maybe we should take a little revisit, I guess, of what we started with here with my cab picture, because when we have a lot, they paint over it now. So my cab photo here, the first thing I did was make it black and white because you want to convert remember that the brushes work with black and white because they're basically they're going to be built on transparency. So anything that's black is going to be where the ink goes and anything that's a shade of gray is going to have less in and anything that's why it is going to be empty. So in order to be able to change the color of your brush and stuff, you want to make your image black and white. When I was first starting out, I made this brush that I was so excited about, and I wasn't paying attention, and I made it with yellow, and then when I converted it to a brush that was very weak and I was, you know, pick like a bold color, like red, and then I would set it to one hundred percent capacity, and I would paint with it, and it was like this pastel pink all the time, and I couldn't figure out why, and it was because I created the brush using yellow and that's. What happens? So you live and you learn, but you want your brushes to be black and white, and you want to make them, you know, if you're painting something, you want to do it with black, but in this case, when you're using a photo like a photo of a pet or something, you wanna converted to black and white and then isolated from the background. So that's, why I came in here and loaded this selection that they made previously, just so you you all don't have to sit and watch me select a cab, but I selected that, and then I popped it up into its own layers so I could her hit the right keyboard shortcut that helps. I popped it up into its only or so I could hide the background, and that way, when I make this brash, remember, you have to select it, so drop box around it, and then when you define the brush, it will only be that item you have to select your your pet or your or whatever but this is really cool if you're really into you know digital scrapbooking and all of that you can do some really cool things by scanning you know old postage stamps or hand written notes it's really kind of amazing all the things you can do you can scan leaves I mean go out in your backyard and just fine stuff and put it on your scanner and then converted to black and white on dh separated from the background if you want to if you don't you don't have to but I guess if you don't you'll have you know the whole scene you'll have a home fox around your brush so that might be limiting in some ways or or maybe like it but yeah there we have questions in here yes I think people anxious could you just clarify why you would use a brush instead of custom shapes let the great that's a great person so why would we do that? And the answer is that if I'm making something with customs shapes I'm gonna have to be first of all if like let's go back to hire our heart here the shapes are so cool for so many things but you don't get the same randomize ing that you can get with a brush so if I wanted for example with my whale picture but still going on with this I would have to be carefully drawing all of the heart and then if I wanted this overlay on top of it I have to go get the the text overlay and overlay and then clip it and you can certainly do all of that rate I mean that's one of the main things to know about photo shop is there's a hundred ways to do anything which is good and also can be overwhelming especially if you're new to it so this's just another way but the advantage is that you can combined the brushes on dh you can have like the color variations between the strokes as well as the you know, angle and all of that kind of stuff so I could easily make this also with the shapes I would just have to draw every different hearts and here it's not such a big deal because I only have a couple of them but if I wanted to make that you know if I wanted to go back tio no, I don't know what the settings are um to this and I wanted to make it you know, all of this fun shape dynamics and all of these things the really fun stuff is the scattering and the color dynamics and then you wanna have you want to have actual colors when you do this, if you have black and white, you're not goingto not going to get too far with that will just make this crazy um so this kind of action you wouldn't be able you have to hand rodel which hand drawn meaning digitally with a pen, but, um yeah, so just a little bit different. Ah, question about let's go back to the tax and you had a star burst out of the headlight and then you have a ah word bubble could you free transform those things, or would you need to do that before you made it into a stamp for abroad? Ok, let's, go back here in six and I've got a mess going on. All right? So can we free transform the cab, for example, that were saying, well, I guess that depends what you want to do, do it if you just want to make it larger, you know, you could just choose the size of the brush when you make it, although keep in mind that the the biggest the brush can realistically be for high quality is going to be the size you created it. So if I suddenly in like, I want this taxi huge, you know, like just the little sign is fitting into this whole thing. We may be limited because it wasn't that big in the original picture when I made it so I could make this bigger but let's let's just see also an example let's get this off the way here I'll make this really big and still going to show up decently we might see that better in one of the group one of the let's take a look at I know some of them like there's this one price oh, goodness we'll just do that don't save I'm some of them for example snakeskin how cool is this your snakeskin pattern fan this brush is meant to be small many of them are designed it it's quite a small size so the cursor will get this big but when I paint with it do you see how pixley I mean it's kind of you know, kind of yuck they're just not meant to be that big but fill the curse it'll get that big um but yeah, so in just depending on the kind of transformation you want to do if if now I want a warp this or squish it or, you know, distort it then I can bring up free transform with control t and I can do any kind of, you know, distortion I might want and I would do that after I probably do that after the fact just because a lot of times with the brushes you play with it and then you know, you think you have the settings where you want, then you make a mark and you're like oh looks I didn't have the capacity where I wanted or the spacing these adjustments so the pressures are really a lot of goldie locks action which means if we remember goldilocks right her porridge was too hot and too cold and all of that it's just that's the way it works you kind of could be prepared for some of that but yeah simple question I just want to know back to the heart when you came back in the spacing had adjusted to more of like a fluid hartline when you're saving that brush tool will it save the spacing as well setting yeah ok so that's a good question when you made your brush um it's just going to be let's get those back when you tweak a brush we should say so if I'm like now I think it's going to be a reset because I didn't save it yeah so it saved the brush itself but once you tweak all of the settings over here if you want tio add that to your brushes you can click teo what's not the manager tio add a new brush so like if we're in our brush presets once you get it how you want if you click it will capture your new brush with the settings so maybe we have hearts and then we have like hearts gone wild I know you know that might be your setting where they're crazy and colorful so yeah so you can take a breast you can tweak it different ways and then save the different variations that you've made with their own title so you could be played identify them yeah good stuff guys cruel anything else we have won? Can you talk about flow? It sounds kind of similar to a pass iti I don't quite understand how where and how it's different yeah that's a great question let's take a little peek over here let's let's have a clean work space. How about that? All right, so flow is kind of like the it's like speed that your pink comes out of your brush so well let's get in like saying normal brush you can always come back and reset russia's so we'll just come back here on get a soft ground brush and if we come over and we lower down the flow it's also going to be how it like streaks out. So, um if you combine this too with like your airbrush it's going to work on this brush yeah, it just controlled how much pain comes out but it can build up on top of itself as well, so it is kind of similar to opacity but you can see this too with some of the brushes for example under the brush panel we have an option here for trance for which you can control and wet edges, for example, you can control how much, how wet the paint is, and how it's going to be, like dripped kind of when you're painting with it, so you can really get some organic kind of results, but the flow is kind of like capacity, it's just how quickly it's going to build up, how much pain is coming out of your brush, but it's different in the sense that we can lower the opacity down and still have the flow of one hundred percent, and then, well, that's really low capacity, it's just a little bit of a different, they're really similar, but you're going to have more in coming out of it, and you may see the difference, too. Depending on which brush you have, it can make a bigger difference, depending on the tip, and you'll notice some of the rushes to you can't change the hardness and the softness like of the heart brush. I can't make the heart brush fuzzy, because it's, a defined shape that we made. So even within all of these controls, there are some brushes that behave a little different leave, and others in some of the settings that will apply to some just don't really affect some of the other brushes, so it depends on what russia have so let's see here is we'll go ahead and make this brush now because we're going to use it in our text um example, let me just make sure we use that when we get to text yeah, we'll go ahead and make this now so here's another example of making a brush from a photo so we'll set this up. This will be a great to bring us into the next segment, so it will be our document will be ready for us on bears a lot of ways, you know you can select stuff, but this was from some sort of like butterfly exhibit at the zoo back home and we could turn this into a brush by first things of course we want to do is converted to black and white so that's going to be step one and we'll get the selected, which I've also done already and then once we pop this into its own document or into its own layer, we can go ahead and select it and at it defined brush preset butterfly so that will be done and ready to go and then this would be another good example of one that's really fun tio set all these different kinds of fun controls to so if we want tio, we can come in here with the shape dynamics and play with angle and color oh and it's really important if you're playing with color probably you're going to want toe have this apply partick turned on if we turn that off and we have the colored jittering all over the place and again let's get some fun colors thinks he's too if we don't turn that on, we may be a little bit disappointed when we come in here oops where's our spacing when we come in here and paint with it, we're not going to see any variation of color, so you really want to make sure that you come in and turn on this applied for tip and that will give you a ring though of things we've got that set up also you a couple of the other brushes that I really like that or just the default brushes that are already built into photo shop, but I think they're really fun andi think it's nice to to know that you already have some of this stuff, so you don't have to make everything from scratch, which can feel a little overwhelming to people but let's reset these. Yes don't say some of my favorite brushes are the scattered maple leafs and this is kind of fun if we wanted tio get it like an orange and a red down here to show you how this works, we can come back in and this time to color dynamics I'm going to leave the huge inter turned off the difference between the foreground and background gender and the huge iter is that the foreground and background is on ly going to jeter between your existing foreground and background colors and the huge iter is goingto jeter around, dinners like dancing is going to dance around the colors that you have here and it's going to kind of go out a little bit so the more the more room you give it here with the huge enter the more colors besides just orange and red you're going to get so for example, if we leave the huge it or to zero and I come in here with this guy and paint scattered me believes not fun that's just built right in. You don't even have to do anything it's just that russia is already set to behave this way so we get orange and we get red and we get everything kind of in between. But if we come back and do this now with a huge inter will put that up two hundred percent and now we paint now we get blue and green, russia are leaves and all different kinds of colors as well, so that's the difference between these two foreground background and then huge enter so usually if you were doing something like this and you wanted you know, to really keep to these colors pretty much you turn the huge it her down and the foreground background did her up and then you can you could make a big mess and then you're going to need a leaf blower to clean all this up if only it was as easy as it is and photoshopped to just wipe that out right? Another one of my really favorite favorites as and I don't know like I just love this brush I'm always looking for an excuse to use it is the dune grass brush and so it works really well with foreground background colors too, so I'm going to pick a shade of like dark green or is something let out on then I'll come down and pick a lighter green uh that's kind of not quite right there we go and maybe even make this little darker all right? And then we'll get our brush big here and then I love this because it just makes grass not fun found cool um so that's a little bit about the brushes and all of that stuff how that works when it comes to picking color and working color into your brushes so obviously you can come over here and pick your I tend to do this a lot I don't know it's just a habit, I guess, but that's one way to do it. Of course you also have your swatches panel which you confined under the window menu under windows watches so that's over here and once you pick a color that you really like, you can add it to your swatch by just positioning your cursor in an empty place and then when you click with it, it'll add it so we can call this leg and rolled craft the fun, eh? So here it is now and then, if we wanted to add the lighter shade, we can just flip flop those and then added over here and we can call this, you know, many grass. So we have a couple shades over here and then with your swatches, you can actually export your swatches as well. So if you have a swatch collection that you want to be able to save our trade, you can trade them like you trade baseball cards. Do people still do that? Probably I don't know if they do that. Baseball cards are not my area of expertise, but you can export them if you come up to the menu over here and then we can do save swatches for exchange and we could save this right on our desktop, but we could just call it whatever swatches and then when we hit save it's going to save on dh dot s e file which stands for adobe swatch exchange and then you can load swatches from other people and you can keep that if you wanted you know transfer it with you to work on your laptop or something you can take your swatches another really cool thing for getting color and this might be totally new to you guys I kind of hope it is because I'd like to introduce you to new things but it's called adobe cooler have you heard of this oh good self some of you heard of it but if you have it it's up here you already have it in photo shop it's under your window menu you come up to window and you come down to extensions we have it right here called cooler and it used to be and it still is also a standalone website so you can go teo I think it's cooler dot adobe dot com you can go there as well if you have maybe like a really older version of photo shop but for several versions now cooler has been built in to photo shop so it's just it's its own panel but not a lot of people know about it so it's kind of a well kept secret only now the cat is out of the bag so here's what you can do with it you can crowd source color schemes which is awesome right? So if you're designing something like I don't know maybe you're making a announcement or something for the somebody's summer birthday bash or something and you make you want to make the whole thing about popsicles it's like a new search for popsicle and I will get color schemes base on the other people who created it looked cool other people created these color schemes based on popsicle I mean you can make up anything like I don't think I've ever typed something in here and not gotten an answer so we could be like oh apple pie and then here's colors lots of based on apple pie it's rat right so then all you have to dio oh there's even a mcdonald brandon once you get that in there you can just plop it over into your swatches so you have a couple of options you can click this little guy right here and we can simply say add just watch his panel and now you've got mcdonald's apple pie in just such a panel so that's great or another thing you can do is actually come down and edit the theme which is really cool so if you are into color theory and you know all about you know tertiary colors and complementary colors and split complimentary all those kind of things you can play with it all right here so you can select different rules that you want to follow before you go breaking the rules you can learn about them so begin to like monochromatic color schemes for example and then you could choose you know the color that you wantto build your theme around um or you could go with triads or complementary colors and then you can scoot this thing all over the place. I mean, you can just go to town on this and it's going to give you everything you need as far as you know, new miracle values for all those different languages in the color picker box and you can then, you know, added to your swatches or you can also create stuff from scratch this way. So there's a lot of really cool options over there. This is one of my favorite things. Did you have something? You know? Oh, I thought you were popping up there, so I really love adobe cooler and I highly recommend that you check it out and it's great for you know, when you're putting together designs and old all of those things um it's just a great way to build lots of cool collections and your swatches panel so some of the other brushes that might be really a lot of them if you have her over them, I guess I should also point out that you can change the way that you see this over here in your brush presets and for me, I find that the way I like to work really depends on what I'm looking for and how I guess just what I'm doing, but right here, I'm looking at a preview, a little thumbnail preview, and then I'm seeing the name of the brush, but you can change all of these things by coming up to this menu right here, and you can change to see brushes by text only, which is, if you know exactly what all your russia's air called, then yea, for you, you get you get bonus voice, I have a hard time remembering what brushes what, so, you know, there, but you could do that, but you can come over and you can change the thumbnails. So in this case, maybe you don't care about the names, you really just want to see the thumbnail, so you could do that and the tips matter to write. So, like these around russia's, obviously, but their tips, you can tell if they're fans or like these air, the air brushes, and they all and that's where, like the flow is going to come in, right? So depending on what type of brush you are clicking on it's going to change, and you'll notice as I click around on these different things, um you see some of the options up here changing so some of them are set to be pressure sensitive for size and you can change a lot of that stuff you can take a brush that is set for, you know tablets a certain way and you khun change all of those things but their initial presets are built in so whether that's an airbrush or these these brushes down here are the scatter brushes on def you hover over it will usually pop up maybe it's going to make me a liar but it will pop up and tell you but you can change this to so sometimes I think the most useful personally I really like the large list or sometimes you can just view by strokes too so maybe that's even better because then you can really see how those edges they're goingto work um and the way that you can turn even just around hard brush I mean we could take a hard like I guess you could say kind of boring brush and I want to say boring no brushes are boring but simple we could take a simple round hard brush and we could turn it into one of those fun you know, scattering brushes when could make polka dots just by turning on some of these things that we could adjust things like the roundness here's, our spacing right? So spacing just controls how close the little dabs of paint are to one another so if they're really close together even though they're just round circles if they're really close together they're going to make a streak like this but if we adjust the speed thing, we're going to get dot so we can adjust some of that stuff roundness is kind of fun one that takes your whatever your brushes and they call it roundness but to me it almost seems more like like angle although angle jitter is different angle deters just going around this way but like flat too the camera we would say round this has your brush kind of leg leaning back or forward it gives it a little more dimension so if I take the round is dinner we can take these round dots and now they're like pepperoni slices there there you know, fancy now so you continue to a lot of that stuff on the angle deter will make a huge difference because it's a round brush, but once we start adjusting the roundness, then we can actually play with the angle deter more than we could have before and if we come back into the color dynamics, we can crank up this stuff in the huge iter will make that nuts two you're gonna just brightness and purity this is going to have to do with like the saturation and brightness of the tones in your, uh brush strokes so then we can come in here and we can get you know, craziness so this could be fun to just for even like backgrounds or adding texture to things maybe not these crazy dots but but it could be really fun when you just need um I need to add some texture and you can make your own grunge brushes to rate like that's a big thing that people are often looking for grunge brushes so you can easily go outside and like take a picture of the sidewalk or the brick you know on your house or in your studio or whatever and turn that into a brush and then you can use that to distress your artwork in your own your very own way so the possibilities are pretty endless you don't have to just make refrigerator art, but it could be pretty amazing and I think it can open all new new world they apply to tip which you are showing us I'm confused as to like what that really means, right? Or why would why would be off by default? Why you'd be making these settings and then it not do anything? Well, it might be a criminal depends on how you're painting right? Because you might be painting with long brush strokes and then you might want that that randomness to apply per brushstroke so maybe you do one stroke that you want to be consistent and then you want the next stroke to be different but consistent within itself does that make them so if you apply for tips, that means that every dab of your stroke is going to have that randomness applied to it, which exactly? So it might be like if you're, you know, distressing something or texturizing something you might want in that case, I guess it might not terribly matter if you're using it, you know, like a stamp and you're stamping with it, then it would automatically every sample would be that, but if you're pressing and just painting and you're trying to distress something, you would probably want it to apply to every tip so that you don't get that same so you don't get that same crack in your sidewalk like every like a pattern out of it. So yeah, you are welcome anyone else in studio with curiosity running? Okay, so from online we have mary from costa rica and she's asked when making a brush is that a rule of thumb to use the de saturation to turn the image black and white? Or do you use other methods to get a more contrast, ian, that your brush such as black and white radiant map? Oh yeah, super you can get anything you want I know a lot of people when they're making their texture brushes they may use even a threshold adjustment to really make an extreme contrast the key is that you really want if you want the area around the edges of your brush to be clear in other words if you want to be able to stamp like cracks and things and you don't want like bob box around your brush then you'd really want to make that contrast really high so that the sidewalk or whatever would just go all the way to white so it would just blow out completely on dh that way you wouldn't have a square edge to your brush that might look kind of weird so yeah, you could do any kind of adjustment you want and just as long as you get the black and white how you want them than anything goes good question well I also want to let you know that the internet it's nothing you right now there's lots of good comments coming in but you're just like a total sweetheart and jfk press she's says I love a person who says this is fun when selecting a brash so e get really really fun for everyone to learn out there in the internet just a couple questions that just come in uh lee asked from new jersey I know a lot of people who have water marks in a brush how would you do that so you have the great person on and we'll see maybe a little more when we talk about text but you had basically use um let's just dio but so we could just be like my studio um you would sort of your type and again you want he's black you can change the color when you paint with a brush but you don't want to build it or you'll you'll make the mistake that I did see you women instead of your type and then you would just select it and make your brush and then you you can just stand with it so when you come over here we also appear, um I have so much stuff on my screen all right? So turn this off and then you'd be able to just change the size of your brush however you you know want to do it or if you want your brush, maybe your page is your image is dark, so you want to set it up this way and maybe you want to lower your a pass it ease, you can kind of stamp with it. So basically, when you think of brushes, you want to keep in mind that you can also use them as stamps, and I think that is maybe the key distinction because we're so used to thinking brushes oh, and a lot of times, people sort of think well I'm not like a fine art painter so brushes are for me but that's not it doesn't have to be that way so you can use the russians for painting yes, but you can also use them more for stamping and making like a mixed media sort of a digital mixed media collide a cz well so that's how that would work so cool array and are going over here going it's fun it totally made my whole that's what I've been waiting for that was my home for the week way we have another question about brushes really simple from annette de cana brush b curie ated as a three d element oh that's a good question possibly I've never tried it because I like me in three d don't wear not friends yet oh, so I'm not sure but that's um I don't know if anyone's talking about three d stuff later I think we might have some someone might be doing three d stuff but that would make you question to pass on over to them because that is not my area but I would imagine so photoshopped there's very little you can't d'oh so yeah alright michaele sg ask you, can you use the brushes? And in designer illustrator is there a way to take the hair that's a good question? We'll probably that it would probably mostly go the opposite direction s so what you might find and I know that a lot of the brushes that you find, like some of these cool shape fresh, is that I have now they're unloading because I didn't save them. So you got to save your brush sets once you add a brush and there you save him. But that's okay, we can just load it really loaded back really quickly, but a lot of these for example, these shaped brushes, you know, that a lot of these are designed who they're designed an illustrator often times, and then they're made into brushes for use and photoshopped, so it kind of goes back and forth that way, but, um yeah, so if you're really making something really intricate and you use illustrator, you can certainly do that to make a brush for photo shop. But because photo shops of pixel program and illustrators not it doesn't work as much to paint like that an illustrator. So, hey, I have a question from tobin of photo tobin and yes, are we able to tell brushes not to paint over itself? Are we able to tell? Well, you can always lock the layer. The transparency in the layer, right, eh? So you can do that, and then you could you would keep from painting over yourself. There is also an option here and it's not well, because I've got this on right now. So it's, great out right now, but there's also an option for behind so you can change the blood moon and this is new there's a blend mode appear for behind and that's basically like what that will deal is put the paint from painting over it. Even though you're painting on the same layer, it would actually paint behind existing paint, but I would say that the best practice, you're probably better off making any layer and keeping it separate that way women dow you always just want to keep all your different elements in different layers, because that gives you the total flexibility later because you might decide you want to change the color of something, some strokes that you've made, and if you've got everything on the one layer, then you can't really separate it out so easily. So even though it's possible, iowans say I'd still make a separate layer and just literally painted behind. But that's, what this blend mo does, it paints behind on the same layer.

Class Description

Big, small, hard, soft... brushes come in all shapes and sizes. This segment focuses on learning to manipulate various features of brush tools (not only the brush tool itself, but also other brush engine tools). Creating a finished project, we'll incorporate various preset brushes as well as exploring how to make our own custom brushes.

Software Used: Adobe Photoshop CS6