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Pattern Stamp Tool & Watercoloring - Part 1

Lesson 9 from: Painting With Adobe Photoshop

Jack Davis

Pattern Stamp Tool & Watercoloring - Part 1

Lesson 9 from: Painting With Adobe Photoshop

Jack Davis

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Lesson Info

9. Pattern Stamp Tool & Watercoloring - Part 1


Class Trailer

Day 1




Why Do Expressive Painting


Adobe Bridge Setup & Image Optimizing


Jack's Painting Presets


Enhancing Source Images


Photo Hand Tinting & Workflow Options


Working with Brushes & Palettes - Part 1


Lesson Info

Pattern Stamp Tool & Watercoloring - Part 1

Back to our pattern stamp and we're going to go here and what I'm going to do is let's start off I'm going to give you another great tip we've had save as is when you're working typical confusing snapshots cool groovy every time you do a safe just do a command ask you made a snap shot that's the full document that's the good thing when you do command as it doesn't it's not going to ask you how do you want to do a snapshot? It just makes it and it's the full document that's what you want when you click on the little button tto make a snapshot that's what it's going to ask you? What would you like? There's another cool thing that a lot of people don't know in photo shop you're working alone you go I love this I want to leave this as it is I wantto start on another one just like this image duplicate been in four to shop for a million years duplicate I go uh just the merged layers maybe if I would have turned off everything I could've left on that background in this case I'll say the entir...

e thing it's now a new document if I, uh do it here I've got now to exact copies of the same document I just keep on another vein, so duplicate image duplicate is a menu item been in photo shopped for a million years awesome! Fantastic cool in this case, I'm just going to come up here and we will say, uh, delete hidden layers and now this one I am set up to start using the pattern stamp okay, deep breath. Fortunately, the pattern stamp is the exact same concept as both the art history brush and the mix will be tomorrow in the sense that we enhance our photograph, we've created a kind of a pattern, a texture here we're going to come up here, make sure I think this is the watercolor paper, so we're going to say that that's fine that's the nice thing about using phil's you'll notice that I use solid color when I come up here. I'll say a new solid color pattern or grady in't, I don't come up and create a regular pixel filled layer and then use the phil command over here to fill it at it. Phil, I don't fill with patterns, I actually make a layer new phil because I can simply double click on that pattern and change it to a different pattern. If I want to, I can move it around. If I come up here, you can kind of see I can move the pattern I can do if I do the salt stain, I can actually move the pattern around so pattern phil layers if you haven't been using pattern phil layers you should they're cool they're scalable I can come up here and I can scale it okay, so I can scale the patterns as well something you can't do in the in the regular pattern feel so um I used pattern feels I used color fills as I did here allows me to use colors and don't click on and change it so my source that's been enhanced a pattern on top now I'm going to do eh pattern stamp the pattern stamp tool to do a painting how do I get the photograph into the pattern stamp tool I'm not going to use the history pal it's not the art history brush the pattern stamp tools how you do that and again this is in the pdf is you're going to come up here get whatever you want it doesn't matter what it is you could have five layers on top of it you could have collage you could have done liquefy you could do all sorts of things you get visually what you, um want for the source of your painting and you're gonna come up here and you're going to say it to find patterns you have to select anything you don't have to do anything it knows what you want whatever you're currently looking at well, you know we could say um I'm just gonna call it light. Uh, we'll call it medium because guess what, I'm gonna get in that habit of creating light, medium and dark pellets because I like that kind of control. So now I have a pattern question is where is and how do I use it? So I'm gonna go over to my pattern stamp tool can't remember it's over here by my clone stamp, so here's my pattern stamp, I'm going to use one of my brushes a preset because I like him that's going to be up here, we already loaded those in when we loaded all the brushes. We're going to start off with watercolor large, and we're gonna look at all the parameters that it changes up here in the options bar. Okay, so I'm not gonna put any blend mowed into the brush. I'm going to start off at one hundred percent capacity. I've actually made the brush riel light as by default, the actual brush tip and everything is light, so I'm going to see it matter fact, in combination with the flow right here, you're gonna notice that flow flow, just like in the double camera on light room is how quickly it builds up to a certain amount, so, um, flow is a very low flow. One hundred percent means a soon as you press it down it's one hundred percent of whatever you had it set to so fifteen percent means that it's going at a fifteen percent rate up to whatever it's going to be and I have got an airbrush this is a little button here enable airbrush buildup and that's what's going to allow it to continue to keep spraying or in the case of a watercolor I would leave my brush that's wet on a spot it's going to keep draining water out into the paper which is exactly what a real water color will do yes, flo this measure and uh it's just a donor aint of time you have the brush on the paper very good question it is controlled to benny upon your parameters in the brush palette, the oversize and how you have it set up for your welcome and stylist. Typically there are, um three things that you could have controlled by the presser sensitivity of the brush and we're going to get tomorrow actually, we're going to do elaborate stuff on the wall come and brush tips when we get into the mix of brush that's really? Where it's going to come in handing today? I thought you gonna have enough technique without going into the brush tips, but usually it's either going to be size the pressure so the brush you know, the later you go the smaller the brush or it's going to be the opacity not flow but opacity of the brush of in terms of, um the intensity of the paint as you press down on it um uh those are the two main ones that you're going to have with the control on it the flow that you're going to set up here is how quickly it's going to build up to that so opacity if I have the opacity of the brush set to fifty percent in the flow to fifteen, it'll come up to fifty percent and stop if I have opacity controlled by the brush even though is that fifty percent capacity if I am really, really light on it um and my flows at fifteen it'll use flow fifteen but if my pressure is only half it won't get to fifty it will only go to twenty five so you're you're you have both of those that play there I create almost all my tools to work even with a mouse so the pressure sensitivity is not essential that's where the flow comes in in this one that it builds up I'm gradual so very good question um when you get into the mixer brush and the finance finessing those brush tips especially taking advantage of this um brush which looks oh so similar to this brush but is infinitely cooler is what you're going to want to use that if at all possible okay, so we've got our, um, brush we're going through that there's the flow this one right here next to it you'll notice is a little color picture it's the pattern that's being used it happens to be that little surfer picture that I did um I was working on before and if I scroll down here to the bottom to me back out there's all these different patterns there's my medium okay, so your entire pattern library most of these going to be textures, but now whatever photograph that you take is going to come up here in is going to be a viable option in this case medium. So I've now just loaded that photograph. The entire photograph full resolution is now in my brush cool that's all you needed to do but that's about as intuitive as something that's not intuitive so that's it because remember the only thing the initial thing that adobe thinks I used to think, which I probably don't even have in here because it's probably gonna race is the tie dye and bubbles those are the two shipping patterns for the last hundred years with parents name tool okay, so I've got that line just means that the pattern is going to line up with the upper left hand corner because it's the same size you could actually turn that off has no effect, but it has to do with the bubbles and elaine that pattern impressionist setting the impressionist setting this is the one place in photo shop that was designed for doing cloning of photographs. As I mentioned, this has been photoshopped for one hundred years its been in different places in put a shop, but at least it's still here and it's what's going to use the color and tone much like the art history, but with even more control. So that is awesome that one feature is hidden in the pattern stamp tool and it's essential that you, um I know that it is there and it's cool and this is you can come up here and turn this on and off used the pressure for size went off it's going teo, um, not it's going to be based upon opacity so that's up to you if you do have pressure sensitivity, you're not even going to see that icon and less that there's a walk um install so if you've never seen it going, I don't have that it's because you don't have a welcome install so adobe and welcome have been working real close to make sure that you can take advantage of something his mind bogglingly cool as this okay, so there is our paper we're going to create layer new layer will call pain we have it is selected we have our brush, we have our water color large, we have the pattern selected, the flow is down the tip when we come over here, here is the tip it's got a few things built into it like wet edges is turned on what edges is goingto allow the pigments to pool automatically to the edge cool, awesome it's got also something we haven't it's got the texture turned on so it's going to use that exaggerated water color texture so that pigments were pulling it. I've got dual brush tips turned on now dual brush tips before we had the mixer brush the dual brush tip here's one tip fifty one that's the second tip that's brought in this is the first tip here's the first tip is a round one a big kind of soft one the reason why this has an irregular edge to it hey is because I am adding a secondary brush tip and what a secondary brush tip does and is really essential for a good brush. Is it's going to interact with this brush? Especially if you've got some jitter on this brush again? Something as organic as this big self round brush is going to create an irregularity on it so not only do you have one tip, you have two tips and now they get interact and you've become even more and more organic so a duel tip for natural media is almost essential and it's cool and groovy and it's in here now what's interesting here this isn't a pattern stamp I'm bringing in all the color from the image I also have all these brushes in the regular brushes let's go up here so these are work with regular brushes um and that's where I have the color jitter turned on but going back to the pennant stamp I don't have any huer saturation jeter turned on because it's all coming from the photograph I'm going to turn it on because I think that what I should have it turned on so this immediately shows you that whoever creates your custom brushes may not know everything so I'm going to create a custom brush and it's going to be even cooler than it was two seconds ago so here's how you can make a cool one it will do a subtle variation that blue sky will have some little subtle purple and scion in it okay wedge buildup it's goingto build up over time uh do a brush texture shaped dynamics and I'm not using any angle jitter anything else like that the uh sizes the pen pressure so I can do a smaller brush in it so back to painting one oh one did you have a question on audience question okay uh watercolor one oh one watercolor one because it is a translucent transparent medium it's building up its very unforgiving most people have not played with watercolor cause all you need do is play with watercolor wants to realize there's no undo you can't paint over it it's the most unforgiving medium next to you know chiseling granted it's about as unforgiving as you can get um what you can do is work translucent and build up colors on it. What it does have is this beautiful ability to do these large washes and the washes can have variable nature to him because of how much water versus pigment is in that wash in that solution typically you will do one wash or one color at a time if you're doing a tulip, then you will come in here and do a petal of a tulip and do the entire wash on that tulip you may come back in while it's still wet and had a secondary color to the base of that tulip, but you do the entire pedal of that to about one time you wouldn't do a little bit here and then a little bit here and a little bit here because it's going to start to drive from the bottom of the of the pedal to the top of the petals start to dry and you'll see an edge on that transition which you wouldn't see on an oil or an acrylic or something else like that or pencil or chalk just because drying you know, isn't it that fast in watercolor that pigments apes in the water goes into it least behind the pigment and it's gone. So the tip here is you're going to paint your watercolors just like you would a real water color you're gonna work one wash at a time, you're not going to let two washes touch if you have to what? Ah, pedal here in a pedal here they're both wet because you've done this one and this one and they touch, they will melt together, right? If there, if you're doing what washes as opposed to more dr watercolor, so we're going to not let your colors touch well, you're painting him because guess what? They'll blend, even in this digital realm, they're going to act like digital that in fact, this brush has set up because of that build up when you press and hold it it's actually going to flood the texture, just like a regular watercolor brushwood, and the quicker you did it, the more you see the texture of the paper they long you held it, the more it's going to flood that and that's going to minimize the texture so even that's built into the brush because that buildup option okay, so what that means is I'm going to do the sky, I'm going to do the clouds I'm going to do an initial of the foreground hills I'm going to do initial of the background hills I'm going do initial of the lawn, the path and the house I'm going to do all those a separate elements and I'm not gonna let them touch I like doing again like I do with all my stuff watercolor sketches, which means I don't mind having the gaps showing you see a lot of colored water colors you know, try and hide that and I don't like that that's a feature for me not a book okay, even up in the sky I'm going to purposely leave some gaps so I'm saying that because once I start painting um I don't care that you guys were in the audience because I'm kind of literally like I said I could do this um and not care if you were here so not a shocker, okay, so here we go I'm gonna leave it right there and it's filling it's flooding up the paper I'm not seeing the texture now gonna come up here as I come up into the white. But why? Why is it going white? Because I purposely made a white border which is really cool because now I can let it fade out, okay and come back up here and I'm gonna even though I've got this ridiculously large breasts but it's it uh, it is a low resolution file. I'm now getting into the clouds. I want to stop that. I want to come up here and here is my clouds and I'm going to come up here. I just did a secondary brushstroke and you can see how it's doubling it in here, that's what I want to do, I'm gonna undo both of those and do one fell swoop wash again and again, I'm going to even leaving you'll notice is long as I don't lift up the stylist it's going to be one nice, smooth wash and I'm actually gonna go up here and do that, okay, so there's my wash, we look at our layers, there is this beautiful translucent wash on here. I'm gonna come up and I'm actually while I'm still here, I'm gonna clean up that edge. You can't erase in watercolor what you could do is blocked. You have a big thing off paper towels by you and you, khun blood and it's the closest thing the great thing with this is you blot by doing a secondary stroke and it actually because white was down there remember white has filled into my my brush on the edges so I can come up here and I can clean up that edge so to speak it's picking up some black I'm not quite sure where that's coming from um but I can do that and actually gives you this kind of really nice deck old edge in here okay, so it says if I blotted I think what I'm doing it because I'm painting off the edge of the the paper is actually picking up the background of the paper all I need to do is use a smaller watercolor medium and it won't find that okay, so that is that I'm going to use this medium one and I'm gonna come up here and I'm doing the the dark portions of the cloud remember exaggerated? How was how did I exaggerate the edge of the clouds when I did the enhancing clarity exactly right that clarity is thie is the cloud enhancer and that's going to give me all that detail I can pull it out here to the edge if I want and there are my clouds I clean up that edge by coming back afterward coming up here and I'm going to do kind of like shapes I'm going to do multiple things here, so I'm actually kind of blocking out the shapes of the landscape so I'm actually going to come up here and block him out because they do have some subtle differences in terms of tone and I'm going to even do that as a um wash and as I said, I can anybody name the most famous tv actor his name in the siri's it's not his real name, but his character's name was wash no, the name that just a tv series was supposed to be. Oh, that was, uh okay, that's going to be this is your tv audience. All right? Let's. See what they come up with it? They're gonna and somebody's going to get it. The most famous tv characters whose character was name was wash and all of you should know it is a matter of fact. Instead of buying this title, you should all go out and buy this tv series on dvd serenity? Yeah. Good boy. Good boy. Watch firefly that's! Right? Firefly john, sweden. Just witness the greatest. Yeah, good boy. Good boy. Wash but I'll give you one thing here so here's our washes coming up we could take that pattern, phil take its opacity up. So now you're seeing up one hundred percent. So now you're seeing the watercolor on the water color matching watercolor paper it's exact same what's inside this brush is skipping across the exact same thing that's on here and again when you print this out, since there is no basically light direction there's no imposter there's, no thickness to the paint you can really yank with people's chains by doing that, and, um, what we're going to do in a second, I'm gonna just give you a teaser. Is that where you can intensify your painting, which you can't do? I would give my I teeth for you if you do that once you did a watercolor washington, can I just make bad twice is dense. I don't want to paint that over again, and of course, what I'm doing is you just simply duplicate the layer because they're transparent. You can do all sorts of cool stuff will come back, we will finish off the water color. This and the pattern stamp is actually excellent for dry brush and the pastel and things like that. You'll notice it's not doing automatic strokes for me. I'm doing every single breast stroke, the subtlety that you can get in terms of this and in terms of both the washes and detail is excellent it's, a it's, a great way to go and in terms of especially this technique.

Class Materials

bonus material with purchase

Painting Files

Ratings and Reviews


Okay, I'll be first. Jack has an easy, approachable way of teaching. It was more like being in the room with him, watching over his shoulder as he created something utterly new and exciting. Even when he worked on images he had done many times, I never sensed boredom or a lack of enthusiasm. He was patient with questions and answered them completely. I hope Jack enjoyed this way of teaching as much as the world enjoyed watching. Maybe he'll find more to share. I know I'll sign up for his next one. This workshop inspired me to start creating art again. I'm slowly losing my sight and sad to say, I was starting to let it get to me. As I watched Jack, I tried just a few things and realized that I can do this. Digital art is much easier for me than pencil and paper because of the technology. I miss the pencil and paper drawing, of course, but this is so much FUN! The techniques that Jack shared are wonderful and the results rockin' ... or as Jack says, bitchin'. Thanks to Jack and creativeLIVE I'm back in my head in a good way.


Okay, I'll be first. Jack has an easy, approachable way of teaching. It was more like being in the room with him, watching over his shoulder as he created something utterly new and exciting. Even when he worked on images he had done many times, I never sensed boredom or a lack of enthusiasm. He was patient with questions and answered them completely. I hope Jack enjoyed this way of teaching as much as the world enjoyed watching. Maybe he'll find more to share. I know I'll sign up for his next one. This workshop inspired me to start creating art again. I'm slowly losing my sight and sad to say, I was starting to let it get to me. As I watched Jack, I tried just a few things and realized that I can do this. Digital art is much easier for me than pencil and paper because of the technology. I miss the pencil and paper drawing, of course, but this is so much FUN! The techniques that Jack shared are wonderful and the results rockin' ... or as Jack says, bitchin'. Thanks to Jack and creativeLIVE I'm back in my head in a good way.

a Creativelive Student

Thank you Jack Davis. Having tried to paint, both in the real and digital worlds, this is the first time I have seen a comprehensive demonstration of the techniques and philosophy for the artist. This course is valuable for any aspiring artist, digital or otherwise. By the way thank you CreativeLIVE for the long form training space you offer both the teachers and students. Jack is inspirational, talented and sometimes funny. Watching him paint in real time is by far the most impressive sight but the information about why is more valuable. Overall this course will give you ideas, knowledge and skills (if you practice). I highly recommend this course for anyone that has tried to paint in the past and was underwhelmed by the results.

Student Work