Adobe® Photoshop®: Creative Explorations, Lighting Effects & More

Lesson 14 of 26

Brush Basics

 

Adobe® Photoshop®: Creative Explorations, Lighting Effects & More

Lesson 14 of 26

Brush Basics

 

Lesson Info

Brush Basics

Well, today we're going to talk at the beginning about brushes and brushes sounds like a topic to me that sounds like it could take five or ten minutes, but that's not the case there's so much in brushes that, uh, you could spend all day on it. S o we're gonna spend a good amount of time in this morning with brushes, and I'm going to start off with the basics of them just to make sure you know all the settings you know, all the general way of thinking, and then we're going to progress. I'll talk about pressure sensitivity, which means using a graphics tablet on stylists where you compress and get work incense exactly what angle your brushes at and all that stuff, and we'll talk about using something known as the mixer brushes and bristle brushes as well, where we can make it look a lot like natural media. Eso when I put down a paint stroke, it could look like water color. It could look like oil. It could look like whatever, but what's nice is it can pick up the color from a photograph ...

that photograph that won't be seen in the very end product, but you could use that photograph as a template where you khun figure out where exactly should paint based on the photo. And when you're done, you will have literally created a painting, but the colors will come from the photo, so you won't have to sit there and, like, manually pick all your colors and all that stuff so it's kind of cool eso anyway, we're going to do that once we're done, we'll switch over and start talking about filters and after filters will get into whatever else I can think that when it comes to creative stuff, but those are our two main concentrations for the day, so I want to jump in and just get started, so we're gonna start about the basics of brushes, so we'll start with just the paintbrush tool, and I'll be using that for the majority of the first session, and that way we can look at the settings for russians and see what kind of things we can create. A lot of people are just used to a round brush that's either soft or hard edged, and if that's where you're coming from, you have no idea where this thing khun had it's pretty darn cool actually s so let's, take a look uh, here's an image we created the other day yesterday hey, the one we use the water out of the water, color, the oil paint filter multiple times and I'm going to use that as my starting point I think I you can use just any image it could be just empty document as well but all I'm going to do is create a new layer on top of this so that whatever paint I put on top of it doesn't it mess up what we already have here so I click on the top most layer and I'm just going to add a new empty layer uh could be any photo them working on the so that's where all my paints going to go and I got my brush tool active whenever you paint with your brush it ends up looking down here in the lower left of my screen at my foreground and background colors to determine what should it should paint with my foreground colors what it usually uses and there's a couple things I can do with that first off to choose the color to paint with I can click on my foreground color once and that should bring up a color picker most people are used to that and in the color picture just in case you're not used to it there's a vertical bar where in there I could just slide up or down on this to choose the basic color that I want and then to the left of that I can choose ah shade of that color to paint with click okay that's been in photo calm for ages but there are other methods for choosing what color you paint with so let me just get a make sure my brushes set up here ready to paint, make sure it's working and it is and let's just look at a few other methods for choosing what color you'd like to paint with. First, you can reset your foreground and background colors to their default settings there defaults are black and white and there's little icon down there to do that this little icon here but I actually never click on it. I haven't clicked that icon and probably ten years because there's a keyboard shortcut for doing it that's pretty easy to remember and it's so just much easier to do that and it's just pressing the letter d d stands for defaults so when I press the letter d, my foreground and background colors will sitch switch to black and white now on occasion that will be different. The main time it will be different is if you're working on something like a mask when I work with a mask and I just clicked on one of my layers panel here uh then when you press the letter, do you get the opposite of what you're used to instead of getting black is your default, you get white? The reason for that just so you're aware is that way you could use the paintbrush tool and painting with white on a mask usually makes things show up that's just how the mask works and if you switch to the eraser tool the eraser tool when you're working on a mask would paint with your background color and so that way when you erase away with the eraser tool or if you had a graphics tablet that has an eraser on the other end, you flip your pen around uh then when you paint with the eraser, you'd race away. I never switched between my paintbrush in the eraser, though, because I could instead just come down here and you see this little double arrows that's just going to switch these two colors, and that also has a keyboard shortcut, which is the letter x just to exchange the colors so therefore I never switched between my brush and my eraser. When I'm on a mask, I just have to let her acts, which it's just much faster, so a lot of people are used to those ideas as well. So is there anything else when it comes to being able to choose a color paint with the other is when you're in a painting tool with most painting tools, if you move your mouse over your image to where within your image you find a color you like let's, say, like the color of the sky right in this area here well, if you hold down the option key that's all tim windows just for the length of time you haven't held down it will temporarily switch to the eyedropper tool, and the eyedropper tool is designed for sucking a color out of your image and putting it in your four around color. And so if I just hold down the option key and click, I've just chosen a color out of my image uh, paint with and that way you don't have to use your color picker and that kind of stuff, so if I want to color from here, I just hold down the option key and click and that's only the case when you're in a painting tool, other tools the option cable do other things now when I do that, if you look here our option, click on a green object uh were actually the yellowish it can show you the color used tohave and the color getting now so that at last call right clipped on was a green object. I'll click up here in the blue sky and you see the top half of that little ring that's their shows hey that's, the color your mouse is on right now, the bottom is what you had before that, and so you can get a sense for what you getting compared to what you had before the great ring outside of that is just to make it easier for your eye to really be able to see those colors because if what was surrounding this was let's say fluorescent pink or something that would influence your eye quite a bit in the way you interpret these colors but putting a neutral color surrounding it makes it so it's ah a little easier for your idea really discern what you're getting uh so that's just holding on the option key when you're done any painting tool clicking on your picture and you grab any color you want uh if I want to change both my foreground and background colors, maybe I'm going to make a grady in't grady and tool often goes from your foregone color to your background you could option click to pick a four round color and then there wasn't there a keyboard shortcut that switches your foreground and background the letter x for exchanging that just hit x and then option click somewhere else and now you have them both so you get that set up or if you want to paint you know you're going to be painting back and forth between two colors just load up both your foreground and your background colors with the two colors you want and hit the letter x to split between them each time you want to paint with the uh other color huh? So d was default x was exchange and holding on the option key and clicking on your picture. I was grabbing one out of your image, but then there's another one, and this other one will only work in the more modern versions of photo shop. I don't remember exactly what version was added in. It might even see a six might've been c s five, but if I'm in a painting tool, I can hold down two special keys on my keyboard in click. If I do actually three keys in, I can get an on screen very quick, uh, color picker and so how the heck did you do that? Because, you know, a lot of people probably never seen that because you've never known what keys to hold on and click well on a macintosh. There are three keys that are right next to each other on my keyboard there just to the left of the space bar in those keys are control option and command that's control option and command. I'm gonna hold down all three of those keys for my nice because they're right next to each other, so just three fingers going down. Well, let me do it, and then when I click, I get my, um what's called hud that's heads up display, color picker, um and now on windows is different because there's no equivalent to the control key on the keyboard and windows instead control clicking on a mac is the same as using the right mouse button and windows so and windows is a little different. You hold on to keys on your keyboard, it would be ault in control, alton controlling windows in that in your mouse don't just grab the normal button, press the right one now when I do that, I click and the problem is there's this little gap in between these two which makes it so if you pick a shade of a color over here and then you go over here to get the color itself that you're always end up on the edge of this little square so what I do in here is I always pick the basic color first always pick from the vertical thing first before I slide over here and get a shade of that color. Um but I think that's pretty cool because otherwise you have to move your mouth with lower left of your screen. To get your foreground color click use this thing, click okay it's just a lot more manual, then just put in your hand right down next to the three keys next to your space bar, click your mouse and right here you pick the generals color you want go over here and pick a shade or when you just click your going to already be on this big square area, you could just change what shade of that color you're talking about um and that's really nice, I think now you can control the way that looks you're not stuck with just one choice and how it looks if you go toe to your preferences and your preferences on a mac or found under the photo shop menu on windows, you don't have a photo shop menu instead you go to the edit menu to get to your preferences it might take me a second to find it it's either under general or interface I hear it is it's under general there's, a choice called hud color picker that stands for heads up display heads up displayed in case you're not used to the term is what they haven't fighter jets where they display like they're gauges up on the windshield. We're on some cars even like I think certain older corvettes like projected maybe the newer ones to speed up onto the windshield so you don't have to look down that's the where that comes from and if you click here you have the choice of a bunch of different kinds in this case I've been using one called the hue strip and I can do small, medium or large let's try the large one click okay, and then I'll access it. You see how big that isthe now? That looks pretty darn big on this screen, but I don't usually work on a screen this small, you know my laptop screen instead, I usually have a twenty seven inch display, and then that particular color picture looks really appropriate for that size screen. Where's the other one feels microscopic. Uh, so any way we can get small meeting or were large in that go back to our preferences under general again, and so that is the strip. We also can get a wheel so let's, use a large wheel and see what that looks like now that's a little too large for the screen, but now you got your general colors around a color wheel what's nice about a color wheel are is that usually opposite colors or across from each other? Um, every color in federal shop, every color in the world has an opposite. One color will be a warm color. Its opposite will be a cool color, that kind of thing and with a color wheel it's a little bit easier to visualize what the opposites are because they're directly across from each other, and with that I can choose from the big wheel in them. When I am done with that, I could move over to the middle and choose thie brightness and saturation that I'd like it's just this particular size, the large one would be great for my twenty seven inch monitor back. You know what? The bus where I live, but is a little too big here, so I'm going to go back to my preferences under general again and change the hud setting, and I think I'll use the medium strip. And so now when I hold on those three keys there, control option and command on a mac now that's pretty good size for this particular screen, I think, doesn't cover up too much of my image, and it makes it so I can quickly choose a basic color here, slide on over and get a shade of that color. Remember on windows, though instead of holding on three keys on your keyboard it's only two keys that you hold down, and I believe those key should be ault and control, and then your mouse pressed the right mouse button not the normal left one, but the right one so that's a little different when it comes to choosing colors. If you're used to just clicking on your foreground, color that's probably speed you up quite a bit, either option, click on your image to grab a color right out of the image or hold down those three keys next to each other and used the heads up display teo, pick a color makes sense. All right. So now, let's, look at a few other ideas when it comes, teo your brushes first off, if you're ever in any other tool like the move tool the hand tool or anything else, and you want to get to the brush tool just to wrestle it or be to get to it and let's say that I was in a different tool for some reason, and I just needed to use the brush tool for a second. I just need to paint for a moment, and after that, I want to be back in whatever tool I was in previously. Maybe I was in the movie. Well, what's interesting about the way your brush shortcuts work, not just your brush. Just any tool shortcut er that you ever use is if you press and then don't let go of the key that would switch you to any particular tool. It's going to be a temporary switch to that tool, it's only if you press and let go really quick on the key that it switches to the tool. Yeah, it's, kind of if you're aware of it, but just about all your tools have shortcuts if you're not familiar with it. What the shortcut is for any particular tool just click and hold on the tools so that you get this little side menu and usually it's going to list what the keyboard shortcut is. So for the brush if you look close here, it's the letter b and so let's say I was in the move tool and I just for a second want to use the paint brush? Well, I'm going to press and hold the letter b and if you can tell or not, but in my tool panel it has access the brush tool and I'm just gonna click and drag to paint and then I'm gonna let go the letter b I had it hold held down the whole time there and brings him back to whatever tool I was in previously and that's not just for your brushes it's for just about anything I could press the letter I and hold it down I gives you the eyedropper now and I could click on my image to choose a color let go the letter I and I'm back to whatever tool I was in before that it's on ly if I press I very quickly that it actually switches me to that tool like as a, uh permanent thing, not a temporary s so that way we can very quickly get other tools if you happen to need to them but to get to the brush on you get the letter, be very quickly, so we stay in the brush tool, but if I just wanted to access it for a second, when I'm in any of the other tools, I just press and hold the letter b. All right, then, let's talk about changing the size of your brush to change the size of your brush. One method is to go to the top of your screen in the upper left there's a preview for your brush right there, and with that preview, you can click either on the preview itself or this little arrow doesn't matter, and you get a little drop down one of the choices in the drop down into the size of your brush. The other choice in the drop down is how hard the edge of your brushes. If I bring it down, then I would have a soft edge brush. Well, I never go to this pop down to change that I haven't clicked on this pop down of, and I don't know how many years to play with those, because there are other methods that I find to be much more elegant for doing that, so let's explore them if I want to change the size of my brush, I'm kind of old school because my hand is so program to do it, the old way, but there's a newer way I'll show you in a moment, but the old way is that right above the returner in turkey and your keyboard? There are the bracket keys, at least on us keyboards on international keyboards. I find that some of them don't have the bracket keys, they look like half squares um, and I'm just going to press the right bracket key and it's going to make my brush larger press the left bracket key and it's gonna make my brush smaller if you don't see the display of your brush, either you're not in the brush tool or if what you see is a little cross here in the middle. Instead, one of two things is happening while one of three things is happening. Either your brush is so tiny it's like one pixel in size or maybe it's four five pixels in size, but you're zoomed out on a humongous document so that that four, five pixels in size is really less than a pixel on your screen because resumed out, then it's going to show up? This may be a little cross hair the other time you might see a little cross there is if you make your brush so big that it's beyond the dimensions of your screen let's say I was zoomed up on this image and I made my brush really big right now my brush has a size of five thousand pixels, but the part of my image that I'm viewing is less than five thousand pixels and with and so my brushes there but it's it's like sitting outside my screen you know it's not like outside of the desk out here and so it's still trying to show you where the middle of it is by showing you across there, right? But then there's a third instance of when you're gonna get the cross hair and this is the instance that really frustrates a lot of people because you can reinstall photoshopped you can reinstall your operating system and it's not going to make it go away and that is you press the caps lock key if you press the caps, lock key and your keyboard you get across here and so you can reinstall your operating system reinstall photoshopping as long as caps lock still down you're still gonna get across here a lot of people you reset their preferences expecting it to fix it and stuff now it's your cross hair that's what caps lock is supposed to do so if you ever need to really see where the senator of brushes you just need to see it temporarily because you need to click precisely in the middle of somebody's eye or something like that, just press caps lock and get thie the cursor set up exactly where you need it then let go of caps lock and you know you could do that but sometimes that can be frustrating so I mentioned using those square bracket keys we can change the size we can also use those same square bracket keys to change how soft the edge of the brushes now you're not going to see that with my actual cursor the circle you see in you screen instead you're going to see it in the upper left in this little brush preview that's right there so keep an eye on that to change the size of your brush instead of using just the square bracket keys that would change the size if you want to change how soft the edge of the brushes add this shift key so I'm just gonna hold down shift I haven't held on right now and if I do the right bracket key I would get a harder edged brush if I do the left bracket key I will get a softer one just press it multiple times to go softer, softer, softer, harder, harder harder kind of thing in what it's actually doing is if you were to click on your brush preview in the upper laughed this setting called hardness that's there when I end up going in is lowering it or increasing it in twenty five per cent increments so you really have five settings I think zero twenty five fifty, seventy five one hundred that you can access by holding down the shift key and using the brackets and that's good enough for most things like painting a mask or something I don't usually need to go in between those settings and so that's pretty good remember I said that's kind of the old school way of doing things and it's just I'm so used to it I've been doing it for so many years that my hands kind of does it without thinking well there's a newer way of doing it which you might find to be uh better just like we have the heads up display for picking colors we have a heads up display for picking your brush to get to the heads up display for picking your brush I'm going to hold down two keys on my keyboard and what those keys are on the macintosh our control an option on windows there's the equipment to the control key is actually the right mouse button on your mouth so what that means is you on windows you end up holding on the altar key impressing the right mouse but when you do that you're going to get the following display and if I drag one direction I'm going to change the hardness of my brush dragging vertically at the moment I could make a soft brush I could make a hard to rush vertically horizontally is the size and what's really nice about that is you can visualize how soft the edge of your brushes you don't have to look at a tiny little icon like thing in the upper left of your screen instead you're seeing a full size version of your brush that, um that you can see so it's much easier to pick a brush that might match the edge quality of whatever you're painting around. Um in all I'm doing is holding down two keys of my keyboard on a mac it's controlling option on windows it's holding on the bulky and pressing the right mouse button and it also tells me with a little heads up display their what the actual diameter of my brushes and the hardness setting us well if when you do this you find you can see through your brush a lot it means that the opacity setting of the top of your screen is turned down and it's just showing you that. So if you just think it looks odd uh bring europe acid e up one hundred percent, it'll look like mine, so I think that's pretty cool as far as being able to pick our colors with head of heads up display and be able to pick our brush that way in what's nice about it at least on a mac is if you look at the actual keys the way they're laid on your keyboard the one that gives you the heads up display for picking a color is just the three keys to the left of your space bar. I just hold him down and click. I can pick a color and then in order to do, uh, the brush thing, all I'm doing is letting go of one of those keys. The key closest myspace bar so my hands can get program to be just put your hand down to the left of your space bar, all three of them. Uh, if you want to pick a color, let go of the finger next to your space bar if you want to pick your brush size and so if you do that enough, your hand will get programmed to just put it down. Just like most people's hands, I find a program that the space bar to get the hand tool to move around and their program to head, head up there and change their brush size with the bracket keys. You know that kind of thing? Well, you can program yourself to just have those three keys next year. Space bar makes sense. All right, next you should be aware about something related to your brush in that iss the circle that you see here that represents your brush does not show you where the edge of your brushes that's not what it represents I have an old test file here that I created and I just want to show you what that really represents so either special documents set up that is going to show me how far my brush extends out so what's gonna happen is on the right side of my screen if I paint here it's showing me not what the paint would usually look like instead it's showing me every single part of the image that has changed meaning if there's an area that's one percent gray it's going to show it is black over on that side just so you can tell how far out of the brush go the area on the left is going to show me where is it on ly solid black if it starts to fade out on the edge of the brush so that you have instead of getting black, you have ninety nine percent greater ninety eight it just won't let that show up, so when I click here I can see what area of my picture has become black and anything beyond that is where it's fading out it's it's didn't put down full black, so what I'm going to do is click right where this line is in the middle and let's see what my brush really represents, what that circle means I'll choose a fully soft brush first well actually let's pick a hard edge brush first okay this is this heart oven edges I could get me in the harness settings up one hundred I'm gonna click and then the brush that little circle here pretty much is showing the way the edge of my brushes pretty close is not now if you look at the two sides there is a very slight difference in the size of the two circles and nash fish because the edge of my brush has what you might call auntie alia scene or something similar it means the tiniest softness just so it doesn't look like really crisp jay g's on the edge and so there's just the slightest difference in the size of the two halves of the circle choose undo and then I'm going to use a softer brush I just go one little step softer so now I met ah hardness setting of seventy five and I'm gonna click let's see what happens so the left side shows me where my brush was solid where it applied what I asked for my foreground colors black that's where I got black the right side shows me how far out it actually changed my picture meaning if the brush is fading now where did the fade out end where it stopped affecting my image completely and look at where my little actual cursor shows up the thing that represents my brush it's centered there is not so let's go for a softer brush but look at where my cursor is. Notice it's centered between those two. Get us going to get a soft as I can. Now, when you get a brush that is has a softness setting of uh zero it means completely fade out during the whole space, so you only get the tiniest little area of what you asked for it. Rare right in the center starts fading out and it fades out over a huge distance. But your cursor always shows you where the fade out is half way done. And so the reason I mentioned that is a lot of people think of that little round ringing is being this is the edge of my brush and I get nothing beyond it. That's, not the case. Unless you have a hard edge brush. As you have a soft edge brush, your brush is extending beyond that, the circle has shown you where it's halfway done, fading out in the setting called hardness is simply indicating how much of the middle of my brush should be solid before it fades out. So if I bring it up a little bit now, I get twenty five per cent of my brush being solid before it starts fading out. Bring it up even more now I'm getting fifty percent of my brush before it starts fading out. Seventy five percent before it starts fading out or it's trying one hundred percent so the hardness is saying how much in the middle is solid before the fate happens in the circle that you see is saying where is it halfway done with the fade out okay, so that could be a little different than what you might be expecting and so I just want to make sure because I find very few people really think of that uh so any questions related to that that's kind of weird setup yeah, I'll throw one out then has that visual dynamic changed over the versions of software of photo shops going back or has it always sort of been not that I can think of okay, yeah of course I know it's been the same and then what about brush tip that's just were perfectly round brush not yeah we're going to talk first we're talking about basic brushes we're going to get on to the ones that can have a how would I say it a dimension in that it thinks about not just a flat surface that you're painting with but thinks of it it's like it has bristles where it's got a three d quality to the brush and we're going to get onto those later but if you have a soft edge brush usually this will still show up where it's halfway fading now that's the general concept so somebody happens to want to know how this document set up to do the brush test by the way I'm sure somebody's out there going wait a minute what's this document he's got let's look at what it is I'm just going to throw away two layers so that all I have is a layer that has white at the bottom and then I have to text layers which is the text you're reading right there fact I could get rid of those to simplify even further so you know that right now we just have a document with a guide down the middle so if you want to know what I did to create the brush test I selected the left half of a document that's why the guides there so I can get another selection for the right half very easily where I could just nowhere to click when I used my brush and then I created an adjustment layer called threshold and I moved this slider all the way to one side then I selected the opposite side of the document I went to threshold again and I move this to the opposite side then I simply made the bottom layer active when I painted now I don't know I might have these two sides reversed because I don't know what side of threshold I needed to be on but now let's get a soft brush it's got the brush tests going so it's just two threshold adjustment layers set to the opposite ends and what threshold does is it just a saying uh in this case make anything that is, um make anything that is brighter than black disappear and make or turned white? I should say and then on the other opposite end it's make anything let's see a brighter in the black make on ly make the things that are solid black show up you know, that kind of thing and so I was able to create this document, but not everybody will want to create it but it's just nice to know just usually after showing that people are like, wait a minute what's with that document all right? So we've learned that our little brush ape shows us where brushes halfway faded out that's the main thing to take away from that then we have some settings at the top of our screen across this little bar top it is known as the options bar up here we've already talked about changing her brush size. This just brings us to some brush presets you know, the other settings for our brush will get into those later. This is the blending mode which controls how are brush will interact with what on the layer we're working on and getting about a bit later but let's take a look at some of these things so opacity he probably used tto opacity if you've used photoshopped painted but opacity means how much can you see through your brush? If it's one hundred percent opaque it means you cannot see through it it's opaque it's not transparent or translucent uh it's opaque and if you bring this down we can make it so we can see through our brush now there's a couple different ways of adjusting this I find a lot of people click on the number and type in a new one other people that are more sophisticated than that they grabbed this little arrow and they play with this little doo hickey teo adjusted I click right on the word opacity and just drank there's no need to click on the the number type something in there's no need to play with this little side do hickey just click right on the name of the setting and drag left or right if you drag fast, you'll get down to zero pretty quick uh upto hundred that kind of thing same thing with flows same thing with any numeric setting you see usually in the options bar we're in a lot of other parts of photo shop uh if they're little panels or something uh that you get to him other ways of changing those settings are the number keys on your keyboard if I just press the number five actually let me not have that select you up there? Ok, if I press number five, I get fifty percent. If I press one, I get ten percent press nine, I get ninety percent, you know, just percentages. If you press two numbers very quickly in succession let's say six and then five you could get precise sixty five. Press him slow and you'll get sixty and then fifty press fast sixty five but that's only for the opacity setting there's also another setting next to it that's called flow. We'll talk about what flow means in a moment, but for now let's, just look at what keyboard shortcut would change it because the number keys of my keyboard is going to change the opacity, not the flow. Well, just like when you're changing the size of your brush there's a key to hold down to change how soft the edges same thing here all I'm going to do is hold on the shift key so if I hold on the shift key now I hit five and the flow goes down to fifty two. It goes down to twenty and so on to get it to one hundred years just type zero but holding downshift is what gets you to change the flow, all right, so let's, just look at what's the difference between opacity and flow. I'm going to bring the light capacity down fifty by taping five and I'm gonna paint so that means I'm gonna be ableto see fifty percent of the way through my brush to what's underneath so I'll get a mix of fifty percent of what's underneath fifty percent of my brush when I paint I'm painting with black right now so it's not the most exciting paint but that's what I get what's unique about opacity unlike flow is if I paint over the same area again and again and again unlike a can of spray paint it does not build up its set fifty percent the whole time I'm painting that is until I released the mouse button once I released the mouse button photoshopped doesn't remember that I already have some paint there and when I click again it says ok you're asking for fifty percent opacity of this brush and I'm gonna add that to whatever is in your image so when I click now I'm adding my second coat I could let release it again and click and build up more but in order to build up more I have to let go of the mouse but in each time to build it up now you might think that fifty percent opacity painted twice should not be one hundred percent now because fifty percent opacity means let me see through this brush fifty percent so that when I paint like this I'm seeing fifty percent of what's underneath in fifty percent of the paint, but I'm putting that I let go and now it's going to show me fifty percent of what's now there underneath in fifty percent of this brush and so it's going to take me a few times of clicking and letting go because now it's going to take fifty percent of what's sitting there now plus fifty percent of this brush and it takes a while to build it up so just a lot of people think that fifty and fifty makes one hundred uh not when it comes to pain I'm gonna put opacity up too one hundred now by taking the letter zero and I'm gonna instead of just flow, I'm going to bring flow down to fifty percent by holding shift in hitting the number five in what flow is going to do is if I paint like this and I overlap my paint strokes, it will build up so with flo labor actually bring the up the flow down to maybe twenty percent. But if I just sit here and paint back and forth and back and forth back and forth it's more like a can of spray paint in that it's going to give you more coats and build up it's not exactly like you can't spray paint though, because if I just stopped like this and pause it's not going to build up if you want it to build up, there is an icon of an airbrush which is right here, and that one makes it so if I stop, it builds up. But unlike an airbrush, it doesn't care about my speed meaning with the normal can of spray paint. If you paint really fast across something, you get very little amount of paint. If you paint really slow, you get a lot of pain because it's building out. But with that setting it's on ly when I completely stopped moving, there starts to build up so it's uh, not all that useful. You can annoy your coworkers by turning it on, and that every time they pause with their brush like what the hell is building up. So what was the difference? Lino passing and flow well in general of similar concepts, but flow makes it so if you paint back and forth, it builds up where's with opacity. You have to let go your mouse and click again in order to have it build up makes sense. Now the two icons that you see up here this one over here in this one over there have to do with graphics tablet, so this one, I believe, would say let's, take our graphics tablet and the pressure on my tablet would control the size of my brush. That's. Why the little circles are in there that's supposed to represent your brush cursor? This one here, do you see the cursor? It looks like a checkerboard inside of it. What that means is that the pressure on my tablet would control the opacity. It would. You know, the lighter I press, the less opacity I get, the harder the more.

Class Description

Part of the Complete Photoshop Mastery Bundle.

Explore the creative side of Adobe® Photoshop®. Take a walk down the filter menu and learn what's lurking in the not-so-obvious filters like Displacement Maps and Lighting Effects. See how the simple text and shape tools can be taken to the next level by incorporating layer styles, clipping masks and more.

  • Learn which filters have a special relationship with the Adobe® Photoshop® Blending Modes, which allows for unexpectedly creative results
  • See how puppet warping and layer masks will allow you to make a single layer look as if it's intertwined around another layer
  • Start to use Adobe® Photoshop® 3D features to add dimension to otherwise flat imagery
  • Create animated slide shows that better keep your viewer's attention
  • Add texture to your images to give them more personality
  • Software Used: Adobe Photoshop CC 14.0

    Reviews

    Kathleen
     

    This is the second class on PS filters that I've taken with Ben Willmore. He is handsdown a fabulous teacher and one I highly recommend. I purchased both classes and I feel that for the price, they are worth their weight in gold. I applied his PS filter techniques to some of my surface pattern designs that were created using my original artwork and I've received great comments. So I owe a great deal of gratitude to CL and to Ben Wilmore for giving me the opportunity to grow my PS knowledge and to apply it with confidence to my artwork. Thank you!

    a Creativelive Student
     

    well I would recommend it sort of. I think much of the chapters show you how to use things without giving good examples or reasons such as with the brushes part. The photo on the cover is never worked on or really any of the topics didn't talk about how to achieve that look. I did learn some things as I have a lot to learn. I have been using the textures with great success. He does a nice job of explaining...I just don;t think we saw enough start to finish work.

    a Creativelive Student
     

    Fantastic tutor and course content! Ben Willmore truly is a master of Photoshop and has the ability to teach all aspects of Photoshop in such and easy-to-understand manner. Thanks so much for making Photoshop so much more understandable. Highly recommended.