Lessons

Lesson Info

Brushes

week Number five Photoshopped brushes all the new brushes that Photoshop CS five introduced. We're going to show you today on my screen. I have a rendering of some oranges that I had done for those of you that saw this, um, the photo color water shop class several months ago with Molly Mora, Who's our watercolor instructor here. She and I actually sat down and we painted a set of oranges. She did it traditionally, I did it using photo shop, and we both came up with very different things. And this was my rendering of the oranges. And this was all done using the new brushes in photo shop. And these new brushes and photo shop are absolutely incredibly amazing to take full advantage of these brushes here, though you definitely need to have some type of tablet with a pen and, uh, cameras around here that we can actually zoom in on this town for what we're gonna set up a camera overhead. Never did, uh, for Molly's class. Oh, thanks. So if we go over here to our toolbar, you'll see we've got ...

our brush, pencil and color replacement tool and a new mixer brush. CS five, they've changed the look of the icons. We've got our brush tool, and we've got our mixer brush. The brush tool remains the same as you remember it with some added items to go to my brush. Drop down menu here and, by the way, the easy way to go and do. If you're working and you want to bring up your brush drop down menu, really click quick quickly. Just go ahead and control. Click or right click when you have your brush too active and it's gonna call up your brush panel right on your screen. And you can simply hit return when you're done, so make sure my key strokes are on here. So control click are right. Click when you have the brush active brings up your screen so you could work with us. And when you're done with it just simply hit return and there you have it. So control click. We have this. There we go. We could go back in and one new feature that they just added in here. You see, when I scrub back and forth and the size here, or in the words size, I may have gone in and picked a brush size, and I want to get back to my original brush size. When I called up the brush panel, I can click on the little Revert symbol right here, and it'll bring us right back to the original size of the brush. Now I've got the basic brushes that we've seen before here, hard and soft brushes with different settings on them. And then I've got all of my normal type of scattered brushes or artistic brushes, whatever they may be. But the ones that we are going to really pay attention to are all these new brushes that air literally brushes as we think of brushes, all the stuff that we've done in photo shop so far we've called it the brush tool, but it's really just been a cursor filled with a color, giving us some type of shape or pattern with very little interactivity. But today we're going to go through basic brushes that we've known before and loved, plus all our artistic brushes here, and these are true brushes and so you're going to get the flow of the INC. Which is basically the color onto the paper and weaken at water to this literal water. Well, figurative water, but literally add water to it. So I'm gonna hit return, get out of our, um, window here. I'm going to go in just to a normal brush as it stands right here. I'm gonna have a nice round brush keyboard shortcuts for expanding your brush size right bracket every time you hit the right bracket is going to increase the brush size in the preset increment. And we know that because up in the upper left hand corner of our screen here, we can see this number right here. Some people refer to the brush. It's like, Oh, I was using a 600 brush that is the size of the brush in pixels. You can have 50 different brushes that are all labeled 600 all 50 could be totally different. So a 600 brush means nothing other than its 600 pixels in size. So right bracket increases the size of the brush left bracket decreases the size of the brush. And if I go in here and I paint, you'll see that I've got my brush size as it stands. And there is my brush. I want to make sure I've got one thing set correctly here. I don't want to have this being too big. Normal cursor size. OK, there we go. So there is my brush and I get a normal size brush. If I want to soften that brush shift, left bracket will soften that brush and 25% increments. So shift left bracket Once, twice, three times, Four times. Now I will get exact same size. Brush it. But, you see, I will have a very soft brush. What you don't normally notice here is up in the upper left hand corner here. We're using a 400 pixel brush and we see a very faint dot right here we switch over to my mouse for a second. When you zoom in, we're going to see this very faint dot that we see right there that shows the size of our brush but is very faint because it's a soft brush. I'm gonna go in and want Keep your eye on this area right here as I go in and use my keyboard shortcuts. I'm going to make this brush harder, hold down my shift key and do the right bracket and every time I do shift right bracket, that little dot seems like it's growing. What it's actually doing is it's actually increasing in hardness in 25% increments. So if you want to know if you're using a hard or a soft brush right now, it's a hard brush right there because we see it as a nice dot. But if we make this a soft brush by doing shift left bracket, we can actually see it remains the same size. It just gets to be a softer brush. So we've got a soft brush and we've got a hard brush. Both are exactly 400 pixels, but we have different renderings of that brush. If you want to change the hardness and softness manually, you can click on the brush drop down menu and either scrub back and forth on the word hardness or scrub back and forth on the slider here to change the hardness of that brush. Now, another thing. Just fill this with white here and get it back Another way we can control the brush dynamically as well is on the Mac. We're gonna hold down control an option on the PC control and Ault. With our brush active, we can take our control and option key with airbrush active and click. When I click, I get my brush showing red. If I drag to the right, it will increase the size. If I drag the left, it will decrease the size that's holding down control and option if that controls the size of my brush. So essentially, that's the right bracket. Left bracket Alternative. If I want to control the softness of hardness of my brush again control, option, drag up and down up is going to make it softer down will make it harder so I can have a very small brush I can drag up and make it extremely small are extremely soft right there. So I get a nice soft brush. I can go in, hold down my command option and lose my entire screen and increase the size of that dragged down to make it nice and hard. Oh, please, we're having technical interference. Technical interference. Your back? Yes. Okay, folks. And that was 0 to 60 with photo shop. See what you missed when he don't pay attention. So those are our basic modes of getting increasing, decreasing brush size, increasing and decreasing the hardness. Their right bracket, left bracket shift right bracket shift left bracket or option control, Drag right and left or option control. Drag up and down those the ways you can go ahead. And such a brush, size and hardness that hasn't changed. That's the same in CS Fouras. It isn't CS five and most likely the same in CS three. I don't know if we have the option Control Dragon CS three can't remember back that far. Now, new features that they have added you'll see in the control bar here when we have our brush panel active. We have a little icon here which calls up our brush presets, and this is our brushes preset panel. There you click on that and it calls up our brush preset panel. We could do the same thing going under the window menu and calling it up right here, Same thing. So nothing has changed in that respect other than we have this little icon right there. Next we have these two little target icons. These target icons now allow you to use a tablet, and you can very quickly control the pressure sensitivity of your brush by clicking on these buttons. We hover over it, we get the tool hint and we can see that the tablet pressure controls opacity. While this is great, how does that work? Well, without this turned on, I just take my mouse and I paint. I'm going to get in salad. Opacity here. If I wanted to fade this out, I would need to go into my brushes panel here. I would need to go into, um my let's see my shape dynamics here that I would have to go. We enter, they'd have to do a fade, and I have to control how it's going to fade with a lot of work. But if I go in and I click on this button and use my tablet with that on, I can go in and take the exact same brush. I'm not using my mouse now. I'm using my tablet. I can start and I can start very light. And the more I put pressure on it, the more I get. And of course, what did I dio? I said the I don't want to shape dynamics on there. There we go area. So I press very light. I get that. I press hard, I get the opacity, I let off and the opacity changes. Can't do that with a mouse. It's either on or it's off. Soften this brush up a bit. And so now we can see you can start very like pressure. Put more pressure because pressure is going to control opacity Fade off there and I can paint. And this just by putting the pressure on the tablet right here. If I use my mouse, which I'm gonna switch over to right now on a simply paint, obviously the mouse just clicks. It doesn't have any pressure sensitivity whatsoever. So having a tablet is very nice tohave. Okay, so those are the new features right here, so we can control those really well, by going in and just turning this on if you're going to use Ah blackham tablet. So here's the tablet pressure for our airbrush. And this is the tablet pressure for our actual brush with those on. It makes it work so much better. It was never one to use a tablet. It never really was comfortable for me until CS five came out. Then I found out that wow you know, we can actually paint with this so great features. So with this, we can go through just our normal brushes here, and yeah, we have our normal just brushes. And no matter what they are, you know, we get our leaf here and we paint and we get our leave. So nothing has changed in that regard other than we now have precious sensitivity to get the opacity. It's all fine and dandy where it really comes into play. Is this what we're gonna pay attention to? Here are these basic brushes right through here are literal brushes, brushes. I'm gonna change the layout of this panel here by clicking on the little fish. I drop down menu inside the brushes, drop down menu, and I'm going to change this to a small list so we can actually see what the's air called here. Okay, so we've got, you know, round stiff round, blunt all different types of watercolor brushes. Basically, that's what they are. Paintbrushes. If you want to know what all these dio you go to any artist supply website and find out what brush you want to use for what particular item. And so we can choose the brush. Let's go. We had and I'm just going to choose a Let's do around. Appointed one of them hit return to get rid of my dialogue box. Now here we have our nice little brush Preview new to CS five on our brush preview shows us how this brush is actually working. To turn that on and turn that off. We go under the view menu under show and we have our brush preview. There is a shortcut associated with this. I don't know what it is because every once in a while I turn it on. Turn it off and I can't remember what I did. I could look for it, but you could set up your own as well. But your brush preview is right here. So this panel comes up and you can see that we can go ahead and expand it docket and close it right here. What makes this really interesting is here is the brush that I'm using. Right now, we have two different modes that weaken view it in and three different angles. We can have our wire frame mode and if I hold down my shift key and shift click on a little preview is going to change into render mode where we can see the brushes. The bristles is yellow shift click again. It's gonna go back to the wire frame mode. If I don't hold down the shift key and I simply click on the preview, you'll see I'm going to get different angles of how the pen is or the brush is working. Right now it's overhead. If I turn this pen so it's absolutely straight up from my tablet. It's literally as if you're standing and directly above the tablet here and looking straight down on the brush. Okay, I'm gonna click on this again, and now what we have here is we have it just looking straight on from the user's point of view. Okay, as if you're looking straight on the pen at a level, and then if you go and click on this one again, it's basically looking off, like to the right hand side or to the side of your pen. Your we call it a pen because that's were using, but it's indicating a brush, so I got depending my hand to brush on the screen. Same thing quick question from the chat room from Cape Will that work on other tablets. It will work on other tablets. Yep, I'm using and into his three medium size the best one to uses the into us for because what this does not have is it does not have rotational capabilities. As I rotate dependent my fingers and I roll it, it will actually roll the brush. It does not do that on the into its three d into us. Four does that. So that's a big, big, big feature because you'll see the limitations of not being able to control that access of rotation and just to follow up, does the little window come up automatically when the special emotions were chosen? Yes, it does. I'm gonna change the background color here so we can see things a little bit better and, ah, change it to select a custom color here changes like light blue. There we go. And by the way, folks, if you ever want to change your art board in the background, just go to your art board here and right click or control. Click on your background and you allow you to change the color reason Why did that is Because I want to show you here with my preview. See on the brush preview how we've got this very hard to discern dotted line right here. This is my paper. This is my document. This is what I'm working on right now. My pen is hovering directly above this, but watch what happens when I go on to my document here and I begin Teoh touch the document. Now, if I go and I put the pen straight down like this, I can go in and I'm holding it per perpendicular to my tablet and you can see as I touched the paper I can go in. And those those bristles Well, just touch the paper. The harder I push and the more I drag, you'll see that those bristles will be driven below that line there, which is showing me the pressure that I'm giving on that brush. I'm gonna switch over here. I'm just gonna control Click, and I'm gonna pick a different brush here. Um, like a flat fan here hit return. And now we see that brush you see, as I really dig in there and I pull, you can see those brush those bristles going back and forth. So I know the kind of pressure that I'm putting on that brush Touch it ever so slightly here. And of course, it's controlled by a passage E. So I, the Brussels, the Brussels, the bristles will just touch the paper Just touching that dotted line which indicates the paper. The harder I pushed, the more it's gonna drive into the paper. And because I have my pressure sensitive activity item are option checked here in the control bar, I'm going to see the opacity difference. So as you get working with this, you don't know what kind of pressure you're putting on. You can very easily see what kind of pressure you're putting on the paper. The virtual paper as it is with these brushes. Now, the one problem with this is that CEO fight. When I turned the brush like this, you can actually see that this is a fan brush as it stands right here. Um, let me just click on this again and you can see how this is a fan brush when it put it straight up. I'm only using this vertically. Unfortunately, if I were able to rotate the pen here. If I hadn't into us for here, and I could actually role dependent my fingers, it would roll that access right on the axis of the handle there so I could actually change the fan direction. Unfortunately, because I don't have it into us, for I can only keep the fan direction vertical like this. So I'm limited in how I can swirl things around because they wanted to paint a nice archway here, keeping the fan and twirling it and my fingers as I go having that rotational capability of the pen. It's really nice to have. But you know what? This is fun nonetheless to see as you go so great to see, great to use. And there you go. So this is a This is a better brush to understand the previews here. This is basically me sitting and looking directly at this at desk level. This is looking right from the top, and that's looking right from the side so we can see the difference, the different views that we have. And then you push scrub really hard in there, and it shows the longer the brushes along the bristles, the more they'll bend when you scribe along. Put question free Jason Newman. The chat room wants to know. Do they have this feature in Illustrator? They do not. This is unique to photo shop. And I thought, you know what a fantastic idea to put brushes, brushes in photo shop because before, they were just like, you know, blobs of color in certain shapes. I mean, they really weren't brushes in the true sense. Well, now these are artistic brushes. In the true sense of artistic brushes, you get the bristle effects, you get everything going on if we go in and we're gonna do a round curve with low bristle percentage, and with this you can see it looks like a balding brush right there to be a perfect hair club for brushes. Um, with this, I could go, we ended. It can control the size. As in as I paint. You can see that these bristles will go ahead and give me a very fine detail or very broad detail as I paint. And the more I push, the more they get driven in and go back and forth. And you can see those bristles working back and forth very, very processor intensive. If you have an older machine in your running CS five, you will notice a considerable delay. When we started doing this, we had an older machine that wasn't quite as updated, and I used the one I just bought at home that's maxed out with a ram and everything, and they're still a slight delay. 16 Gigs of Ram on my computer at home, and it keeps up pretty good, even older. Computer two years old, three years old laptop. You will notice a significant delay you could be painting in a minute later. It'll finish painting. OK, so very, very Be very, very careful when you're doing something like that is not something you just whip right through the shift. Delete and fill this with white again so we can start with a new, uh, control click. And let's pick a different type of brush here. We gotta like a blunt brush. We can see that we can go in and do some kind of nice little scratchy stuff limited because I can't go in and control the rotation of the pen because would be great to go in there and just spin this pen and literally just kind of grind it in kind of in a circle here, but I'm limited to this as such, Jason from the tearoom. Can you repeat what the commanders to rotate the brush to rotate the brush? Basically, I'm just holding it vertically perpendicular to my, uh, to my tablet here. And I would just go in and I would rotate this, But I can't I don't have the ability to do that because I don't have the newest pen. Okay, so this is the brush as it stands here, and this is the brush as it's defined. And because it's a vertical brush, I don't have the ability to go in and turn it. Yes, I had that pen where I could roll the pen, roll the brush, so different brushes. You can go and look through all of these. These are the ones that we have here. Just a lot of fun. Interesting stuff. Since I am not a painter by trade, you know, you could go in and try really cool stuff. It's just fantastic to see what it is that you can dio. So this is just the very basics of brushes Of course, all the other brushes work as well. If I want to use a spatter brush here, which there's nothing new with this batter brush, you know, you know. So I'm using the spatter brush spatter has been around for years and years and photo shop. You'll see that I don't get a brush preview. Well, there is no brush preview. What I see on screen is my brush. I don't need anything more than that brush preview here. Um, because what I see on screen is what's defining my brush. Now, what I'm gonna do is I'm gonna go and shift delete again so I can fill this background with White. Now, we're gonna go in and we're going to use our new artistic brushes here. But we're going to start to show you how these can, how we can work with these brushes in a very interesting way. Right now, we're just in the single brush mode right here, just using the brush tool, and we're just laying down color in opacity and whatever blending mode we want. Okay, I want to bring and I want to start being able to use these artistic brushes in an artistic way to blend these together and you notice in our brush tools as well. We have the mixer brush tool. The mixer brush tool is really pretty cool. Once we choose the mixer brush tool, everything changes a whole new game. Here, folks, with the mixer brush tool, you'll see that the entire control bar is something that you've never seen before. Okay, all new. So we're gonna walk through what? These? Our first little drop down menu is our ability to load our brush with color or clean our brush after we painted. When you're dealing with watercolor, if you want color on your brush, you get the brush either wet or dry, and you pick up some color. You apply it to your paper, and when you're done, if you don't want to mix that color with anything else, you clean your brush out. Therefore, you end up with a loaded brush loaded with color clean brush. You've cleaned it all out, so there's nothing left in there other than technically water. Okay, too little icons right here. This allows you to go in and load the brush right there will hover over that, so we get the tool hint that is the load, the brush after each stroke. When this it's not depressed right now, when we click on this, you will apply a stroke to the page. And once you let go of that, either the mouse or the pen, it will load the brush again with a sampled color that you have right here. The other icon here is cleaning the brush. Clean the brush after each stroke. It is off when it's in the opposition. It is on minutes in the down position here. When I clean the brush after east each stroke you high of a wet brush and I'm painting through a document with lots of color. Why lift off there with this button depressed? Here I have the clean the brush stroke turned on. That means I lifted off the page. It automatically cleans the brush of any load of any pigment, and I start over again. So this button depressed means I'm gonna load the color. This one means I'm gonna clean it after every time I paint. Once I let go Turn those offer right now and you'll notice that this little window is going to change. Okay, as we go in and paint because depending on what we have selected here, we have the ability to go in and sample a solid color. We can choose load solid colors only, which allows us to choose a color from our color picker here or far solid colors or turned off. Then what happens is we can go in and we can choose. When we load our brush here, we can choose a color that is being sampled from our document. That is not necessarily a solid color. And we'll explain that how that works going over to our drop down menu. These are the basic presets of our image or of our ah, not our image of our brushes. We have a dry brush moist, wet and very wet. A dry brush literally means I've dipped the brush in pigment. And when I take my dry brush here and I've dipped it in red gonna make a larger brush here and I paint, I'm gonna go in and I'm going to get pretty much solid ink. Okay, so I can paint some of my solid ink on here, and I'm gonna go in and I'm going to switch to yellow here. So that's my foreground color. And I'm gonna paint with dry and paint over there, and you see that I'm literally just painting over itself. Choose a slightly different brush here, Um, like the fan brush here. So I paint over these items and literally, I get just solid color as I go through, and you see that not really much happens. Interactive wise, I'm painting with just solid color. And you may say, Well, that's just like a normal brush. Yeah, that's a dry brush. There's no water to really mix any of the color together. We're just painting with pigments now. I'm gonna go. We ended them in a try dry with a light load, which means it's going to anonymous switch to yellow here, and it's not much is going to change here. Once I get into Moist, I start adding some color. I start getting some water or some witness to this, and I'm going to read here. Now that I have a moist brush, you can see the wet the load. The mix in the flow are all changing as we go through here and we're gonna get through all of that now as a paint over this. See how we get some blending here. So if I lay my brush right here and pick up, I start to paint over the red kind of get the little bit of what's going on there. Back up two steps here. I want to show you. Okay, here we go. So I've gone and I've chosen Moist right here, moist with no mix right there with moist. I have water introduced here. I'm gonna click on my red and I'm going to click And I'm gonna drag across my red and my yellow Do one thing here to clean the brush There we go. Click on the red I'm gonna drag it across the yellow See how the red mixes with the yellow right there. Now I dragged it all the way over here, and I'm now on the white portion. Well, the white portion of my document is white, and it will actually pick that up is white. Now, I'm gonna come back over here and I'm in a paint again. See how it kind of lightened that area when I laid it down again? And if I paint over here again because What's happening is it's mixing the brush. It's mixing the inks together in my brush, and I swept over here and it retained that color combination in my brush. The reason why it did that is because I did not have my clean the brush after each stroke turned on. So it means once I get a dirty brush and I keep painting, it's gonna keep mixing those colors together all the way on through. And if I paint, if I mix it more with yellow, I'm gonna get more yellow. If I mix it with the red, I am literally taking the color that is on my document here and allowing me to mix it back and forth. If I want to be able to go in and just mix it with a single color, or be able to start all over the fresh brush and just kind of sweep it over again, I can go in here in turn on my clean, the brush, which means every time I sweep across there it's going to be a completely clean brush. It's not gonna have picked up any information Now here's the interesting part right here, and this is what's really cool? I'm in a zoom in here so I can show you. See this little icon right here? We have a checkerboard background. We got this weird kind of icon right there. That's the shape and size of our brush. The color that is in here is the color that is being sampled. And this only shows up in this particular form when we've gone in. And we have a brush that is not cleaned after every every stroke. This is what we're painting with right here. This little window shows us what we're painting with. This is going to change as we paint over Mawr and more and more of this because we keep blending without cleaning the brush. This is what we're painting with. That's what we see. Okay, I'm gonna go away, and I'm gonna click on the drop down menu here. I'm gonna clean the brush out. When I clean the brush, it disappears. We've clean the brush. Get a question, Bruce. Well, I was just gonna ask you to go into a white place on that before you clean the brush toe, sissy. Sure. Let's go back here and going to a white area and so that we can see that the brush is still loaded. Absolutely. So here's what we're gonna do. We'll go right back here. So I've got a moist brush here, and it's not it's not gonna load itself is not gonna clean so moist brush. I'm gonna go over here and see how the white gets pulled in there. I'm not cleaning the brush. We get this icon showing up right here, showing us that that is now what is in the brush as we as we have. If I drag over here, let me drag into the white. There we go. Let me paint right over here in the white. It's a dirty brush. It is a loaded brush that has pigment in it, no matter where I paint. So another question so white. In this case, the paper is not paper. It's a pigment. Yes, it's white. So you're gonna get the blending of the color. And that's where that's where people get thrown off. Because before we never had the interaction with the background color the paper. Another. When you're doing riel watercolors doing real watercolor, you don't have the interaction of the paper with one drawback is is that we don't have the tooth of the paper or the absorbency of it. So, I mean, is this watercolor painting? No, but this is pretty cool. So with a non clean brush, basically a dirty brush, I can go paint back and forth, and it's going to blend everything together in a moist fashion. And this is what I'm sampling right here, because this is what I see in my little sample window. Now what is the wet load? The mix in the flow do will hover over each one, and basically the wet is the amount of water or the amount of paint that's being picked up from the canvas. Okay, the weather it is, the more you're going to go ahead and pull pigment from your canvas. The load is how much you have in your brush. I mean, that's the amount of paint, and irrational, very light load means you have very little paint in your brush. The mix is how much is going to mix the colors together between what you're putting on and what is already there, and the flow rate is basically controlling how much you're putting at what rate you're putting it on. Okay, so think of it. Kind of like is a spray Canada 100% You're putting a lot on based on all these parameters with a very low flow rate. Here we set the flow rate way down. Then we can go in and you'll see that it's going Teoh, do it at a much slower rate. Here. It's It's kind of like opacity. Not quite. Okay, you can go ahead and control all these numbers. When you control all these numbers here, you'll see this will go right back to custom here. These are simply presets for you to get a good basic understanding of what is going to happen when you're painting with the moist they went very wet. Light makes heavy mix. So I'm gonna go in and I'm going to choose a different color Cool things with CS five. We all know that if you hold down your option key, you're going to get your brushes active. You hold down your option key and you're gonna get a little sample window a little sample icon eyedropper. When I option click, what I do is I get what's called a sample ring and the sample ring is something you can turn on a turn off your preferences. The sample ring shows me the last color I sampled on the bottom half of the ring. And it shows in the upper half of the ring, the color that I'm currently sampling. Now, this is great because this allows me to sample anything. It's on the page. But what happens if I want to call it the color picker really quickly? I don't want to have to go over to my control of our on my toolbar over here. What I'm gonna do is I'm gonna hold down command option and control and command option Control Click. We'll give me my color picker my hue, saturation lightness in here so I can choose different colors. Aiken snagged this over here. And then I can go back over here and choose whatever color you want to choose and then let go. And there's my sampled color going to go back to dry brush here, and I'm gonna paint on here and the flow rates at 15. So it's have to paint over a lot to get the capacity and you can see the delay in which it paints. Okay, not a slow machine. However, don't go in there and spend 15 minutes of painting, and I think it's gonna process the whole thing. We have a few requests, Jason, To repeat the explanation of the load mix and flow options. I don't know if you would like to wait till Q and A to do that, we will go through them all. So if you have questions here, just go over and hover over each one here in the tool hint will come on. So the witness is essentially the amount of paint picked up from the canvas. You're putting water on there and you're mixing with the paint. The weather it is, the more you're going to pick up from the canvas. Okay, When you're cleaning something off, the more water you put on it. Hopefully the cleaner is going to get whether it is, the more you're going to get pick up from there. The load is how much paint you have on the brush at the time. If you load the brush up a lot, you're gonna have it completely loaded. The mix is how much you're going to be able to mix the color with what you're what is on the canvas and what you have in the brush, okay? And the flow rate is just how faster applying it mean. That's basically the rate at which it comes out. Some like water color. It's very much like watercolor class. You know, you have clean brush, dirty brush, you know, wet brush, a loaded brush and how much you're mixing. Well, of course, we you control how much air mixing in the watercolor class. This you have to kind of set. You'll notice we have no mix in the dry brush simply because there's no water to mix it with your just putting paint on the page so we don't we don't see that. So when we go in and we choose, let's go in and choose a wet brush here and with a wet brush, um, to go in control option command. Let's use a different color here so we can kind of get some really interesting stuff going on. Now I have my options not set here to load the brush or to clean the brush. I have a solid color here, and I'm gonna go back in and do a just going to clean the brush out. There we go. Nominate, click the loaded brush. So every time I let go, it's going to load the brush with the color I've sampled right here. With the button down, I'm loading the brush. I let go of this. Once I've painted on the page here, it's gonna load the brush with that color. Now if we go in and we paint with a moist brush a little bit, a little bit of water but fairly dry and I paint over this with my purple are my magenta that I'm painting with. You'll see that not much happens. The flow rate is set low, ominous that the flow rate up to 100 and now you can see that I'm getting a fair amount of color on the page from the magenta that I've chosen. It is interacting with the blue here because I've gone in and put it on moist. I've set this toe load so that is going to go in and load the color. Now we had chosen the magenta and you'll see in here we get the Magenta, but you'll also see that with this magenta we've got this little brush, this old dirty area and the brush right there. And the reason why I have that is because when I choose a color and I begin to paint into begins to mix and I don't clean the brush out afterwards. This is the combination of colors that I'm getting. If I wanted Onley do solid colors all the time. I can clean the brush after each stroke, which will always take the magenta that I've picked. Put it down on the page, interact whoever. Once I pick it off the page there, it will then clean the brush and I will not be getting that mixed into my brush Easy. Everybody's rolling their eyes and class here like Oh my gosh. Okay, so I'm loading the brush every single time. I can go ahead and paint, and I'm getting a fair amount of magenta. This is with a moist brush. Let's step up to a wet brush. Now we're introducing more water. The moist brush had 10%. This has 50%. So what's going to happen is we are not going to see as much. Let me back up one second. We're not going to see as much interaction with the magenta. If I go in and I paint with a clean brush, Okay, here's a clean brush. You see how we don't get as much interaction with a magenta as I did The dryer, the brush, the more ink I'm going to lay down, Okay? The weather, the brush, the lest I'm going to lay down because I don't have as much pigment in my brush. So that's with wet and it's cleans the brush. And now I'm gonna go with a very wet brush and paint over the blue, and it gets less and less every single time, the weather, the brush, the less I'm going to pick up my pigment, the driver of the brush, the more I'm gonna put down my pigment. So I'm gonna go in here in a minute, option click again right here. And I'm just gonna paint with a dry brush down here to get some nice color here so we can see what's going on. Do an X to switch over to my yellow here, and I'll paint this all the way over here. So we got dry brush and it's literally gonna put down ink just like you're used to seeing. So we do moist go in and pick a different color so we could get some good interaction with these things here. So here's a moist brush, so not much water. It's going to sample the color completely, and it's going to clean it out afterwards. So paint this over. A fair amount of magenta comes through there. I get the mix, and as I go through there, the magenta kind of dissipates and I start to pull the other color. If I go with a wet, I go through here and I begin to paint. It gets wet and it seems to go a longer way because we've got water and it's mixing everything together. Very wet would go in, and we can paint right across there and you can see with very wet. It'll interact very nicely with what's going on. Pick up what's on the page and mix it Now. We have heavy met mix, and we have light mix. Well, heavy mix is going to go in and literally mix this as much as I possibly can all together. It's a very wet mix, and I'm literally making mud out of what I want because I'm putting all this pigment together, lots of water and just making mud. Well, that's a heavy mix. Let's go in and try a light mix here with kind of the same bit. Now a light mix is allowing me to still add pigment to it, but it's not mixing it as much, so it's kind of leaning more toward me, adding color in there as well. That's with loading the brush every time I let go and cleaning the brush. Every time I let go back up here, a little bit of history, we're gonna get back to our sections here. I'm not gonna load the brush, and I'm not going to clean the brush, So I'm starting off with a completely empty brush right here. This is what this icon shows right there. That's what I'm painting with. So if I want a very wet but heavy mix, I can now go in here and paint with a very wet heavy mix and literally just mix what it's on the page without introducing any color to it. If I go away and I clean the brush after that, I get nothing and painting with nothing. If I keep loaded brush on there and I paint with this, obviously I can go in and get that loaded brush. Not much is we're going to be happening with my color here cause it's very wet with a very heavy mix, and I only have a load of 50% here. I could load it with a lot of color and still not getting anything that's going and clean the brush after we're done, because we basically got very wet, heavy mix, so lots of water. Even with a strong load here, I don't have much to go on. Not much introducing being introduced to that the dryer to brush, the more pigment. But I get the weather, the brush with less pigment I get so I can control the amount of pigment by loading the brush. What's more, pigment? The amount of wetness which is going to go ahead and allow me to introduce lots of water, the amount of mix so they could go in and I can mix all those colors together, and I've got mixed up 100% so it doesn't even introduce any color whatsoever. I can set that makes way down, and all of a sudden that color comes back. Uh, so everybody is agreeing and no idea what's going up. So now when I want to do is I'm Let's go ahead and apply this to something like this for all you Canadians out there, this is for you. Okay? I'm gonna go in and we can go ahead and do it his background. Okay, I'm gonna go away, and I'm gonna choose my brush control. Click here, and I'm going to dio around. Fan, Here we go. Reduce the size of the brush here. Now I want to go. And I want to pick a color here. That's kind of yellow. We're gonna do some kind of cool effect here. We're gonna set this leaf on fire. What I want to do is I want to get some interesting stuff going on here. So I'm gonna do kind of like a ah wet light mix here because I want some. I want some yellow coming in here, but I also want to blend it with what's going on here. And let's mix it up a little bit more here. I'm just painting on here. You see, how we get some of the detail as I pull and some of the yellow is being introduced in here. Okay, I have my load, the brush. I'm gonna turn off my clean the brush here, so it's gonna load the brush with yellow every single time. It's not gonna clean it afterwards. So I'm going to be kind of mixing in these values, going through here with this brush and kind of do some interesting stuff. So I'm literally mixing the pigments as I go through here. Now, the stronger the more I push, the more it's going to go ahead and mix as I go through and I'm gonna go with and I'm gonna wet the brush a little bit. Marks. I want to start getting a little bit more blending as it goes on through here. And this is just all using one brush here, and I can get some really cool visual effects going through very wet brush. Fair amount of load, 50% loads. I'm picking up some yellow as I go moderate mix. So it's mixing the colors together, throwing in some yellow fairly white. So I'm getting a lot of blending. Yes, Bruce is this destructive? You're doing this on. This is this is destructive. However, you nude on another later. You certainly can't. I'm glad you asked that. So here is what we have right here. Let's go back. I'm gonna go back in history here and go right back to here. I'm gonna put a new layer on top of this because that's exactly why we have this sample. All layers button right there. Absolutely. Sample all layers. Now I have my own blank layer here. Well, how is the wet mix and custom and everything going to mix together on a blank layer, but isn't unless you sample all the layers. So on this layer I can go in. And I can apply this really cool effect to this leaf here. And they can paint however I want to. And of course, I can change the size of the brush by using my right bracket left bracket, making it larger and smaller. The harder I push on the tablet pen, the mawr a pass ity. I'm going to get in. The more mixing I'm going to get and ah, hit the button on the pen there for a second and end up with something that could look really pretty awesome. I'm not gonna do that stem of the leaf there, and there's my artistic rendering of it. Of course, now that it's done on its own layer here I can take this, and I can scale back the opacity of that layer. I could also do some really cool stuff as well go through all of my blending modes on my layer to. So this is what my painting looks like right there, and that's what it looks like on top of the leaf. If I want to do some cool visual effects, I can select that layer. Go to my move tool here. So I've got that layer selected Do Shift Plus, which is going to go through, and it's going to give me my different blending modes. Now you've ever seen paintings done like this. You've seen posters that have this really cool spatter effect. Well, there we have it. Here's what Here's my layer with a dissolve layer effect or blending mode on it. You know there's with darkened. There's with multiply color burn. Linear bird, darker color and command minus will go through the blending modes backwards Command Plus will go through them forward and you can run through and get some absolutely, really cool blending effects when that's kind of nice. There just some subtle little yellow flames coming off it. Um, I think my favorite one is the is going to be the dissolve right there. I can control the opacity of that as well make it look really cool. Thanks. Of course, if they really want to get really, really wanted to get fun with this, we could just go in with my magic wand tool. It's like the entire inverse here. Turn this into a layer a mask it off. And then, of course, turn this on, clip that right to the layer to get a really cool visual effect on it. Remember those days, folks on the other previous photo shop classes? Yeah. So lots of cool things weaken Dio. So I'm gonna switch over here to buy oranges, and this is what we started off with the oranges and this was all just doing brushwork. I did some just very light blue on the background. There is just its own little layer. I took another layer here with a mask on it so that everything would be a mask to the agin wouldn't go over the edge, and I just started going in painting on its own. On that layer, I put another layer in here that had some nice little visual effects on their fact. Ah, put a few war. This is all just using paint on different layers here. That particular layer just screened way back. And then I did some more work on the leaves here, added some highlights in there, and it was all by using the brushes. So that's how it started out. That's how it ended up completely non destructive, because each and every one of these items here was done in it's own separate layer. This one was done on the layer right here, cut back capacity. But I just went in and painted in different opacity on the leaves to go through and get some interesting effects on there. Now, when we have our brushes active here, when we have our blending brush, right here are blended air mixer. Brush here is literally just going to go in and mix what's on the page. Unless it's dry, then we can paint directly if it's dry, but the mixer brush is really there to mix with the components on the page. It's not really meant to paint all by itself, except if you have it set to dry, then you're gonna get straight pigment there. Um, and of course, you can go in with all your brush presets here to and call up your brush presets as well. If you want to go in and you want a paint with, you know some interesting colors here, we could do shape. Dynamics were very limited to what we can do with these artistic brushes. Here, you see how we can't go in and change the colors as we're painting things like that because of the way is going to blend with the existing document so we can change the shape. You know, the angle. That's about it. You know the scattering of it, it's about it, and so you can see how that works a little bit. We can throw another texture in there, but not much else. So we're limited to that because most of the inputs going to come from you, the user based on all of these particular presets here, do not think that these are the only things you can use. These are just a very basic presets here. Once you start understanding dry, a solid color wet is very wet, is very little color, some color, a little bit of color. What light mixes some a little bit of color and some blending of the existing the color of your brush and what's on the page. What is going to be some color with a lot of blending with your color on the page and on your brush. Just like that, you've got all these force. You got infinite samples that you can go ahead and choose and use it cycle. Which one do you use? You use the one that works best for you. How's that for an answer? Okay, but with something like this, you can go through and try all sorts of brushes. I always do it on its own separate layer. Here, sample all the layers so we can go and have some really cool funds do around. You know, stiff point here. And we could dio voiced heavy mix right here, Go through here and do some, you know, kind of just almost like fingers smudging as we go on this brush, you get some nice cool, you know, artistic sampling on this and just using his brush. Different brush, different modes, different things. It's almost like painting with oil paint here and kind of using a palette knife to go in and just get these basic colors put in there. And the one thing that you learn from Mali's classes don't be afraid to use color folks. You know color won't hurt you. It's just painting. You know, you can always repaint the whole thing. If you want to go in and you want to add some color here, you can go in and you can add some color to your highlights as well. I'm gonna dio dry. Let's see, let's dio moist here. Go in and add some colors to it if you want. You know, if you want to go ahead and darken up certain portions here, you can go in and darken them up. But some shadow shading in there, you know, throw some green in there, throw some red in there. This is just like cooking. You do it to taste. You know who says Oh, well, that leaf isn't You know, blue and all that other stuff. It's like, Well, that may be fine, but my leaves are You know, Jason, that ingenuity would like to know where the white is coming from. The white, The white is coming from the white in the background, the white background is a white background, and it is a white ink. Yep. Okay, if you don't want that paint with a transparent background with a transparent background Yep, There you have it So you can just go through here. I had some interesting little effects. Here's the tips of your brush to go ahead and do some things. Obviously, the this looks more like finger painting and anything else. But we can always go and we can cut down the flow of what it is that we're doing so that we have less, um, intensity going on. And we could go in and try some really cool. Let's do a stiff fan here, and ah, we could go in and just do some very basic, you know, just ever so slight blending. We can add some very subtle layers and work with it in a very subtle way, you know, introduce other colors to it. If we want going, do that very law Slow load here. Small load because getting much push harder on the brush means I'm gonna get more out of this. And you can see that I'm not getting much purple in here at all because I'm using a fairly low load here. Low flow and it's not too wet, and I'm loading the brush every single time. But I am not cleaning the brush as I go. Lots of combinations, folks. Lots of combinations. It's very difficult to get a grip on this thing as you go. But once you dio, I think you could have a lot of fun, huh? And when Molly and I were going through and doing our oranges here, I think that was the most fun of them all. Going through and getting this effect. This is all just using basic brushes. Leslie Lee Photo would like to know where we can buy some geese on some of Jason's artwork. Well, you know, I never really thought myself is a painter, but you know, when I did that, it's like, Wow, I kind of like that. And then, you know, I had one particular person. The audience and I won't mention Greg's name to protect the innocent, But he's like, Well, I saw you painting that, and it's like, you know, there's no purple here and it's like, Yeah, there's a reflection coming off of something that's sitting next to it. You know what it's like? Well, this looks kind of brown, and it's like, Well, yeah, no oranges don't look like this. That's why it's called a painting. If you want an orange, you can buy in orange. Yes, but you just start throwing in colors here. And if you don't like it, the great thing about doing it on its own layer, you can always undo it. So go in, have some fun color. Never heard anybody. Really? They think it did. They didn't. So there we have it, folks. The fantastic new brush tools in Photoshop CS five and all those wonderful things that you can go looking through in your control bar up here. Once you get your brushes, run out, get a tablet. One that you can has, you know, rotational access control, gyroscopic, intergalactic gyroscopic access. Rotational. Three dimensional. What else? What's a good word? Stuff Yeah, There you go. That's technical, but it's a lot of fun. Little bit disconcerting to see this weird little thing floating around and seeing this brush rotating all over the the place here. But once you get used to it, it's amazing how you start to change the angle of the brush. Change the pressure as you begin to paint, begin to use it in different ways, and it's absolutely amazing. Um, one of the things when we start off here, the reason why we start off and just do basic stuff like this. You could spend weeks just going through and doing basics, understanding how this stuff works, and then you go with them and do something like this. You could do 100 different leaves there and never get the same effect at all, no matter how hard you tried. And, of course, when I did these oranges, I think this is my first attempt because I had Molly sitting right next to me. That's the only reason why