Advanced Techniques with Brushes in Photoshop® CC®

 

Lesson Info

Lisa's Favorite Brushes

Sir Harry, Sir Harry! Alright. Isn't that nice? Wait a minute, that's kind of cool. And what it's, let's take a look at the settings. Color dynamics, well, what if we changed that hue and what if we make that warm, not green, warm. Could we make that jitter even more? A saturation jitter? Four-color, almost. So that's more Cezanne-y, or well, I don't know. What's that movie with the guy with the big eye? Mikey and, Pixar thing? The blue monster? Monsters, Inc, can you see that? You could make Monsters Inc, the, Scully. Is that what his name was? Right, you know it's true, it's Scully right there! Alright, maybe not, but I think it's Scully. Alright, so I think you get the point. And then I'm gonna show a few that are not on the handout. I repeat, I'm gonna show you a few of my favorites that are not on the handout. And look, you don't need me to do this, you don't need me to show you my favorites, but why I'm doing it is because there's too many. There's too many brushes to go through,...

so I'm just trying to find a few things that you can look at. As I've said, Kyle, in his brilliance, is an illustrator. And so he's got a lot of comic book background to him and he likes to do this kind of stuff. So he's got this great comic book line, and I just think this is the coolest brush. You can go straight down, I'm holding the shift key, shift key straight across, isn't that nice? And, um, in addition to that, you can make it smaller, you can make it zig zag, you maybe could even illustrate a pipe, if you needed to. You know, let's say you had to do a design for something, and you wanted to make that shape look kind of similar, so you know what I would do? Maybe see if I can go to my brush tip shape. What if I change that spacing, what happens if I make it tighter? Oh that's more like a solid line. What if I make it further apart? Do you see, so what I'm trying to get you to understand is, he's gonna have this really cool stuff, that is the exact same brush, the exact same brush, I'm holding the shift key down to draw it, so it's a perfect line. And all I've done is change this. That's it, isn't it cool? It's amazing, well, it's amazing. Alright, let me show you another one. I'm gonna be like the freaky brush lady. I'm already the freaky brush lady, I understand. Alright, here's another one, and this for me is a stamp brush. And this, in fact, I forgot what it's called. It's called his comic action burst, thicker. Now, what will give you a clue on the brushes, not that you necessarily care about this, that it's a stamp brush. Sweet Jesus, Mary, mother of God, look at that pixel count. That pixel count, that is 3,350, it is huge. Why is it huge? It's huge because it's resolution-dependent. So he's already started big. So if you're doing an 8 X 10 comic or an 11 X 14 comic, you're making your own comic book, I'm gonna make it smaller, just so you can see it. I've got black as my foreground color. So if you're doing a comic, you want to have a burst, it's already done. You can use it like this too, if you want to make, I don't know, a spiky ball, a little spiky, furry ball, coming right at Sully in the movie, and then it came and then, sorry. I've been here too long today, you can tell. There is no color dynamics. Well, why not, who says there can't be color dynamics? Maybe I turn that on, and maybe I pick a color. I just made a four-color brush. I made a four-color brush by just changing the hue jitter. And then I can make it gray, if you need to. So now, what have I made? I've made, like, this crazy-ass eye that, you know, aaaarh. Um, pick-up sticks, we're gonna play a game of pick-up sticks, here we are. But are you guys kind of starting to follow what you can do? So let's say you've got a comic, the only thing I don't dig about this color setting thing on this brush is that it's a hue jitter and it's a percentage, and I can't call a number out. I can't say, wouldn't it be cool if you could actually say, hey, Photoshop, will you go between a, b, and c? That would be really cool, but you can't do it in this manner. I'm just gonna show you a few more, let's see where we're at. Okay cool. And I think, in the end, this is probably one of the more important things to look at overall, is just knowing what you have. I'm gonna not even show you this, I just want to show you the titles of them. So he's got this crack, this crazy crack, crazy crack, and then he's also got the, I'm gonna show you the downpour, the downpour's great. So in a filter class that we had recently, we showed how to make rain. Kyle has some rain for you, it's called concept brush downpour one. If it says downpour one, there's gonna be a downpour two. So go ahead and take a look at it, but look at that. And it's all in a layer. Come on, someone out there's excited. Alright. I'm doing this on the fly, I'm gonna see if I can change the direction. All I did, all I did is change that from nothing to direction. Let's try initial direction, and if this works the way I understand it to be, okay. I just took my paint brush and I'm turning it from left to right. I'm gonna do this again, here's directional, left, to right. The brush is going from left to right because I'm saying, hey, can you do that directional, right? Where am I folks? You are with me, we're on shape dynamics. You're not scared, we're on window number one, let's make a deal. And we're on this panel here, this is not in your handout. This is not in your handout. I'm on the concept brush, I'm on shape dynamics, I was on direction, now I'm going on initial direction. I'm gonna do the same motion, from left to right. It's now just keeping, whatever I started, is the direction it's going. Only now, it's gonna go ahead and paint. My initial direction just did what I just did. Every time you pick up the pen, it's a new one. And I just made crosshatching, isn't it beautiful? Alright, so I think this is a good time to say, don't panic. Because I know this is a ton of information, a ton of information. But if you rewatch this slowly and you look at this, you can go, and go, okay, how am I gonna do this? How am I gonna work on this? And I'm gonna hopefully lead you along a path that you'll have a little more control.

The brush tool allows you to paint onto your image in a way that makes your final photo truly a work of art. Hollywood high end retoucher Lisa Carney goes in depth on how to control and take advantage of the opportunities that brush tools give you. With the 2017 updates to Adobe® Photoshop® CC®, using brushes has become even easier. Lisa will teach:

  • How to create custom brushes
  • Organizing techniques
  • How to illustrate in Photoshop® for the “non painter”
  • Retouching with brushes for hair and skin

There are many different ways to use brushes within Photoshop®, and you can start to master them with this in-depth course.

 
 
 
 

Reviews

  • Lisa is extremely knowledgeable of the PS Brushes topic covered in this course and she explains everything very thoroughly. Her sense of humor and style made the class fun. She is great at giving catch words and phrases to help you remember what she covers. I feel like my knowledge and abilities in the use of the PS brushes are more clear and polished. Thank you Lisa!
  • Amazing class!!! Lisa Carney is an amazing instructor and gives so much valuable information and as always so much of herself. I absolutely love learning from her and will purchase every class she instructs. This is another truly amazing class, full of information and of course lots of laughter. I have a whole new outlook on Photoshop brushes. Well worth the money, hands down.
  • It is easy to see why Lisa is an expert in her field. Aside from her in-depth knowledge, she is extremely passionate about her art. This makes learning from her fun and easy. I thought I knew brushes before the class. Oh wow, what I know how to do now! Thanks Lisa. You're a gem.