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This course is a collection of short Photoshop and Illustrator projects and creative effects that can be completed in ten minutes or less. The series is taught by computer graphics guru Deke McClelland, and presented in his signature step-by-step style. The intent is to reveal how various Photoshop and Illustrator features can be combined and leveraged in real-world examples so that they can be applied to creative projects right away.
In this movie, I'll show you how to paint the fish body associated with the infamous fish-eye effect. And it's largely about painting inside of a selection outline, as well as painting a bunch of straight lines using the brush tool. So I'll go ahead, and switch over to the image that I created in the previous movie. I'm going to turn on this template layer, which contains everything that we're going to draw in this movie, but in red. And I'll go ahead and click on that template, to select it as well. And I'll make a new layer by pressing Ctrl+Shift+N, or Cmd+Shift+N, on the mac, and I'll call it fish and click okay.
Now we've got to select this kind of lozenge shape that represents the eye. So I'm going to zoom out quite a bit actually, and I'm going to switch to the elliptical marquee tool, which you can choose from the rectangular marquee tool fly out menu. And I'm going to draw an ellipse that traces along the bottom of what is ultimately the eyelid. So we're only interested in the bottom in that first brushstroke, and it's not quite in the right position, so I'll use the arrow keys to nudge it into place. And then you want to press the Shift and Alt keys, that's Shift and Option on a Mac, And notice that you'll see a little x next to your cursor.
And now if you drag, you're going to find the intersection of the selection you're drawing right now and the selection you drew just a moment ago. So I'll move it to about here. And I'm using the space bar, by the way, in order to move this new selection on the fly. And so I have the Shift, Alt, and space bar keys down. At this point however I can release the Shift and Alt keys, the Shift and Option keys on the Mac because they've already done what they need to and I can use just the space bar in order to move this selection on the fly like so. And then once I like where it is, I'll release the space bar, release the mouse, and I end up with this selection outline.
And it's not exactly on target, but it's close enough. I'll go ahead and nudge it up just a little bit. Now, I want to paint inside that selection, using the brush tool. So I'll grab my brush tool. The last brush I used was fairly out there, so I'm going to go up to the little brush icon, on the far left side of the options bar, right-click on it and choose Reset Tool. And now, I'm going to right-click inside the image window. It only increase the size value to a 150 and it'll take the hardness value up to a 100%. Now notice if I just start painting, notice that really super, lumpy brush stroke right there.
That is a function of something called spacing. If you were to bring up the brush panel. Need to make sure you're looking at the brush tip shape stuff. This basing option here has since the dawn of time been set to 25%. Now it's only set this high so that you can paint quick brush strokes, but now we have much, much better computers. Anyway notice what happens if I increase the spacing value. What Photoshop is doing is laying down a bunch of dollops of paint here, that are spaced very close together but not close enough because we're seeing the lumps.
What you need is a spacing value of anywhere from 10% to 5%, is what I sometime use. And I'm going to use 5% this time around. You definitely want the spacing value to be turned on because otherwise you'd just get distant dollops. Go ahead and hide the brush panel. And I'll press Ctrl+Z or Cmd+Z on the Mac, to undo that brushstroke and then I'll paint. Now, if I was using a pressure sensitive stylus, I know now I'm using my mouse, I could do a better job than this. What I decided to do, and you can see I just undid that brushstroke, I decided to paint a bunch of straight lines.
And you do that, in case you don't already know about this trick. It works with any of the Paint and Edit tools, except for the gradient tool, here inside the central portion of the toolbox. You click at one location like so. And then you press the Shift key and click at another location. And anything between the click and Shift+click points gets connected by a straight line. And then I decided to do it here. So click and now Shift+click. Click here and shift+click down here. For the next step to work, by the way, where we employ a filter in just a moment, you need to make sure that you have some decent thickness going on.
So you don't want to get too close to the edge of that selection outline. Click and Shift+click down here, click here, Shift+click here. Click at this point, Shift+click right about there, let's say. Click here, and Shift+click there. And now I'll press Ctrl+D or Cmd+D on the Mac to deselect the image. Now, if I were to turn off the fish layer, you'll see that we've got these rounded corners going on, on the inside of the fish. Whereas if I turn on my fish and turn off the templates, I've got sharp corners.
Well, you can take care of that by rounding off the corners with the filter and the filter that rounds off corners inside Photoshop, whether you're working with the fish or not, is Median. Go up to the Filter menu, choose Noise and then choose Median, like so. And by default this value is set to one pixel, which will provide you with just a little bit of rounding. I raised it much higher. Now if we take it to something like 60 pixels, you're going to start losing details. Like here. At least I am, the way I painted it. So instead I'm going to take it down to 30 pixels.
Now if you're still losing some stuff, you're either going to have to paint in more into the inside of that selection outline that you had a moment ago. Or you're going to have to incrementally lower your radius value. Anyway, mine looks fine. So I'll go ahead and click OK. Alright, now i'm going to bring back my red template. So I can paint a few more lines. I'm going to right click inside the image window and reduce the size value to 80 pixels. And press the Enter key or the Return key on the mac. And I'll click there on the tail and Shift+click right about there. And now I'll press the left square bracket key.
And that of course reduces the size in my brush. And I'll click here and I'll Shift+click here. Now, I"ll press the left bracket key two more times so that my brush is 50 pixels, and I'll click and Shift+click, then I'll go down here and click and Shift+click. And finally I'll click and Shift+click right there, and the last thing I need to do is reduce the size of my cursor by pressing the left bracket key a few times until it's 30 pixels, which it is for me now. And I'll click right there and Shift+click at that location, and I'll click and Shift+click like so.
Now at this point, I need to put the fish in an ocean. So, I'm going to scroll to the bottom of the list here, and I'm going to click on the background. And I'm going to fill it with a static gradient. So, first thing I'm going to do is dial in a color, a foreground color, here inside the color panel. Change the hue to 210. I'll change the saturation to 100 percent, and I'll change the brightness to 50 percent. And now, I'll select my gradient tool. Just in case, you might as well right-click on the little gradient on the far-left side of the options bar, and choose reset tool.
And that way you'll have the same settings I have. Next drag from the top to the bottom while pressing the Shift key. So you're getting an exclusively vertical drag. And go ahead and release the mouse button. That gradient is going to suffice for the inside of the eye, believe it or not. But we need a different kind of pattern and gradient combo to represent the ocean. So, go ahead and grab the Lasso Tool, and then you want to press the Alt key or the Option key on the Mac and click inside of the fish. So in other word, we just try to select the inside area for now and we've got a lot of wiggle room here, so it should be easy.
And then release the Alt or Option key in order to complete that polygonal selection. Now I want to select the area outside the fish, not inside. So go up to the Select menu and choose the Inverse command. Now one of the problems here is that we're seeing a little bit of Iris above and below the fish. So we need to cover that up. Which means you need to click on the Iris layer to make it active. And let's make yet another new layer by pressing Ctrl+Shift+N or Cmd+Shift+N on the Mac. I'll call it C. And click OK.
And now let's fill the selection with white by pressing Ctrl+Backspace or Cmd+Delete on the Mac. Then press Ctrl+D or Cmd+D on the Mac in order to deselect the image. So at this point, everything outside your fish should be nice and white. And the top and the bottom of your Iris should be covered up. I'm going to turn off the template for just a moment because it's a little distracting. And with the C layer active, I'll click on the FX icon and I'll choose Pattern Overlay. And to switch away from this silly pattern, go ahead and click the down arrow icon and then the pattern we're interested in is Rusted Metal, believe it or not.
If you're not seeing it Then click on the little gear icon and choose patterns from the bottom of the list. And if you're asked to append, just go ahead and click OK, because this is a better collection of default patterns anyways. And select this orange one, rusted metal, which will create a kind of rust pattern, I suppose. We want it to be much larger. So increase the scale value to 500%, at least where this image is concerned. Alright, I want to darken up the top. So I'll select gradient overlay by clicking on it.
An I'm going to change the angle value to, negative 90 degrees. This assumes your gradient is black to white. And I'm going to change, the blend mode to multiply so that we can see through to the pattern overlay below. And I'll reduce the opacity value to 50%. Now finally, our fish should not be swimming in rusted metal. He should be swimming in the ocean. So let's give him some by clicking on Color Overlay. Click on the Color Swatch. The color I'm looking for has a hue of 210 degrees. A saturation of a 100% and the brightness value just leave it set to a 100% as well.
Then click OK, and change the Blend Mode to Color, in order to produce this lovely effect here. Now click OK. And a final thing we need to do, if only for the sake of aesthetics here, is add the bubbles. So I'm going to turn the template back on, so I can see where the bubbles go. I'll click on the fish layer to make it active. I'll press Ctrl+Shift+N or Cmd+Shift+N on the Mac to make a new layer, call it Bubbles, click OK and then press the B key to switch to the brush and I want to tap the X key too so that my foreground color is white.
And I'll right click inside the image and change the size to 70 pixels And then I will click right there. I'll use the right bracket key to increase the size of my cursor a little bit, until it matches the template. In the case you're trying to follow along, I've got a hundred pixels brush and I'll click. And then I just right click and this time, change the size of my brush to a 160 pixels and click at this location. Alright, now, I need to erase some holes but I can't see my template so I'll put my template on top of the bubbles which will work out just fine. And I'll go ahead and grab my Eraser tool.
You've gotta click on the Bubbles layer to make it active once again. Right-click inside the image window. The should be 100%. I'm going to take the size up to 30 pixels. Click right there, and then I'll press the right bracket key a few times in order to increase the size of my brush. It should be 45 pixels, it is, and I'll go ahead and click inside there, and then finally, I'll right click inside the image and change the size to 90 pixels, is what I want. And I'll click right there.
And then, I'll hide the template later because I no longer need it. And I'll end up with this very near final effect. Now that leaves just one more element. As shown here in the final version of the Illustration. We have these tapering ring brush strokes that simulate pressure sensitivity without a walk on tablet. And I'll show you how that works in the next movie.
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