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Using a Cintiq to control the brushes in Photoshop

From: Bert Monroy: The Making of Times Square, The Tools

Video: Using a Cintiq to control the brushes in Photoshop

Brushes are very powerful tools in Photoshop and even more powerful when you take into account that a lot other features utilize things like pen pressure and pen tilt. And these are two things that the mouse cannot give you. You can't press down on the mouse to make a difference and you certainly can't tilt it. In fact it won't even work if you tilt it. That's where the stylus that's attached to tablets and this Cintiq really comes in handy, because there is a pen pressure and pen tilt attached to these particular tools.

Using a Cintiq to control the brushes in Photoshop

Brushes are very powerful tools in Photoshop and even more powerful when you take into account that a lot other features utilize things like pen pressure and pen tilt. And these are two things that the mouse cannot give you. You can't press down on the mouse to make a difference and you certainly can't tilt it. In fact it won't even work if you tilt it. That's where the stylus that's attached to tablets and this Cintiq really comes in handy, because there is a pen pressure and pen tilt attached to these particular tools.

It's also better the way you hold it. Rather than hold it as a bar of soap, you hold it like how you were taught to hold the crayon back in kindergarten. You're holding this the same way which is a lot easier on your hand. And the beauty of this is that pen tilt and that pen pressure. A lot of those tools will utilize that. Now in the movies on brushes you'll see that there is a one where I create this little fur ball. Now that fur ball is totally dependent on the tilt of my stylus. Let's go here and look at this.

I am using one of the bristle brushes that come with CS5 and I am going to go to my Brushes engine here where I am going to modify it a little bit. I am going to increase the number of Bristles. I am going to increase their Length a bit and I am going to bring down the Thickness and the Stiffness. I am going to bring that way down. Okay, now I am going to go into my Shape Dynamics where I am going to set the Angle to Direction. That's looking good. I am going to do a little Color Dynamics as well. Now that I have all these features set up then let's just go in here and get that Thickness down. Number of Bristles. Okay, I like that.

There you go. That's looking good. So now what happens here is that I want go now and I am going to twirl. I am going to twirl this to get this little fur ball. So as I twirl my little stylus around you could see that I am creating this little fur ball. Domething that you can 'tdo very easily with the mouse. But because I can go in here and just twirl this around like that, it makes that difference to create this little fur shapes that I want. So now talked about pressure sensitivity. Now that's really crucial, because you could set pressure sensitivity for so many different things, the flow, the opacity, so many things can be controlled by it, even the size.

And that will make a difference. Now you have full control over the amount of pressure that you're going to place ,so if you have a heavy hand you're going to have a different setting and then say your seven year old son who comes over to play with your computer who won't have as heavy a hand. You have control over these settings. So what I am going to do is I am going to pick one of the other brushes. So I just picked a soft edge brush, right here, which is going to go to just do that, just a stroke. But if I go in there and start applying some functions to this, I'll go over to my Burhs engine again, and I got the, my Transfer mode set and I have Opacity set to Pen Pressure.

I have the Flow set to Pen Pressure. And I can even go in there and say in Shape Dynamics set the Size to Pen Pressure. So now I have everything set to Pen Pressure. So when I start to paint with that same brush, but with these new settings, if I press very lightly I get a very thin line. If I press heavier it starts to thick in. So I can go in there and have full control over these kinds of strokes that I am going to get, which I didn't have before. So I can get really thin strokes, very light strokes, or very heavy strokes where I am getting a lot of ink being applied.

So you could see where things like pen tilt and pen pressure are so crucial. A lot of the effects that you were trying to get sometimes would be a lot easier by simply using a stylus over that mouse.

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This video is part of

Image for Bert Monroy: The Making of Times Square, The Tools
Bert Monroy: The Making of Times Square, The Tools

61 video lessons · 8862 viewers

Bert Monroy
Author

 
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  1. 6m 34s
    1. Welcome to the tools used to create "Times Square"
      57s
    2. What is "Times Square?"
      5m 37s
  2. 1h 32m
    1. Using a Cintiq to control the brushes in Photoshop
      3m 33s
    2. Making the chain brush
      8m 49s
    3. Making the single loop chain
      6m 55s
    4. Creating a brush to make furry text
      8m 13s
    5. Creating the look of stitching on cloth
      5m 46s
    6. Creating a rough brushstroke look for the Tarzan sign
      3m 3s
    7. Creating a crochet look brush
      5m 32s
    8. Creating dirt and grime
      6m 16s
    9. Using brushes to create trees in Central Park
      6m 41s
    10. Using a brush to create the look of embroidery
      3m 3s
    11. Creating the stars on the wall of the Toys"R"Us image
      6m 24s
    12. Creating a fabric design
      3m 43s
    13. Creating the look of brick
      4m 27s
    14. Weathering bricks
      8m 23s
    15. Creating light bulbs
      6m 14s
    16. Creating the effect of a fading brushstroke
      5m 36s
  3. 15m 42s
    1. Creating a paper towel
      8m 5s
    2. Creating denim
      3m 25s
    3. Creating asphalt
      4m 12s
  4. 21m 3s
    1. Layer groups
      7m 59s
    2. Making the lights in the Toys"R"Us image
      3m 12s
    3. Understanding the layers in lights
      5m 20s
    4. Creating blinds with a 3D postcard applied to layers
      4m 32s
  5. 32m 55s
    1. Creating a bottle
      8m 50s
    2. Creating an iPhone case
      3m 35s
    3. Creating the iPhone icons
      3m 34s
    4. Creating a ladder
      6m 8s
    5. Creating the effect used on the Bubba Gump sign
      5m 7s
    6. Creating realistic glasses
      5m 41s
  6. 1h 56m
    1. Creating a fabric texture
      9m 46s
    2. Creating Julianne's pants
      9m 28s
    3. Creating a checkerboard pattern on a bottle cap
      6m 16s
    4. Creating a wood texture
      8m 26s
    5. Creating concrete and marble
      3m 14s
    6. Creating a brick pattern
      7m 12s
    7. Creating ribbed metal
      5m 40s
    8. Creating ribbing on T-shirts
      11m 18s
    9. Creating a lime
      8m 29s
    10. Creating leather
      2m 33s
    11. Creating rough animal skin
      4m 0s
    12. Creating a grill on a car
      6m 4s
    13. Creating a car light
      6m 2s
    14. Creating the windshield
      10m 39s
    15. Creating a metal screen
      4m 14s
    16. Creating a quilted metal effect
      3m 18s
    17. Creating wafer quilting
      4m 41s
    18. Creating a pattern on the wall
      5m 16s
  7. 6m 57s
    1. Making the clipping group used on the manga billboard
      6m 57s
  8. 10m 36s
    1. Applying a layer mask to create a reflection
      3m 53s
    2. Linking masks
      1m 35s
    3. Applying layer masks and layer styles to create a chain link in a necklace
      5m 8s
  9. 52m 35s
    1. Explaining channels
      4m 0s
    2. Creating a license plate with channels
      6m 47s
    3. Creating shadows on the cables
      5m 50s
    4. Explaining channel calculations
      3m 46s
    5. Understanding calculations in channels
      4m 32s
    6. Creating a manhole cover with channels
      15m 31s
    7. Creating wiring on lights with channels and calculations
      12m 9s
  10. 29s
    1. Parting words
      29s

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