IntroductionIntroduction| 00:04 | Hi! I am John Derry, and I'd like to welcome you
to Photoshop CS5 Painting with the Mixer Brush.
| | 00:11 | In this course, I am going to introduce you
to Photoshop CS5's exciting new Mixer brush.
| | 00:16 | This expressive tool allows you to
realistically simulate the mark-making
| | 00:21 | effects of real paintbrushes.
| | 00:23 | I will show you how to use a Wacom tablet,
so you can see what an invaluable tool it is.
| | 00:28 | We will explore the expressive range
of the Mixer brush, and the painting
| | 00:33 | possibilities it offers.
| | 00:34 | We will analyze the new Bristle Tips
feature, which enables a wide range of
| | 00:40 | mark-making styles.
| | 00:41 | I will show you how to load paint,
adjust wetness, and mix colors with your
| | 00:46 | digital brush, just like you would
with a real brush and paint palette.
| | 00:50 | Finally, we will see some real world
uses of these tools by painting from
| | 00:55 | scratch, as well as
interpreting a photograph into a painting.
| | 00:59 | The Mixer brush is an exciting
new feature in Photoshop CS5.
| | 01:04 | For the first time, you can make
realistic brushstrokes that look exactly like
| | 01:08 | marks you would make with
physical media on canvas.
| | 01:11 | As a digital painting pioneer, I'm
excited to share all of my tips and
| | 01:14 | techniques for getting the most out
of Photoshop's new, expressive, natural
| | 01:19 | media painting tools.
| | 01:20 | Now let's get started with
Photoshop CS5 Painting with the Mixer brush.
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| Using the exercise files| 00:00 | If you are a premium member of the
lynda.com Online Training Library, or if you
| | 00:05 | are watching this tutorial on a DVD-ROM,
you have access to the exercise files
| | 00:10 | used throughout this title.
| | 00:12 | I've put the files into the Exercise
Files folder, and in each of these, you'll
| | 00:18 | find some content. There will be various
Photoshop PSD files that you can load
| | 00:23 | that I describe within the chapter.
| | 00:26 | Also, I've got some brushes that you
can load, and we explain, in Chapter 5, how
| | 00:31 | to load these brushes into
Photoshop's Tool presets.
| | 00:35 | Once again, there is a source file
here that you can use to follow along with
| | 00:39 | what I'm doing, and so on and so forth.
| | 00:42 | So basically, you have got a number of
pieces of content here that I'll call
| | 00:46 | out during the title, and this is where you
are going to find them, in the Exercise folder.
| | 00:51 | If you are a monthly subscriber or
annual subscriber to lynda.com, you don't
| | 00:56 | have access to the exercise files.
| | 00:58 | But you can follow along from
scratch with your own assets.
| | 01:01 | Let's get started.
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1. The Wacom Tablet: Maximum Expressive ControlUnderstanding the axes of motion| 00:00 | Throughout this title, I am going to be
taking advantage of the Wacom tablet and
| | 00:04 | stylus, and I'm working with the Wacom Intuos4.
| | 00:09 | One of the benefits of this tablet is
that it has a control surface on it with
| | 00:14 | some programmable buttons, and I am
going to be going through how to take
| | 00:18 | advantage of these programmable buttons,
so that you can enhance your workflow.
| | 00:23 | The other thing I'm working
with is the Wacom Art Pen.
| | 00:26 | The Art Pen senses all six degrees of
motion, and we'll talk about that in a moment.
| | 00:32 | But the other thing that you want to
notice is there is a pair of buttons on
| | 00:37 | the barrel of this pen, and just like
the control surface, we can program these
| | 00:42 | for specific functions.
| | 00:44 | I will be showing you how to do that, as well.
| | 00:47 | All of an artist's gestural
expressiveness is communicated by six axes of
| | 00:52 | motion. Combined with an advanced
input device like a Wacom tablet,
| | 00:57 | Photoshop's Mixer brush and Bristle
Tips take advantage of this information to
| | 01:02 | faithfully simulate
traditional mark-making media.
| | 01:05 | Let's take a look at these axes.
| | 01:06 | Consider a flat drawing surface;
| | 01:09 | we will use this as our point of reference.
| | 01:11 | The X/Y axis - this refers to left, right,
away, and towards motion of the stylus.
| | 01:18 | A mouse works in this axis.
| | 01:21 | Pressure, sometimes referred to as the z
axis. This is up-down motion of the stylus.
| | 01:27 | It is, first and foremost, responsible
for opacity and stroke width control.
| | 01:32 | The Tilt axis - this is angular motion of
the stylus relative to the drawing surface.
| | 01:37 | Some mark-making tooltip surfaces,
like brushes and chalk, change shape
| | 01:42 | and reaction to tilt.
| | 01:43 | The Bearing axis - this is
directional motion of a tilted stylus.
| | 01:48 | Strokes made by tools with a shaped tip vary
depending on the direction of a tilted stylus.
| | 01:53 | The Rotation axis - this is the
rotation of the barrel of the stylus.
| | 01:58 | Again, strokes made by tools with a shaped tip
vary depending on the rotation of the stylus.
| | 02:04 | The Wacom models, Bamboo and Graphire, do
not support tilt, bearing, or rotation.
| | 02:11 | The Intuos4 and Cintiq support tilt
and bearing with the standard Grip Pen.
| | 02:17 | The same tablets, the Intuos4,
supports tilt, bearing, and rotation with
| | 02:22 | the optional Art Pen.
| | 02:24 | The older Intuos3 and Cintiq support
tilt, bearing, and rotation with the
| | 02:30 | optional 6D Art Pen.
| | 02:32 | The more axes of motion you have, the
more faithfully Photoshop's Mixer brush
| | 02:37 | and Bristle Tips can simulate
their traditional counterparts.
| | 02:40 | If you don't have the Art Pen, you can
use the Initial Direction option found
| | 02:45 | in the Brush panel's Control dropdown
menu to provide some consistent bristle
| | 02:49 | behavior.
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| Assigning TouchRing functions| 00:01 | One of the nice things about the
Wacom Intuos4 is an item on the Control
| | 00:05 | surface called the Touch Ring, and the
Touch Ring is just a circular area with
| | 00:11 | a depression in it that makes it very easy,
like a slight groove, to run your fingers through.
| | 00:17 | In the center, is a button that you can
assign four different functions to, to
| | 00:23 | use this Touch Ring to, say, rotate your canvas.
| | 00:27 | I am going to show you now how you can
assign those elements to the Touch Ring
| | 00:33 | to take advantage of it within Photoshop CS5.
| | 00:35 | I will show you right now.
| | 00:39 | I am going to click through this so
you can see that each time I click, I can
| | 00:44 | get to one of four functions I
have assigned to my Touch Ring.
| | 00:49 | This is really nice. In the
initial iteration of the Intuos4,
| | 00:53 | they didn't show this on the screen so
you were left to have to remember the
| | 00:56 | order of things you put in here.
| | 00:58 | It's really nice that this now shows up.
| | 01:00 | So let's go through, and I
will show you each one of these.
| | 01:03 | The Auto Zoom and Scroll lets me do just that.
| | 01:06 | I'm using my finger on the Touch Ring,
so without having to take my hand away
| | 01:11 | from the tablet or put the
stylus down, I have this ability.
| | 01:15 | The second one is probably my favorite
one, and let's first zoom up to 100% here,
| | 01:20 | so you can see this.
| | 01:22 | This enables me to scroll back
and forth through the history.
| | 01:25 | Now right now, I have got 10 states in
here, so it doesn't go back long ways, but
| | 01:29 | you can adjust that certainly
in the Photoshop Preferences.
| | 01:33 | What I've done is I have just set it
up so that a counterclockwise gets me
| | 01:37 | backwards, and then clockwise takes me forwards.
| | 01:40 | So it's a really nice way to be able to
undo some things, and I even find kind
| | 01:45 | of going forward and backwards like this
sometimes give me some insights that I
| | 01:48 | wouldn't otherwise see about
how I was constructing an image.
| | 01:52 | The next one is Brush Size;
| | 01:53 | this is another very useful one.
| | 01:55 | This lets me take my brush, and you can
see here that I'm scrolling it up and down.
| | 02:00 | So once again counterclockwise takes
it down and clockwise makes it larger.
| | 02:06 | Finally, we have Canvas Rotation.
| | 02:08 | So this lets me rotate the canvas.
| | 02:11 | Depending on the kind of artwork
you're doing, this can be really useful.
| | 02:14 | For example, it might be more useful
to have the canvas at an angle to paint
| | 02:19 | certain lines in an image,
and then I can quickly get back.
| | 02:22 | One nice thing I like about this, too, is
there seems to be a little detente for
| | 02:26 | certain angles, and one of them is 0.
| | 02:29 | So it's not difficult to snap back to 0
just by rotating, and once you get close
| | 02:34 | to the default angle, it
just snaps into place for you.
| | 02:38 | So these functions are very useful, and
if you do some exploring, you may even
| | 02:42 | find other things to do with them.
| | 02:44 | But I will show you exactly how I'm
doing it, and I'm going to the Apple menu
| | 02:49 | and go to System Preferences;
| | 02:50 | on Windows, you'll go to the Start
menu and go to Control Panels, and we will
| | 02:54 | navigate our way down here to the Wacom tablet.
| | 02:58 | What we want to do here then is make
sure that - you know most people aren't
| | 03:02 | going to have more than one tablet
installed, but you start with your tablet.
| | 03:05 | We are going to go to Functions, and I
already have Photoshop set up in here,
| | 03:09 | but if you don't, you're going to want
to create a new application-specific icon
| | 03:15 | in here, so you can assign keyboard
shortcuts that only affect that application
| | 03:20 | and not, say, the Finder.
| | 03:21 | So to do that, you are going to click on
plus and since I already have Photoshop in here,
| | 03:27 | I am going to go ahead and browse, and let's
say we wanted to add something like Illustrator.
| | 03:32 | So I will go in here and go to
Illustrator CS5 and find the application, say
| | 03:40 | OK, and now I have got an application that
I can start to assign keyboard shortcuts to.
| | 03:47 | In this case, we are going to go to the
Photoshop CS5 icon that I have already
| | 03:51 | have installed here, and let's take
a look at how I did the modifiers.
| | 03:55 | What we want to do is go to the Touch
Ring, and now this is where I can actually
| | 03:59 | go in here and assign specific kinds
of functionality to the four different
| | 04:05 | functions that are capable of
being addressed by the Touch Ring.
| | 04:09 | The top one, I just used one of the
default commands that you can do here, and
| | 04:14 | that is Auto Scroll/Zoom.
| | 04:15 | So this one is very simple;
you just select that.
| | 04:18 | For Undo/Redo History, I used
Keystrokes, and if we take a look at what I did
| | 04:23 | here, on the Mac, I used the
Shift+Command+Z to undo, and I used
| | 04:30 | Option+Command+Z to redo.
| | 04:33 | On Windows, you are going to use Shift+
Ctrl+Z, and for a redo, you are going to
| | 04:39 | use Alt+Ctrl+Z. Once you have assigned
the functions, you can go ahead and give
| | 04:44 | it a name, and this is what will appear
on the little onscreen heads-up display
| | 04:49 | when you click on the center button. We say OK.
| | 04:52 | Now for Brush Size, this one is pretty simple;
| | 04:55 | I just go in and I use my left and right
bracket keys to enlarge and reduce my image.
| | 05:01 | So in this case, I use the right
bracket key to make my brushes larger and the
| | 05:06 | left bracket key to make brushes smaller.
| | 05:09 | Then once again, I gave it the name
Brush Size and said OK, and that's that.
| | 05:15 | Then finally, for Canvas
Rotation, this is another one,
| | 05:18 | if you go into Keystrokes, you use on
the Mac the Option+F13 key to rotate
| | 05:25 | clockwise, and you use the Option+F14
key to rotate counterclockwise, and on
| | 05:32 | Windows you would substitute the
option for Alt, and then I gave it the
| | 05:36 | name Canvas Rotation.
| | 05:37 | Once you're all done with that, then
you have what we see when I click on my
| | 05:42 | middle button; I've now got those
functions built right into my tablet.
| | 05:47 | This is another one of those functions -
| | 05:48 | once you install them and start
using them, you will wonder how you got
| | 05:52 | along without them.
| | 05:53 | So the Touch Ring is yet another tool
you can use to improve workflow, and really
| | 05:59 | take full advantage of the Wacom tablet.
| | 06:02 | I'll be honest with you.
| | 06:03 | I used to use the tablet and
didn't use much of the control service;
| | 06:07 | I really didn't think there was much use to it.
| | 06:09 | But once I got into it, I
can't do without it anymore.
| | 06:12 | So take full advantage of, not just
the stylus, but the control surface on
| | 06:17 | your Wacom Intuos4.
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2. Bristle TipsMonitoring brush orientation with the 3D Brush preview| 00:00 | When you're working with a traditional
brush, how you move this brush in your
| | 00:04 | hand, and the way it contacts with the
surface of the canvas changes the way the
| | 00:09 | mark is expressed on the surface of the canvas.
| | 00:13 | And with the Wacom Tablet, you have the
same ability to be able to gesture
| | 00:18 | all of these various axes of motions
through to Photoshop CS5, and Photoshop now
| | 00:25 | has a Bristle Tip Preview that feeds
back to you the same information you would
| | 00:30 | see if you had a traditional brush in your hand.
| | 00:33 | By seeing this information, it gives
you a great understanding of how you're
| | 00:38 | going to be making the various marks
that are being made in contact with the
| | 00:43 | canvas within Photoshop.
| | 00:44 | In this movie, we'll take a look at this.
| | 00:47 | The Bristle Tip Preview is a great way
to see how you are actually manipulating
| | 00:52 | the brush in your hand.
| | 00:53 | When you can see this information
visually, you get a very clear indication of
| | 00:57 | what the brush tip is doing, and how
it is connecting with the surface.
| | 01:01 | Having this information gives you a
great deal of feedback as to how the marks
| | 01:05 | you are making will be created, and makes for
a great learning situation. Let's take a look.
| | 01:10 | We'll begin by going over to the Tool
palette, and I am going to drop down to my
| | 01:14 | Brush tool, and let's just click and
hold here for a little flyout, and at the
| | 01:19 | bottom here, we'll find the Mixer brush.
| | 01:21 | Next, I am going over, and I am going to,
in the icon stack here, select the Brush
| | 01:27 | icon for the Brushes panel, and you'll
notice at the top, where all of the icons
| | 01:32 | for the various tips are, there is a
new set of tips in here that are part of
| | 01:37 | CS5, and these represent
the bristle tips themselves.
| | 01:41 | They're divided into two categories;
| | 01:43 | you'll see there's white and black tips.
| | 01:46 | The white tips represent round points,
and the black tips represents flat
| | 01:51 | points, and we'll get into some more
detail about these a little later, but I
| | 01:55 | just want you to be aware
of where they're located.
| | 01:57 | In order to work with the
Bristle tip, we need to select one.
| | 01:59 | So I'm going in and
selecting the Flat Fan brush.
| | 02:03 | Now, the first thing you'll notice is
my tip is actually referencing how this
| | 02:08 | looks, and giving me an outline view of it.
| | 02:11 | So as I am manipulating and moving my
Wacom Art Pen in my hand, it is updating
| | 02:16 | to show me how this will affect
the mark being made on the canvas.
| | 02:22 | I can see it in a little more detail,
if we drop down to the bottom of the
| | 02:25 | Brush panel and click on the Eye and
Brush icon, and you can see now I have a
| | 02:31 | much better indication through
the 3D Preview of what's going on.
| | 02:36 | This is the simple Preview, and if I
hold down the Shift Key and click, we
| | 02:40 | get the Render Preview, and this just gives
you a little more dressing on how it looks.
| | 02:45 | But basically I find this to be a
little hard to read, because there's not much
| | 02:50 | color difference between the gray
background and the bristle tips,
| | 02:54 | so it's little hard to read.
| | 02:55 | By holding down the Shift key and
clicking back, I find this to be a little more
| | 02:59 | readable, but the choice is up to you.
| | 03:00 | You'll just hold the
Shift key to make that choice.
| | 03:03 | Now that I've got the setup, you can
see how the information streaming from the
| | 03:07 | 6D pen is giving me full capability of
seeing exactly what's going on here, and
| | 03:13 | this is particularly important when
you're trying to understand why a particular
| | 03:17 | brush is making a certain mark.
| | 03:20 | If I go ahead now and draw a little bit,
you'll see that it is responding based
| | 03:25 | on the way the shape of the
brush is currently set up.
| | 03:28 | Notice across the bottom of the
Preview, there is a little dotted line.
| | 03:32 | This represents the canvas itself.
| | 03:35 | And if I go over here and just adjust
Stiffness, we'll see that when I press
| | 03:39 | down, you can see how there is actually
a physical deformation that goes on with
| | 03:44 | regard to those tips, and those
deformations are actually altering the look of
| | 03:50 | the brush tip, as I apply pressure.
| | 03:53 | Now if I switch and use my mouse, you'll
see that none of that deformation is changing.
| | 03:59 | That's why the Wacom makes such a
great tool in collaboration with the
| | 04:04 | bristle tips, because it's all how the
various components of your arm, wrist
| | 04:10 | and hand, translated through tilt
bearing and pressure, all come together to
| | 04:16 | enable one brush with one tip to have so many
different kinds of marks within the same shape.
| | 04:23 | That's where you're going to get the
full expression out of these brushes is by
| | 04:29 | combining it with a Wacom brush and
stylus in a way that you really have much
| | 04:35 | more control over the marks being made.
| | 04:37 | While the Brush Tip Preview is a
great way to learn how the brush works,
| | 04:41 | you won't want to have it on all the time.
| | 04:43 | After awhile, the Preview can get a bit
distracting, but it's good to know that
| | 04:47 | it's available at anytime, when you
want to get a good idea of how the brush is
| | 04:51 | behaving for a particular
brush that you are working with.
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| Choosing the right brush shape| 00:00 | The Bristle Shape dropdown menu, located
in the Brush panel, is at the top of the
| | 00:05 | Bristle Qualities list for a reason.
| | 00:07 | It is the most important decision
you can make in designing a brush.
| | 00:11 | After that, it's just a matter of
adjusting all the rest of the characteristics
| | 00:15 | associated with these basic
shapes. Let's take a look.
| | 00:19 | Earlier, we talked about the iconic
representations of flat and wide brushes
| | 00:23 | in the Preview panel;
| | 00:25 | however, if we go down to the Bristle
Qualities area of the Brush panel, the
| | 00:29 | Shape pop-up also gives me access to
the same set of bristle brush tips that we
| | 00:35 | have talked about previously.
| | 00:37 | You will see, they are basically
divided up into round and flat variations of
| | 00:41 | the same five shapes.
| | 00:43 | So you have got Pointed brushes:
| | 00:45 | You have got Blunt brushes, Curve
brushes, Angle brushes and Fan brushes, and
| | 00:50 | you just got out a Round and a Flat
variation of each of those five types.
| | 00:55 | Let's look at just a few of them here.
| | 00:57 | I am going to start with the Round Point,
and you'll see that this is a pointed brush.
| | 01:02 | It's round, and I am just holding it,
so we are kind of examining it in the 3D
| | 01:05 | preview, rotating it, and basically
this brush will work based on pressure.
| | 01:10 | So the harder I press, the more of
that tip that's going to be smashed down
| | 01:15 | against the canvas, which is going to change
the basic shape, and it's doing this dynamically.
| | 01:20 | And this is one of the reasons these
brushes are so powerful, particularly in
| | 01:25 | conjunction with a Wacom 60 pen, where
I have a control over all of the various
| | 01:31 | attitude adjustments of this tip, and
then based on pressure, what's happening
| | 01:36 | when it's actually pressed against the canvas.
| | 01:39 | If we take a look at the Round Blunt,
you'll see that this, once again, is a round
| | 01:43 | tip. And these brushes, the round tips,
are particularly suited to working with
| | 01:49 | non-barrel rotating pen tips.
| | 01:52 | For example, the grip pen, which is the
standard pen that ships with the Wacom
| | 01:58 | tablet, is a non-barrel rotating pen,
and you don't have the luxury of having
| | 02:04 | this tip do a lot, in terms of its
shape, by changing the aspect or the angle
| | 02:10 | of it in your hand.
| | 02:11 | If I go, for example,
and get the Flat Blunt tip,
| | 02:14 | you'll see that this tip has a narrow
and wide aspect to it, rather than being
| | 02:19 | symmetrically round.
| | 02:20 | So if I draw with the narrow aspect of
this pen, I get a very narrow, thin line,
| | 02:27 | whereas the wide aspect
gives me a much broader mark.
| | 02:31 | So one tip, again, is able to make a lot
of variations based on what the artist's
| | 02:37 | hand is doing with the stylus in their hand.
| | 02:40 | Let's also take a look at the Flat Angle.
| | 02:43 | This one shows you, once again, a flat
aspect, but you can see here that if I use
| | 02:49 | pressure very lightly - I am only
touching part of the tip to the surface - and as
| | 02:54 | I bear down in pressure, the tip gets
wider and wider, because more and more of
| | 03:00 | the entire brush shape is
coming in contact with the canvas.
| | 03:04 | Once again, this is why Wacom pens,
particularly the Art Pen, make such a good
| | 03:10 | companion to the bristle tips.
| | 03:12 | It gives you the ultimate control over
the various shapes and things that can
| | 03:17 | happen with these tips when they
come in contact with the surface.
| | 03:21 | The Shape menu is a good place to
begin when you're designing a brush.
| | 03:25 | You can also take an existing brush and
radically alter its expressive character
| | 03:30 | by simply changing the shape.
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| Using bristle tips| 00:00 | The Bristle slider controls how populated your
bristle tip is with individual brush hairs.
| | 00:05 | A sparse bundle of bristles will give you
a brush that has a very sketchy quality.
| | 00:11 | Conversely, a thickly populated bristle
tip will give you a full paint stroke.
| | 00:16 | Let's take a look at this adjustment.
| | 00:18 | So once again, here we are in the
Brush panel, and if we go to our Bristle
| | 00:22 | Qualities, you'll see the top
slider we have here is Bristles.
| | 00:27 | And a great thing that works in
conjunction with all of these controls is the
| | 00:32 | Bristle Tip Preview down here, and
you'll see, as I turned this down, we start to
| | 00:37 | see more and more individual hairs to
where, if I take it all the way down, it's
| | 00:42 | likely just one broad hair in this
particular brush, but this gives me a way to
| | 00:47 | really play with the character of these strokes.
| | 00:50 | You can see now there is a much more
visible shading within the stroke, that
| | 00:55 | indicates hairs within that.
| | 00:58 | Just by adjusting this, I can get a wide
variety of looks based on what that setting is.
| | 01:05 | Now once you get up to one of the
higher values, you are just going to have
| | 01:09 | basically a solid, thick stroke, but
this Bristle slider really gives you a way
| | 01:15 | to get a wide range of
express-ability out of your strokes.
| | 01:20 | I like to keep the size of the
Bristle Quality down where there is some
| | 01:25 | visibility of the strokes.
| | 01:27 | At full pressure here, it looks solid,
but as I pull off in pressure, you can see
| | 01:32 | that individuality of
bristles within the stroke.
| | 01:36 | And just, once you start painting, you're
not going to be thinking so much about
| | 01:40 | each individual stroke.
| | 01:41 | It's just how your hand is playing it.
| | 01:44 | You can see here that we're starting to get
a very nice bristly quality to the brushes.
| | 01:49 | So you may want to play around with
your Bristle tips, in terms of the number of
| | 01:54 | bristles that you are
modeling within an individual stroke.
| | 01:58 | So the Bristle slider is key to
controlling the visual weight of your paint strokes.
| | 02:03 | There is a lot of variable
expression available via this control.
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| Adjusting bristle length| 00:00 | Length controls how long your brush hairs are.
| | 00:03 | Just like its traditional counterpart,
you can control whether or not your brush
| | 00:08 | has long, medium, or short bristles.
| | 00:10 | The longer a bristle tip is, the more
potential you have to make different marks,
| | 00:15 | based on how hard you press this
bristle tip against the canvas.
| | 00:18 | We will start here with the Length slider.
| | 00:22 | You won't see a whole lot of
difference in the preview at the bottom of
| | 00:26 | the Brush panel, but you can certainly see
it in the 3-D Preview up at the upper-left.
| | 00:32 | Length definitely changes
the way this brush works.
| | 00:35 | Let's start with a very minimal length brush.
| | 00:38 | So, I'll just paint a few
strokes, and it's great, works nice.
| | 00:44 | I can see some of my bristle hairs,
but let's take the Length up aways.
| | 00:49 | Now, what happens is, and this is very
interesting, when I put my brush at a
| | 00:54 | shallow angle, I can start to actually
use the entire width of the length of that
| | 01:00 | brush to start to get a very wide stroke.
| | 01:02 | Now, let's take it all
the way up to its maximum.
| | 01:08 | It works, but it depends on your system.
| | 01:11 | I want to warn you that increased length can
start to impede the performance of your brush.
| | 01:18 | So, you want to be a little careful
about how long you make this, and as I said,
| | 01:23 | it's very processor-dependent.
| | 01:25 | So, it's really based on whatever
type of system you're working on.
| | 01:30 | Just be advised that longer
length can slow down a brush.
| | 01:34 | So, I tend to try to find it somewhere
that's realistic to a real brush.
| | 01:38 | I mean, I've seen brushes that look
very similar in their length to this, but
| | 01:43 | when you get up to this,
| | 01:45 | unless it's some kind of sign-
painting brush, you may not actually have a
| | 01:49 | real-world counterpart to this.
| | 01:51 | That's not to say you can't create
some very fanciful brushes that don't
| | 01:54 | exist in the real world.
| | 01:55 | But once again, be advised that
length can have an affect on performance.
| | 02:01 | So, Length can be used to control the
dynamics of how a brush stroke is made on the canvas.
| | 02:07 | Short strokes will give you very
controlled strokes, and long bristles will give
| | 02:11 | you more expressive strokes.
| | 02:13 | Be careful, though; longer
bristles can impede performance.
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| Changing the thickness of the bristles| 00:00 | Thickness controls how fat your bristles are.
| | 00:03 | I like to think of it like
dried paint within bristles.
| | 00:07 | This dried paint bonds many of the
individual brush hairs together to form a
| | 00:11 | larger mark-making
entity within the bristle tip.
| | 00:15 | The Thickness slider enables
you to mimic this behavior.
| | 00:18 | So if we take a look at Thickness, we
will see if we start to turn this up,
| | 00:23 | we get very thick bristles.
| | 00:25 | You may not see it here, but if we
decrease the number of bristles, it becomes
| | 00:30 | fairly obvious that we are now dealing
with very fat individual brush hairs.
| | 00:36 | So I typically play around with both
Bristles and Thickness to come up with a
| | 00:41 | combination that I like.
| | 00:43 | To be honest, most of the time I keep
Thickness down, because I do like to see a
| | 00:48 | lot of individual
bristles within my brush strokes,
| | 00:52 | but there are times that the
Thickness slider can be useful.
| | 00:56 | For example, if we turn Thickness up
and Bristles down, well now I have a brush
| | 01:01 | that's almost like a piece of chalk,
and I won't say this will act or look just
| | 01:06 | like a piece of chalk, fully
developed into a brush, but it does give you a
| | 01:10 | different kind of mark-making tool
within the different qualities that you can
| | 01:16 | get out of bristle tips.
| | 01:18 | The other thing that's possible is you
can cheat, and with a fairly low number
| | 01:23 | of bristles you can get a
very thick brush appearance.
| | 01:27 | And again, these are all things that you
can use to find the sweet spot where on
| | 01:32 | your particular system, the
performance level you want for the brush works.
| | 01:37 | So if you find things are getting
slowed down, it may be that having thicker
| | 01:41 | individual bristles and less total
bristles is a better way to do a brush than
| | 01:46 | one with a lot of very fine bristles.
| | 01:49 | It's all very dependent on your processor.
| | 01:51 | Thickness enables you to substitute a few
thick bristle hairs for many thinner ones.
| | 01:57 | Thicker bristles will
give you a more graphic look.
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| Adjusting brush stiffness| 00:00 | Bristle stiffness works in concert with length.
| | 00:03 | The less stiff bristles are, the more
they will have a tendency to bend and
| | 00:07 | separate based on pressure and bearing.
| | 00:09 | Correspondingly, longer length and
less stiffness will make for what I call
| | 00:14 | a very floppy brush.
| | 00:16 | Conversely, short bristles and higher
stiffness results in a very controlled brush.
| | 00:21 | Let's take a look.
| | 00:23 | So we have our Stiffness slider here,
and let's just consider 50%, or thereabouts,
| | 00:27 | to be the average of stiffness, and if
we start with that as our model, we will
| | 00:33 | see that as I press down, that
intermediate stiffness allows the brush to bend
| | 00:39 | and separate somewhat.
| | 00:42 | If we turn this all the way down,
this is going to be the least amount of
| | 00:46 | stiffness, and this is where we
get that very floppy style brush.
| | 00:50 | You can see that, based on just bearing
down, how the bristles want to separate
| | 00:55 | and splay out, and maybe if we reduce
our thickness a bit here, we will see, with
| | 01:01 | finer bristles, exactly what we are getting here.
| | 01:04 | See how I can get those splayed out marks?
| | 01:07 | Now those can be useful marks in
creating some very interesting kinds of strokes
| | 01:12 | and abstract shapes within a stroke.
| | 01:15 | Let's take a different color, and you
can just start to see here how that floppy
| | 01:22 | quality makes for a lot of
interesting express-ability.
| | 01:27 | Now if I go to the other end and
make these very stiff, well, now I get a
| | 01:32 | very controlled stroke.
| | 01:33 | Nothing at all is really
happening when I press down.
| | 01:37 | So like some other attributes we
have talked about, Stiffness, or the lack
| | 01:41 | thereof, can actually make the brush
a little bit more processor-intensive
| | 01:46 | because it's having to dynamically
adjust that shape and width and the amount of
| | 01:51 | contact with the canvas dynamically,
and that's where a little extra horsepower
| | 01:57 | may be needed, or if you don't have
that horsepower, you'll start to see a
| | 02:01 | decrease in performance of your brush.
| | 02:04 | And on the other hand, you've got
stiffer bristles, which will give you a more
| | 02:07 | controlled style stroke.
| | 02:09 | So you may need to play around with
the degree of Stiffness in concert with
| | 02:14 | Length and Bristles in order to find
out where that sweet spot is where you're
| | 02:19 | going to get the maximum performance
as well as the look that you are after.
| | 02:23 | Now the Stiffness control
should be used sparingly.
| | 02:27 | It's very sensitive to small
adjustments; be sure to take time testing your
| | 02:32 | brush as you make small adjustments.
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| Understanding options for angle adjustment| 00:00 | The Angle control is most useful for
someone that is painting with a mouse.
| | 00:05 | This is something I would definitely
not recommend for use with bristle tips,
| | 00:09 | but if you have to use a mouse, you can
use the Angle slider to get a specific
| | 00:13 | visual appearance on your
strokes. Let's take a look.
| | 00:16 | Now I'm painting with a mouse now, and
you'll see I have no control over the angle.
| | 00:22 | It's all one angle.
| | 00:24 | This is where the Angle control can be
used to set what the single angle of the
| | 00:30 | mouse will be on this particular brush.
| | 00:34 | So just by changing this, you can get a
simulated angle, but you can't change the angle.
| | 00:41 | That's the big 'gotcha'
about working with a mouse.
| | 00:44 | But one thing you can do, and
we'll temporally go over here.
| | 00:47 | If we go to Shape Dynamics, you'll
see that the Angle Jitter is off.
| | 00:52 | That's because the Art Pen, when it's
present, is automatically recognized by
| | 00:57 | Photoshop, and there is nothing you
have to do to tell it to control angle.
| | 01:01 | It just knows what to do.
| | 01:03 | However, for a non-barrel rotating device,
like a mouse, we can use initial direction.
| | 01:10 | What will happen here is it will
always take the wide aspect, or the
| | 01:15 | starting angle of the brush.
| | 01:16 | So, for example, if we now go back to
our Brush Tip Shape and set this to 0,
| | 01:26 | now my brush stroke will
always start with a wide aspect.
| | 01:29 | So no matter what angle I
draw at, I will get a wide aspect.
| | 01:33 | And then there will be some expressive
character expressed within the stroke
| | 01:38 | as it changes angle.
| | 01:39 | But this is one way to give something as
dumb as a mouse, which basically has no
| | 01:45 | way of giving information about bearing
or angle, a little bit of intelligence.
| | 01:50 | It looks like it's doing the right thing,
but you're never going to get the kind
| | 01:54 | of expression now that I
have switched to my Art Pen.
| | 01:57 | You are just not going to get all of
those various characteristics that we can
| | 02:02 | get when we've got a much more
sophisticated device like the Art Pen.
| | 02:07 | So you probably won't be spending much
time using the Angle slider, and that's
| | 02:11 | because, hopefully, you're
using a tablet and stylus.
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| Changing bristle spacing| 00:00 | The Spacing slider is very important.
| | 00:02 | This adjustment has a great deal of
bearing on the performance of your brush.
| | 00:07 | If spacing is too fine, your
brush performance will suffer.
| | 00:11 | You'll need to look for what I call
the 'sweet spot' to match your system's
| | 00:15 | performance with an
acceptable brush performance.
| | 00:17 | Now, I like to think of the Spacing
slider as a performance throttle, and to
| | 00:23 | show you this, I'm going to use my Right
Bracket key here to enlarge this brush,
| | 00:28 | because I want to get a brush
that actually has a bit of lag in it.
| | 00:32 | And we may need to really go out of our
way to make that happen on this fast system.
| | 00:37 | Let's just try it here. Okay.
| | 00:40 | You can see there's a little bit of lag
in this brush, and this is artificially
| | 00:45 | large, but it will get the point across.
| | 00:48 | If I adjust the Spacing upwards, now
let's undo and try it again, you can see
| | 00:53 | that brush is now a real-time brush.
| | 00:56 | However, we're starting to get some
artifacts from the fact that ultimately
| | 01:00 | these are a series of individual brush
stamps that are spaced close together, to
| | 01:06 | give the illusion of a continuous brushstroke.
| | 01:09 | So I want to play around of taking it
down, and this is a very sensitive control.
| | 01:13 | I've found that just a percent or two can
make a huge difference in the look of the
| | 01:17 | brush, and yet affect performance.
| | 01:20 | Now I'm starting to get a faster brush,
and there is a little bit of artifacting
| | 01:24 | in there, but it's still a matter of
really playing around with it. Let's just try,
| | 01:29 | sometimes it's 6%.
| | 01:30 | I find for some reason to be a good
value, at least on my system at home.
| | 01:34 | So we're starting to run into a
little bit of a performance problem, and it
| | 01:39 | looks like for this particular size,
around 8% - I can close this to see some
| | 01:43 | more - is giving me close to what I want.
| | 01:46 | Later on, we're going to take a look
at texture, and I'll show you how we can
| | 01:51 | actually use texture to hide some of
these artifacts in the brushstroke, and
| | 01:57 | in fact, actually provide a greater
sense of realism in the overall painting
| | 02:01 | when texture is applied.
| | 02:03 | But without texture, you're at the
mercy of the Spacing slider to basically
| | 02:08 | play around with that sweet spot that
you can find, that matches what you want
| | 02:14 | with the performance of the
brush on your particular system.
| | 02:18 | So spacing should be the first control
you go to if you are having difficulties
| | 02:22 | with the performance of your brush as you paint.
| | 02:25 | If your brush is lagging or staying
behind your strokes, use the Spacing
| | 02:29 | slider to adjust the brush, until you
get to the performance, or sweet spot,
| | 02:33 | that you like.
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|
|
3. The Mixer BrushUsing the Preset Brush Behavior menu| 00:00 | There are some more or less
universal brush behaviors that are instantly
| | 00:05 | available via the Mixer Brush Property
bar's Preset Brush Behavior dropdown menu.
| | 00:11 | This menu provides first-time users
with some basic brush styles to encourage
| | 00:15 | working with the Mixer brush.
| | 00:17 | In this video, we'll take
a look at these presets.
| | 00:21 | So when we're in the Mixer brush, the
Property bar is updated to show controls
| | 00:27 | associated with the Mixer brush, and
we'll see right here, we have a set of
| | 00:32 | predefined behaviors that are available.
| | 00:36 | For example, if I select Dry - well, okay.
| | 00:40 | I get a brush that acts like it's dry.
| | 00:43 | If we select a Moist brush - okay, I
can see where this name comes from.
| | 00:50 | It's kind of moist.
| | 00:52 | If we go to Very Wet, for example,
well, I'm not really seeing what the
| | 00:59 | difference is, and that, for me, is a little
bit of a problem with these preset behaviors.
| | 01:05 | Having looked at them, I think what
happened was these were designed very much
| | 01:11 | by numeric settings, without regard
for exactly what it was going to do
| | 01:16 | visually, and as a result, these brush
names don't necessarily seem to mean much.
| | 01:24 | And that is one of the reasons that,
later on, I'm going to get into talking
| | 01:28 | about naming conventions, because I
think it falls apart right here in the
| | 01:34 | default settings, that these names
don't really seem to measure up to what they
| | 01:39 | sound like they're going to do, and as a
result, I don't find these settings very useful.
| | 01:47 | The other thing that we'll discover, as
we start getting into how the Mixer brush
| | 01:50 | works, is small changes in these
settings that we'll be investigating can make
| | 01:55 | big differences on
another one of these properties.
| | 01:58 | And because of this interrelationship
between these, you can very easily get
| | 02:04 | confused about what setting is controlling what.
| | 02:08 | And while Adobe made a valiant effort
here to provide some basic behaviors, they
| | 02:14 | probably have a tendency to
confuse people, more than anything.
| | 02:17 | So the preset brush behaviors are a
good place to try out the Mixer brush, but
| | 02:23 | you're going to soon want to start
tweaking these brushes to suit your own
| | 02:27 | style, and we'll be looking at that
throughout the rest of this chapter.
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| Color wells: Reservoir and pickup | 00:01 | Color wells represent the
source of colors that makes the mark.
| | 00:05 | The Color Reservoir supplies the
color that flows from the brush.
| | 00:09 | The Pickup Reservoir represents the
color that is picked up from the canvas and
| | 00:14 | mixed with the reservoir
color. Let's take a look.
| | 00:17 | The key to the Mixer brush behavior is
its multiple color reservoirs, or wells.
| | 00:23 | These wells represent sources
of color used by the Mixer brush.
| | 00:28 | The color well is the color
that flows from the brush.
| | 00:31 | You're already familiar with a color well
from previous models of brushes in Photoshop.
| | 00:37 | In the previous iterations of
Photoshop, the color typically comes from the
| | 00:42 | current color square, and that constitutes
the color well that makes up those brushes.
| | 00:48 | The color well, in relation to the
Mixer brush, is controlled by the Load
| | 00:52 | adjustment on the Mixer brush option bar.
| | 00:55 | Higher values represent greater well capacity,
| | 00:58 | for example, a brush that
will have a longer stroke life.
| | 01:02 | The pickup well is the underlying
color that is picked up by the brush.
| | 01:07 | The pickup well is controlled by the Wet
adjustment on the Mixer brush option bar.
| | 01:11 | Higher values represent greater well capacity.
| | 01:14 | For example, brushstrokes that will
tend to pickup the underlying color.
| | 01:19 | The Mix control adjusts the
ratio of Well to Pickup color.
| | 01:23 | Higher values represent greater
proportional Pickup color in the resulting stroke,
| | 01:28 | for example, a stroke that
primarily smears the underlying color.
| | 01:32 | A brush with both the Color and Pickup
Reservoirs empty creates a dirty brush.
| | 01:38 | This is a brush that will start with the
color of whatever was at the end of the
| | 01:43 | previous brushstroke, very much like
a traditional wet-on-wet technique.
| | 01:47 | The Flow control adjusts the master
output of the other combined controls.
| | 01:52 | Understanding the color wells
unlocks the power of the Mixer brush.
| | 01:56 | Once you understand these vital
controls, you can create a very wide range of
| | 02:00 | appearance within your brushstrokes.
| | 02:02 | In the next few videos, we'll take a
look at how to quickly and easily adjust
| | 02:06 | these Mixer brush components
to get the most out of them.
| | Collapse this transcript |
| Using the Wet, Load, Mix, and Flow controls to adjust color behavior| 00:01 | Once you have an understanding of the
color wells under your belt, you can start
| | 00:04 | to use these various controls
to modify how your strokes look.
| | 00:08 | The Wet, Load, Mix, and Flow controls
are all various aspect of the color wells,
| | 00:14 | and we're going to take a look at them now.
| | 00:15 | I'm going to begin by talking about the
Load control, and to start, I also want
| | 00:20 | to turn these all the way down, just so
we begin with basically a blank slate.
| | 00:24 | And the Load control controls how
much color is in the color well.
| | 00:31 | You cannot take this down below 1%.
| | 00:34 | Unlike the Wet control, the Load
control can only go down to 1%.
| | 00:38 | This ensures that there's always some
color in the color well of the brush.
| | 00:43 | So I'm taking it down to its minimum
setting, and when I paint with a color,
| | 00:49 | you'll see what happens is the
stroke runs out of paint very quickly.
| | 00:54 | That's because there's
very little paint in the well.
| | 00:58 | I refer to this as a stroke life.
| | 01:00 | So you can control the life of the stroke,
based on the setting of the Load control.
| | 01:06 | If I turned it up just a bit, we'll see
now we get a stroke that's a bit longer,
| | 01:10 | but it will eventually run out of color.
| | 01:13 | So the higher this value, the
longer the life of the stroke.
| | 01:17 | If we turn it up to 100%, we're going to
get essentially what the earlier models
| | 01:23 | of brushes in Photoshop have done,
and that is an infinite color well.
| | 01:28 | So at 100%, I can just sit here and
paint, and it will always, continuously
| | 01:33 | deliver color to the brush.
| | 01:36 | So now we understand how we can control
the color well; let's look at how we can
| | 01:42 | control the pickup well in relation to
what's happening with the Load control.
| | 01:47 | I'm going to switch to a separate
image here, and you'll find this image in
| | 01:51 | your Exercise folder.
| | 01:53 | It's called color bars.
| | 01:55 | And let's just start with
the current setting here.
| | 01:59 | At a Wet value of 0, I
basically get a opaque stroke.
| | 02:05 | Now, I'm going to turn this up a bit,
and you'll see what happens is the
| | 02:09 | underlying color is
contributing to the makeup of the stroke.
| | 02:13 | I started on white, so some white
was picked up by the brush, mixed with
| | 02:18 | the purple we're using, and as I
went over these colors, each of these
| | 02:22 | colors was contributed to the stroke to make up
this bit of smeary purple that we're seeing.
| | 02:29 | Now, I'm going to go ahead and turn
this all the way up to 100%, because I want
| | 02:32 | to show you that at 100%, you really
don't see much difference from a 1%
| | 02:39 | setting to 100% setting.
| | 02:41 | I can see some subtlety and smoothness
in the transition of colors at 100%, over
| | 02:47 | what I see at 1%, but it's
not dramatically different.
| | 02:51 | And I want you to be aware of that.
While there's this whole range of 100% here,
| | 02:56 | the way the Wet control is currently
set up, you don't get a remarkable change
| | 03:01 | based on all of these values
that are contained from 1 to 100%.
| | 03:05 | I still tend to adjust it, but it really
doesn't seem to have a whole lot of difference.
| | 03:11 | Now let's talk about the Mix control.
| | 03:13 | We're playing with both Load, which
is the color well, as well as the Wet
| | 03:18 | slider, which is the pickup well.
| | 03:20 | The Mix slider controls the
ratio of these two values together.
| | 03:25 | So if I turn Mix all the way up to
100%, it's going to set it so that 100% of
| | 03:31 | the pickup well or the Wet value
becomes the contributing factor to the brush.
| | 03:36 | So there is no color from the color
well being mixed in to this value.
| | 03:42 | It's all 100% Wet value.
| | 03:45 | If I turn this down aways, we'll
see that now some of the purple is
| | 03:50 | contributing to the color, but it's in
a ratio that's consistent with what this
| | 03:55 | value is in the Mix.
| | 03:57 | So Mix is just playing with the ratio of these
two colors' contribution to the total stroke.
| | 04:05 | Finally, we have the Flow control, and the
Flow control controls the overall settings.
| | 04:12 | It's like a master control.
| | 04:13 | If I turned Flow down to a low value here,
you'll see that I get some color, but
| | 04:20 | it's very slowly being added to the canvas.
| | 04:25 | And if I turn it all the way up, I'm
going to get a much greater application of
| | 04:30 | color within my stroke.
| | 04:32 | You'll notice there really is no opacity
control associated with the Mixer brush.
| | 04:38 | The Flow control basically
acts as a replacement for opacity.
| | 04:43 | So if you want to subtly build up your
strokes, a low value is going to give
| | 04:48 | you that capability.
| | 04:50 | On the other hand, if you want to
start building up color quickly, use a high
| | 04:54 | level of Flow in order to start to
pick up and take all of the other factors of
| | 05:00 | your brush into the stroke, to build up
color at whatever rate the Flow rate is set to.
| | 05:06 | You probably will spend most of your
time making adjustments to these brushes in
| | 05:11 | order to customize the look of your strokes.
| | 05:14 | Small changes can make differences, but
also be aware that with something like
| | 05:18 | the Wet control, large differences really
hardly make any change at all in your stroke.
| | 05:24 | So my best advice is to spend time
playing around with these controls, and once
| | 05:29 | you get the understanding of these four
controls, it will go a long ways towards
| | 05:34 | enabling you to create very specific
strokes that you want to work with.
| | Collapse this transcript |
| Loading and cleaning the Mixer Brush: Manual or automatic| 00:01 | Loading and clean your brush affects the
behavior of how strokes are applied to the canvas.
| | 00:06 | You have a choice of whether you want to
do this manually or have Photoshop take
| | 00:11 | care of it for you automatically.
| | 00:13 | In this movie, we'll
take a look at both methods.
| | 00:16 | Up until now, I've been using these
controls both turned on, and we're now going
| | 00:21 | to talk about what these do.
| | 00:24 | The Load control loads the brush for
you automatically, after each stroke.
| | 00:29 | And when it's enabled its dark,;
when it's disabled it's light.
| | 00:34 | The second control is the Clean control.
| | 00:36 | This cleans your brush after each stroke,
and like the first control when it is
| | 00:41 | disabled, it is white, and
when it's enabled it's dark.
| | 00:46 | Let's take a look at how these work.
| | 00:48 | Now to start with, when these are both
on and I started to paint, each stroke
| | 00:54 | is always loaded, and each stroke will always
clean itself after each stroke is produced.
| | 01:01 | Now what happens, for example, if I turn
off the ability to fill the color well,
| | 01:08 | each time the stroke is produce?
| | 01:11 | Well what happens is we don't get
anything, but this turns this in to
| | 01:16 | a pure blending brush.
| | 01:18 | So this is one technique that takes a
brush that normally produces color, and by
| | 01:23 | turning off the color well, you
essentially are saying 'I only want it to pick
| | 01:28 | up color,' and now it becomes
a very nice blending brush.
| | 01:34 | Also note that when these are on, the
Color Preview shows me the fact that that
| | 01:39 | is what's going to happen.
| | 01:40 | It's going to apply the current color, which
we have down in the color square, to the canvas.
| | 01:47 | But as soon as I turn this off, now we
see the Transparency checkerboard, and
| | 01:52 | that's telling me that, once again,
it's only going to blend color.
| | 01:57 | When I turn off the Clean control, now
what's going to happen is it's going to
| | 02:04 | mix, but notice I am
going to stop on the yellow.
| | 02:06 | I am going to pick up, and I am going
to come over somewhere else, and see how
| | 02:11 | the last color I touched became
the first part of that stroke.
| | 02:16 | Now in this case, I ended
right here, on the light blue.
| | 02:20 | When I go over here, that
becomes the color that is picked up.
| | 02:24 | So what this does is it gives you a
dirty brush technique, and that means that
| | 02:29 | each time I paint, I am getting colors from the
existing color on the canvas as my brush color.
| | 02:38 | And what you'll see happen is here,
it'll slowly just kind of become a solid
| | 02:43 | or grayish color, because we're just
constantly mixing these colors together.
| | 02:48 | But this does give you a
technique of a dirty brush.
| | 02:52 | Now I can also - and notice that in the
little Color Preview it's showing me that
| | 02:58 | little dirty area that's otherwise transparent.
| | 03:02 | Let's try another combination.
| | 03:04 | We'll turn this on, so now we're
going to apply color with each stroke, but
| | 03:07 | we're not going to clean the brush.
| | 03:09 | So I'll have some red contributing to
the stroke, but wherever I stop, that
| | 03:16 | color green that I ended up on
contaminates the beginning of the stroke until I
| | 03:21 | start painting, and the
current color is added to it.
| | 03:25 | So each of these methods of adjusting
how the color is contributed, and whether
| | 03:30 | or not it's contributing at all, can
be controlled by both of these automatic
| | 03:35 | Load and Cleaning buttons.
| | 03:38 | You also have the option to do this manually.
| | 03:41 | If we go over to the Current Brush Load
Preview, and I click on this, you'll see
| | 03:47 | that I can now manually load the brush.
| | 03:50 | So if I manually load the brush, rather than
doing it automatically, I now have a loaded brush.
| | 03:56 | The next time I use it, it's going to start
to be a contaminated dirty brush once again.
| | 04:02 | So it takes coming up to here to
load the brush with color. There it is.
| | 04:08 | It's on there. But each time I start
to use it subsequently, it's going to
| | 04:12 | become a dirty brush once again.
| | 04:15 | Now if I come back up and select Clean
brush, this will make it a blending brush
| | 04:21 | temporarily, but because it's not
cleaning itself each time automatically, it
| | 04:27 | will revert to becoming a dirty brush
that picks up previous color, and adds it
| | 04:32 | to the beginning of the next stroke.
| | 04:35 | Now I am going to show you, in Chapter
8, how we can take these controls and
| | 04:40 | apply keyboard shortcuts to them, as
well as control them from the control
| | 04:44 | surface of the Wacom tablet, and
you'll see that that probably gives you the
| | 04:49 | best way to control when and how these work.
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| Sampling color from all layers| 00:01 | Sample All Layers determines whether
you paint and pick up color on a single
| | 00:05 | layer or take all color into account.
Whether a Sample All Layers is on or not
| | 00:10 | will make a difference in the
appearance of your strokes. Let's take a look.
| | 00:14 | Up until now, we've been looking at
imagery that's on the canvas, but now we are
| | 00:19 | going to start talking about layers, and
layers provides a great deal of power in
| | 00:24 | connection with the Mixer brush.
| | 00:26 | You can start to pick up color from
underlying layers, paint on multiple
| | 00:31 | layers, and build up an image,
essentially, in the series of layers, and by doing
| | 00:36 | so, it creates a safety net that enables you
to do things that you might not otherwise try.
| | 00:42 | So we've now got a layer on here,
and we are going to do a few things.
| | 00:46 | First of all, the brush I am working
with here, you know, it's somewhat wet.
| | 00:50 | It's not going to run out of paint
very quickly, and there is a little bit of
| | 00:54 | mixed ratio going on, but let's just
start by turning off the Load Capability.
| | 01:00 | And if you remember from before,
this makes this a brush that smears.
| | 01:04 | Well, let's go ahead and smear now.
| | 01:06 | Well, nothing is happening. Why not?
| | 01:10 | Well, now we are working on a layer,
and Sample All Layers is not enabled.
| | 01:15 | I want to show you this because
this is one of the situations you can
| | 01:18 | find yourself in where for some
reason the brush isn't painting, and you
| | 01:23 | don't understand why.
| | 01:24 | The first thing you should do when you
went into this situation is check to see
| | 01:28 | if Sample All Layers is enabled.
| | 01:31 | Once it is, we now have a brush that
is acting as if it's a flat canvas, but
| | 01:37 | in fact, this is a separate individual layer,
and that's where the power of this comes in.
| | 01:44 | You start to be able to do these
things in a situation that is not altering
| | 01:51 | artwork underneath of it.
| | 01:53 | Now another thing I wanted to show you
here is I am going to create a new layer,
| | 01:56 | and I am going to set this up, so I can
paint, and I am going to take some black
| | 02:00 | and just paint on this layer.
| | 02:02 | What I want to show you is, when we go
back to our intermediate layer and I turn
| | 02:07 | off the Automatic Load command and
enable some Wetness, I can once again uses
| | 02:13 | this to smear, but I want
to show you what happens.
| | 02:16 | Remember, we are in an intermediate layer,
but notice it's picking up from all layers.
| | 02:23 | So remember, this name is Sample All Layers.
| | 02:26 | Even though we are underneath this
black layer, Sample All Layers does not know
| | 02:31 | the difference between working on top of
color or being sandwiched in between of it.
| | 02:37 | As a result, you'll get this effect.
| | 02:39 | If you don't want this to happen,
this is where you can take advantage -
| | 02:43 | I'll do undo here - of been able to have
Sample All Layers on, but turn off this layer.
| | 02:51 | Now, I can go in here, and I can
smear this, and I'm not having anything
| | 02:57 | happen with the artwork underneath of it.
| | 03:00 | So one practice you might want to
adapt to is when you're working, and you
| | 03:06 | don't want to have this contamination
from color above, is to just temporarily
| | 03:11 | turn those layers off in order to be
able to do your smearing, or whatever
| | 03:17 | activity you are doing beneath it,
without interacting with the color on the
| | 03:22 | layer or layers above.
| | 03:24 | Another important consideration to make
is that when Sample All Layers is enabled,
| | 03:30 | it imposes what I refer
to as a performance tax.
| | 03:33 | Now on this particular image, which is
at low- resolution, we are not going to
| | 03:38 | notice any kind of slow-down because
Sample All Layers is on, but I can tell you
| | 03:43 | from experience, once you start working
with higher resolution images, and just
| | 03:48 | based on your system's performance,
you can start to see some slow-down when
| | 03:54 | Sample All Layers is on.
| | 03:56 | So it is an effect that, in certain
circumstances, you may find you need to be
| | 04:01 | judicious about when it's turned
on and when it's not turned on.
| | 04:05 | But just remember that it does have
this performance tax that you may notice
| | 04:10 | when you get into higher resolution imagery.
| | 04:14 | Sample All Layers is a very powerful
control, but it can also eat up processing
| | 04:19 | power; otherwise, it opens up another
door to be able to do some interesting
| | 04:24 | brushwork that you might not otherwise
be able to do, particularly in situations
| | 04:28 | where you're working with layers.
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| Using the Transfer panel to adjust paint dynamics| 00:01 | Inside the Brush panel, you'll find a
subpanel known as the Transfer panel.
| | 00:06 | This panel allows you to use pressure to
control various aspects of the color wells.
| | 00:12 | You'll get a much more subtle
brushstroke when you take advantage of your
| | 00:15 | stylus pressure in conjunction with
these controls. Let's take a look.
| | 00:19 | I am going to go over and use my
little icon here to open up the Brush panel,
| | 00:25 | and we'll see that we have access to a
number of subpanels here, and the one we
| | 00:29 | are going to focus on right
now is the Transfer panel.
| | 00:32 | Now it's named this because it allows
you to transfer control of the brush
| | 00:38 | to various mechanisms.
| | 00:39 | And in this case, we are going to be
taking advantage of the control pop-up
| | 00:43 | menu to get to Pen Pressure, and I am
going to go through each one of these and
| | 00:47 | show you how it works.
| | 00:49 | So you can see how they apply
individually to the Mixer brush, but then you can
| | 00:54 | also gang these up to do even more
sophisticated activities with the brush.
| | 00:59 | So let's start with Flow, and
Flow Jitter is a bit of a misnomer.
| | 01:04 | Yes you can use this slider to jitter
flow, and if you look down in the little
| | 01:12 | sample, you'll see that it's
kind of dotted and speckly.
| | 01:15 | That's because it's taking the
individual unit of the Mixer brush, and when
| | 01:21 | Jitter is turned up, its randomizing how
much flow each individual dab of the brush has.
| | 01:28 | So when it's turned all the way
up, you get this rather erratic
| | 01:32 | randomization within the stroke.
| | 01:34 | That's really not what you want to deal
with, and I am telling you this because
| | 01:37 | in each of the case of these
controls, these are not important sliders.
| | 01:42 | You're not going to want to turn
these up under typical circumstances.
| | 01:46 | What is important is that we can
address pressure through the control pop-up.
| | 01:52 | Now that that's on - in fact, let's
start with it off, so we can see how the
| | 01:56 | brush behaves by default.
| | 01:58 | Okay, so it's a brush, and it runs out
of paint because we have a short load on
| | 02:03 | it, but let's go ahead and turn Pressure on.
| | 02:07 | Now, I have a brush that,
depending on how hard I'm pressing,
| | 02:13 | I can control the amount
of opacity of that brush.
| | 02:18 | And as I mentioned in an earlier
movie, Flow for the Mixer brush
| | 02:22 | essentially replaces opacity.
| | 02:25 | So that you can turn load all the way up, and
now have a brush that, based on your pressure,
| | 02:32 | you can control exactly how
heavy of a stroke you're applying.
| | 02:37 | So right there, that offers a very
nice ability to modulate the expressive
| | 02:44 | quality of the brush through
opacity, or in this case, Flow.
| | 02:48 | Now let's take another color,
and I'm now going to shut this off.
| | 02:54 | Let's go down to Wetness, and I am
going to turn it to Pen Pressure now, via
| | 02:59 | its control pop-up.
| | 03:01 | And for this to work, it has to have
some Wetness engaged - right now we are
| | 03:07 | zero - so we need to have some amount of
wetness for this to work, otherwise you
| | 03:11 | won't see any difference.
| | 03:13 | But now we are controlling
Wetness through Pressure.
| | 03:16 | So when I take this brush and press
very lightly, it's wet, but it's not
| | 03:21 | applying a lot of color.
| | 03:22 | As I press down, it gets wetter, but
it also adds more color into the brush.
| | 03:29 | So you can see this very light
pressure, all I'm doing is modulating the
| | 03:34 | underlying color through wetness, but as
I press down, I am able to not only make
| | 03:40 | it more wet, but at the same
time, it's applying more color.
| | 03:44 | Okay, now let's isolate the Mix control,
and in order for the Mix control to have
| | 03:50 | any value under pressure, you do
have to have some mix value in here.
| | 03:56 | If it's turned all the way down,
it's not going to do anything.
| | 04:00 | But with this turned up, we can now
use pressure to modulate the degree of
| | 04:05 | Wetness and Load within the brush stroke.
| | 04:08 | So we have got another color here, and
at this point, it's mostly at very light
| | 04:14 | pressure, applying the green.
| | 04:15 | As I press down, it really adds green
into the mix, because we're modulating
| | 04:22 | from its full wetness at light
pressure, and as I bear down in pressure, the
| | 04:27 | ratio is transferring to where load
becomes the predominant part of the
| | 04:33 | equation to be applied.
| | 04:36 | So we're using light pressure, just gives
us wetness, and then increasing pressure
| | 04:41 | modulates from that to
primarily a load-based brush.
| | 04:46 | Now you can start to combine these
together and in fact many of the brushes that
| | 04:51 | I create, I have either two or sometimes
three different categories of these on.
| | 04:56 | At first, the brush is very
transparent because there's not much opacity
| | 05:01 | associated with it, but as
I now bear down in pressure,
| | 05:05 | all of these categories are coming to
bear, and it's just adds a very complex
| | 05:11 | quality to the overall stroke that's created.
| | 05:15 | And it's just a matter, really, of
playing around these various controls and
| | 05:20 | seeing what different combinations
will give you, and based on how these are
| | 05:26 | set and then secondarily, what the
degree of each one of these controls are
| | 05:31 | set to, offer almost an infinite possibility
set of what the brush can do based on pressure.
| | 05:40 | So there's a lot of power inside the
Transfer subpanel, and each one of these
| | 05:47 | controls, by switching to pressure to
address what's having that is in the brush
| | 05:52 | stroke, gives you an amazing range
of potential express-ability.
| | 05:57 | So take time to go into the Transfer
panel and play with various combinations of
| | 06:03 | the Flow, Wetness and Mix
controls being addressed by Pressure.
| | 06:07 | And I think you'll be very happy with
the range of possibilities you are going
| | 06:11 | to find, once you get into this.
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|
|
4. Surface TextureSelecting patterns from the Pattern Library| 00:00 | Texture is a great way to add a
traditional look to your brushstrokes.
| | 00:03 | The Texture option is
located in the Brush panel.
| | 00:07 | These options allow you to select from
among many different pattern options.
| | 00:11 | You can also adjust the character
of each pattern that is selected.
| | 00:14 | It's a great addition to any Mixer
brush for adding that analog look.
| | 00:18 | Let's go take a look.
| | 00:19 | I am opening up the Brush panel, and we
will notice that in the subpanel area
| | 00:23 | here, we have the option of Texture.
| | 00:26 | So I am going to select that, and the
first thing we will notice, at the top, is
| | 00:31 | there is a texture installed, but
it's not very traditional-looking.
| | 00:34 | This is part of the pattern library that
shows up in Photoshop, and we are going
| | 00:40 | to go ahead and change that.
| | 00:41 | If we open up this flyout menu, you'll
see that there are a number of installed
| | 00:46 | textures, or pattern
libraries, that we can choose from.
| | 00:50 | And I am going to select the Artist Surfaces.
| | 00:52 | This is another default library that
comes with Photoshop, and it's got a bunch
| | 00:57 | of really good-looking
canvas textures built into it.
| | 01:01 | You have the option here.
| | 01:02 | You can either append a library or replace it.
| | 01:06 | If you append a library, it will take
whatever the contents of this new library,
| | 01:10 | and say there're 20 new textures in
there, and it will add it to this library,
| | 01:14 | which may have something like 20 textures in it.
| | 01:17 | So if you say Append, you're
going to end up with 40 textures.
| | 01:22 | It gets a little bit hard to
navigate, especially when they're two
| | 01:25 | different types of libraries.
| | 01:27 | So I recommend replacing your
library under normal circumstances.
| | 01:31 | You can always retrieve the
earlier library, as it's part of the list.
| | 01:36 | So Patterns, which was in there, I
could easily swap out the current Artist
| | 01:40 | Surfaces for Patterns.
| | 01:41 | But it's just a way you can combine
libraries, but I find it much easier to keep
| | 01:46 | them isolated to the type of
library you are working with.
| | 01:49 | Straight out of the box, these textures
tend to look a little static to my eye.
| | 01:53 | In the next few movies, I am going to
show you how to make some adjustments, so
| | 01:56 | that you can get strokes
that really look great onscreen.
| | Collapse this transcript |
| Simulating canvas texture| 00:00 | In this movie, we are going to take a
look at how we can interact with the
| | 00:03 | character of the texture as it
appears within the brushstrokes.
| | 00:07 | One of the first things we want to
take a look at here is the Depth slider.
| | 00:12 | This controls the appearance of
the depth within a brushstroke.
| | 00:17 | Right now, it's set pretty high, so that
as I paint, my strokes are almost black.
| | 00:22 | I can lighten up with a little bit of
pressure, but not much is happening here.
| | 00:27 | So to start to change this
quality, the Depth slider can be used.
| | 00:32 | When it's all the way to the top, it's
saying, use the full depth of the texture.
| | 00:37 | As I lower this down, we'll see a lower
value here. Now, I'm starting to see more
| | 00:43 | texture, and less fill of
the lower parts of the grain.
| | 00:48 | What's actually happening here isn't
so much a factor of texture itself, but
| | 00:53 | Photoshop's built-in way it
works with the Mixer brushes;
| | 00:56 | pressure, in this sense, is really
controlling how thick and full all of the hairs
| | 01:02 | within the brush are responding to pressure.
| | 01:04 | So it's not really associated with
pressure per se, but we are getting a nice
| | 01:09 | variation in here, even at this level.
| | 01:12 | Now, just depending on where you set
this, you are going to be able to get only
| | 01:16 | at the tops of the grain
that we're working with here.
| | 01:20 | So at this lower level, you can see
that now, I'm just skipping along the
| | 01:24 | very top of the grain.
| | 01:26 | I can never get all the way down into
the little valleys that make up this
| | 01:30 | three-dimensional texture.
| | 01:32 | So one of the first things you'll
want to do then is play around with this
| | 01:35 | slider to determine the quality or the
character of the texture within your strokes.
| | 01:41 | I should also point out here that going
from one texture to another can give you
| | 01:46 | very different results.
| | 01:47 | For example, this one we got just along
the top of the grain, whereas here you
| | 01:52 | can see this grain, same Depth setting,
but now all of a sudden we are addressing
| | 01:57 | all the way down into the bottom of the texture.
| | 02:00 | So each texture is going to
respond a bit differently.
| | 02:03 | In this case, I need to play around with
this Depth slider again, in conjunction
| | 02:09 | with a particular texture, to find out
what kind of visual quality I can get to
| | 02:14 | and then decide what I want it to look like.
| | 02:17 | The reason for this variation is that
each one of these has a differing set of
| | 02:21 | grayscale values that make them up, and
some of these settings are dependent on
| | 02:27 | the grayscale within the particular pattern.
| | 02:30 | So there is no one consistent setting for depth.
| | 02:33 | You'll have to play around with it
for each texture based on its own
| | 02:36 | self-contained grayscale.
| | 02:38 | The other thing we can look at here is the Mode.
| | 02:41 | These are different algorithms that
describe how texture is going to be handled
| | 02:46 | when it's applied to the screen.
| | 02:47 | It's almost like these are various
filters through which the texture is being
| | 02:52 | examined and then applied to the screen.
| | 02:54 | Height is the one I use most of the time;
| | 02:56 | sometimes you can use Linear Height.
| | 02:59 | Now, this texture I can see a little
better here, but this does give a good example.
| | 03:04 | I am going to clean off the screen here.
| | 03:06 | I am going to use the
Command+Delete key, which clears the image to the
| | 03:11 | background color, which is currently white.
| | 03:13 | Now, what I want you to see here is, and
this is very indicative of Linear Height,
| | 03:18 | it is a very soft kind of rendition of
the texture, unlike what we saw before
| | 03:24 | with Height, which was much
grainier, much harder-edged.
| | 03:27 | And a third one that I
use sometimes is Hard Mix.
| | 03:31 | This one is even more of a severe
hard-edged appearance of the texture.
| | 03:37 | This one, typically you have to turn Depth up
very high to see it there - now I can see it.
| | 03:44 | But it even has a more graphic hard-edged
appearance than either Linear Height or Height.
| | 03:51 | You can play around with these other
ones, but in conjunction with the mixer
| | 03:55 | brush, I find the bottom three here,
and probably Height to be the most
| | 03:58 | wide-ranging useful of the three.
| | 04:02 | So now we've looked at how to control
the appearance of texture within our
| | 04:07 | strokes; the next thing we'll take a
look at is how to control the scale, and
| | 04:12 | we'll look at that in the next movie.
| | Collapse this transcript |
| Setting texture scale| 00:00 | The Scale slider is another great
tool for controlling and adjusting the
| | 00:04 | appearance of texture within
your strokes. Let's take a look.
| | 00:08 | I am going to start off by just drawing
a little bit with what we have currently.
| | 00:12 | And one of the things that I don't like
about the look of this stroke is that's
| | 00:15 | a very large stroke for looking like a canvas.
| | 00:20 | It is canvas, and at the appropriate
scale of image, this may look right.
| | 00:25 | But right now, it just
looks too large to my eye.
| | 00:28 | So I can use the Scale slider to turn this down.
| | 00:32 | So I can start to use this to get
down to a level of scale that seems
| | 00:35 | appropriate for showing this onscreen.
| | 00:39 | Even now, it's still a little high,
| | 00:41 | so we are going to go ahead and turn this down.
| | 00:42 | And now what starts to happen here
is that it's getting so small, there's
| | 00:47 | not much separation.
| | 00:48 | So you need to find that
sweet spot. That gets there.
| | 00:51 | That's starting to look very good.
| | 00:52 | The other thing we can do here is we can
control how we are addressing the depth
| | 00:58 | of the texture through the Depth control.
| | 01:02 | Now Depth Jitter no effect with the
Mixer brush and Texture, so you don't
| | 01:07 | want to play with this.
| | 01:08 | But what is important, right here
in the control, is the Pen Pressure.
| | 01:12 | Now I can use pressure, and
now I am pressing very lightly.
| | 01:16 | Let me go ahead and use Command+Delete
or Ctrl+Backspace to clean off my image
| | 01:22 | to the background color.
| | 01:23 | Now I'm doing very light, but as I
press down, you can see now I'm getting full
| | 01:28 | penetration of the texture.
| | 01:30 | And that, right there, gives me a very good
way to modulate texture within my stroke.
| | 01:37 | So now just how I paint, I am not even
really thinking so much about pressure.
| | 01:42 | I am able to get a lot of variety in the stroke.
| | 01:46 | So the use of pressure to control the
depth to which your brush addresses the
| | 01:52 | pattern that's installed, gives you a really
nice variety that you wouldn't get otherwise.
| | 01:58 | Texture adds an important
visual appearance to brushstrokes.
| | 02:01 | Using the Scale slider enables
accurate texture depiction at various
| | 02:05 | output resolutions.
| | 02:07 | One thing I want you to be aware of
though, is that, like earlier, we mentioned
| | 02:10 | the use of Sample All Layers, using
texture can impose a bit of a performance
| | 02:17 | tax on your painting.
| | 02:19 | You may find that when it's on,
things slow down a little.
| | 02:22 | So just be aware of the fact that
texture is great, but depending on your
| | 02:26 | own system's performance, you may
find that things slow down a little bit
| | 02:30 | when Texture is enabled.
| | Collapse this transcript |
| Locking textures| 00:00 | When you are painting with the Mixer
brush in conjunction with textures, you're
| | 00:05 | normally not going to want the
texture to change from brush to brush.
| | 00:10 | You want to maintain a consistent
painting surface, which means that the texture
| | 00:15 | itself should not change.
| | 00:17 | There is a control within the Texture
panel that allows this to not happen.
| | 00:24 | I am going to show this to you in
conjunction with Tool presets, which is where
| | 00:30 | this really is important.
| | 00:32 | We haven't covered Tool presets yet.
| | 00:34 | We will elsewhere in the title, but I
feel it's important to note it here so
| | 00:39 | that you understand the
importance of the Texture Lock.
| | 00:42 | So I am going to be using a couple
Mixer brush Tool presets to explain exactly
| | 00:48 | why this is an important feature.
| | 00:50 | So you'll see that beside each of these
subpanels you have the opportunity to
| | 00:54 | lock this subpanel.
| | 00:56 | I am going to leave it unlocked for the moment.
| | 00:58 | Let's go over, and here are the two
sample Tool presets that I've created
| | 01:03 | from the Mixer brush.
| | 01:04 | I'll just paint with one.
| | 01:06 | You'll see that this has a specific
almost kind of wood-grain-like texture in
| | 01:11 | it, and another thing about it is
that it's using the Height mode.
| | 01:15 | Let's go, and now use the
second Mixer brush preset.
| | 01:18 | You'll see this one has a
completely different texture.
| | 01:22 | If we go look in the Brush panel, not
only is it a different texture, but it's a
| | 01:27 | different mode altogether.
| | 01:29 | So there are some very different
things about these two brushes, and were I
| | 01:33 | using these in a single painting,
it would be incongruent to have this
| | 01:37 | intermixture of texture going on.
| | 01:39 | So what I can do is initialize the Texture Lock.
| | 01:44 | Now that that's on, whatever the
current settings are will not change based on
| | 01:49 | various Tool presets that I'm using.
| | 01:52 | So let's go back now, and let's
remember that this brush is working with a
| | 01:56 | finer grain texture.
| | 01:58 | If I go over to my Tool presets now and
get the other brush, now we're getting
| | 02:03 | the same exact textural behavior within
the brush that we did in the first one.
| | 02:08 | So the lesson to be learned here is
that the Texture Lock is a way to ensure
| | 02:13 | that all your Tool preset Mixer
brushes will maintain the same textures
| | 02:18 | throughout a painting.
| | 02:19 | I normally keep this on all the time.
| | 02:21 | However, for creative purposes, if you
want to be able to paint with different
| | 02:26 | textures within a single painting -
and there are times where that may be
| | 02:30 | desirable - you do have the creative
capability of disabling this Texture Lock.
| | 02:35 | But the Texture Lock is your key to
maintaining a specific texture throughout an
| | 02:41 | entire painting project.
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| Adding 3D appearance to strokes| 00:00 | The appearance of grain or texture
within painted strokes is but one visual cue
| | 00:05 | that the brush is painting on a surface.
| | 00:07 | Another visual cue is the result of
highlight and shadowing on a 3D surface.
| | 00:13 | In this video, I'll show you how to
easily introduce apparent surface sliding
| | 00:17 | to your brushstrokes.
| | 00:18 | Now, the basic trick behind this is
taking advantage of layers and one of the
| | 00:24 | layer effects that we can apply.
| | 00:26 | And if I double-click on my layer,
this brings up my Layer Style panel.
| | 00:31 | And I'm going to select Bevel and Emboss.
| | 00:34 | And I'm also going to check Contour.
| | 00:36 | Now, one of the things about the way this works,
| | 00:39 | you have to first set this up to
look like something before you can paint
| | 00:44 | strokes, but it's most likely that
you're wanting to make adjustments to that.
| | 00:48 | Let's just take the default settings here.
| | 00:50 | And on this layer, I'll start to paint.
| | 00:52 | And you can see now that it looks like
these strokes have highlights and shadows.
| | 00:57 | If I turn this on and off, you can
see the difference between what it looks
| | 01:02 | like without and with.
| | 01:03 | So without, we get just
what looks like flat paint.
| | 01:07 | With it on, it imbues the strokes
with a three-dimensional character.
| | 01:13 | Now, once you see this, you can go
back into Bevel and Emboss and start to
| | 01:17 | make some changes to it.
| | 01:19 | And I find it's almost universal
that when you start playing with this,
| | 01:23 | you tend to go a little nuts and
give it more than it really should have.
| | 01:27 | You don't want this to overly attract the eye.
| | 01:29 | You just want it to be visible enough
that it does add some dimensionality
| | 01:34 | to the strokes, but not making it
something that actually ends up being distracting.
| | 01:40 | You can see here, I've got it down to the
minimum settings, and I can still see it.
| | 01:44 | I may want to adjust it, but I
don't want to make it too strong.
| | 01:48 | The other thing we can do is, in the
Shading, I can control the opacity of both
| | 01:54 | the highlights and the shadows.
| | 01:55 | And you can see onscreen how
that does make a difference.
| | 01:59 | So that is yet another control you have.
| | 02:02 | Also, you can play with the
location of the lighting angle.
| | 02:05 | I found I kind of like it
directly above, roughly a 90 degree angle.
| | 02:10 | Then you can also play with how
straight above the lighting is, and the farther
| | 02:16 | it is offset to the side, the more
you're going to get a side angle on that
| | 02:20 | lighting, and it will enhance the look
of the strokes to be a bit more apparent.
| | 02:25 | Now, the good news is once you set
this up, this is all nondestructive.
| | 02:29 | So you could paint an entire painting
looking at your imagery as if it were
| | 02:35 | 3D like this, and later on you may the next
day say, boy, I really went too far with this.
| | 02:41 | So you can always open up this and
decide, I need to tone this down a bit.
| | 02:46 | Maybe I need to reduce the amount of
highlight and shadow, or maybe the shadow
| | 02:50 | lighting is too strong, but you
can always go back and change it.
| | 02:54 | The other thing I'll tell you that's
really useful is, once you've done this,
| | 02:59 | just go ahead, if you want to work with
multiple layers, and make a copy, and go
| | 03:03 | ahead and select All Delete to get rid of this.
| | 03:07 | And now I've got a new layer.
| | 03:09 | Let's take in another color here.
| | 03:11 | And now I can start
painting on this layer with its own
| | 03:14 | three-dimensional effects.
| | 03:16 | Now, why would you do this?
| | 03:17 | What you'll see here - I'll do this
with some darker shade of color - what
| | 03:21 | happens is there isn't an infinite
amount of depth to the 3D channel, and as a
| | 03:27 | result, light strokes will show 3D -
| | 03:30 | and maybe we want to attenuate it here just a
little bit to get across what I'm talking about.
| | 03:35 | I'll go ahead and turn
these up, and that should do it.
| | 03:38 | So it looks like 3D, but once you kind
of overlay all these strokes, you can
| | 03:43 | see, it just flattens back out.
| | 03:45 | So it actually works to have
some gaps in your brushstrokes.
| | 03:50 | So more thinly populated bristles and also
letting texture show through really helps.
| | 03:56 | And I do want to show you, I played
around a bit, and I found that in the
| | 04:01 | Photoshop default set, this third one,
which is Burlap, makes for a very good
| | 04:06 | texture that works well with adding
the Bevel and Emboss to your 3D strokes.
| | 04:12 | Finally, if you want to take this one
step further, we can go in, once again,
| | 04:17 | double-click on the layer and add a drop shadow.
| | 04:20 | And you can play around with how far
away this drop shadow is, how soft it is.
| | 04:26 | But let's do that.
| | 04:27 | And now I'll create another layer with that.
| | 04:30 | And once again, we'll do Ctrl+
Alt+Delete or Ctrl+Alt+Backspace.
| | 04:33 | So now I've got a new layer I can paint on.
| | 04:36 | Let's take a color here.
| | 04:38 | And now I'm painting with 3D shadows.
| | 04:42 | And to be able to actually see this
while you're painting is really neat.
| | 04:45 | So it gives you a way to do a very
kind of interesting abstract illusionist
| | 04:50 | effect as you paint.
| | 04:52 | And as you build up more and more
layers, you can keep offsetting the shadow
| | 04:55 | distance by a greater degree and
reducing its opacity, and you can get a very
| | 05:00 | realistic effect of what looks like
multiple floating layers of paint strokes in
| | 05:06 | a shallow 3D environment.
| | 05:08 | So you can take advantage of the layer
effects to add some interesting qualities
| | 05:13 | to your brushstrokes, particularly
when you're working with texture, to add
| | 05:17 | things like Bevel and Emboss for three-
dimensionality and Drop Shadows to even
| | 05:21 | make your strokes appear to be
floating in a shallow three-dimensional space.
| | 05:25 | So I think once you play around with
this, you'll find this is a very powerful
| | 05:29 | add-on to getting some interesting
effects with your brushes that you wouldn't
| | 05:33 | otherwise be able to achieve.
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|
|
5. Brush Library OrganizationUnderstanding tool presets and brush presets| 00:00 | When you create a useful brush in
Photoshop, you're most likely going to want to
| | 00:04 | save it for future retrieval and use.
| | 00:07 | It is easy to assume that saving your
expressive instrument as a Brush preset
| | 00:11 | would be the way to go, but you
definitely want to save it as a Tool preset.
| | 00:15 | In this video, we'll find out why.
| | 00:17 | The first thing is to think of Tool
presets as a higher level of Brush preset.
| | 00:22 | They capture more information.
| | 00:23 | They capture everything that the Brush
preset, would plus the brush tip shape,
| | 00:28 | the various dynamics,
whatever is in the Option bar;
| | 00:31 | all of these are part of a Tool preset.
| | 00:35 | They are not part of a Brush preset.
| | 00:36 | I'm going to show you what I mean.
| | 00:38 | I'm going to just scramble up these
settings, so that they're random right
| | 00:43 | now, because I'm going to compare a couple
of different brushes to show you what I mean.
| | 00:47 | Okay, we've completely
changed what we've done here.
| | 00:51 | I'm going to go to Brush presets.
| | 00:53 | I've saved a Brush preset.
| | 00:55 | It's named the same as one
that's over in the Tool presets here.
| | 00:58 | So first, let's load the Brush preset.
| | 01:02 | Okay, it loaded, and it's doing
something, but notice what the settings are.
| | 01:08 | The settings are still whatever I
randomized them to, and this isn't really the
| | 01:13 | behavior I intend with this brush.
| | 01:16 | Now, I'm going to load the Tool preset,
and watch, particularly, what happens up here.
| | 01:21 | You see all of that information has been saved?
| | 01:24 | This is the intended behavior of this brush;
| | 01:28 | so all of the work that I did in
setting the Transfer settings, up all of this
| | 01:34 | are part of this Tool preset.
| | 01:37 | Once again, if we switch over to the
Brush preset here, it's going to just
| | 01:42 | use whatever is here.
| | 01:43 | So if these are different settings,
it will be in the Brush preset,
| | 01:47 | nothing really changes.
| | 01:48 | Some items may be saved, but this
definitely is not retrieving the brush the way
| | 01:53 | I intended it to start.
| | 01:55 | So a Brush preset is definitely
the way you want to save brushes.
| | 02:00 | Another nice advantage of Tool presets
is that when I'm in another tool, I can
| | 02:08 | still select this from the
list, and get that brush.
| | 02:13 | On the other hand, if I'm in another tool,
notice the Brush Preset list isn't even active.
| | 02:18 | I have to first switch to a brush to get to it.
| | 02:21 | It's just an extra workflow
change that you have to make.
| | 02:25 | The beauty of the Tool Preset list is
that it's always available, and ready
| | 02:29 | for you to select from.
| | 02:31 | So particularly when you're in
painting activity where you're relying on
| | 02:35 | Mixer brushes that you've saved, you can
have this list available no matter what
| | 02:39 | the tool is, and instantly get to those brushes.
| | 02:42 | So your brushes are literally one click
away, rather than having to move, make a
| | 02:47 | click to a brush, go back, and select it.
| | 02:50 | So when you're saving your brushes,
be sure to use a Tool preset to capture
| | 02:54 | everything about the brush.
| | 02:56 | You want to save your Tool
presets to prevent accidental loss.
| | 02:59 | The other thing is you can also share
these Tool presets with other users,
| | 03:03 | so it's a great way to be able to take your
work, and be able to share it with others.
| | 03:08 | In another video in this chapter,
we're going to take a look at the actual
| | 03:11 | process of saving a Tool preset.
| | Collapse this transcript |
| Saving tool presets| 00:00 | In this movie, we're going to take a
look at how you actually save Tool presets.
| | 00:05 | One of the things that I do is I
really try to adopt a set of standard
| | 00:10 | descriptive terms for naming my brushes.
| | 00:13 | By being consistent, you will easily be
able to select various brushes, knowing
| | 00:17 | how they will behave.
| | 00:18 | Let's take a look into saving and
naming your bouncing bundle of brushes.
| | 00:24 | Okay, so we're going to start off,
and I'm going to just create a sample
| | 00:27 | brush here that would be useful, and it
will be included in your exercise file, as well.
| | 00:33 | So, I'm going to go to my Brush menu,
and the first thing I'm going to do here
| | 00:37 | is I want to change the brush shape, and
I'm going to change it to a Round Blunt point.
| | 00:44 | These settings, I'm happy with,
so I'm not going to change them.
| | 00:47 | But let's look at the Transfer panel.
| | 00:49 | One of the things that I do, not with
all of my brushes, but it doesn't hurt to
| | 00:54 | have all of these turned on,
| | 00:56 | you'll get the most out of these brushes,
particularly with a pressure sensitive
| | 01:01 | pin when you use this.
| | 01:03 | I also want to include texture in this,
and this is a texture that I have come
| | 01:09 | to like in the basic set of
artist textures that Adobe provides.
| | 01:14 | Scale, I'm going to keep at 100.
| | 01:16 | I like the Height mode, Deptha all of this,
| | 01:19 | I'm going to keep the same.
| | 01:21 | Now, let's go up here, and I am
going to keep both auto cleaning and auto
| | 01:28 | loading my brushes turned on.
| | 01:30 | I want Wet to be zero because what
we want to get here is a brush that is
| | 01:35 | opaque, and I like what's happening here.
| | 01:37 | I can see my texture in this brush.
| | 01:40 | We're going to keep a short load on
this, so that this brush runs out of paint.
| | 01:46 | So, it's going to be a short brush.
| | 01:48 | So, with all of these various things
that we're doing to the brush, this is
| | 01:52 | where I start to try to
figure out how to name my brushes.
| | 01:56 | Now, the one way I like to do it is I
organize my descriptions so that they go
| | 02:01 | from the very specific to more general.
| | 02:04 | The most specific thing about this
brush is the type of brush that it is.
| | 02:09 | As we remember from looking at this
before, really, you've got five basic types
| | 02:15 | here, in two categories: Round and Flat.
| | 02:17 | So Pointed, Blunt, Curved, Angle and
Fan are really kind of the most specific
| | 02:23 | descriptors of brushes.
| | 02:25 | So, I'm going to start by using Blunt
in my terminology here, and to save this,
| | 02:31 | I'm going to go up, and I
want to save, not a brush preset.
| | 02:35 | This is where you can get confused.
| | 02:37 | You are in brushes. You'd think,
| | 02:39 | go to the brush presets to save it.
| | 02:40 | We don't want to do that.
| | 02:42 | We want to save this as a Tool preset.
| | 02:45 | So, I'm going to go to the Tool
preset menu and say New Tool Preset.
| | 02:50 | Adobe kind of puts a basic set of names in
here, but they're rather mixed up and jumbled.
| | 02:56 | So, I'm going to start with my
specific brush name, a Blunt brush.
| | 03:01 | So we know Blunt is the basic category of it.
| | 03:04 | The second name I want to give this, in
terms of the category, it is a Round Tip.
| | 03:10 | So we're going to say Round.
| | 03:12 | Secondly, the way I've described and organized
this brush is it has a very short stroke life.
| | 03:18 | So, I'm going to call it Short,
and finally, it's an opaque brush.
| | 03:25 | So, this brush becomes the Blunt-Round
Short Opaque, and for each of these types
| | 03:30 | I've select here, we'll see
this in a couple of other examples,
| | 03:33 | I will use a consistent naming
convention for the brushes, and you'll see here
| | 03:38 | in a moment how they start to
come together. So, we saved it.
| | 03:41 | We now have Blunt-Round Short Opaque.
| | 03:45 | Now, all it's going to take is a
couple of change-ups here to alter the
| | 03:49 | behavior of these brushes.
| | 03:50 | So, for example, just turning off Auto
Load and increasing Wetness a bit, I've
| | 03:57 | now got a Blender brush.
| | 03:59 | So just that little change by itself.
All the other characteristics, you can see
| | 04:04 | there's still texture
being part of this brush,
| | 04:08 | but it is now a Blender variation on this.
| | 04:10 | So let's save this Tool preset, and we
can use the same naming convention, so
| | 04:16 | this is going to be a Blunt-Round Short,
and in this case, it's a Blender because
| | 04:24 | it's not applying color;
| | 04:26 | it's only moving color around.
| | 04:28 | Now, we've got two variations here.
| | 04:30 | So if I go to this brush, I'm
now painting with my opaque brush.
| | 04:35 | When I switch to this one, I'm now blending.
| | 04:39 | The other little difference we can do
in here is we can make this a smeary
| | 04:42 | brush, and to do that, I was
going to turn the color back on.
| | 04:46 | Let's get a third color here and test this out.
| | 04:49 | So, now this applies some color, but
it also, because it's wet, it tends to
| | 04:55 | smear into the underlying color it finds.
| | 05:00 | So this brush - once again, using this
consistent naming convention, I'll create
| | 05:04 | a new Tool preset -
| | 05:05 | this one will be Blunt.
| | 05:08 | Again, it is round, it is short
and in this case, it's smeary.
| | 05:16 | So now I've saved a triplet of three
brushes with three different behaviors, and
| | 05:22 | yet I can tell, right at the beginning,
what type of tip and what type of
| | 05:27 | behavior I'm going to get when I get
to what these brushes ultimately do.
| | 05:32 | So once again, we have our Opaque brush,
we've got a Smeary brush, and we've
| | 05:40 | got a Blender brush.
| | 05:42 | So basically, we started here with a
set of brushes that exhibit a similar tip
| | 05:46 | shapes and similar stroke life, but
the ultimate characteristic, whether they
| | 05:52 | are opaque or blenders or smeary, are different.
| | 05:55 | These now can become the seeds for
mastering and creating further brushes.
| | 05:59 | For example, you could change the tip
shape, or you could change it from a short
| | 06:04 | brush to a long stroke brush,
based on the load characteristic.
| | 06:09 | But starting with the three brushes,
you now could create a whole library of
| | 06:14 | brushes and by naming them in a
consistent manner, you'll be able to look at
| | 06:18 | these and get an instant feedback as to
which brush you're going to get, based on
| | 06:22 | its characteristics.
| | 06:24 | That, for me, is a very important aspect
of naming brushes, particularly as you
| | 06:28 | get into larger collections.
| | 06:30 | By thinking about this upfront and
having consistent terminology for the various
| | 06:36 | aspects of the brushes as that
collection builds, it's not going to get
| | 06:40 | confusing as to what you
have in your collection.
| | 06:44 | So, be very careful about how you name
these brushes, and be sure you come up
| | 06:48 | with consistent terminology.
| | 06:50 | Just don't name your brushes names like
things like Chad, or Crystal, or Mariah.
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| Organizing the Tool Presets panel| 00:00 | The Tool Presets panel is the Grand
Central Station of all of your brushes.
| | 00:05 | Beyond organizing your brushes, this
panel can be used to have your brushes
| | 00:09 | available with a single click.
| | 00:11 | In this video, we'll look at both
organizing and maximizing access to your brushes.
| | 00:16 | The first thing I want to cover is,
once you've created a set of Tool presets,
| | 00:21 | you're going to want to save these as a
group, and the best way to do that is to
| | 00:27 | go into the Tool Presets flyout
menu, and we can Save Tool presets.
| | 00:32 | So, I'll go in here, and I'm going
to name this My Tool Presets, Save.
| | 00:39 | Now that we have that, we can always
go into this list, and if we wanted to do
| | 00:43 | say replace, we'll have that available
as one of the Tool preset groups that
| | 00:49 | are available to us.
| | 00:50 | You also going to want to be able to
load new presets, and I've got set here
| | 00:56 | that I'm going to include
within the exercise file.
| | 01:01 | So if we go to the Desktop > Exercise
Files and Chapter 5, you'll find the
| | 01:07 | lynda Mixer brushes.tpl.
| | 01:10 | Let's open that, and now, this has
replaced our list with a new list of a
| | 01:16 | larger group of presets.
| | 01:18 | You have some Viewing options as
to how you can look at this list.
| | 01:22 | You can say that you want this to
be a Small List or a Large List.
| | 01:26 | I typically keep it at Text Only.
| | 01:28 | It's the cleanest display of the names of the
various tools that you have in your presets.
| | 01:34 | So that's typically the way to use it.
| | 01:36 | Once we have a set of brushes in our
Tool Preset list, there is some ways that
| | 01:41 | we can organize how this panel actually appears.
| | 01:45 | One way is to have it actually as the
icon on here, and if you don't currently
| | 01:51 | have that - we'll turn this off - you
can go to the Window menu and dropdown to
| | 01:57 | the Tool presets and enable it,
and this shows this as a little icon.
| | 02:03 | We can take this, and if you just put it
into the existing icon panel, you'll see
| | 02:08 | the little blue line.
| | 02:09 | That tells me that this will join
it to my other icons in my list.
| | 02:15 | So, with one click, I can get to a
brush, then I can select it, and I can
| | 02:19 | start painting with it.
| | 02:21 | But there's yet another way we can do
this, and if we tear this off, we can take
| | 02:25 | this Tool Preset list and
actually put it inside this list.
| | 02:29 | So if I put it in here, I've now got this
list available to me in a single click setup.
| | 02:35 | So if I just go over here and click,
then click and work. I want to grab a
| | 02:39 | Blender version of that.
| | 02:40 | May be I want to get a long Smeary.
| | 02:43 | So you can see here that this gives me
a quick way to get to these brushes in a
| | 02:50 | single click, and I find this
to be a very useful way to do it.
| | 02:54 | Obviously, people are going to have
different organizations of how they set up
| | 02:58 | their palettes, but this is one way,
particularly in a painting mode, that you can
| | 03:03 | have a very quick access to these brushes.
| | 03:06 | One other thing I want to point out.
I believe, by default, this is turned on
| | 03:10 | when you get Photoshop CS5.
You typically want this off, and I'll show you why.
| | 03:14 | If it's enabled, and I go to another
tool, this list now tells me, you have no
| | 03:20 | presets for the current tool, because
this enable is telling that to only show me
| | 03:25 | any presets saved for the tool I'm.
| | 03:27 | When it's not enabled, regardless of
the tool I'm in, this list is available.
| | 03:34 | So, if I have been using the
eyedropper, I still have access to this, and I
| | 03:38 | would go and click this and
instantly have my tool available.
| | 03:43 | So, keeping Current Tool unchecked is a
great way to, once again, make this list
| | 03:48 | persistent and always available,
no matter what tool you are in.
| | 03:53 | The Tool Presets panel maximizes the
ability to select your brushes, no matter
| | 03:57 | what the current tool is, and you
can do it with a single mouse click.
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|
6. Improved Workflow with Keyboard ShortcutsQuickly loading and cleaning the Mixer Brush with keyboard shortcuts| 00:00 | Just like its natural media counterpart,
you need to be able to quickly service
| | 00:04 | your brush by both cleaning
it and loading it with color.
| | 00:07 | The Mixer brush has some
shortcuts for performing these actions,
| | 00:10 | but Adobe does not assign
these shortcuts by default.
| | 00:13 | In this video, we'll learn how to
assign shortcuts, as well as add them to the
| | 00:18 | Wacom control tablet surface.
| | 00:20 | I'm going to begin by showing you an
example of what I'm talking about, and I'm
| | 00:24 | using the Blunt-Round Dirty brush from
the Tool Preset library that is included
| | 00:30 | in the exercise files.
| | 00:31 | And let's just put a bit
of color onto the screen.
| | 00:39 | Now, when I start to paint with
this brush, what happens is whatever is
| | 00:42 | underneath the brush at the end of a
stroke, gets contaminated into the next
| | 00:47 | stroke that's produced.
| | 00:48 | So, what will happen is you'll get a
natural media type effect of paining wet in wet.
| | 00:54 | Color on the brush gets contaminated by
what it finds underneath of it, and that
| | 00:59 | can be a useful technique.
| | 01:01 | The reason it happens in a dirty brush
is because neither the Auto Load or
| | 01:06 | Auto Clean functions are enabled.
| | 01:08 | What would be nice would be able
to temporarily enable these effects, and
| | 01:13 | you can do so by clicking on the
Color Preview and selecting Load brush.
| | 01:19 | Now my brush loads with the current
color and becomes contaminated again.
| | 01:23 | But every time I want to load that
brush, I've that got to come up and once
| | 01:27 | again manually select Load brush.
| | 01:30 | It's a bit of a stretch to have to go
up here and go through this interface
| | 01:33 | action to make this happen.
| | 01:35 | What would be really elegant is a way to do
this with a single click, and we can do that.
| | 01:40 | We're going to use keyboard
shortcuts to make this happen.
| | 01:44 | On the Mac, it's under the Edit menu,
and we'll find down here at the bottom,
| | 01:48 | Keyboard Shortcuts, and we're going
to make sure we're in the tools panel.
| | 01:52 | And if you navigate all the way down
to the bottom, you'll find a set of
| | 01:57 | keyboard shortcuts for loading and auto-
loading as well as cleaning the brushes.
| | 02:03 | But you can see, there are no
keyboard shortcuts assigned to this, so this
| | 02:07 | is what we need to do.
| | 02:08 | And I searched around in Photoshop's
keyboard shortcuts and located some
| | 02:13 | shortcuts that don't appear to be used
anywhere, so I'm taking advantage of that.
| | 02:17 | For the manual Load Mixer Brush, I'm
going to use the Left Angle bracket.
| | 02:22 | So I need to hold down the Shift key
and press on the Left Angle bracket.
| | 02:25 | For clean, I'm going to do the same thing.
| | 02:28 | I'm going to use the Right Angle bracket
and for toggle, automatically, I'm going
| | 02:34 | to use the Colon sign for the Auto Load.
| | 02:38 | Now you can see, here is a
place where this is used.
| | 02:41 | I don't use the Magnetic Pin and
Lasso tools with any great frequency, so I
| | 02:46 | choose to replace this.
| | 02:48 | You may find that this is a very
important keyboard shortcut for you, so my
| | 02:53 | advice is to find the keyboard shortcut that
you're replacing with some tool you never use.
| | 02:58 | In my case, it was the
Magnetic Pen and Lasso tool.
| | 03:01 | And then finally, for the toggle, the
Auto-Cleaning, I used the semicolon
| | 03:07 | and the same thing;
| | 03:08 | this is also used here by the
Magnetic Pen and Lasso tools.
| | 03:13 | Again, I don't use it, so
I'm going to accept those.
| | 03:15 | So now, I have a set of keyboard
shortcuts that I can use to automatically
| | 03:21 | change the state of these.
| | 03:22 | Let's just go ahead and look at this.
| | 03:25 | Now, for example, if I go in here and do
the Auto Load - I'm just going to click on it -
| | 03:30 | you can see how it's now turning on
and off without me having to go up and
| | 03:35 | actually click on it.
| | 03:36 | Same thing with the Auto Clean;
| | 03:38 | I can do that from the keyboard.
| | 03:41 | And finally, I can also go in here -
| | 03:43 | you won't see this happen -
| | 03:45 | but if I do Load brush, I've now just
loaded the brush, and then, once again, it
| | 03:50 | reverts to a dirty brush, but if I
click on the Left Angle bracket, I have a
| | 03:56 | loaded brush again for one stroke.
| | 03:58 | Now, that's great, but I want to take
it one step further, and we're going to
| | 04:01 | use the Express keys on the Wacom
Tablet to assign these, and I find this an
| | 04:07 | even better way to do it because
it's just right next to you while you're
| | 04:11 | working, and it doesn't involve having
to move your hand up to the keyboard.
| | 04:16 | Again, everybody has different
techniques, but I find this to really work well.
| | 04:20 | So, I'm going to navigate to the Wacom driver.
| | 04:24 | On the Mac, it's under the Apple menu
in System Preferences, and on Windows,
| | 04:28 | you'll find it in the Control Panel.
| | 04:29 | So, let's find the Wacom Driver.
| | 04:32 | And we're going to go to the
function keys and make sure, if you don't
| | 04:36 | have this, you're going to want to create
an application-specific set of Tool presets,
| | 04:41 | so that they are assigned to Photoshop CS5.
| | 04:44 | That way, if you have other
applications, you can go ahead and change their
| | 04:48 | settings without interrupting
what you've done for Photoshop.
| | 04:52 | And one thing I want to mention before
I go farther is that I'm left-handed, so
| | 04:57 | I have the control Surface set up
to be on the right side of my tablet.
| | 05:03 | That way my left-hand is free to paint,
and I can use my right-hand to quickly
| | 05:08 | access the control surface.
| | 05:10 | For most of you, you're probably
going to have this the opposite way.
| | 05:13 | So, just be advised that I'm
doing this for a left-handed setup.
| | 05:17 | You'll just reverse this if you're right-handed.
| | 05:19 | So, I assign to these there as a
keyboard shortcuts through the Keystroke
| | 05:23 | command, and we'll just
delete this to show how I did this.
| | 05:27 | So all I did is, once again, I just
held down the Shift key and the Right Angle
| | 05:33 | bracket, and it's going to look
incorrect here because it doesn't know how to
| | 05:37 | display the Right Angle bracket.
| | 05:38 | But that is the right keyboard command.
| | 05:40 | We say OK, and that is assigned.
| | 05:44 | So basically, I just went through and
assigned my keyboard shortcuts that I put
| | 05:48 | into Photoshop into the Wacom Tablet.
| | 05:51 | So, this is a two-step process.
| | 05:53 | You first need to create the
keyboard shortcuts via the Keyboard Shortcut
| | 05:58 | command in Photoshop CS5.
| | 06:01 | Once they are assigned in Photoshop,
now you have keyboard shortcuts
| | 06:04 | you can place into the Keystroke Commands
in the Wacom tablet. And once that's all done,
| | 06:11 | I now have the ability to use these
commands right from my control surface, and
| | 06:17 | I'll show you a couple
other ways this can be useful.
| | 06:20 | For example, if I have a Blender brush,
and I am blending color, I may want to
| | 06:25 | temporarily change to painting with that.
| | 06:28 | All I have to do is click Load brush, and
now, it has got a one stroke fill of color.
| | 06:35 | The next time I start using it,
it's, once again, a Blender brush.
| | 06:38 | But this gives me a way to be in
Blender brush and temporarily have color
| | 06:42 | on the tip of my pen.
| | 06:44 | With cleaning and loading keyboard
shortcuts in place for handy access, you can
| | 06:48 | closely simulate traditional, natural
media mark-making, or automate it at will,
| | 06:52 | all with a single click. I think
you'll find a great deal of flexibility in
| | 06:56 | having these keyboard shortcuts
available for various types of modifications to
| | 07:01 | your brush on the fly.
| | Collapse this transcript |
| Loading the brush with multiple colors from an image| 00:00 | Painting with a brush loaded with
multiple colors produces a vibrant, rich stroke
| | 00:06 | that adds complexity to artwork.
| | 00:08 | In this video, we will look at how to pick up
multiple colors using the keyboard shortcut.
| | 00:13 | Now normally, when I paint with my brush,
I get a solid color, and that's what
| | 00:18 | I've been doing pretty
much all through the title.
| | 00:19 | But I want to show you now how you can really
enrich your brushstrokes. It's very simple.
| | 00:25 | All you need to use is the Option key
on Mac or the Alt key on Windows, and in
| | 00:29 | doing so, I am going to hold it down now.
| | 00:31 | You can see that when I hold it down
I get a different cursor, and this is
| | 00:35 | telling me that this is
going to pick up multiple colors.
| | 00:38 | So let's just take a very obvious
place here on some colors I have
| | 00:41 | pre-mixed onscreen.
| | 00:42 | I am just clicking on there.
| | 00:43 | Now when I paint, you can see the
stroke has multiple colors on it and
| | 00:48 | depending on which angle and which way
you go, you'll either add mixture from
| | 00:52 | one side of the brush or the other, or
you will also get the mixture exactly as
| | 00:56 | you saw it on the screen.
| | 00:58 | But I find that, as you have seen here,
I have kind of added two or three colors
| | 01:02 | in places so that I can
intelligently load my brush.
| | 01:06 | For example, let's go right here,
and now I have got a brush that's
| | 01:09 | combined yellow and red.
| | 01:12 | Or here, I can do a red and a purple.
| | 01:15 | So this gives me a really nice way to
start to have a much more complexity
| | 01:20 | going on in my strokes.
| | 01:22 | You can already see, just looking at
the strokes onscreen, there is a lot more
| | 01:26 | energy happening in the strokes,
because they're more complex.
| | 01:30 | Multiple colors in a brush stroke will
give you a very nice enrichment of your
| | 01:35 | strokes that really adds
vibrance and energy and life to them.
| | 01:39 | So this is one way you can really add
this character to your brushstrokes.
| | 01:44 | I can use the Option or Alt key, but
what I've done is I use the Stylus button
| | 01:50 | on the barrel of the Wacom Pen, and I
assign that right to the front button.
| | 01:55 | This lets me select colors right off
the screen and then paint with them.
| | 02:00 | I am going to show you how to do that now.
| | 02:01 | We will go to System Preferences,
and that would be your Control Panel on
| | 02:06 | Windows, and what we want to make sure is
here now you want to select the pen you
| | 02:10 | want to assign this, to and once again,
if you haven't done this you want to
| | 02:14 | assign this to an application-specific
setting, so that you can have it exactly
| | 02:19 | working in Photoshop and not other applications.
| | 02:22 | You will see here that a modifier is
something you can add to your barrel button.
| | 02:28 | I'm using the front one.
| | 02:30 | Again, you may choose to do something else, but
I just selected the Option key and made
| | 02:35 | that the preferred keyboard
shortcut for the front of that.
| | 02:39 | Now while we're here, I am going
to show you another trick I did.
| | 02:43 | I used the back barrel button,
and I assigned keystroke to it.
| | 02:47 | So I went in the Keystroke, and all I put in
there was zero, okay? Just put a zero in there.
| | 02:54 | I am naming it Paint/Smear Toggle, which
will now appear on my little LED readout
| | 02:59 | on the control surface, but I will show
you what this means once this is here,
| | 03:03 | both as a keyboard shortcut and
as a shortcut on the Wacom pen.
| | 03:07 | So now that I've got this on here,
I'm just holding down my Option key,
| | 03:12 | clicking and painting.
| | 03:13 | I find this to be so intuitive because
it's the button right near the front of
| | 03:19 | the pen, which is conceptually where
the paint is coming out of your brush.
| | 03:23 | So by having this button right here, it just
makes total sense to use with Mixer brush.
| | 03:29 | Now let's look at this other one.
| | 03:31 | I want you to notice up here
what's going to happen with Wet.
| | 03:35 | When I press zero once, it switches to 100%.
| | 03:39 | When I click it in rapid
succession twice, it changes back to zero.
| | 03:43 | So one click gets me to
a full, wet, smeary brush.
| | 03:47 | A double-click of zero gets me
back to my previous opaque state.
| | 03:53 | I've got my barrel pen set at the same way.
| | 03:55 | So a single click, and you can watch
up here, I am now in a very smeary brush.
| | 04:00 | A quick double-click on my button,
and I am back to my Opaque brush.
| | 04:05 | So you have got two very powerful
functions mapped to the Barrel buttons on the
| | 04:11 | Wacom pen, and the combination of
these gives you a very elegant solution to
| | 04:16 | altering, on the fly, the behavior of
your brush, and I can't state highly enough
| | 04:22 | how much this really makes sense to
put these functions on the Barrel button.
| | 04:28 | Then other nice thing is when you're in
other tools, for example, the Option
| | 04:33 | key will become useful in various ways.
| | 04:35 | So not only do you have the ability to
use it with the Mixer brush itself, but
| | 04:41 | it also becomes a very useful tool
outside of the Mixer brush itself.
| | 04:46 | So I really like having these functions
assigned to the button, and I think once
| | 04:50 | you try it, you'll like it as well.
| | Collapse this transcript |
| Using the Color Picker Heads-Up Display| 00:01 | Along with the marks made by a brush, color
is a highly expressive component of painting.
| | 00:07 | Fortunately, there are multiple
ways to access color in Photoshop.
| | 00:11 | In this video, we will look at how to
quickly call up various color selection tools.
| | 00:17 | Now you certainly have keyboard
shortcuts available, and I will explain those
| | 00:21 | as well, but once again, I'm relying on
the elegance of the control surface of
| | 00:27 | the Wacom to do the heavy lifting for me.
| | 00:31 | The first tool I want to introduce you
to is what's called the HUD Color Picker
| | 00:36 | - HUD is short for Heads Up Display
- and this is a new color picker that
| | 00:41 | enables you to get to a
pretty elegant solution here.
| | 00:45 | I will show it to you.
| | 00:46 | Here it is, and in a moment, I will show
you the various ways you can configure this.
| | 00:52 | But this lets me, right onscreen,
select from both hue and saturation value, to
| | 00:59 | select a color that I can then paint with.
| | 01:03 | That's a very valuable
way to go about doing this.
| | 01:06 | You can control how the appearance of this
looks in the Preferences panel, under General.
| | 01:13 | If we look at this, you can look at
either a Hue Wheel or a Hue Strip, and
| | 01:18 | then depending on your monitor
resolution, you can determine whether you want
| | 01:22 | Large, Medium or Small, in the case of
the Hue Wheel or Large or Small, in the
| | 01:26 | case of the Hue strip.
| | 01:27 | The Hue Strip, just so you
can see it, looks like this.
| | 01:31 | So it's a little bit more like
the standard Adobe color picker;
| | 01:34 | it's just that you now have this onscreen.
| | 01:38 | So this is our new addition to CS5,
and it's very useful, particularly for
| | 01:43 | artists, where you want to
select a color while you are working.
| | 01:47 | Now the normal way to do this on the
Mac is to use the Command+Ctrl+Option;
| | 01:54 | those three keys will bring up the icon
that, by a click, then let's you select this.
| | 02:01 | Now here is where this gets a little dicey.
| | 02:04 | Once you have this set up, if you want
to switch over to here, you can see what
| | 02:09 | happens is as soon as I switch, it jumps,
and I lose the exact color that I had.
| | 02:16 | So Adobe's solution to this is if you
temporarily lift up on the three keys
| | 02:21 | that you're holding down and then
switch to the Spacebar, I can then switch
| | 02:26 | focus between these two.
| | 02:29 | But I can tell you from experience,
this gets a little bit like patting your
| | 02:33 | head and rubbing your tummy at the same time.
| | 02:36 | It's very easy to
accidentally lose what you're doing.
| | 02:40 | Now the keyboard commands on Windows
are Alt+Shift+Right-click, so you're using
| | 02:46 | two keyboard keys, and you are using
the right-click of your mouse to do this.
| | 02:51 | That is cool, but it also gets in to the same
rubbing your head and tummy at the same time.
| | 02:57 | It just gets a little inelegant.
| | 02:59 | I am going to show you how to do
it on the Wacom control surface.
| | 03:04 | So once again, we will go to System
Preferences on Mac or Control Panels on
| | 03:08 | Windows to bring up the Wacom driver.
| | 03:12 | Here you can see I can use a modifier
to set the Control, Command, Option and Click,
| | 03:20 | and by having the Click as well as
these three, for the Mac, that enables the
| | 03:25 | display of the HUD Color
Picker to show up immediately.
| | 03:30 | The other thing I have done is the
Keystroke at the bottom of my four keys,
| | 03:35 | I have switched to be the HUD Focus, which
is essentially nothing more than the Spacebar.
| | 03:41 | So I have two keys on the Wacom
that I can use to control this.
| | 03:47 | Now here is the - a bit of a
'gotcha' when you get to Windows.
| | 03:53 | Windows, in the Modifiers here, there is
no Right-click available in this dialog.
| | 04:00 | So you have to use a right-click, which
you assign to one of the Barrel buttons
| | 04:05 | on the Wacom pen to do that.
| | 04:08 | So it's a two-handed
operation in the case of Windows.
| | 04:11 | You have to hold the key down, as well
as the right button that is assigned
| | 04:17 | to your barrel button.
| | 04:18 | I have tried it on Windows,
and it's not hard to do.
| | 04:20 | It is just it's an additional kind of
slightly different way to do the same thing.
| | 04:26 | But regardless of either platform, once
you've got your modifier set up properly to
| | 04:31 | work with your system - and I'll go back here,
| | 04:35 | all I'm doing now is I am clicking the
top key, and on Mac, it brings it up.
| | 04:40 | On Windows, you would be clicking the
top key and holding the right mouse button.
| | 04:44 | Then when I want to change focus, I just
additionally press the fourth key in my
| | 04:49 | express keys, and now I can change focus.
| | 04:51 | I let it up and I find this a little
easier to be able to not forget what you're
| | 04:59 | doing with all of your fingers, to be
able to switch this focus without all of a
| | 05:03 | sudden having it go away.
| | 05:04 | So I find this to be a better way to
actually get to this HUD focus and be able
| | 05:10 | to adjust color right on
the fly within Photoshop.
| | 05:15 | So that gives me a very quick way
to select solid colors to work with.
| | 05:20 | The New CS5 Heads Up Display color
picker then is a excellent way to
| | 05:27 | maintain the focus on your artwork
while you are painting, without the need
| | 05:31 | to go somewhere else.
| | 05:33 | You can use this even when the interface
is otherwise off, or on at a second monitor.
| | 05:39 | Both of these environments are better
suited to not having a lot of clutter on
| | 05:44 | the screen, and this new display
enables quick access to a tool that's very
| | 05:50 | valuable, and yet you can dismiss
it very quickly at the same time.
| | Collapse this transcript |
| Using additional color selection options| 00:00 | I want to introduce you to a couple
of other secondary ways to access color
| | 00:05 | while you're working, and once again,
these can be tied to the Wacom tablet
| | 00:09 | control surface, which just helps to
maintain focus and keep yourself on task,
| | 00:15 | rather than spending time
searching through the interface to find things.
| | 00:19 | The first one I want to talk about is
Adobe's own color picker, and you are used
| | 00:24 | to that. You see it when you double-
click on the current color, for example.
| | 00:27 | A lot of people really like this color
picker, but it's never had a keyboard
| | 00:32 | shortcut to be able to bring it up,
other than through some mechanism within the
| | 00:37 | interface, and they now have that.
| | 00:40 | So I want to go to the keyboard
shortcuts. I'll go to the Edit menu in Mac and
| | 00:45 | under the Photoshop menu in Windows,
and if we go to Keyboard Shortcuts and
| | 00:50 | visit the Tools section, we will go
down to the bottom here, and we now have
| | 00:56 | the ability to assign a keyboard shortcut to
the foreground and background color picker.
| | 01:01 | I tend to just use the Foreground
because it's so one that normally is going to
| | 01:05 | be assigning color to a brush.
| | 01:08 | One keyboard shortcut that I found
that doesn't seem to be in use in
| | 01:11 | Photoshop is the comma.
| | 01:12 | So I am assigning a comma to that.
| | 01:15 | I will accept that, say OK, and now I
can be working, and if I just press down
| | 01:20 | on the comma key, it brings up the
Adobe color picker for me, something you
| | 01:24 | could never do before.
| | 01:25 | You say OK, it dismisses it,
and you're on your way.
| | 01:30 | But we can go one step further, as we
have done before, and if I go to System
| | 01:34 | Preferences or the Control Panel, I can
go to the Wacom tablet, and if we go to
| | 01:40 | mapping for our Photoshop application, we can
go right here color picker and use a keystroke.
| | 01:47 | You can see, I have done it right here.
| | 01:49 | I have used the comma, which I
assigned in Photoshop to now be used by the
| | 01:55 | Wacom express keys to call
up that keyboard shortcut.
| | 01:58 | So with that in place - and I just called
it color picker, so that's what it will
| | 02:02 | stay in my little LED
display on the control Surface -
| | 02:06 | I now have the ability to go ahead and
be working, and I just press on the Color
| | 02:11 | Picker express keys, and there it is.
| | 02:14 | So this gives me a great way to use the
Photoshop color picker, and I will know,
| | 02:20 | once again, if I go into Photoshop Preferences >
| | 02:22 | General, you can't specify whether
you want this to be the Adobe color
| | 02:26 | picker that we were looking at, or
Apple's, and on the Windows, it would be the
| | 02:30 | Window color picker.
| | 02:31 | So you can even use the
default system color picker, as well.
| | 02:35 | But it's just another way to have
some flexibility in how you select color.
| | 02:39 | The last one I want to talk about is just
calling up the eyedropper to get a single color.
| | 02:45 | The way it's set in Photoshop now, when
you are in the Mixer brush, the Option
| | 02:50 | key now calls up the icon and the
ability to select multiple colors, which is
| | 02:56 | great, but what if I want to select a
single color quickly off of the screen.
| | 03:01 | Well I can go up and grab the eyedropper,
but once again, this is a bit of extra work.
| | 03:06 | What you can do is instead assign a
keyboard shortcut to this, and I will show
| | 03:12 | you what I've done in
the Wacom panel, once again.
| | 03:16 | So we are just jumping to System
Preferences or Control Panel, and if we go
| | 03:20 | here to the functions for Sample 1
Color, I have simply assigned the 'i' key.
| | 03:25 | Okay, and that's the normal letter that is
used to bring up the eyedropper in Photoshop.
| | 03:32 | So with that 'i' key assigned, and I
have just called that Sample 1 Color, I can
| | 03:38 | now go in here, and when I hold that
key, it now changes to the dropper.
| | 03:42 | You will see that there is a new color
ring around the dropper that shows me
| | 03:49 | what my current color is at the bottom
half, and it updates to whatever the new
| | 03:54 | color is going to be in
the top half of the circle.
| | 03:57 | Then that gray is just there to help
isolate with a neutral color, so you can
| | 04:01 | see what's happening.
| | 04:02 | But this gives me a quick way to be able to
just quickly sample one color off of the image.
| | 04:09 | So you have got multiple ways
now to be able to get the color.
| | 04:13 | You can pick up multiple colors, you can
select a single color, you can choose a
| | 04:17 | color in a color picker.
| | 04:19 | All of these are just various ways.
You may not end up using all of them, but the
| | 04:23 | flexibility of having choices in how
you select your color is a very nice
| | 04:28 | addition to Photoshop CS5.
| | Collapse this transcript |
|
|
7. Dip Your Brush into a Photograph: Expressive InterpretationCreating an underpaint layer to remove photographic detail| 00:00 | With Photoshop's new Mixer brush and
Bristle Tips, you really have two primary
| | 00:05 | directions that you can take these tools.
| | 00:08 | One is to paint from scratch with a
blank canvas as your starting point, or
| | 00:14 | you can start with a photograph and
use these tools to interact with the
| | 00:19 | photograph that you're dealing with.
And in this exercise, we're going to go
| | 00:23 | through, and I'm going to show you how
you can deal with a photograph but deal
| | 00:27 | with it in a nondestructive way, so
that you've always got the original
| | 00:31 | information available.
| | 00:33 | So, to start, I'm going to go to my
exercise file here, and we'll go to Open and
| | 00:40 | here on the desktop, we have a file, door.
| | 00:44 | So, we'll open this up, and what you
could do is just paint on this as it is.
| | 00:53 | For example, I'm going to take my Blender
brush here, and let's just kind of play around.
| | 00:59 | You can see very nicely here that
I'm able to interact with this image.
| | 01:05 | Think of the image as if it were wet oil
paint, and your brush doesn't have any color on it;
| | 01:11 | it' just the dry brush. And because
the oil paint is wet, when you dip that
| | 01:16 | brush into that wet paint, you can affect it
and effectively change it into brushstrokes.
| | 01:24 | The issue is though, we're
doing this right on the background,
| | 01:27 | so we're destroying the actual
pixels that make up this image.
| | 01:31 | So, I'm going to undo here, and we'll
go back and instead of painting on the
| | 01:36 | background, we're going to preserve it,
and we're going to instead, paint on a layer.
| | 01:41 | Now, one thing you have to
keep in mind is Sample All Layers.
| | 01:45 | If this isn't on, and you attempt to use
a blending brush on a layer that you've
| | 01:50 | created, nothing's going to happen.
| | 01:52 | So, the reason for that, and the first
thing you should think of when you see
| | 01:56 | this situation when you're dealing
with the Mixer brush is, ah, I need to have
| | 02:01 | Sample All Layers on.
| | 02:02 | Once this is on, now it recognizes
what's underneath of it, and you can start to
| | 02:07 | mix and smear it, just like we were when
it was on the background, but the beauty
| | 02:11 | here is that this is on a separate layer.
| | 02:14 | So, we now have a working environment
in which we can actually paint on layers
| | 02:20 | with expressive brushes using the
photograph as our source material, and I'm
| | 02:26 | going to explain a little bit. What you
want to be able to do with a photograph
| | 02:31 | is deal with it in a way that it's
going to end up not looking like a
| | 02:35 | photograph, and let's just take a
second to think about why does a photograph
| | 02:39 | look like a photograph?
| | 02:40 | Well, one way you can categorize
visual information is by its frequency.
| | 02:45 | High frequency information would be
like these leaves, or all the little
| | 02:49 | details in this lantern.
| | 02:52 | Low frequency detail, on the other hand,
are areas where very little is going on,
| | 02:58 | and what you need to do with regard to
photographs, which are visual items that
| | 03:03 | contain a lot of high frequency
information, is we need to decimate or remove
| | 03:09 | that high frequency information.
| | 03:11 | Keep in mind that what we're going to
be doing here is going to hide the high
| | 03:16 | frequency information, but we always
have access to it, and knowing that that
| | 03:21 | is there should give you a very nice
safety net to go ahead and be very loose
| | 03:26 | with these strokes.
| | 03:27 | It's not like you're trying to
preserve the photographic information.
| | 03:32 | In fact, your first step is
to decimate that information.
| | 03:37 | I do exercise a bit of, I guess, what
you'd call in the world of coloring books
| | 03:41 | 'staying in the lines'.
| | 03:43 | I'm not going to try to pull colors
way far away from where they existed in
| | 03:48 | the original photograph, but you can see,
I'm also not being fastidious about it either.
| | 03:53 | I'm just, at this point, my goal
is to primarily get rid of the high
| | 03:59 | frequency information.
| | 04:01 | For me, this is actually one of the most
fun parts, because you're really free to
| | 04:06 | dip your paintbrush into this photograph
and completely affect it, so that it is
| | 04:11 | not going to have a
photographic appearance anymore.
| | 04:15 | So, this is going to be step one.
| | 04:18 | Okay, so I've taken a few minutes here
and basically stroked over this image
| | 04:22 | with a large brush, and as you can
see, when we turn this on and off, I've
| | 04:26 | definitely removed, or decimated, all of that
fine detail that is inherent in the photograph.
| | 04:33 | In fact, if we look at this, at this
point, it kind of looks like an underpainting
| | 04:37 | for what will become a more finished
piece, and that's exactly what it is.
| | 04:42 | This is the rough underpainting of our imagery.
| | 04:45 | So, what we've just seen is the first
part of a process of deconstructing a
| | 04:51 | photograph into a painting.
| | 04:53 | Your first order of business here is
to eliminate all detail, beyond what you
| | 04:58 | may even think is necessary.
| | 05:01 | That's what we've done here.
| | 05:02 | In the next movie, we're going to
start to rebuild that detail, but in
| | 05:06 | a painterly manner.
| | Collapse this transcript |
| Restoring detail| 00:00 | When an artist paints, traditionally, he
has to start from nothing and build it
| | 00:05 | up until he has
completed with the final details.
| | 00:08 | We have the benefit here of starting
with a perfectly refined, finished image
| | 00:14 | and we go back, and we
first destroy all that detail.
| | 00:17 | That's what we did previously.
| | 00:19 | Now, we're going to go in, and we're
going to start to bring detail back, and
| | 00:23 | one thing I can tell you about the
way this works is your brush is like a
| | 00:28 | aperture on a camera.
| | 00:30 | Just like the aperture on a camera, as
it gets smaller, it records finer and finer
| | 00:34 | detail. As you adjust the size of your
brush, smaller brush size is going to
| | 00:41 | start to reveal greater detail.
| | 00:44 | And we're going to take advantage of that
fact, and I'm going to create another layer.
| | 00:49 | And to do this, we need to
shut this layer off temporarily.
| | 00:52 | So there is a little bit of
a shell game going on here.
| | 00:55 | You're not going to see this in
concert with this layer at the same time,
| | 01:00 | although we will turn it on
and off to check our progress.
| | 01:03 | But you do need to shut this back off
because, once again, we are going to sample
| | 01:08 | the original, full, photographic image,
albeit with a smaller brush on this
| | 01:14 | layer, so, let's get started.
| | 01:15 | And now I am going to begin to get a
little more careful about my strokes.
| | 01:20 | I'm still not worried about absolutely
following everything precisely, but this
| | 01:25 | is detail-oriented work, and once
you've done this a time or two, you'll start
| | 01:30 | to get a sense of what this is going
to look like once it's combined with the
| | 01:35 | other layer. In fact, we'll just turn
this on quickly, and you can see how that
| | 01:39 | layer now is bringing through greater
detail. You can already see just a
| | 01:43 | little bit I've done.
| | 01:44 | Your eye wants to go to that greater
detail, and it doesn't spend as much time
| | 01:49 | lingering on the low frequency or
lack of detail on the underpainting, so,
| | 01:54 | let's keep going here.
| | 01:55 | And the real star of the show - and
that's something you've got to constantly
| | 02:01 | ask yourself is, what is the main
focus of this image? - and in this case it
| | 02:06 | definitely is the door.
| | 02:08 | So I'm not going to spend as much
time restoring any detail with these
| | 02:14 | brushstrokes as I am at the door area,
because that's where, ultimately, we want
| | 02:19 | the viewer's eye to invest its time.
| | 02:22 | And the more detail we put in an area,
the more viewer is naturally going to
| | 02:28 | spend looking at that area of the image.
| | 02:32 | Okay, I've now finished putting this
detailed paint layer on here, and I'll
| | 02:37 | turn it on and off, so once again, you can see
how it looks before that detail layer and after.
| | 02:42 | Now you do have a couple
of things you can do here.
| | 02:45 | You can, for example, play with
the Opacity of this layer, and if you
| | 02:49 | decide it's too strong, you can play around
with how much you want this to be emphasized.
| | 02:56 | I'm looking at it now, and at 100%
looks nice, but maybe it's a bit much.
| | 03:00 | So, I'm just going to
maybe take it down around 80%.
| | 03:03 | It just softens it up a little bit, and
it doesn't get too contrasty because I
| | 03:07 | don't want that to happen.
| | 03:10 | So if we go back, here's our original
photograph, here's our underpainting layer,
| | 03:14 | and here's our detail paint layer.
| | 03:16 | Now, we're going to go one more step.
| | 03:18 | So I'm going to add one more layer,
and in this case, to highlight
| | 03:24 | specific parts of this, to really
make it pop, I do want to actually bring
| | 03:29 | back near photographic detail, and to do that,
I'm going to now switch to the History brush.
| | 03:36 | And you'll notice something I've done
with the History brush - by default, it
| | 03:40 | appears with an airbrush style tip, but we
can assign a bristle tip to it, and why not?
| | 03:47 | That then gives the History
brush a brushstroke-like appearance.
| | 03:51 | So instead of being a perfect, soft,
airbrushy-type brush, it's now going to have
| | 03:57 | a bristled appearance, and so let's go
ahead, and also the other thing I'm going
| | 04:04 | to do here is I'm going to enable
Texture, and you can see what that's going to
| | 04:07 | do to the look of this brush.
| | 04:09 | That's another form of that
high frequency, fine detail.
| | 04:13 | But we're not restoring it
purely in its photographic form;
| | 04:16 | we're imbuing with it a certain amount
of canvas texture, which is something
| | 04:21 | consistent with painting.
| | 04:23 | Now I'm going to downsize this just a
little bit, and in this case, we don't
| | 04:28 | need to rely on the actual background,
because it's going to use the initial
| | 04:32 | state of this brush.
| | 04:33 | And so I will just start to
show you, in a couple areas here,
| | 04:38 | I'm just bringing back little bit to
that, and if I turn it on and off, you
| | 04:43 | can see it's subtle.
| | 04:45 | You don't want to go crazy bringing
this back, but just in some areas, I'm just
| | 04:53 | bringing back a small amount of the
photographic detail, but in a way it's being
| | 04:58 | screened through the texture of the canvas.
| | 05:02 | So it's not just a wholesale
edition of photographic information;
| | 05:06 | it's photographic detail, but with
a textural element embedded in it.
| | 05:11 | As I said, you want to be
the selective about this.
| | 05:18 | If you just bring it back wholesale,
it will start to be too photographic.
| | 05:25 | So I might just highlight a couple of
these edges to give some sharpness,
| | 05:31 | particularly areas of the door.
| | 05:36 | Okay, well, now let's take these three
painted layers, and I'm going to group them.
| | 05:42 | Now this way we can turn this on and
off, so we can see the before and after,
| | 05:48 | but you can see where now, because this
has been drained, initially, of all of its
| | 05:53 | photographic detail, as we did in the
first step, then we added a bit of detail
| | 05:59 | with a smaller paintbrush, still
referencing the original photograph.
| | 06:04 | And then finally in the third layer, we
actually used the History brush, but we
| | 06:09 | gave it a bristle tip, rather than a
standard tip, and that way the photographic
| | 06:14 | detail is coming back, but it's coming
back with a bristled appearance, as well
| | 06:18 | as some texture added to it,
which is canvas texture.
| | 06:23 | So, all of these elements add up to give
this a painted, final result, as opposed
| | 06:29 | to its photographic source.
| | 06:30 | So this is a technique that enables
you to transform your photograph into
| | 06:36 | a painting.
| | Collapse this transcript |
|
|
8. Painting from Scratch with the Mixer BrushCreating a color mixing layer| 00:00 | In this movie, we are going to take all
of the things we learned throughout the
| | 00:04 | title and put it together into the
creation of a piece of artwork from scratch.
| | 00:10 | Now I am going to start off by talking
about how bristles and brushstrokes take
| | 00:14 | on added importance.
| | 00:16 | They can even become the subject of a painting.
| | 00:18 | Strokes made up of solid
color tend to be static.
| | 00:21 | In this movie, we are going to go ahead
and take all of the things we've learned
| | 00:25 | in the previous chapters and put them
together into a project, which in this case
| | 00:29 | is going to be an image painted from scratch.
| | 00:33 | Specifically, I want to talk about
when you are painting from scratch,
| | 00:36 | brushstrokes take on added importance.
| | 00:39 | They can even become the subject.
| | 00:41 | Strokes made up of solid
color tend to be static.
| | 00:44 | An approach to visually energizing
strokes is to utilize a loaded brush technique.
| | 00:49 | This technique applies
multiple colors to the brush.
| | 00:53 | The result is a stroke, which
with color energy and complexity.
| | 00:57 | To do this, we are going to be
creating a mixing layer, and I want to
| | 01:01 | explain what this is.
| | 01:03 | This is just going to be a layer
that later on is going to be discarded.
| | 01:07 | Photoshop currently doesn't have any
kind of palette that you can mix color in,
| | 01:11 | so we are cobbling one together just by
having a layer that will later on not be
| | 01:17 | part of the artwork.
| | 01:18 | If you're working with imagery that
is in a specific format, in terms of its
| | 01:23 | size, you may want to use the Extend
Canvas command to temporarily make your
| | 01:29 | canvas a little larger, wherever you prefer.
| | 01:31 | I tend to do it over on the left side,
but in this case, I am just going to
| | 01:35 | paint right on the edge of the current image.
| | 01:39 | But in the case of a specific image
format, you may want to add that imagery,
| | 01:43 | go ahead and mix there, create the
image, and when you're done, delete that
| | 01:47 | layer and then crop the image down to the
size that is in accordance with your project.
| | 01:53 | So we've created a layer.
| | 01:55 | I am now going to start using my
brushes, and these Tool presets are brushes
| | 01:59 | that are included in your exercise files.
| | 02:02 | I showed you how to import this library in
the Organizing the Tool Presets panel movie.
| | 02:08 | These brushes are not required for this chapter.
| | 02:10 | You can create your own brushes based
on what you've learned in the Mixer brush
| | 02:14 | and Bristle Tips chapters
and hopefully, you will;
| | 02:17 | that's the way you are going to get
the best result - use your own brushes.
| | 02:21 | Now before I start, I want to show you
something you can do with the Tool presets.
| | 02:25 | There is some brushes I am
going to want to use in here.
| | 02:27 | I want to use the floppy brushes right here,
and they are towards the bottom of the list.
| | 02:33 | I'm also going to want to
be using these blunt brushes.
| | 02:36 | Now, the way I have go this configured
right now, it's a little difficult to
| | 02:39 | have all of these up here in
the same location in my list.
| | 02:43 | So as a result, I would have to be
moving up and down the list to get to
| | 02:47 | different brushes, but you
can reorganize these brushes.
| | 02:50 | The way to do that is, in the Tool
presets panel, go to the flyout menu and
| | 02:55 | drop down to Preset Manager.
| | 02:58 | This is where I can now go in here and
take these floppy brushes, and if I hold
| | 03:02 | my Shift key, I will just click on the
three here that I think I'm to be using,
| | 03:07 | and I am going to put them between
the long and short round blunt brushes.
| | 03:11 | So now they are relocated within that list.
| | 03:14 | So I can say I am done, and the other
thing I can do is these icons actually
| | 03:20 | make these list entries a little larger.
| | 03:23 | So the other thing I am going to
do here is to just say Text Only.
| | 03:26 | You can see now I can get two or three
more brushes to appear in that panel.
| | 03:30 | But now I can set this up so that I
have my Blunt Long and Blunt Short, as well
| | 03:35 | as the Floppy brushes all available
within that window, and that's how you can
| | 03:40 | easily organize these brushes to your liking.
| | 03:44 | So we've got a basic layer here, and
this is going to be my mixing layer.
| | 03:49 | I am going to use this to then start
mixing some colors, and the advantage to
| | 03:54 | this is when you know what your subject
is going to be, if you take the time to
| | 03:58 | pre-mix your colors, you are going to
end up with a much more color-organized
| | 04:03 | result in the final image because some
forethought was put into what colors you
| | 04:08 | are using, what values scale - all
of these things come into play.
| | 04:12 | So creating the colors you are going
to use upfront will result in a better
| | 04:17 | organized image as the final product.
| | 04:19 | Now, I know this is going be a beach
scene, so I am going to have some water,
| | 04:23 | some sky, some sand color, some flora, green,
so I am going to mix these basic colors.
| | 04:30 | I start with a Opaque brush, and I will
just kind of put some color samples on here.
| | 04:37 | The idea here is that we are going
to create a loaded brush technique.
| | 04:40 | So having different values is going to
enrich the stroke when we paint with it.
| | 04:46 | Now the other thing I will do is I will
take the Blender brush, and I will just
| | 04:49 | kind of mix these up.
| | 04:50 | So, now this gives me not three colors,
but now I've got several colors within
| | 04:55 | here, a range of that blue.
| | 04:58 | The other thing I can do is now I can
take like another color, like, I will take
| | 05:01 | this one, and I am going to go in here,
and I am going to turn Texture on.
| | 05:06 | I can play around with
how this is going to look.
| | 05:09 | I'm going to use this texture,
and I like the way it looks.
| | 05:13 | Within the stroke, I might want to
play around a little bit with the depth.
| | 05:17 | Also, I want to be able to press down
and get a fully loaded stroke that's
| | 05:21 | solid, but I do like to have in the
lighter areas of the stroke some bristling
| | 05:26 | appearing and close this now.
| | 05:28 | I will just test it over here, and I
need to, in this case, get my Opaque brush.
| | 05:35 | Now I can see where I can have some color,
but still some white is showing through.
| | 05:39 | This lets me just paint into this area,
and I may be able to sample this so that
| | 05:43 | not only do I have some transition of
color in my stroke, but I've even got some
| | 05:47 | heavier color that's peppered into that color.
| | 05:51 | Just to show you what I mean, if I go
in here now, and I'm using the front
| | 05:55 | barrel button on my stylus, I can
grab, say, right here, and when I paint
| | 06:00 | with this stroke, you can see how there is
variation within the colors in that stroke.
| | 06:05 | That's all based on picking up all
of these various tonalities and color
| | 06:10 | differences so that it gives me a
way to get a stroke that is far more
| | 06:14 | interesting than, say,
just a flat, colored stroke.
| | 06:17 | That's the idea behind this;
| | 06:18 | mixing these colors in advance is
going to give the areas I can sample to get
| | 06:23 | this look within the strokes.
| | 06:25 | So I am going to go through now
and mix up all of my colors.
| | 06:30 | Okay, I have now got my color
palette of mixed colors created.
| | 06:35 | I am now going to start off, and I am
going to start off by painting in my sky.
| | 06:40 | So I am just going to grab some mix
color here, and I want to do this on an
| | 06:45 | individual layer, and the best part of
the trick here is don't get confused and
| | 06:49 | accidentally start
painting on your mixing layer.
| | 06:52 | Typically, you are going to be doing it
away from here, and if you make a mistake,
| | 06:55 | you can do a selection and delete it.
| | 06:58 | But I'm just telling you it is kind
of easy to sometimes accidentally find
| | 07:02 | yourself painting on the mixer layer,
| | 07:03 | so you got to watch what
you are doing over here.
| | 07:05 | I am going to go now create my
background layer and start putting in some sky.
| | 07:12 | Applying some discipline during the
painting preparation process will pay
| | 07:16 | dividends when the painting is finished.
Plus, I will share a little secret with you:
| | 07:21 | You can build up a library of reusable
mixing palettes for future use by instead
| | 07:26 | of discarding your mixing palette,
| | 07:28 | you save it off in a separate document.
| | 07:31 | Over time, you will come up with a
really nice library of preset color sets you
| | 07:36 | can use to create loaded brushes with.
| | Collapse this transcript |
| Loading brushes to enhance visual interest| 00:00 | With a prepared mixing layer, you can
quickly load your brush with visually rich strokes.
| | 00:05 | In this video, we will take a look at
putting this technique to work. So where are we?
| | 00:11 | I've now got my mixing layer set up,
and I am going to start painting on layer
| | 00:16 | 2, which I want to be sure I'm on.
| | 00:19 | Now, I can go ahead and start
sampling colors from these layers.
| | 00:23 | One thing you want to make sure you
have turned on is Sample All Layers.
| | 00:27 | The way I am doing this is I am using
the front barrel button of my Wacom Pen.
| | 00:32 | I've mapped the Option or Alt key to
that button which is the way you pick up
| | 00:38 | multiple colors in the Mixer brush.
| | 00:40 | So just click down, and now
I can start to paint my sky.
| | 00:44 | You can see there is a
couple of things going on here.
| | 00:47 | We have color variation within the stroke,
and I have also got my Texture turned
| | 00:53 | on, so that the stokes also have some
quality of the canvas in them as well, and
| | 00:59 | that's what we want you here.
| | 01:01 | So the combination starts to give you
many qualities that you could match up to
| | 01:05 | what you see in our traditional painting.
| | 01:08 | Okay that's a good start.
| | 01:09 | I am going to do my water.
| | 01:16 | Here's another little trick.
Because this is a layer, I can switch, and if I want
| | 01:20 | to just move this over away
and center a little more, I can.
| | 01:25 | Again, that's one of the benefits of
having things on separate layers is not
| | 01:29 | only does it isolate the painting, but
it even means that those elements are
| | 01:32 | movable relative to one another.
| | 01:39 | Now another little technique I
sometimes use in this case is we have
| | 01:43 | applied basic color,
| | 01:45 | but I might add just a little bit of
more visual interest into these color
| | 01:50 | fields by taking a second color, and in
this case, I am going to take a little
| | 01:54 | darker green yellow kind of in here,
| | 01:57 | and I am going to apply it very lightly
so that I am just kind of skipping along
| | 02:01 | the top of my canvas grain.
| | 02:04 | So that I'm not completely replacing
the color, but I am actually adding a
| | 02:08 | secondary color over that color field,
so that now there is kind of an optical
| | 02:12 | blend that's happening within the viewer's eye.
| | 02:16 | Same here; I will grab a light color, and
I am just going to just add a little
| | 02:21 | visual interest here.
| | 02:22 | In fact, I can even lighten this up.
I will just temporally grab a solid color here.
| | 02:25 | But you can see how I'm not replacing
the color. I'm just adding a little bit of
| | 02:30 | complexity to the textural element of this.
| | 02:33 | I might want to do this so that my sky
has a bit of a pseudo-gradient in it by
| | 02:37 | going from a little more pressure
to a little less pressure at the top,
| | 02:41 | so there is a transition in my sky.
| | 02:46 | Okay, we've got our background.
| | 02:48 | That's a good point to break to a new layer.
| | 02:52 | Each time I can isolate these elements,
it is going to make it easier to try
| | 02:56 | things out, as well adjust
the location, if I need to.
| | 02:59 | Okay, well now that I've finished my
first good layer and created a new one here,
| | 03:03 | this might be a good time to save.
| | 03:05 | You know, I always say, save often,
save early. You can avoid headaches later on.
| | 03:09 | I will go to the File menu, go to Save
As, and I will put it in my Completed
| | 03:15 | Painting folder, and I am
going to call this beach_1.
| | 03:24 | Okay, we are now going to, on this third layer,
| | 03:26 | I am going to put in a little bit of a
distant island, and this is where I am
| | 03:31 | going to switch to my Floppy Opaque.
| | 03:34 | I will just show you a sample of this, quickly.
| | 03:36 | One reason I like this brush is it has
got a lot of variation in the stroke.
| | 03:41 | It is all based on kind of the angle.
| | 03:43 | You can see it almost kind of has a sumi brush
sort of look, and I like that.
| | 03:47 | There is a very expressive
character that occurs with this brush.
| | 03:52 | So I am going to start to introduce a
little more detail by using a brush that
| | 03:55 | has a little more character.
| | 03:57 | This is very mundane kind of just
background, and that's all it is intended to be.
| | 04:01 | While the island is intended to be
background, too, I may want to just have a
| | 04:06 | little more noticeable character to it.
| | 04:09 | So let's just put an island in here.
| | 04:12 | Where I make little errors like that, I can
go in with my eraser and just clean it up.
| | 04:24 | Now that I have that, one thing I might
want to do is deal with the color of it.
| | 04:28 | It is a rather bright color
right now, a little bit too much.
| | 04:32 | So if I use the Command+U or Ctrl+U, I
can call up my Hue Saturation dialog and
| | 04:38 | here is where I can take down that saturation,
| | 04:40 | maybe darken that a little bit, just
play around with it, so I could kind of
| | 04:43 | gets into the look that I want.
| | 04:46 | Something in there
| | 04:47 | looks good, something off in the
distance, and definitely some
| | 04:50 | atmospherics happening to it.
| | 04:51 | So I am to a point here now where I
have basically used my mixing palette to
| | 04:58 | create some background art, and in the
next movie, I am going to move forward,
| | 05:03 | and now we are going to create the
foreground elements. And I am going to show
| | 05:05 | you an interesting technique we can take
advantage of to make the work look very
| | 05:10 | kind of interesting and complex and
yet still have a way to use very loose
| | 05:15 | strokes to create it.
| | Collapse this transcript |
| Adding detail to a painting| 00:00 | There are probably a million techniques
for creating a painting, and all I can
| | 00:05 | show you in this exercise is a handful of them.
| | 00:09 | So whatever I show you,
there are other ways to do it.
| | 00:12 | And I'm not here to tell you how to paint.
| | 00:15 | I'm just showing you a set of possibilities
for ending up with a piece of final artwork.
| | 00:21 | Once you start taking these brushes and
incorporating them into your painting,
| | 00:25 | each one of you is going to go off into
a different direction and hopefully end
| | 00:29 | up with very different results.
| | 00:31 | That's the idea behind painting is to express
yourself, and that's what we want to do here.
| | 00:35 | But what I am going to do to finish this
up is to show you a couple techniques that
| | 00:39 | I employ sometimes that gives
an interesting look to the work.
| | 00:44 | And the next element I am going to
apply here is I am going to put just a
| | 00:48 | curving beach into here.
| | 00:49 | So I am going to create another layer.
| | 00:51 | Right now, this layer is our background.
And if I was taking more time, I would
| | 00:55 | probably name these layers,
| | 00:56 | so I could just look at them and know
what they are, but for our purposes just
| | 01:00 | knowing what is on which layer is good enough.
| | 01:03 | So far our fourth layer, I am going
to start to add my beach sand, and so I
| | 01:09 | will grab a color here.
| | 01:11 | I am going to reduce the size of my brush,
so let's go in and set it up so I can
| | 01:16 | use my Touch Ring, and we will going
here and just assume there's a kind of a
| | 01:21 | curved beach coming into the foreground.
| | 01:24 | I am not going to worry too much about the edge.
| | 01:29 | I might do a little finalizing work on
how the edge of this whole image looks.
| | 01:33 | Now I am definitely going here for very
kind of expressive quality in the work.
| | 01:43 | I'm not trying to be precise.
| | 01:44 | I like little mistakes.
| | 01:46 | I want the whole image to have
that kind of loose quality to it.
| | 01:50 | Now here is what I am going to do.
| | 01:52 | I've created the basic shape
for this beach that curves.
| | 01:57 | I can now take that layer and lock
its transparency, and by doing so - just
| | 02:02 | take a temporary color here - I can
paint in this now, and I am only going to
| | 02:07 | paint within that area.
| | 02:08 | So effectively, this area is masked,
and it now allows me to play with
| | 02:14 | atmospheric depth so that it changes
color as it goes towards the background.
| | 02:18 | So for that, I might get a lighter color.
| | 02:21 | I'll enlarge my brushstroke a little bit
here, and this is where I am just going
| | 02:24 | to apply, not probably 100%, but just
kind of give some change in transition, so
| | 02:32 | that as it goes back, it gets
lighter and loses some saturation.
| | 02:41 | Okay, next we're going to put a palm
tree kind of arching over our scene, and once
| | 02:48 | again, I am going to do the same
technique using the transparency lock, but this
| | 02:51 | is where I want to take advantage of
the Pointed Round Floppy Opaque brush.
| | 02:57 | This has a lot of nice character in it.
And at this point, because I know I'm
| | 03:00 | literally going to be using this as a mask,
| | 03:03 | I don't have to be concerned with color.
So I am actually going to go so far
| | 03:06 | as to use black on a new layer and paint with
it, knowing that I can go in here and change it.
| | 03:12 | So my idea is something like this.
| | 03:17 |
| | 03:25 | Okay, that's good enough,
and we'll lock that off.
| | 03:29 | Now once again, I can go in here, with
some of my color, and we'll go back to my
| | 03:34 | Short Opaque, and now I can
go in here and paint into this.
| | 03:40 | And I can try different things out,
because I can keep adding different
| | 03:45 | colorations in here.
| | 03:46 | I might want something a little
darker on little shadow edge, something a
| | 03:51 | little lighter on the sunlit edge, and it seems
like palm trees have somewhat of a skin on them.
| | 04:01 | So let's once again go back to the Floppy
Opaque here, and we'll just grab coloring.
| | 04:06 | So we are just putting some texture into here.
| | 04:12 | The other thing I can do is - this
was another thing we looked at
| | 04:15 | earlier, I have set the rear button on
my Wacom Pen to use the number zero and
| | 04:22 | when I click it once, that
changes the Wet value to 100%.
| | 04:26 | When I click it in rapid
succession twice, it goes back to zero.
| | 04:30 | This gives me a brush that can
alternate between being a opaque brush and a
| | 04:35 | fully smearing brush.
| | 04:37 | So now I can go in here and just
kind of mix this up a little bit.
| | 04:41 | I just want to have some
character within the strokes.
| | 04:45 | So there is just interesting texture.
| | 04:48 | The next thing is going to be
the actual palms on this tree.
| | 04:52 | So we are going to do another layer, and
this might be another time to save your
| | 04:55 | image. Just whenever you
think about saving, I'd say do it.
| | 05:01 | Okay, so now I've got my layer set here
for painting my fronds, and I am going
| | 05:07 | to grab some green, and I want to
switch from being wet, so I am going to do a
| | 05:10 | double-click here real quick, or you
could press the zero button twice, if you
| | 05:14 | don't have your barrel set up that way.
| | 05:16 | Now I am going to go in here and do a
little frond painting and again, I don't
| | 05:21 | have to be 100% concerned with exactly
how these look at the moment, in terms of
| | 05:26 | their color, because I can mask this off.
| | 05:30 | That's exactly what I am going to do.
| | 05:32 | So we'll mask this off, and maybe at
this point, I am going to grab the Short
| | 05:36 | Opaque, and you can see here now,
see how I can really add a lot of
| | 05:43 | interesting detail within this area, just
based on the strokes that are going into it.
| | 05:54 | And one thing we may do here is I am
just going to get a darker green. In fact,
| | 05:58 | I am going to use my Express key, so I
can call up my HUD Color Picker here.
| | 06:03 | I am just going to give it a darker green.
| | 06:09 | And again, I'm doing this very light,
so that I'm putting in some texture in
| | 06:13 | darker areas, but I am not
completely overriding it.
| | 06:15 | Okay, one thing I am going to do here
real quick is I see how I let the top of
| | 06:22 | the tree show through, so that I can pick this
up and move it, which is a nice thing.
| | 06:26 | In fact, I can grab both of these
elements in the Layer list and just play
| | 06:31 | with the positioning.
| | 06:32 | I might want this a little more
organized in the center.
| | 06:34 | And the last thing I want to do now is,
just to add a little bit of separation
| | 06:38 | between the background and the palm
fronds, is I am going to create a new layer
| | 06:44 | which is beneath both of the
base of the tree and the fronds.
| | 06:50 | And I am going to put some clouds in the sky.
| | 06:52 | So once again, I am going to use my
Floppy Opaque here, grab some white, just to
| | 07:01 | help pop that foreground a bit.
| | 07:14 | Oh. While we're here,
| | 07:15 | let's use the same layer and
put a little bit of whitecaps.
| | 07:21 | So the idea here is to just be a
very loose free kind of sketch.
| | 07:30 | So this demonstrates just a
combination of all of the things that we've
| | 07:33 | learned in the different chapters, and putting
it together into a real-world style project.
| | 07:38 | This kind of look I can see it
fitting maybe in a children's book.
| | 07:41 | The other thing I might want to do here at
this point is I can go in and turn off my layer.
| | 07:46 | So now we don't have that distraction.
| | 07:51 | We'll just grab all of this and
center it, and there is our finished art.
| | 07:55 | So hopefully, you've seen through this,
how all of these various techniques can
| | 07:59 | come together, so that you can end up
with a very nice, loose and carefree style
| | 08:04 | of painting, but certainly you're the
master of your own brushes, and you'll
| | 08:07 | decide exactly what kind of look you
want when you put all this together.
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ConclusionGoodbye| 00:00 | I hope you've enjoyed taking a look
at Photoshop CS5's new Mixer brush and
| | 00:05 | Bristle Tips features.
| | 00:07 | I'm very excited about them.
| | 00:08 | They really offer a whole new vista in
terms of what you can do within Photoshop.
| | 00:13 | Not only is it a great photographic
editing app, but it's also a great natural
| | 00:18 | media painting application as
well, and it's all in one package.
| | 00:23 | Until next time, aloha!
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