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Crosshatching and brush size

From: Photoshop CS5 One-on-One: Mastery

Video: Crosshatching and brush size

I've done a little bit of work in the Background and I've called it Eyes nose lips & chin.psd found inside the 31_bristle_brushes folder. If you want to get a sense of what I've done, go ahead and turn off the Background layer and you can see that I've traced down the forehead, along the eyebrows, all around the eyes and into the eyes as well, down the bridge of the nose, around the nostril, down into the mouth and lips, around the chin as you can see here both on the inside of the chin and along the outside in Colleen's sweater and I also painted up the jaw line. Now, when I was painting the jaw line, I ended up painting in some pretty large brushstrokes.

Crosshatching and brush size

I've done a little bit of work in the Background and I've called it Eyes nose lips & chin.psd found inside the 31_bristle_brushes folder. If you want to get a sense of what I've done, go ahead and turn off the Background layer and you can see that I've traced down the forehead, along the eyebrows, all around the eyes and into the eyes as well, down the bridge of the nose, around the nostril, down into the mouth and lips, around the chin as you can see here both on the inside of the chin and along the outside in Colleen's sweater and I also painted up the jaw line. Now, when I was painting the jaw line, I ended up painting in some pretty large brushstrokes.

I used a 15 pixel version of my bristle brush. Now, while big brushes can be very useful for basically roughing in broad areas of detail like that, you also have to watch out for streaking where the mixer brush is concerned. So just keep an eye on your brush work as you go along and it can be very helpful to turn off the Background layer, so that you can basically assess your progress. However, you've got to have the Background layer turned on in order to paint into the image because otherwise there's nothing to lift from; that is, you can't lift from the original photograph when it's hidden.

Sample All layers just works from what you're seeing onscreen at any given moment in time. All right! So go ahead and turn on the Background layer once again; don't click on it, because we don't want to select the Background layer and make it active. So keep an eye on the Layers panel as you work, just make sure that the painting layer is active, so that you don't mess up the original photograph, and then I'm going to go ahead and scroll up to the bridge of Colleen's nose here. Now, notice I'm now working with the 6 pixel brush. So I've increased the size of my brush here. You can crosshatch back and forth if you want to.

Take it easy with the crosshatching however because you can end up just looking like scribbling and you can end up glossing over important details. What you may find more useful depending on how much time and effort you want to put into the photograph is doing large drags as I'm doing now. So in other words, I'm dragging in single directions along with my brush as opposed to scribbling back and forth, the latter of which is more of a crosshatching maneuver. All right! I'm not very happy with that brushstroke and by the way, if you aren't, remember that you have multiple undos. So you can press Ctrl+Alt+Z a couple of times, Cmd+Option+Z on the Mac a couple of times, in order to undo a sequence of brushstrokes.

You may also find when you're working with the tablet that you accidentally paint a stroke or when you meant to paint one stroke, you end up painting like two in a row or something like that. So just bear in mind you've got the History penal if you need to check it out, you've got multiple back steps available to you as well. All right! So I'm just working my way through here. I am now at this point going to engage in some fairly furious crosshatching, because I do want to get some work done in these broad areas of detail. Now, I want to keep, out here in this region, things a little bit scribbly because that is going to invoke a sense of paint strokes in my image and I do want to have that, and that's going to give my texture something to hang on to later on down the line.

So I don't want to over-smooth things. The worst thing you can do where a painting like this is concerned, in my opinion anyway, or I should say my experience, is scribble over the same areas so often that you end up just absolutely over- smoothing those regions, so they have a kind of porcelain quality to them. Again, in my estimation that doesn't end up looking like much of a painting and you lose some of that expressive effect that you do ultimately want to keep. So it's ultimately I suppose a matter of maintaining a kind of balance. All right! So I'm going to go ahead and paint along the bottom region here as well paint into the lips.

Now, notice I am making cosmetic modifications as I move along too. So you have the opportunity if you want to, to exaggerate wrinkles and that kind of thing in a person's face or you can smooth them over. Totally up to you how you decide to work. I'm kind of picking and choosing actually as I go along, because my experience once again is that there are negative creases and there are positive creases. Around the mouth, maybe we don't want to keep those creases; around the eye, definitely because if you lose the creases around the eye, you lose a great deal of expression, and now I'm not talking about my expression, I'm talking about the expression obviously of the subject of the photograph. All right! So I am just going to continue to paint in regions around here and if you feel like you need to bring in some small strokes, why then remember that you have the bracket keys, you can just go ahead and press those guys in order to make the brush either smaller or larger.

And where that might prove helpful in my case for example is along that nose, back to the bridge of the nose. I'm going to press the R key and go ahead, and rotate this area around a little bit like so, and then I'm going to reduce the size of my brush. Now, when you're this small, when you're working with something like a 6 pixel brush, then every time you press the Left Bracket key you're going to reduce it in 1 pixel increments which is really great. So Photoshop is sensitive to how big the brush is at any given moment in time. This way I can paint in some small brushstrokes along the bridge of the nose in order to introduce some sort of bright highlight lines which I think might be useful.

The only problem with painting at an angle like this it's very easy to lose perspective especially when the angle is this radical. So I'll press the Escape key in order to see what I've done to make sure that it makes any darn sense and that I'm not introducing some sort of brushstrokes that maybe end up making the image look hairy or something along those lines. But I like that, I think it looks pretty good. That's also a problem with zooming in too far. If you spend too much time zoomed in on your painting as you're working on it, then you can lose perspective as well. So, it's that old forest and the trees metaphor; you need to keep track of both if you can.

I suppose there's a point of that metaphor, I'm not sure now that I'm talking about it. Anyway, I'm going to go ahead and scrub along the forehead, like so. Again, I just want to give you a sense of what's happening here in this region. What we'll do next after I get through filling in some of the skin details, we'll paint inside of the hair and we'll go ahead and paint inside of the ear as well. Join me, won't you, in the next exercise.

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This video is part of

Image for Photoshop CS5 One-on-One: Mastery
Photoshop CS5 One-on-One: Mastery

192 video lessons · 43746 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 40m 45s
    1. Welcome
      2m 45s
    2. Making Photoshop your default image editor
      7m 43s
    3. Installing the dekeKeys keyboard shortcuts
      8m 10s
    4. Remapping OS shortcuts
      7m 37s
    5. Installing the Best Workflow color settings
      4m 31s
    6. The color settings explained
      6m 54s
    7. Loading the CS5 color settings in Bridge
      3m 5s
  2. 1h 11m
    1. Your creative range continues to expand
      1m 46s
    2. The Avatar project so far
      2m 38s
    3. Painting on a photograph
      7m 50s
    4. Adding texture and depth
      6m 14s
    5. Simulating chalky white paint
      7m 23s
    6. Masking and placing an image
      7m 20s
    7. Upsampling and Lens Blur
      5m 9s
    8. Blending blurry elements
      3m 48s
    9. Making a Smart Object
      6m 46s
    10. Placing an image as a Smart Object
      3m 22s
    11. Blending away a background
      5m 56s
    12. Applying Smart Filters
      4m 34s
    13. Creating a glow with Lens Flare
      3m 45s
    14. Blending and masking a glow
      5m 3s
  3. 1h 26m
    1. Using the image to select itself
      1m 53s
    2. Introducing masking
      6m 32s
    3. Making an alpha channel
      6m 54s
    4. Using the Calculations command
      6m 48s
    5. Add, Subtract, Offset, and Scale
      5m 54s
    6. Prepping an image with the Dodge tool
      6m 55s
    7. Fixing mistakes before they get too big
      6m 32s
    8. Painting in the Overlay mode
      5m 51s
    9. Exaggerating and selecting flesh tones
      7m 39s
    10. Smudge, Median, and the Blur tool
      6m 59s
    11. Masking low-contrast details
      6m 7s
    12. Creating a flesh-and-clothing mask
      5m 45s
    13. Masking and compositing the foreground
      5m 27s
    14. Finessing the final composition
      7m 39s
  4. 2h 24m
    1. Connecting the dots
      1m 40s
    2. The Pen tool and the Paths panel
      6m 32s
    3. Drawing a straight-sided outline
      6m 25s
    4. Editing a path outline
      6m 36s
    5. Adding and editing smooth points
      5m 35s
    6. Creating vector masks with the shape tools
      4m 59s
    7. Building a complex outline from shapes
      4m 26s
    8. Subtracting and transforming shapes
      6m 45s
    9. Cloning, flipping, and combining shapes
      8m 58s
    10. Roughing in non-symmetrical paths
      7m 41s
    11. Finessing a complex outline
      9m 15s
    12. Masking a layer effect
      8m 26s
    13. Isolating an image element
      6m 8s
    14. Smooth points and control handles
      9m 3s
    15. Stretching curved segments
      7m 49s
    16. Using the Rubber Band option
      9m 33s
    17. Drawing smooth points with the Pen tool
      6m 59s
    18. Shading an isolated object
      3m 45s
    19. Drawing cusp points
      7m 14s
    20. Setting points in the pasteboard
      9m 57s
    21. Using the Convert Point tool
      6m 42s
  5. 2h 57m
    1. Everything you need to know about blending
      1m 45s
    2. Photoshop CS5's blend modes
      7m 21s
    3. Cycling between blend modes
      6m 15s
    4. Darken and Lighten and their derivatives
      6m 3s
    5. The blend mode shortcuts
      8m 6s
    6. The Multiply and Burn modes
      4m 28s
    7. The Screen and Dodge modes
      6m 0s
    8. How opposite blend modes work
      8m 24s
    9. Why Multiply darkens and Divide lightens
      5m 23s
    10. Cleaning up a client's bad art
      5m 3s
    11. Dropping out a white background
      5m 56s
    12. Blending inside blend modes
      8m 3s
    13. Overlay, Soft Light, and Hard Light
      6m 26s
    14. Vivid, Linear, and Pin Light (and Hard Mix)
      6m 35s
    15. Difference, Exclusion, Subtract, and Divide
      7m 34s
    16. Great uses for the Difference mode
      6m 18s
    17. Promising uses for the Divide mode
      9m 6s
    18. Hue, Saturation, Color, and Luminosity
      7m 0s
    19. Blending an inverted layer
      3m 32s
    20. The "Fill Opacity Eight"
      7m 25s
    21. Making bad blend modes good
      5m 16s
    22. Making a knockout layer
      6m 53s
    23. Blending in the CMYK mode
      8m 3s
    24. Overprinting black text
      8m 29s
    25. Using the Luminance slider
      5m 24s
    26. Parametric luminance masking
      6m 21s
    27. Adjusting the behavior of luminance effects
      10m 8s
  6. 2h 2m
    1. Smart Objects = protective containers
      1m 35s
    2. Placing an Illustrator graphic
      6m 30s
    3. Vector copy and paste options
      6m 56s
    4. Applying Puppet Warp to vectors
      8m 9s
    5. "Gluing" vector art for Puppet Warp
      5m 50s
    6. Warping art onto the surface of an image
      8m 7s
    7. Blending a Smart Object
      4m 30s
    8. Blurring and blending a Smart Object
      6m 8s
    9. Making changes in Illustrator
      5m 57s
    10. Creating "true clones"
      7m 18s
    11. Double-flipping text
      4m 44s
    12. Applying effects to multiple layers
      3m 24s
    13. Updating true clones in one operation
      7m 36s
    14. Editing JPEGs as Camera Raw objects
      5m 49s
    15. Creating a double-exposure effect
      7m 15s
    16. Masking and shading transitions
      7m 47s
    17. Applying and repeating Camera Raw edits
      6m 9s
    18. Copying vs. cloning a Smart Object
      5m 18s
    19. Flipping a Smart Object and its mask
      3m 42s
    20. Adjusting multiple Camera Raw clones
      3m 53s
    21. Text that inverts everything behind it
      5m 34s
  7. 1h 59m
    1. This time, "smart" means dynamic
      1m 37s
    2. Introducing Smart Filters
      6m 28s
    3. Traditional High Pass sharpening
      5m 17s
    4. Smart High Pass in the Lab mode
      7m 57s
    5. Sharpening a high-frequency image
      7m 46s
    6. Retroactively reducing noise
      7m 31s
    7. Which filters are Smart Filters?
      6m 20s
    8. Shadows/Highlights as a Smart Filter
      4m 37s
    9. Nesting one Smart Object inside another
      7m 11s
    10. Drawing a mask from a nested Smart Object
      8m 7s
    11. Better Shadows/Highlights inside Lab
      9m 16s
    12. Tempering saturation values in Lab
      7m 0s
    13. Filtering live, editable text
      9m 2s
    14. Enhancing filters with layer effects
      4m 33s
    15. Applying a filter multiple times
      5m 0s
    16. Creating a synthetic star field
      7m 7s
    17. Making a stucco or drywall pattern
      6m 28s
    18. Land, sea, and clouds
      8m 30s
  8. 2h 50m
    1. Photoshop's advanced painting tools
      2m 3s
    2. Canvas texture and brush libraries
      6m 40s
    3. Painting with a predefined custom brush
      9m 21s
    4. Dissecting a custom brush
      11m 9s
    5. Designing and using a custom brush
      4m 54s
    6. Saving and loading brush presets
      5m 27s
    7. The ten styles of bristle brushes
      9m 47s
    8. Size, Spacing, and Angle
      7m 2s
    9. Using the Bristle Brush preview
      7m 53s
    10. Bristles, Length, Thickness, and Stiffness
      6m 53s
    11. Stylus tilt and mouse behavior
      5m 25s
    12. Stroking a path outline with a brush
      4m 0s
    13. Troubleshooting a stylus
      5m 49s
    14. Introducing the Mixer Brush
      7m 22s
    15. The Load, Mix, and Wet values
      5m 1s
    16. Cleaning and loading a brush
      6m 26s
    17. Shading a piece of graphic art
      6m 34s
    18. Shading with color
      7m 53s
    19. Mixing a photographic portrait
      6m 11s
    20. Tracing the fine details in an image
      5m 52s
    21. Crosshatching and brush size
      5m 53s
    22. Covering up and augmenting details
      7m 36s
    23. Painting in hair and fabric
      5m 54s
    24. Painting and scaling very fine hairs
      8m 7s
    25. Adding texture with the Emboss filter
      8m 31s
    26. Exploiting a "happy accident"
      2m 46s
  9. 1h 40m
    1. Artificial intelligence that works
      1m 22s
    2. The Auto-Align Layers command
      7m 25s
    3. The Auto-Blend Layers command
      3m 54s
    4. Masking auto-aligned layers
      4m 50s
    5. The Geometric Distortion setting
      6m 44s
    6. The Seamless Tones and Colors checkbox
      4m 8s
    7. Creating the best possible layer mask
      9m 18s
    8. Auto-blending depths of field
      5m 54s
    9. Finessing masks, accepting imperfections
      6m 29s
    10. Shooting and downsampling panorama images
      5m 54s
    11. Introducing the Photomerge command
      6m 40s
    12. Evaluating the Layout settings
      6m 47s
    13. Loading, aligning, and blending with Photomerge
      5m 36s
    14. Tracing and extracting seams
      7m 18s
    15. Adding a masked element into a panorama
      5m 55s
    16. Simplifying and correcting a panorama
      5m 58s
    17. Smart Filters and nondestructive cropping
      6m 43s
  10. 1h 18m
    1. The most mysterious of mysterious topics
      2m 29s
    2. Introducing HDR Toning
      6m 43s
    3. Reigning in clipped highlights
      5m 54s
    4. The Local Adaptation options
      9m 5s
    5. Nondestructive editing with HDR Toning
      8m 22s
    6. Using the HDR Toning Curve
      7m 2s
    7. HDR Toning vs. Shadows/Highlights
      6m 0s
    8. Merging multiple exposures
      7m 14s
    9. A first look at HDR Pro
      6m 24s
    10. Removing ghosts, correcting backlighting
      7m 11s
    11. Generating and editing an HDR comp
      7m 0s
    12. HDR rendered to completion
      5m 19s
  11. 1h 27m
    1. Processing hundreds of files in no time
      1m 43s
    2. Creating an action set
      6m 37s
    3. Making an action
      7m 7s
    4. Stop, Delete, and Record
      7m 12s
    5. Add, Undo, and Rerecord
      6m 40s
    6. Playing and testing an action
      6m 31s
    7. Playing and editing a specific operation
      6m 39s
    8. Permitting the user to change settings
      4m 58s
    9. Explaining an action with a custom stop
      5m 0s
    10. Batch-processing multiple images
      7m 22s
    11. Adding a Save As operation
      6m 34s
    12. Creating an action to save web graphics
      7m 59s
    13. Batching two actions into one
      7m 15s
    14. Saving and loading actions
      5m 30s
  12. 1m 19s
    1. See ya
      1m 19s

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