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In the all-new Photoshop CS5 One-on-One: Mastery, the third and final installment of the popular series, join industry expert and award-winning author Deke McClelland for an in-depth tour of the most powerful and empowering features of Photoshop CS5. Discover the vast possibilities of traditional tools, such as masking and blend modes, and then delve into Smart Objects, Photomerge, as well as the new Puppet Warp, Mixer Brush, and HDR features. Exercise files accompany the course.
Recommended prerequisites: Photoshop CS5 One-on-One: Fundamentals and Photoshop CS5 One-on-One: Advanced.
In this exercise we're going to create our own Custom Brush. I've reverted the Canvas texture.psd file to its original appearance. Let's base our brush in the very first entry inside the M brushes collection, and that's crosshatched gesture right, there simply because I think it's one of the more interesting of the brushes. You may recall as you paint with his brush for one thing the Airbrush setting is turned on by default. So it goes ahead and builds up as I hold my cursor in place. Also, notice as I paint back down this line that I'm building up the line across from it.
So I'm building up the brushstroke as I paint back and forth across it, which is a very different effect. My only complaint about this brush stroke the way it is, is it's so skinny and I'd like to set up something that doesn't require me just to press on the Right Bracket key in order to increase the size of that brush, because that's not really a very skillful maneuver and it ends up creating this effect here which isn't nearly as cool. So I think we're going to have to modify a few settings here inside the Brush panel, and I look forward to it in fact.
Anyway, I'm going to press the F12 key to go ahead and revert the image and let's try and enter a few modifications. I'm going to click on Brush Tip Shape and right now our parent preset is fuzzy gesture, this tiny little guy right there. I'm going to switch over three to Dry Brush 1 and go ahead and click on it and it ends up giving me a much heartier brushstroke as you can see there. Then I'm going to increase the Size value slightly to 43 pixels. This is just a value that I found worked out pretty well, totally trial and error.
The Spacing value is so low right now that it interferes little bit with the brushes' performance. So I'm going to take it up to 8%, that'll help it keep up with my gestures just a little better. Then I'm going to turn on Shape Dynamics right there and I'm going to change Control from Off to Pen Pressure. If it gets grumpy, I mean it's not getting grumpy right now that's great. So I don't have to tap my stylus inside the image window. I'm also going to increase the Size Jitter value just so that we have a little bit of additional jitter, just a little bit of randomness between the various dollops of paint.
I'm going to take that up to 20% and I'm going to switch over to Dual Brush obviously, make sure that it's set to crosshatch which it is but if I'm not sure I could click on it, just to confirm that's the case. I'm to increase this Size value to 35 pixels. Notice that I'm getting a nicely roughened effect right there. I'm going to reduce the Spacing value to 33%. I'm going to take the Scanner value up to 408%. So these are some pretty arbitrary values I came up with. Again, all trial and error, all just messing around and I'm going to the Count value up to three.
Now I certainly encourage you to go your own way. I'm going to leave this by the way set to Overlays. So the mode was that the Overlay for the specific brush. I'm just going to leave it that way and we are now done. It's time to test out the brush and see how it works. So I'm going to go ahead and hide the Brushes panel, get out my stylus and try out some sort of cartoon here. I have in mind a screaming robot that's confronted by some harrowing situation here and he's one of those robots that has a kind of metal housing of some sort for a body, but he's got organic eyes, don't you know, and he's going to end up having some organic teeth here in a moment too, because that's just going to look better I think.
So I'll go ahead and draw him some screaming cartoon teeth like these and go ahead and give him, you know, some definition between the individual teeth, the individual dentures. Very important I think that he has an organic sort of mushy tongue inside of his metal mouth. And fill in the gaps there, maybe bring this around as well in this area down and then I want to sketch a little bit back and forth like this for some sort of nicely human details, in this is sort of otherwise boxy housing that he lives inside of, and I figure at someplace he might've gotten an injury right there.
So I'll go ahead and give him some sort of bolts that are going on there. He also needs of course bolts in his neck. So let's go ahead and give him those. Finally, I was thinking, well, there's some other stuff. We need dialog I figure for this guy. So let's make him scream at the top of his lungs. Something like this, a rather pertinent message so that we know that something's not quite going right in this fellow's life. Little talk balloon is well. He's either crying or sweating. Oh well that's confirmed.
Now he's definitely sweating on this side, anyway. Then I figure the last thing he needs, because he's a modern robot, so he should definitely be outfitted I think with a couple of USB ports. And that's the final effect created using a custom brush that we based on an existing brush inside the M brushes collection here inside Photoshop.
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