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Painting with a predefined custom brush

From: Photoshop CS5 One-on-One: Mastery

Video: Painting with a predefined custom brush

In this exercise I'm going to introduce you to a few of what I considere to be the most intriguing brushes that are included along with that M Brushes library, that we loaded in the previous exercise. I think you'll be fairly amazed by a few of these. It may make you scratch your head and wonder, what in the world is going on? Because a lot of these brushes are unlike anything most of us use on a routine basis inside Photoshop. Some of them behave in fairly spectacular ways. So I'm just going to show you what's up inside of this exercise.

Painting with a predefined custom brush

In this exercise I'm going to introduce you to a few of what I considere to be the most intriguing brushes that are included along with that M Brushes library, that we loaded in the previous exercise. I think you'll be fairly amazed by a few of these. It may make you scratch your head and wonder, what in the world is going on? Because a lot of these brushes are unlike anything most of us use on a routine basis inside Photoshop. Some of them behave in fairly spectacular ways. So I'm just going to show you what's up inside of this exercise.

Then we'll begin to sort of dissect what's going on with a few of these brushes in the next exercise, so you can figure out how to design your own amazing mesmerizing brushes. So I'm still working here inside Canvas texture.psd. By the way, you know what; I'm going to move these panels apart from each other a little bit, so that I have easier access to things. But first, I'm going to show you, I'm working inside the Brush Presets panel. If you want to switchover to the brushes panel, which shows you what's going on with the brushes, and allows you to make modifications to them, then you click on this little folder right there, so that'll take you right over to the Brush panel.

Then if you want to go back to Brush Presets, then you click on the Brush Presets button. So I just want you to know that both panels offer easy access to each other. I'm going to grab the Brush Presets panel, because notice the Brush panel is so enormous, takes up such a big area of the screen. We don't need it on a regular basis here, but we do need to see the Brush Presets on a regular basis. So I'm going to grab Brush Presets. You don't have to do this. But I'm going to grab them. I'm going to move them in between the Color panel group and the Layers panel group, like so. Then I'll reduce the size of my Layers panel group a little bit.

Just make sure you're working on that paint layer if you're working along with me. Then I'll hide the Brush panel. That'll give me a lot more room to work. Now then, check this guy out, crosshatch right there. I want you to go ahead and click on it, in order to select it. So it's the, what is it, the one, two, three, four, five, six, seventh brush down inside this M Brushes list. I'm going to use my stylus here, just so that I have a little more control. I'm going to press the Right Bracket key a few times to increase the size of this brush. Bear in mind that each one of these brushes is already sized to its ideal size.

In other words, there is no re- sampling going on when the brush is set to a diameter of 35 pixels. If you start increasing the size of the brush, then you will introduce a little bit of re-sampling. But sometimes, it's necessary if you want to get a thicker brush for example. Anyway, I'm just going to go ahead and show you something. I'll just paint with this brush. Notice it paints in a crosshatch. Those crosshatches actually rotate around the letters as I draw them, notice that. I'm just writing the word crosshatch. As long as I don't overlap anywhere with my brushstrokes here, so I'm being careful to make sure no brushstroke overlaps another one, nor does the brushstroke overlap itself.

Then what you'll see here is that you always get an exact number of crosshatches. Notice that there are no partial crosshatches in this group. So Photoshop is always completing each one of these triple slash patterns. Isn't that amazing? How in the world is that happening? How are these crosshatches so scrupulously avoiding overlapping each other, except where of course, they're meant to, because they're rotating randomly around. Well, let me show you something else that I think is even more amazing.

I'm going to just press the F12 key in order to get that stuff off the screen. That's the Revert command of course. Don't press the Backspace key, or the Delete key, or you'll get rid of this layer. Check out this guy right at top. It's called crosshatch gesture. It's actually a related brushstroke. I'm going to go ahead and click on it to select it. I'll increase its size a little bit, just so we can see what's going on here as well, to about 90 pixels let's say. Then I'm going to draw with this brush. What I want you to see is as I draw over these areas, notice that they're amassing on top of each other.

So we're actually increasing the size of that brushstroke as we drag back and forth on it. That might be a little thick to see what I'm talking about. So I'll reduce the size of my brush just a little bit. Now I'll drag back and forth. But see that right there, I got close to this brushstroke down here. It went ahead and filled in a little bit. But it's not filling in any of the previous brushstrokes I just got done drawing. So let me try this again right around here. I'm drawing Art by the way, just in case you're curious.

And I'm filling, in once again, neighboring brushstrokes, as long as they're part of the same gesture. Then when I start a new gesture, that will fill in on itself, but it's not going into the old gesture. So again, what kind of wacky stuff is going on? Is this Photoshop, or is this something special about this M Brushes library? Again, the answer is, this is Photoshop, by the way folks. I'll just go ahead and fill in the last of that word Art. Let's try something else here. I'll press the F12 key, just to go ahead and revert the image.

Notice this guy right here. It's called frosted glass. It looks like it's made of a bunch of bubbles of paint that are in the shape of a heart. Yet, it doesn't behave like that at all. So I'll go ahead and click on frosted glass. Also, another thing to notice so far, I've been painting with brushes that are not pressure sensitive, even though I'm using a pressure sensitive stylus, I'm not getting any pressure feedback. You can tell whether that's going to happen, those of you who are stylus owners, when you look at these brushes, if they don't taper, then there is no pressure sensitivity associated with the brush, by default, you can always override that.

I'll show you how to do that at the end of this exercise. But for now, I want to show you this guy, frosted glass, has a completely different response. The other ones had no response to pressure. This one has a very different response to pressure. If I paint sort of lightly here, I'll get a light version of the color. If I start bearing down, and notice I'm filling in the brushes again, I get a darker version of that color. If I paint in between, I get something in between. Notice it has a tendency to fill in the old brushes as you paint, the old brushstrokes that is.

When I say the old brushstrokes, I mean, it's all part of one gigantic gesture. So as I'm painting in this big gesture, it has a tendency to fill itself in first time around, when I'm going back and forth. So again, very interesting behavior associated with these brushes. You can exploit it, if you see what's going on, and you know what's going on, on the fly right here right here. All right, one more time with the F12 key, because I'm going to scroll down my list. There are all kinds of stuff to choose from this guy right here totally amazing by the way.

Also another one of these, it's called hypno line. I'll go ahead and select it. It's another one of these, like that crosshatch pattern. I'll increase the size by pressing the Right Bracket key. That paints in a series of these designs, and notice it doesn't paint in any partial designs, no matter what. So it's always filling in the design entirely. If you're careful to make sure that you don't overlap your own stroke, or overlap some other stroke, then it's not going to overlap itself. So again, pretty interesting I think. Anyway, I'm going to press the F12 key.

The last thing I want to share with you, I'm going to scroll all the way down to the bottom of the list. There is this guy right here, Heavy Smear Wax Crayon. So I'll go ahead and click on it to make it active. I'll increase the size of my brush by pressing the Right Bracket key a few times. I'll start painting with this brushstroke. I really don't want it to be that big. But notice I'm not getting any pressure out of this guy. I'll go ahead and press Ctrl+Z, Cmd+Z on the Mac in order to undo that. Try a smaller brush by pressing the Left Bracket key. No matter how hard I press, I'm just getting a static brushstroke out of this.

Well, here is the thing that you can do. You can go up to the Options bar after undoing your brushstroke, you can go up to the Options bar and there is this final icon that says Tablet pressure controls size. It overrides the Brush panel settings. So regardless of what's going on inside the Brush panel, what the various settings are, and what pressure is related to, and I believe where this brush is concerned, it's related to nothing. You can override that and you can say, darn it, I want this to be a pressure sensitive brush. As soon as you click on it, in order to make that option active, and you start painting, notice I'm painting thin, and I'll get a thin stroke.

As I start painting thicker, I get a thicker stroke. So that's something to bear in mind as well. Also notice that this is a sticky option. So that's something you need to be aware of. Again, you Tablet users, if you switch to some other brushstroke that really doesn't take kindly to pressure sensitivity, like this guy right here, snakeskin. I'll go ahead and click on it to select it and then, you start painting with it. You'll notice that it is now also a pressure sensitive brush, where it actually behaves much better when it's nice and thick, because most of your typical snakes don't get really super-duper skinny, at least not that skinny at the very end.

So you just have to be aware of that. This guy exists, go ahead and take advantage of it when you want it. Go ahead and turn it off when you switch between brushstrokes. All right, so all of this is very entertaining. You've got a ton of brushstrokes to play with, if you so desire here, hours and the hours of fun, of course. Question is, what in the world is going on, and how do you exploit this information? How do you exploit this behavior, in order to create cool brushstrokes of your own? I'll answer those very questions in the next exercise.

Show transcript

This video is part of

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

192 video lessons · 43728 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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