Photoshop CS6 BrushesInstalling optional content| 00:00 |
In the video we're going to take a look
at how to install the optional content
| | 00:04 |
that comes with this course.
| | 00:06 |
The first thing you'll want to do before you
anything else is you want to quit Photoshop.
| | 00:11 |
So that we can go through the
installation process and then when we're finished,
| | 00:16 |
we will launch it and we'll
have our content installed.
| | 00:19 |
In the exercise files folder you will find
this zip file, CS6 Brushes First Look Content.zip.
| | 00:27 |
And all we need to do here is double-
click this and this will decompress a
| | 00:32 |
folder and if we look inside here, we
will see that we've got a few items.
| | 00:37 |
The first one I want to talk about
is the First Look installation PDF.
| | 00:43 |
This is just a PDF that goes through the
same thing I'm showing you here in the video.
| | 00:48 |
You can either print this out and
follow with it along or do it separate from
| | 00:52 |
the video, but this just gives you a
backup to do the same thing you're seeing here.
| | 00:56 |
The next thing I want to talk
about is this PS CS6 Brushes First Look
| | 01:01 |
Content Installer.zxp.
| | 01:04 |
This is the installer file, just like
the zip file, all I have to do here is
| | 01:09 |
double-click this and this opens up
the Adobe Extension Manager, the first
| | 01:15 |
thing we see is the licensing, so we
accept this and that installs the optional
| | 01:20 |
content into Photoshop.
| | 01:22 |
So at this point we can go ahead and
quit the Extension Manager and relaunch
| | 01:28 |
Photoshop, and we are in business.
| | 01:30 |
If you have issues, there is a second
way to install this material, and that is
| | 01:37 |
via the Manual Installation.
| | 01:39 |
Which you'll see in Manual
Installation are a set of files.
| | 01:42 |
These are the actual files that
have to get installed into the proper
| | 01:45 |
locations in Photoshop.
| | 01:47 |
The .zxp file does it for you without
you having to know where those are;
| | 01:52 |
however, in situations where for whatever
reason, the .zxp Installer does not work.
| | 01:57 |
You'll want to follow my
directions that once again are here in the
| | 02:01 |
Installation folder, and right in here
I've got all the locations that you need
| | 02:06 |
to place these files.
| | 02:07 |
Basically, we are going to place
things either in the Tools folder or the
| | 02:12 |
Actions folder, which is found within
the Applications folder for Photoshop.
| | 02:17 |
Follow along with these for your
particular operating system and place these
| | 02:22 |
specific files into those folders,
and once again you'll be good to go.
| | 02:26 |
So that's all there is to the
installation. As you can see, it's very simple.
| | 02:30 |
In the next movie, I am going to show
you how to access this content once
| | 02:33 |
it's installed.
| | 02:34 |
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| Setting up your painting workspace| 00:00 |
In this video we're going to take a
look at how to set up the various tool
| | 00:04 |
presets and their
associated content in Photoshop.
| | 00:07 |
If you watched the last video, we went
through the installation of these assets.
| | 00:12 |
But now we're going to go ahead and
set them up, and I am going to show you
| | 00:16 |
how I like to have these set up. Of course,
you're welcome to set them up anyway you want.
| | 00:21 |
The first thing I want to talk about
is the Brush Presets panel and right now
| | 00:25 |
what we've got set up is the Default
Painting Workspace, and I am going to
| | 00:30 |
reorganize it a bit to show you how
to get the best efficiency out of the
| | 00:34 |
Natural Media Tool Presets.
| | 00:35 |
First thing I want to talk
about is the Brush Presets.
| | 00:39 |
They are the perennial holder of
brushes in Photoshop and if you've been a user
| | 00:44 |
for a while, this is where you are
probably going to assume that my brushes are
| | 00:49 |
going to be found; however, they're not.
| | 00:51 |
And the reason is I use Tool Presets as a
way to encode and save all of my brushes.
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Why do I do that?
| | 01:00 |
Well, Tool Presets take advantage of
information beyond simply what is going
| | 01:06 |
on in a Brush Preset.
| | 01:08 |
And if I switch, for example, to the
Mixer Brush, which all of the brushes are
| | 01:13 |
basically based on, there is a bunch of
information up here in the options bar
| | 01:18 |
that is not saved by a Brush Preset.
| | 01:22 |
However, it is saved in a Tool Preset,
and because some of these settings are
| | 01:26 |
key to adjusting and saving the
parameters that are used as part of the Mixer
| | 01:32 |
Brush, it has to be saved by a Tool Preset.
| | 01:35 |
Because a Tool Preset does in fact save
the information that is up here in the
| | 01:40 |
options bar, and for that reason it
makes sense to work with Tool Presets.
| | 01:45 |
And of course, you can always go to
the Brush Preset picker, up here in the
| | 01:50 |
upper left when you're in the Brush Tool,
to get the same information available
| | 01:54 |
to you, even without the
Brush Preset panel open.
| | 01:58 |
So I'm going to go ahead and close this
panel, and let's go to the Tool Presets,
| | 02:04 |
which are right here and I actually
like to take him out of this little side
| | 02:08 |
icon stack and place them
right up here at the top.
| | 02:12 |
And you'll see here in a moment why
that makes a big difference in the way you
| | 02:16 |
work with the Tool Presets.
| | 02:18 |
The Tool Presets are actually in the
fly-out menu of the Tool Presets panel,
| | 02:23 |
and if go down here what see we have
Airbrushes, Artists' Brushes, Dry Media,
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and Pencils, Mixer Brush.
| | 02:32 |
And you'll see from what we did in the
last video, we also have loaded up
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Airbrushes-Sorted and then the same goes
for the Artist Brushes-Sorted, a version of
| | 02:42 |
that, Dry Media-Sorted and Pencils Mixer
Brushes-Sorted, basically these offer a
| | 02:47 |
behavior-based organization of the brushes.
| | 02:50 |
In fact, I'm going to go ahead and
load that up now, and we'll go ahead and
| | 02:53 |
replace the default set.
| | 02:55 |
So here we are, we've now
got the Tool Presets in here.
| | 02:59 |
And one thing you want to make sure, if
Current Tool Only is checked, you want
| | 03:04 |
be sure to uncheck it, and one of the
reasons we do that is that if I go over
| | 03:09 |
here for example and select the
Move tool, these stay visible.
| | 03:14 |
However, if this wasn't checked, each
time you switch to a different tool,
| | 03:18 |
you're going to get an error
message like this, or some other presets
| | 03:22 |
associated with other tools.
| | 03:23 |
But by unchecking this, no matter what
tool you're in, that set of presets is
| | 03:28 |
going to remain there, and that makes
for a persistent list that you can get
| | 03:33 |
back to at any point.
| | 03:34 |
The other thing about this that's nice
is, with this visible I can easily go
| | 03:38 |
in and say, for example, get an Opaque
Flat-Fan Brush and start working, and
| | 03:43 |
I'll always be able to come over
here with this list visible and quickly
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change to other lists.
| | 03:48 |
So having the Tool Presets positioned
up here at the top of the palette stack,
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gives us a really nice way to
have these around all the time.
| | 03:57 |
Next, we can go to the Brushes panel.
| | 03:59 |
An important component of the natural-
media brushes in CS6 are the textures
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associated with them.
| | 04:06 |
For example right now we've the Artist
Brushes open and by default you're going
| | 04:11 |
to get this set of textures.
| | 04:13 |
What we want to do is change this to
the patterns that are used in association
| | 04:18 |
with the Artist Brushes. So let's open
this fly-out menu. We can see that we've
| | 04:22 |
got various texture
libraries that we can open up.
| | 04:25 |
So let's go ahead and select the Artists'
Brushes and we will replace these, and
| | 04:30 |
now we've got the canvas textures that
are associated with the Artists' Brushes.
| | 04:35 |
We've now got our brushes set up.
| | 04:37 |
We've now got texture setup. The other
items we installed have to do with action.
| | 04:42 |
So I'm going to go over to the Window
menu here, and we want to open up the
| | 04:46 |
Actions palette, and here it is;
| | 04:48 |
now it's in the icon stack.
| | 04:49 |
What we see here is the
Mixer Brush Cloning Paint Setup;
| | 04:54 |
this action, which I'll talk about in the
cloning movie, is in this set of default actions.
| | 05:00 |
However, we also installed the Cloning
Paint Extra, so if we go to fly-out menu
| | 05:05 |
of actions, we'll see right here the Mixer
Brush Cloning Paint Extras are in the list.
| | 05:10 |
So if click on this, this will add this
here. I will go ahead and open this up,
| | 05:15 |
and now we've got the
Cloning Layer Extras Installed.
| | 05:17 |
So now we've got the content set up to
be accessible to us when we go into a
| | 05:21 |
natural media painting or cloning session.
| | 05:24 |
This is the basic setup that I use
and as we go forward throughout the
| | 05:28 |
title, you'll see these various
components being used, and now you know
| | 05:32 |
where to get them.
| | 05:33 |
| | Collapse this transcript |
| Getting acquainted with brush tip types| 00:00 |
In this movie I'm going to talk about
the various tip types that are used with
| | 00:05 |
the artist brushes, this is where you
really get a lot of variation and the
| | 00:09 |
kinds of expression you're
able to create with these brushes.
| | 00:13 |
There are basically five different
shapes. You have a Point, a Blunt, an Angle, a
| | 00:19 |
Fan, and one that I'm not using, the
Curve brush. I had to be economical about how
| | 00:25 |
many brushes I chose here.
| | 00:27 |
So I chose to leave this one out, but
it's another good brush tip for making
| | 00:32 |
brushes, that's for sure.
| | 00:33 |
The ones that are included in the artist
brushes are here. You've got four types.
| | 00:40 |
You've got a round point and a round
blunt, and then you've got a flat angle and
| | 00:45 |
a flat fan.
| | 00:47 |
The angle and fan brushes are a bit
more desirable when you have the artist pen
| | 00:53 |
from Wacom that gives you all 6 degrees of motion,
because these are flat brushes, when
| | 00:58 |
you rotate them, then you're going to get a
character change in the way that the brush works.
| | 01:03 |
The point and blunt brushes aren't as
dependent on having that 6 degrees of
| | 01:10 |
movement, which is the
barrel rotation of the stylus.
| | 01:13 |
So I am going to show you a sample of each
of these so you can see the basic difference.
| | 01:18 |
I'll start with a Point brush. The way
this one is designed is, it's a rather
| | 01:22 |
long point. You can see here I'm
moving it around with my stylus, so you're
| | 01:25 |
seeing how the point looks in a 3D
space here, and then I'll start doing a
| | 01:30 |
little few strokes with it.
| | 01:33 |
You can get a very thin stroke or you can get a
very thick stroke, just based on pressure alone.
| | 01:39 |
Also if you get the brush on its edge,
you'll get a much wider element of it
| | 01:45 |
and if you press straight down, you
can actually see the brush here is kind of
| | 01:49 |
going to splay out in pressure.
| | 01:51 |
And so when I just started kind of
drawing with this and not thinking so much
| | 01:55 |
about what it looks like, you get a
very nice brushy kind of stroke, very good
| | 02:00 |
for particularly kind of calligraphic
style lines or any sort of line work
| | 02:06 |
that you want to do, this would be the brush
to deal with, that is the Round Point brush
| | 02:11 |
Next we'll look at the Blunt brush,
the Round Blunt brush has a tip that is
| | 02:17 |
basically kind of just a round
cylinder, and this one again, it's not well
| | 02:22 |
dependent on rotation because it's
symmetrical, which you see a very light
| | 02:29 |
stroke I will get the individual brush
hairs, and as I press down, I'll get it
| | 02:33 |
filled in as well as when it's on edge. You're
going to take that whole edge and paint with it.
| | 02:38 |
So again, as you start kind of
painting with it, you can see here, this is a
| | 02:43 |
little bit better brush for like
filling in areas, because it's just a larger
| | 02:46 |
surface area for the brush tip itself.
| | 02:49 |
It's another character that's a little
different from the Point brush; actually
| | 02:54 |
they are quite a bit different.
| | 02:55 |
Next, we'll look at the Angle brush, and the
Angle brush as you can see has like
| | 03:01 |
a chisel tip on it.
| | 03:03 |
It's chiseled to a degree.
| | 03:04 |
So let's use the Flat Angle brush here
and here you can see its tip, and again,
| | 03:09 |
there is that angle I am rotating on.
| | 03:11 |
Now this where angularity makes a lot
of difference, so if I draw straight up
| | 03:17 |
and down, you can see I get that kind
of tip. Whereas, if I rotate, it I can
| | 03:21 |
paint with a broader tips.
| | 03:23 |
So I can make my brush strokes wide
or narrow depending on how I orient the
| | 03:28 |
barrel relative to the tablet surface.
There is a lot of expressive change
| | 03:32 |
within the individual
brush based on barrel rotation.
| | 03:37 |
And even if I just do the tip of the
brush, you can see I can start with a small
| | 03:41 |
tip, then as I press down, I get
that whole width of the tip across.
| | 03:45 |
So a lot of differences in what you can get out
of this brush and that's the key here I think;
| | 03:51 |
that it's got a lot of expressive
character packed into one brush.
| | 03:56 |
Now the fourth one we'll look at is
the Fan brush and the Fan brush is what I
| | 04:02 |
think of as my utility brush.
| | 04:04 |
It has a wide tip, and of all of the
brushes, this one is probably the best for
| | 04:09 |
large quick areas of coverage.
| | 04:12 |
You can get a narrow aspect or a wide
aspect, so as I rotate the brush in my
| | 04:17 |
hand, you can see I can actually
change it within a stroke. But once you
| | 04:21 |
just start using it, it's a nice quick-
fill-kind-of brush, and I use it a lot,
| | 04:28 |
especially because it has that
rotation where I can get the thick and thin.
| | 04:33 |
So that covers the four brush tip
types. Next I am going to talking about
| | 04:37 |
brush behaviors.
| | 04:39 |
| | Collapse this transcript |
| Understanding brush behaviors| 00:00 |
In this video we're going to take a look at
the behaviors that are built into the brushes.
| | 00:05 |
I have a set of naming conventions I
use for that and I'm going to go through
| | 00:10 |
each one and show you the
behavior associated with it.
| | 00:13 |
So I'm starting off with Opaque, and
throughout this I'm going to be using the
| | 00:17 |
Flat Fan version of these of various behaviors.
| | 00:20 |
So to start off, Opaque does as
advertised, it wants to paint opaquely over any
| | 00:28 |
color that it finds, and so you know
even adding new color, you're always going
| | 00:32 |
to be painting opaquely
over that underline color.
| | 00:37 |
Opaque Dry also paints opaquely, but
as you can see, it runs out of paint.
| | 00:44 |
So its reservoir is limited and as a
result you'll get these shorter strokes
| | 00:49 |
where you see a tail off that you can
adjust how long that is, but all of the
| | 00:54 |
Opaque Dry brushes in here are
going to have this very short tail.
| | 00:59 |
So it's not going to
produce an overly long stroke.
| | 01:04 |
Next up is Smeary, and Smeary also
applies color, but what it does is,
| | 01:09 |
especially at lower pressures,
it'll tend to pick up some of the color
| | 01:14 |
underneath of it, so you'll get this
effect, a very light pressure, it's almost
| | 01:19 |
entirely a color moving tool, but as
you press down, you'll add more of the
| | 01:28 |
current color with it.
| | 01:29 |
So you start to get an add mixture of
whatever your color is, but you're also
| | 01:33 |
going to get some contamination from
the underlying color that it finds in
| | 01:40 |
this, within the stroke.
| | 01:42 |
Smeary Dirty also will smear.
| | 01:46 |
The difference here is wherever it stops;
| | 01:49 |
the next stroke you paint will have
some of that underlying color in it.
| | 01:55 |
So as a result, it gets contaminated.
| | 01:57 |
Now I've touched a white, so
it'll have some white.
| | 02:01 |
So each stroke is going to be unique
in its color, because each ending of a
| | 02:07 |
stroke picks up that color in that local
spot and applies it to the next stroke.
| | 02:13 |
So you are still painting with a color
that it gets fairly contaminated and you
| | 02:19 |
can see the result is very
different than just a Smeary.
| | 02:21 |
This one does get dirty and tends to
lose saturation and move toward gray.
| | 02:27 |
Finally, we have the Blender, and
the Blender doesn't apply any color.
| | 02:31 |
All it does is blend, so anything it
finds underneath of it, it will start to
| | 02:37 |
blend those colors together so you can
actually use this to get a nice subtle
| | 02:42 |
hand-generated gradient between colors,
based on how you tend to use the brush to
| | 02:49 |
separate those colors out into a more
of a gradient, like I am doing here.
| | 02:54 |
So these are the five basic behaviors
and they provide a really wide range of
| | 02:59 |
different expressive types of marks.
| | 03:02 |
In the next video, I'm going to take a
look at a major addition to all of this,
| | 03:06 |
and that is the use of texture to add
yet another dimension to the quality of
| | 03:11 |
the applied strokes.
| | 03:13 |
| | Collapse this transcript |
| Adding texture to brushstrokes: part one| 00:00 |
In this segment I'm going to
begin to talk about Texture.
| | 00:04 |
Texture is a very
important element within painting.
| | 00:08 |
You can think of it as a vocabulary
element that is part of the language of
| | 00:13 |
painting, and I want to start it off by
taking a look at an actual oil painting.
| | 00:19 |
This is a contemporary oil
painting done by the artist Kathryn Stats.
| | 00:25 |
If we take a close-up look at
Kathryn's work here, you can see that she's not
| | 00:31 |
simply painting in solid
colors with her paintbrush.
| | 00:36 |
She using what's known as a dry brush
technique and you can see it primarily in
| | 00:41 |
these areas right here.
| | 00:42 |
Here is a good example where we've got
some contrast and what she's doing is
| | 00:47 |
using a dry brush, not putting an overly
large amount of paint on her brush, and
| | 00:54 |
she applies it very lightly to
the canvas on already dried paint.
| | 01:00 |
And what happens is the brush creeps
along the tops of that canvas texture and
| | 01:08 |
doesn't go all the way down into the grain.
| | 01:11 |
And what you get are these optical
mixtures that happen throughout the image and
| | 01:17 |
what it does is it, it creates a couple things.
| | 01:19 |
One thing it does is it adds a tactile
quality to the image; it gives the viewer
| | 01:25 |
a sensation that can almost reach out
and feel that texture and in a digital
| | 01:30 |
painting there is no texture.
| | 01:32 |
So being able to add a simulation of
texture in a digital painting gives it
| | 01:37 |
a bit more of a physical quality, and besides
all that it, it does add visual interest as well.
| | 01:44 |
It's just the eye has more to look
at by interposing colors on top of one
| | 01:49 |
another, you start to create these mixtures
that are interesting and pleasing to the eye.
| | 01:54 |
The effect is a quite nice.
| | 01:55 |
Part of the Artists' Brushes are the
Artists' Brushes Textures and the reason I
| | 02:01 |
think so much about these textures is
they simulate a variety of traditional
| | 02:07 |
artists' canvas textures.
| | 02:09 |
You can see that there is a lot
of variety within a canvas texture;
| | 02:13 |
I've organized them so that they go
from a very coarse large grain texture down
| | 02:18 |
to a fine grain texture.
| | 02:20 |
So that gives a choice of what kind of
quality you want to have within your brushstrokes.
| | 02:27 |
As I mentioned in the earlier segment,
once you've decided on one of these
| | 02:31 |
textures for an image, you basically
don't want to be changing it around, you
| | 02:36 |
are going to stick with a texture
that is the same throughout an image, so
| | 02:41 |
that you end up with a consistency that
helps to hold all of that brush work together.
| | 02:46 |
I'm going to go to the Bush panel,
select a Brush here, so we activate it, and
| | 02:51 |
go to the Texture menu.
| | 02:53 |
And if we open this up, you'll see
that I actually have the Artists' Brushes
| | 02:58 |
Textures in here, and I'm just going
to go through here and paint with them
| | 03:02 |
quickly, so you can see the
effect of each one of them.
| | 03:05 |
So let's start with the Italian Canvas
here, and you'll see that it's a very
| | 03:10 |
aggressive texture and I've already
got my brush set up, so I get a nice range
| | 03:14 |
here of texture variation based on pressure.
| | 03:18 |
This is Raw Linen, and again,
just a different kind of element.
| | 03:24 |
This is Jute, which is another form of canvas
material, and we have #10 Extra Heavy; this
| | 03:31 |
tends to be my favorite, I use this one a lot.
| | 03:33 |
It says Yankee canvas, you can see
we're getting down to finer grains now, and
| | 03:38 |
finally, we have Primed Linen.
| | 03:40 |
So you'll find within the Artists'
Canvas Textures there is a wide variety of
| | 03:46 |
possibility within them.
| | 03:47 |
Remember that you can use Scale to
adjust each of these textures, so here we are
| | 03:52 |
with this very fine texture, but if I
turn it up, I'm going to get a different
| | 03:57 |
appearance based on just the scale alone.
| | 03:59 |
So Scale is yet another way to
get even more out of these textures.
| | 04:03 |
You are not stuck with a single scale;
| | 04:07 |
however, you don't want to change scale
after you've set it up for your painting.
| | 04:11 |
That's the key reason why I use the
Texture lock, so that all my brushes share
| | 04:15 |
the exact same texture settings
throughout a painting session.
| | 04:19 |
| | Collapse this transcript |
| Adding texture to brushstrokes: part two| 00:00 |
In this video we'll take a
look at texture in brushstrokes.
| | 00:04 |
Texture is a fundamental means of
altering the look of brushstrokes and
| | 00:11 |
ultimately of a painting.
| | 00:12 |
The inclusion of a texture can imply a
canvas surface for example and that's
| | 00:19 |
something that is part of the normal
vocabulary we associate with painting.
| | 00:23 |
So if we can somehow imbue an image
with the character of canvas within
| | 00:30 |
the brushstroke, then it's possible to
heighten the realism of the finished painting.
| | 00:35 |
As an example, I'm just going to paint
a bit with a brush that's using texture,
| | 00:39 |
so you can see how much it adds.
| | 00:42 |
And one of the fundamental things about
it is I can, by very lightly pressing
| | 00:48 |
just yet the very top of a grain, in
this case a canvas, and as I press down
| | 00:54 |
more and more, what I essentially can do
here is fake the look of a gradient of tonality.
| | 01:02 |
So based on how hard I press or how
light, I can get a lot of variation, just
| | 01:08 |
within a single color.
| | 01:10 |
And as you start to add colors on top
of colors. For example, let's say I want
| | 01:15 |
to do a little bit of a shading here. By
applying very lightly here, I can start
| | 01:20 |
to optically mix colors together.
| | 01:22 |
So once you start to build up an image
based on how hard or lightly you press,
| | 01:28 |
You can start to get a lot of
complexity in your color. The fact that not only
| | 01:34 |
are these different colors, but there's
visual mixtures happening within those
| | 01:39 |
colors, start to give a more interest
to the eye, as something to look at.
| | 01:45 |
So you do want to when possible utilize
texture as an additional ingredient for
| | 01:51 |
adding complexity to painted strokes,
and I won't go finish this in great
| | 01:58 |
detail, but you can see how just by
changing colors and adding strokes over
| | 02:03 |
strokes and letting some of the
texture show through, you get a nice result.
| | 02:08 |
To talk about texture, we really
need to open up the Brush panel, so I'm
| | 02:11 |
going to open this up.
| | 02:13 |
One of the things I want to show you
is that when you save a brush or a tool
| | 02:17 |
preset with texture enabled, it
actually embeds the texture in that preset.
| | 02:24 |
I didn't know this for the longest
time, and in fact, if we look at some of
| | 02:28 |
these brushes, you'll see as I go
through that angle brushes, for example, they
| | 02:31 |
don't have texture enabled.
| | 02:33 |
If I go down to fan, however,
you'll see that texture is enabled.
| | 02:37 |
So there is some variation in these
presets that is unintentional basically, but
| | 02:44 |
we can use it as a lesson for
understanding how texture is employed,
| | 02:49 |
particularly in relationship to tool presets.
| | 02:52 |
One of the things that I recommend
immediately doing when you start working with
| | 02:57 |
texture and brushes is to lock the
texture; turn on that texture lock.
| | 03:03 |
If that's not on, what will happen is
--now I'll just do a sample over here--
| | 03:07 |
I will start to paint with a brush,
but as I go from one brush to another, I
| | 03:11 |
will have texture or not have texture.
| | 03:14 |
Even within the fan brushes, there's a
different texture in one of those brushes
| | 03:19 |
and when you're painting with texture,
one of the things you want to do is have
| | 03:24 |
the texture remain constant, because
texture doesn't change on a traditional
| | 03:28 |
canvas; it's always going to be the same.
| | 03:30 |
By enabling the texture lock, what that
means is, no matter which brush I select
| | 03:35 |
now, it's going to utilize texture.
| | 03:39 |
And in the next video I'm going to show
you how we begin to start to control all
| | 03:44 |
of these various textural elements,
going from one brush to the next.
| | 03:49 |
| | Collapse this transcript |
| Adding texture to brushstrokes: part three| 00:00 |
In this movie I'm going to continue
talking about texture and specifically I'm
| | 00:05 |
going to talk about dialing in texture,
so that you have a consistent response
| | 00:11 |
with all of your brushes.
| | 00:13 |
I mentioned this in an earlier video,
but many of the brushes do not have
| | 00:18 |
texture embedded in them and some of
them do, and what I want to show you is
| | 00:23 |
how even in this condition, you can set
all of the brushes up to have the same
| | 00:28 |
texture and same response
of the texture settings.
| | 00:32 |
I am going to go in and open up the
Brush panel, and I want to mention too that
| | 00:37 |
I have the little brush mini icon
set up on my palette here, so that I can
| | 00:43 |
quickly get to brush controls.
| | 00:45 |
It's probably the quickest way to do it
and I recommend it that each person has
| | 00:49 |
their own working style.
| | 00:50 |
So you may not want to do this, but I
find it very useful to have it right at
| | 00:54 |
hand in the icon stack.
| | 00:56 |
I am going to go to Texture, and this
is really where you're going to get a lot
| | 01:01 |
of things happening, and I just want to
show you that as I go through a few of
| | 01:05 |
these presets; if we watch right here,
you'll see that texture is pretty much
| | 01:11 |
not enabled and if we get to the fan
brushes, however, you'll see that they are,
| | 01:17 |
and so in order to get started here
and to get the most out of the Artists'
| | 01:21 |
Brushes, we want to dial in texture so
that all brushes will respond the same.
| | 01:27 |
And so what I would ask you to do,
if you are going to follow through this
| | 01:31 |
exercise is in the Artist Brushes tool
presets, select the flat Opaque brush
| | 01:37 |
and this will open up a brush that has
an embedded canvas texture in it, and
| | 01:42 |
some default settings.
| | 01:43 |
The first thing we want to do here is
to enable the texture lock right here.
| | 01:50 |
So what this will do is have any tool
preset that it has selected, will respect
| | 01:55 |
the same settings, rather than each
brush having its own separate settings and
| | 01:59 |
that's typically what
you're going to want to do.
| | 02:02 |
I am going to paint with just a little
sample of this, so you can see what's happening.
| | 02:06 |
This is the default setting and you
don't get to a really light pressure in
| | 02:12 |
this default setting.
| | 02:13 |
So we are going to go through and I am
going to show you how you can now adjust
| | 02:18 |
this exactly the way you want it.
| | 02:19 |
The first place we are going to go is
to the Depth and Minimum Depth sliders.
| | 02:23 |
This slider--and if you watch down
below, you'll see as you turn this up, it
| | 02:27 |
enables more and more of the
brush color to go into the texture.
| | 02:33 |
Texture is almost like a little 3D
mountain range, and at the lightest depth,
| | 02:39 |
you can see here we are only skipping
along the tops of these little
| | 02:44 |
mountaintops and we're not
penetrating down into the valleys.
| | 02:47 |
As we turn this up, however, we start
to be able to go in farther and farther
| | 02:51 |
until we fully penetrate from the
mountain top all the way into the little mini
| | 02:55 |
valleys that make up texture.
| | 02:57 |
I am going to adjust this to where I
get it fairly low and I'm trying my
| | 03:02 |
pressure out, so I can see what I want
to get for myself and you may want too as
| | 03:06 |
well, is that at full pressure--and I
am pressing all the way down now. I am
| | 03:11 |
not getting all the way down in.
| | 03:13 |
So I want to turn this up a bit more
and you can use this as somewhat of a
| | 03:17 |
guide, although the best way
to do it is just try it out.
| | 03:21 |
Okay, there, now I'm getting a fully
Opaque brush and at the lightest stroke, I
| | 03:25 |
don't quite get as light as I want.
| | 03:27 |
That's where the Minimum Depth slider comes in.
| | 03:29 |
This lets us adjust the brush so that
it will not go all the way down into the
| | 03:34 |
bottom of the valleys.
| | 03:35 |
So I am going to turn this up and you
can see how it's affecting how this
| | 03:39 |
looks in the preview.
| | 03:42 |
Now my very lightest pressure I get
very light and at full pressure I get
| | 03:46 |
all the way filling up.
| | 03:48 |
Now I am going to clear off here and
just draw a few strokes here, but you can
| | 03:53 |
see how I can now get a lot more variation.
| | 03:55 |
And one of the things you want to try
to do is have the ability to get into a
| | 04:00 |
full contrast range based on the amount of
dots that are getting covered in the pattern.
| | 04:09 |
So you can see I can pretty much
synthesize a contrast range and that's what
| | 04:14 |
you ideally want to do.
| | 04:15 |
The other thing you might want to do is
check if you're using the Wacom tablet.
| | 04:21 |
You can also use the Tip Feel to
adjust ultimately how this pressure feels.
| | 04:26 |
If you're feeling that even at the
lightest pressure you can't get these very
| | 04:32 |
light strokes that just touch the tops
of the grain, you may want to try turning
| | 04:36 |
this up and then adjusting it down
until you find the sweet spot that works for
| | 04:41 |
you, or you might want to go the other way.
| | 04:43 |
Everybody has different sense of hand
pressure and this Tip Feel setting in the
| | 04:49 |
Wacom tablet driver is a great way to
make a refinement to how pressure feels
| | 04:55 |
out with your particular
tablet and brush settings.
| | 04:59 |
So now I've got this setup
pretty much the way I want.
| | 05:02 |
The next thing I want to show you that
you can do to further refine this is you
| | 05:06 |
can use the Brightness and Contrast slider.
| | 05:10 |
If you will look at the sample stroke
at the bottom of the Brush panel, you can
| | 05:15 |
see how this changes the behavior, so
that the more brightness is turned up,
| | 05:21 |
you are going to adjust the dynamic scale of the
pattern and it's going to have an effect on it.
| | 05:27 |
Every pattern that you may use for a
texture is going to have a slightly
| | 05:32 |
different contrast range in it.
| | 05:34 |
So you may find that you need to use
things like brightness and contrast to get
| | 05:40 |
it to a look that you want
when you make your actual strokes.
| | 05:44 |
You can see now the way I have set
it here a little bit; I tend to get a
| | 05:48 |
little bit more of the brush hairs in
the individual strokes, I really like
| | 05:52 |
the way that that works.
| | 05:53 |
Finally, you also want to take
advantage of the Scale slider and by default I
| | 05:57 |
had it set at 50% when I saved this
preset, but if you're working say on a
| | 06:01 |
higher resolution image, you
may want to turn this scale up.
| | 06:04 |
Now it's going to look very coarse
onscreen here. If I was working at a very
| | 06:08 |
high resolution, these would
appear much smaller in the final image.
| | 06:12 |
So scale is another area that you can
adjust how the appearance of the paper
| | 06:19 |
grain is going to work within your strokes.
| | 06:22 |
And I'm happy to say too that in CS6,
scale has been set so that at any scale
| | 06:28 |
setting you will not incur a slowdown.
| | 06:31 |
It was the case before CS6 that anything
other than 100% caused a bunch of extra
| | 06:37 |
computational overhead and brushes
would lag a little bit because of that, but
| | 06:42 |
in CS6 now any scale setting will not
affect performance of the brush at all.
| | 06:48 |
So this is how you dial in your texture
and once you've done this and assuming
| | 06:53 |
you keep the texture lock on, I can
now go to any other brush and even say a
| | 06:58 |
Smeary brush, for example, and it's the
amount of texture that shows up in here
| | 07:02 |
is going to be different based on
the behavior of the brush, which Smeary
| | 07:05 |
definitely is. But there is some
texture showing up in the strokes and it's
| | 07:10 |
identical to the other brush, and so
every time you go to a different preset
| | 07:16 |
with the texture lock enabled, they
will all share the identical texture
| | 07:20 |
settings that you've got here,
and that is ideally what you want.
| | 07:24 |
| | Collapse this transcript |
| Loading a brush with colors| 00:00 | Brush loading is a traditional technique
where the artist will mix colors on the
| | 00:05 | palette, and while these colors are
obviously wet, they will then take a brush
| | 00:11 | that is clean and load up the brush
so that multiple colors from the palette
| | 00:16 | are on the tip of the brush itself.
| | 00:19 | When they paint, they then transfer
these multiple colors across to the canvas.
| | 00:25 | And what you end up with our brush
strokes that are visually interesting, they
| | 00:28 | have an additional complexity to them
because of the various colors within them.
| | 00:34 | And it adds an overall complexity to the
final image that attracts the viewer's eye.
| | 00:40 | You can see in the sample that I have
onscreen here, I've got some multiple
| | 00:45 | colors going on within the
brushstrokes I am using.
| | 00:48 | And what I am going to show you is how
you can do this multiple pickup technique.
| | 00:54 | Let's get started and I'm
going to clean off the screen here.
| | 00:57 | I want to show you how this happens and
basically I take advantage of texture in
| | 01:04 | the brushes to accomplish this.
| | 01:06 | One of the things I'm going to start
off talking about is we're going to be
| | 01:10 | using the Depth slider to control how much
of the brush actually paints on the screen.
| | 01:17 | The lower the depth, as you can see here,
the less coverage we are going to get,
| | 01:22 | and what is going to affect it
is whatever the current texture is.
| | 01:25 | And right now I currently have the #
10 Extra Heavy canvas texture enabled.
| | 01:32 | And I have also got it set to about
50%, if you're going to follow along.
| | 01:36 | By adjusting this Depth slider, you
will see as I turn it up, I get a more and
| | 01:41 | more solid brushstroke.
| | 01:42 | So I am going to start with that and
I'm just going to lay down some colors and
| | 01:46 | this would be equivalent to if
you're going to be painting an image from
| | 01:50 | scratch; often times you will take a
series of colors that you are going to be
| | 01:56 | working with and mix them on your palette.
| | 01:58 | So for all intents and purposes this
area off to the left is my color palette,
| | 02:04 | and I'm essentially mixing ink colors on here.
| | 02:07 | I'm going through here and just more or
less randomly at this point selecting a
| | 02:12 | set of colors so you can
see how these will play out.
| | 02:15 | Now I've got my main key colors I am
going to want to paint with, but I want to
| | 02:21 | add some additional flavoring to them.
| | 02:23 | So this is what I call season to taste
and what I am going to do is add some
| | 02:28 | additional color over this.
| | 02:29 | But I want to do it in such a fashion
that I don't completely cover up the
| | 02:32 | existing colors I have already laid down.
| | 02:35 | So I am going to turn down my depth so
that I don't completely cover. You can
| | 02:39 | see now even with my maximum pressure
I'm not completely covering the canvas.
| | 02:46 | With that in place now I can go in
here and grab some colors and just lightly
| | 02:50 | stroke over what I've already done here.
| | 02:52 | What I'm doing essentially is adding
a secondary color to these base colors
| | 02:59 | that we've applied.
| | 03:00 | I am doing this rather randomly in this
particular instance, but you can be very
| | 03:05 | particular about how you do this.
| | 03:08 | And I want to just create several
variations of two or three color combinations
| | 03:15 | within the base color that
I have already laid down.
| | 03:18 | Now that that's laid down I can go
ahead and take advantage of these color
| | 03:23 | combinations and the way that's done
is when you're using the mixer brush, by
| | 03:28 | default it's going to pick up multiple
colors when you hold down the Option or Alt key.
| | 03:34 | Other brushes in Photoshop will pick up
a single color with the Eyedropper tool,
| | 03:41 | but the Mixer brush has its
own capability for color pickup.
| | 03:45 | If for some reason this isn't working
for you, you want to open up a little
| | 03:49 | fly-out menu here next to the color
preview and make sure that Load Solid Colors
| | 03:54 | Only is not checked, if that's checked,
it is going to act like a normal brush
| | 03:59 | in Photoshop, you won't get the same effect.
| | 04:02 | But with that turned off, I can now
press the Option or Alt key and you'll see
| | 04:06 | what happens is you get this
little crosshair type cursor.
| | 04:10 | And if I go in here and pick up an area
like right here and paint with it now,
| | 04:14 | one thing you want to make sure you do
is you want readjust your depth at this
| | 04:18 | point, so your coverage is much higher.
| | 04:21 | But now you can see as I go in and
start to paint with these, what's happening
| | 04:26 | is those color combinations are
starting to appear within the brushstroke.
| | 04:32 | So I start to get a more complexity
within my strokes and I can be very
| | 04:37 | particular about what colors I'm
laying on the brush based on how I apply my
| | 04:44 | base colors and then how I go back
and apply these secondary light pressure
| | 04:49 | strokes that are only partially
covering up the underlying paint and is using
| | 04:55 | the texture of the canvas to create
these little dot patterns that give me a
| | 05:01 | multiple color pickup.
| | 05:03 | One thing you can do, sometimes
you'll get kind of an alias effect in these.
| | 05:07 | I found that if I go in and take this
area and apply a blur to it, I can adjust
| | 05:15 | the sharpness of this, obviously if you
go too much, you are going to lose all
| | 05:19 | of your work, but I want to put it maybe a
little under 1 pixel radius and apply that.
| | 05:26 | Now if go back to my Mixer brush, I
will get a slightly different result in
| | 05:31 | these, because they're not going to be
as sharp of a little dot pattern anymore,
| | 05:36 | they have been softened up a bit.
| | 05:38 | And so that's one way you can kind of
play around with the quality of how these
| | 05:43 | colors across the brush are going
to look, based on how sharp they are.
| | 05:49 | So if you want to defocus them
with blurriness, you can do that.
| | 05:53 | Once I take the time to create one
of these mixture palettes where I have
| | 05:58 | multiple colors I can pick up, I can
save them and then reuse the. In fact,
| | 06:03 | I've got one here that I can paste in right now.
| | 06:05 | But now I've got a set of colors that
I've used before and I can pick them up
| | 06:10 | and use them in another painting.
| | 06:12 | Being able to not only mix colors so
that you can pick up multiple colors across
| | 06:18 | your brush, but then save these palettes
gives you a way to have a set of loaded
| | 06:23 | brush colors that you can return to
again and again, since you can save these.
| | 06:28 | And this just gives you a really
nice way to, as I said at the outset;
| | 06:33 | add additional interest in
complexity to your brushstrokes.
| | 06:38 | You don't necessarily want to do
this all the time, but it is a really
| | 06:41 | nice technique for just adding additional
traditional techniques to your digital painting.
| | 06:48 | One thing I've done is I pick up colors
so much this way that rather than use
| | 06:54 | the Option or Alt key itself, I've actually
assigned it to the front button on my Wacom pen.
| | 07:00 | So when you see me doing this, I'm
actually just pressing that front button on
| | 07:04 | the Wacom pen and picking color up.
| | 07:07 | It seems natural to me that the pen
button very close to the tip of the brush is
| | 07:14 | assigned this function of being able to
pick up colors and modulate what's going
| | 07:19 | on with respect to your brushstrokes,
| | 07:21 | which just works out really well.
| | 07:23 | The other thing I'll mention is,
because you would might be asking, well, what
| | 07:26 | do you use the Rear button for?
| | 07:28 | What I've done is I've assigned the numbers 0
to the back button, and why would I do that?
| | 07:33 | Well, when I click it once, if we look
up here at the Wet value, when I click it
| | 07:39 | once, it changes it to a 100%,
which means now it's 100% wet.
| | 07:43 | So now I've just changed this to a Smeary brush.
| | 07:47 | And if I click twice on that Rear button--one,
two--it goes back to being an Opaque brush.
| | 07:54 | So I've used the functionality of the
Wacom barrel buttons on the stylus to be
| | 08:00 | able to quickly pick up multiple colors,
as well as quickly switch between a
| | 08:08 | Opaque brush and a Smeary brush, and
just a quick double-click on the rear
| | 08:13 | will alternate me between that sharp
Opaque brush, or in this case, a soft
| | 08:19 | Smeary brush.
| | 08:21 |
| | Collapse this transcript |
| Managing tool presets| 00:00 |
In this segment I'm going
to talk about tool presets.
| | 00:03 |
In the world of brushes that I've
created, they are all saved as presets in
| | 00:08 |
order to preserve a bunch of
settings beyond the typical brush preset.
| | 00:13 |
Also included in a tool preset are the
settings that you find up here when the
| | 00:19 |
Mixer brush based as the tool presets are.
| | 00:22 |
So I do need to use them as a tool
preset and it also gives me a way to have a
| | 00:27 |
list of preferred brushes available to me.
| | 00:30 |
Now I've been using this setup for a while.
| | 00:34 |
When I initially created the tool
presets, I utilized basically what the
| | 00:39 |
different names for the tips were;
| | 00:41 |
that was my primary way to
provide a naming convention.
| | 00:45 |
So if you look here, you'll see I have
got several Angle brushes and we've got
| | 00:49 |
Blunt brushes, Fan brushes, and Point
brushes, and I didn't use all of them,
| | 00:54 |
but I chose ones that have the most
utility, as well as a combination of
| | 00:59 |
brushes that will work well. If you do
have a Wacom artist pen in which barrel
| | 01:03 |
rotation is enabled,
| | 01:05 |
particularly with brushes that are flat,
you can rotate that barrel and get a
| | 01:09 |
different shape angle of your brush tip
through that, and then for people with
| | 01:15 |
the normal grip pen you can use the
round brushes which are symmetrical so they
| | 01:20 |
don't really show any
angularity based on barrel rotation.
| | 01:24 |
So that's this truncated list, and
initially it worked well, but I found over
| | 01:29 |
time that I was spending far less time
concerned about the brush tip, and I was
| | 01:35 |
much more concerned about the behavior.
| | 01:37 |
So the element of the description here, like
is it a Blender, is it Opaque, is it Smeary?
| | 01:43 |
Those became the key element that I was
looking for, and then if you look over
| | 01:48 |
to the right now, you'll see that list.
It's kind of hard if I want to find
| | 01:52 |
the Fan, Flat, Opaque, well, I kind of
know where it is, but it doesn't just pop out.
| | 01:57 |
And so, because of that I realized over
time a different way to organize these
| | 02:01 |
might be based on behavior, rather than
tip, and so I arrived at this setting.
| | 02:08 |
It just made sense for me to go kind
of from an Opaque brush down through
| | 02:12 |
brushes to get more and more transparent,
to where they don't apply any color,
| | 02:16 |
and finally to a special
category of brush, Cloner.
| | 02:19 |
So this is a refinement and I find it
personally to be a better organization.
| | 02:24 |
This is just one way to organize them.
| | 02:26 |
You can organize brushes as well.
| | 02:29 |
If I want to play with the order of
these brushes, the best thing to do is to go
| | 02:33 |
into the Preset Manager, and here are
these brushes, and in here I can click and
| | 02:39 |
drag these and put them in any order I want.
| | 02:43 |
You can see that that's happening in here.
| | 02:45 |
So, this gives you a way to reorganize
the brushes in whatever way you want.
| | 02:50 |
You can also double-click
on these and rename them.
| | 02:53 |
That's what I went through in order to
switch from the original brushes that
| | 02:58 |
started out with the Tip shape and
created a new list by reorganizing these and
| | 03:03 |
renaming them as a behavior ordered list.
| | 03:07 |
Anyway you want to reorder these you can do.
| | 03:10 |
The other thing that's important to
notice you don't have to have all of
| | 03:15 |
these brushes in here.
| | 03:16 |
If for example, you only use the Opaque
brushes, or you only want an Opaque set,
| | 03:21 |
by all means, once again, you can go
into the Preset Manager here and just say
| | 03:26 |
anything that's not Opaque, I'll click
there. I am going to hold down the Shift
| | 03:30 |
key and that lets me select all of
these, and then I can go ahead and delete
| | 03:35 |
them, so that now I only
have my Opaque set of brushes.
| | 03:38 |
You can also pull down the list to have only
the particular brushes that you want to use.
| | 03:45 |
Another little technique I am going to
show you that you can use and you can see
| | 03:50 |
it already in place here, you can make
this list even a little bit smaller if
| | 03:54 |
you go into the fly-out menu for the Tool
Preset list and say you want Text Only,
| | 03:58 |
and that removes the little icon for the
Mixer brush in this case and even makes
| | 04:04 |
these entries a bit smaller.
| | 04:06 |
Now let's go back to my sorted list here
and now you can see how much space I've
| | 04:12 |
just saved by not having those
icons in the beginning of the list.
| | 04:16 |
So I can even make this take up less space.
| | 04:19 |
You are probably going to find that
you're not going to necessarily want all of
| | 04:22 |
these presets out all the time, but
using the Preset Manager to rename, re-sort,
| | 04:29 |
and part brushes out into different
smaller sets of tool presets, you can easily
| | 04:35 |
get to a number of brushes that you like,
and not necessarily have this big list
| | 04:40 |
where it can get a little daunting.
Just quickly go over, find the brush you
| | 04:44 |
want, and go back in.
| | 04:45 |
So I hope that some of these examples
here show you how to get a little bit more
| | 04:50 |
out of your brushes workflow-wise and
being able to select them, in this case,
| | 04:54 |
by behavior, rather than by their Tip type.
| | 04:59 |
| | Collapse this transcript |
| Introducing the new airbrush: part one| 00:00 |
In this video I'm going to
introduce you to the new airbrushes.
| | 00:04 |
These take advantage of the new airbrush
tip type and its design to simulate the
| | 00:09 |
atomization of dye or
paint into very fine droplets.
| | 00:14 |
It gives a different kind of airbrush
than you're used to, with the normal
| | 00:17 |
Photoshop brush that's
been in Photoshop forever.
| | 00:21 |
I have a set of tool presets and
you'll find them in the Tool Presets panel's
| | 00:25 |
fly-out menu, and if you go down you'll
see airbrushes; those are the brushes.
| | 00:30 |
I am also going to include as I did
earlier with the Artists' brushes, a sorted
| | 00:35 |
version of this list.
| | 00:36 |
Rather than be sorted by tip type,
which I've found over time is a little
| | 00:41 |
difficult to quickly get to a behavior
you want, by organizing them by behavior
| | 00:46 |
you get what I feel is a
better way to get to the brushes.
| | 00:49 |
They start out as Opaque brushes,
which lay down color, then next it goes to
| | 00:54 |
Blenders, which do not lay down color; it
only moves color it finds underneath of
| | 00:59 |
it, and finally you get to the Cloner
category, which I'll be going into more
| | 01:03 |
depth later on in some movies
about cloning and the Cloner brushes.
| | 01:08 |
We'll start off with the Opaque brush,
and you see it starts out as a smooth
| | 01:13 |
version, then it will go to a grainy,
after that. We'll work through this.
| | 01:16 |
But if you try this out, this is
what you're going to see at first.
| | 01:20 |
It's a good way to see how changing
your angle of your brush--if you watch the
| | 01:25 |
flotilla up in the upper left--you can
see how my changing angles gives a lot of
| | 01:31 |
variation to the way that this brush looks.
| | 01:34 |
However, when I did these, we were
still working with a version of Photoshop
| | 01:38 |
where performance had not really
been screwed down tight yet.
| | 01:42 |
It's unfortunate that it's so opaque
here, although it does let you see how the
| | 01:46 |
brushes look in terms of movement of the stylus.
| | 01:50 |
I find that this is really a much
better brush somewhere down under 10%--
| | 01:54 |
probably more like 5% or so--I am not going
to be perfect about it here, but just roughly.
| | 01:59 |
And you can see this gives you a brush
that is much more subtle in its ability.
| | 02:04 |
Now maybe that's a bit light, so I'll turn
it up a bit closer to 10% and there we go.
| | 02:09 |
And you can also see this is
not a massively fast brush either.
| | 02:13 |
But I find that's actually kind of good,
because you are going to be using this
| | 02:18 |
primarily for subtle work and a lot of
times you want things to happen rather
| | 02:23 |
slowly rather than quickly.
| | 02:25 |
So I don't mind the fact that this
does somewhat act slow, especially
| | 02:29 |
high resolutions, because we are
working twice the screen resolution,
| | 02:32 |
I've been spraying at here.
| | 02:34 |
While that's a little slow at full size,
you can always reduce the brush size
| | 02:39 |
and get a better performance.
| | 02:41 |
Also, people with multi-core systems
that have more computing power than my
| | 02:46 |
laptop does here, may find that
they can get their brushes faster.
| | 02:50 |
Next we'll look at the grainy airbrush.
| | 02:52 |
What this does is it applies small
speckles as part of the airbrush pattern;
| | 03:00 |
let's make this larger so you can see this.
| | 03:02 |
You can see there are individual
speckles, and if we enlarge it to 100%, you'll
| | 03:07 |
see that the speckles apply and there's
actually some size variation in these.
| | 03:12 |
In the next video I am going to get in
to all the controls for these, but for
| | 03:16 |
this video I just want to introduce
you to what they look like; grab a dark
| | 03:20 |
color here, so you can see it in contrast.
| | 03:23 |
Now next let's go up to the
Low Density Smooth airbrush.
| | 03:26 |
So this is going to intentionally work
at a very low amount of flow and you can
| | 03:31 |
see just like I showed you in the
default Smooth airbrush which was turned all
| | 03:34 |
the way up, this is set down to 5%,
which is a much more subtle starting point.
| | 03:39 |
You can always turn it up if you want and
adjust this so that you get darker stroke.
| | 03:44 |
But that's all up to you.
| | 03:45 |
It's just basically flow is where you
control it and you have it available to
| | 03:49 |
you up here in the Mixer brush
controls, which this is based on.
| | 03:53 |
Next let's go to the Grainy Low
Pressure airbrush, and you can see this brush is
| | 03:57 |
designed to intentionally do a small
amount of speckle as it's applying.
| | 04:03 |
So you can build it up with repeated
passes, and the nice thing about this is
| | 04:07 |
you start to get some really
interesting random noise patterns working with
| | 04:12 |
these based on the overlapping and
aggregation of these random elements as they build up.
| | 04:18 |
Next there is the Variable Grainy airbrush.
| | 04:20 |
This has different sizes associated with it,
and I am going to go back out to 50% view.
| | 04:27 |
Here you can see that this
intentionally has a much more dirty approach to it.
| | 04:33 |
As I tilt this in various directions, you
are going to get almost like a flashlight.
| | 04:37 |
As I point this, it's going to project
in a direction that I'm pointing this at.
| | 04:43 |
Next we get into the blenders, the Smooth
airbrush, and let's zoom back up to see this.
| | 04:49 |
This does a very nice blending;
| | 04:51 |
you can see how it pulls
whatever it finds underneath of it.
| | 04:54 |
You get a very nice kind of scrubby
blending that is difficult to get any other
| | 04:58 |
way, so that was kind of a nice
serendipitous side effect of using this not to
| | 05:04 |
apply color, but to mix it.
| | 05:06 |
Then we get into the Grainy
airbrush and this even is a little bit more
| | 05:11 |
interesting because it now has some
variation in the speckle that it's applying
| | 05:16 |
and using to move any
underlying color that it finds.
| | 05:19 |
So you get some interesting noise
within these blends that you produce.
| | 05:24 |
And we get into the Blender Low Density
airbrush, and this is just a very light pressure.
| | 05:30 |
You can see I can over time use
it as a kind of blender, but it's
| | 05:35 |
intentionally very, very smooth.
| | 05:37 |
One side effect of this airbrush, and I
am going to temporarily go back to the
| | 05:41 |
Smooth Opaque airbrush is--let's also
make this a bit larger to see this--is
| | 05:48 |
when you exert very light pressure;
| | 05:50 |
that's when you are laying down color.
| | 05:53 |
As you increase pressure, the airbrush
is always going to get smaller, as if,
| | 05:59 |
as in a real airbrush, as you move closer
and closer to the surface, you're spraying;
| | 06:03 |
you're going to get a
smaller and smaller result in area.
| | 06:09 |
I find this to be a bit awkward and it
takes a while to use this and not want
| | 06:14 |
to use pressure to think that you are
increasing the amount of material coming
| | 06:19 |
out of the airbrush.
| | 06:21 |
It may not quite sound clear to you, but I
think once you start working with it,
| | 06:24 |
you'll see that you generally have to
keep your hand off of the gas a bit, and
| | 06:29 |
want to do this very lightly and not
press down unless you intentionally want
| | 06:35 |
these small strokes in your airbrush strokes.
| | 06:38 |
But I find them a little bit
annoying at times actually.
| | 06:41 |
So I'll get into talking about the
Cloner airbrushes, as I said, later. I am not
| | 06:45 |
trying to hide these from you.
| | 06:47 |
In fact you can try these out, these
will produce some interesting blends, but
| | 06:51 |
they are actually useful for another
function that we'll find out in depth later on.
| | 06:56 |
But certainly you can try all of
these out and even these act and behave a
| | 07:01 |
little bit better as blenders, than do
the actual Blender brushes themselves.
| | 07:05 |
So you may want to play around with these.
| | 07:08 |
And I find too it actually works better
to work at larger scales, because these
| | 07:13 |
airbrushes due easily cover large areas
and because of that I just find it to be
| | 07:20 |
easier to work with on very large
canvases, rather than smaller ones.
| | 07:25 |
You do pay for it a bit by reduced
functionality and these brushes aren't
| | 07:30 |
necessary real-time, but I find that for
the kind of stroking I do, I don't mind
| | 07:36 |
that little bit of molasses feel that
you get, the little bit of hysteresis by
| | 07:41 |
the brushes being a bit behind your movements.
| | 07:43 |
You can very quickly get used to that.
| | 07:45 |
So in the next video I'll be talking
more about how you can control these and
| | 07:51 |
get a lot of various kinds
of expression out of them.
| | 07:55 |
| | Collapse this transcript |
| Introducing the new airbrush: part two| 00:00 |
In the last video I demonstrated the
various basic behaviors of the airbrush category.
| | 00:06 |
In this video I'm going to through and
show you how that various controls work.
| | 00:11 |
To do that we're going to open up the
Brush panel, one of the things you'll see
| | 00:16 |
when the airbrush is selected, the
controls are updated to be the controls that
| | 00:22 |
actually work with the airbrush.
| | 00:24 |
And I'm going to go through--I won't
go through all of these, but just the
| | 00:28 |
key ones that show the behaviors and how the
controls affect the appearance of the airbrush.
| | 00:34 |
I'm going to start with that top airbrush here.
| | 00:37 |
In this case I'm using the behavior order to a
preset that's available in the previous post.
| | 00:43 |
The Smooth airbrush by default paints
very strong and you don't necessarily want
| | 00:49 |
it to be this strong;
| | 00:50 |
flow is the way to control this.
| | 00:52 |
So if I turn this down to some small
amount like around 5, you'll see now I get
| | 00:57 |
a much nicer slow buildup.
| | 01:00 |
It would be easy to think that it would
be nice to control this with pressure,
| | 01:05 |
so that as I press down,
I could get more opacity.
| | 01:08 |
However, the airbrush is hardwired so
that increasing pressure reduces the size
| | 01:15 |
of the brush to simulate the effect of
a traditional airbrush getting closer to
| | 01:20 |
the surface that it is working on.
| | 01:22 |
And because of that you can't use
something like pressure to control the density
| | 01:28 |
of the airbrush, and you have to be
very careful using the airbrush because of
| | 01:32 |
this. Anything other than a light
pressure is going to start to get the tip
| | 01:36 |
smaller and there will be times when you
want to use that, but if you're used to
| | 01:40 |
the behavior of the older airbrush in
Photoshop, the normal brush, which has
| | 01:46 |
many airbrush-like behaviors,
it won't work the same way.
| | 01:50 |
So you do have to get used to the
idea of a generally using a pretty light
| | 01:54 |
hand with the brushes.
| | 01:56 |
But the first and foremost thing that
you want to understand is that flow is one
| | 02:00 |
way to synthetically reduce
the output of the airbrush.
| | 02:05 |
Next, I'm going to talk about Grainy airbrushes.
| | 02:08 |
Now the difference between a Smooth
airbrush, which you see here, and the Grainy
| | 02:11 |
airbrush is that a Grainy airbrush
takes advantage of the Granularity slider
| | 02:17 |
when the airbrush tip is selected, and
what happens here is you get a spray of
| | 02:21 |
individual droplets is one way to think of it.
| | 02:24 |
This gives you a more
gritty version of an airbrush;
| | 02:27 |
this is very good for adding
textural-type of qualities to the airbrush.
| | 02:32 |
Another thing you want to consider--
I'm going to clean this off and temporally
| | 02:36 |
go back to the Smooth airbrush--is the
way this works is it's very much like
| | 02:41 |
shining a flashlight.
| | 02:42 |
So if I'm pointing straight down, as you
can see in the flotilla up in the upper
| | 02:47 |
left, that it's very easy to start to
tilt and get a more and more tilted out
| | 02:53 |
display, and it just depends on how hard
I press, whether it gets small or large.
| | 02:57 |
That's where I'm referring to,
I mentioned that a minute ago. It's very
| | 03:01 |
sensitive to pressure, even
inadvertently. I can sometimes press a little too
| | 03:06 |
hard and get a smaller size than I may want.
| | 03:08 |
That's why I am saying you really got to be
careful with pressure in regards to the brush.
| | 03:13 |
But think of it almost like pointing a
flashlight in a darkroom and as you tilt
| | 03:18 |
your airbrush more, you're going to
get an increased, what I call a throw or
| | 03:21 |
projection of the airbrush,
that's controlled by distortion.
| | 03:25 |
If I turn this down, you'll see that my
maximum distortion of that tip is pretty minimal.
| | 03:33 |
When I turn this up, for example, all
the way now, you can see now I get a
| | 03:37 |
much wider display.
| | 03:38 |
However, the penalty for the larger
display is that it's covering a larger
| | 03:43 |
surface area, and as that surface
area increases, the performance of the
| | 03:48 |
brush is going to start to slow down,
because it's having to address so many
| | 03:52 |
pixels as it's painting.
| | 03:54 |
And so, I keep distortion below 50%
generally; that let's the brush be rather
| | 04:00 |
quick and have sufficient projection,
but not so projected that it starts to
| | 04:07 |
slow down the brush.
| | 04:08 |
Now let's get back to the Grainy airbrush here,
and I'll switch to black to show you this.
| | 04:13 |
The Grainy airbrush is controlled by
granularity, and as I turn this down,
| | 04:20 |
you'll see that's where it goes
back to being a Smooth airbrush.
| | 04:23 |
So you can get intermediate states of
smooth and grainy appearance based on
| | 04:29 |
this Granularity slider.
| | 04:31 |
The default for the Grainy airbrush
is just to have it all the way up, so
| | 04:35 |
there's no residue of the Soft
airbrush and you just get the Grainy, but you
| | 04:40 |
can't blend those together
with the Granularity slider.
| | 04:43 |
Another one I want to mention, and it's
almost easiest to see it down here, the
| | 04:47 |
Hardness slider; just adjusts the fall-off
at the outer edge of the airbrush, so if I
| | 04:53 |
switch back to white here again, you'll
see, I get a very definite edge in that
| | 04:58 |
ellipse that it's forming.
| | 04:59 |
However, if softness is turned all the
way down, I tend to get some overspray
| | 05:04 |
in that spray itself, so that it
gets a soft edge and it isn't so hard.
| | 05:10 |
Another important control is Splatter
Size, as I turn this up, you'll see that
| | 05:15 |
it starts to modulate the
size of the individual splatter.
| | 05:19 |
So just depending on how I set this, I
can get it to where it's very fine, which
| | 05:24 |
is at it's finest when it's 1% and as
you start to turn it up, you just get a
| | 05:29 |
really broad range of
splatters within the airbrush.
| | 05:33 |
Spacing is obviously something
that you might want to play with.
| | 05:36 |
If an airbrush is large and slow, you
might be able a get away with making the
| | 05:41 |
spacing be farther apart, but it also
means it's going to not deposit as many
| | 05:45 |
pixels, so that means it'll be
slower to build up a texture.
| | 05:49 |
One thing the airbrush does do is
it tends to use a solid single color.
| | 05:55 |
Now one way you can kind of cheat
this is to build up some multiple colors,
| | 05:59 |
like I'm doing here.
| | 06:00 |
I'm just going to spray two or three
colors in this area and then I'm going to
| | 06:04 |
use my Option or Alt key to pick up in
this area, and now it's going to pick up
| | 06:09 |
those multiple colors.
| | 06:10 |
You can see here now there is actually
multiple colors within this spray, but it
| | 06:15 |
really isn't assigning individual
colors to each of the droplets. It's somewhat
| | 06:21 |
averaging them out, so you don't get a
real sparkly set of colors as I picked up
| | 06:26 |
right here. They start to kind dull out.
| | 06:29 |
So you can add some multiplicity of
color in your strokes, but it's really
| | 06:33 |
designed more to be a solid color stroke.
| | 06:36 |
Next, we'll take a look at Projection brushes.
| | 06:40 |
| | Collapse this transcript |
| Introducing Brush Projection: part one| 00:00 |
This segment is going to
take a look at brush projection.
| | 00:03 |
This is a new feature in CS6 that
works in concert with Captured Brush tips.
| | 00:09 |
To demonstrate this I've got a brush
shaped like an arrow, so that it's set to
| | 00:14 |
follow based on direction, so whatever
direction the brush is going, that's the
| | 00:18 |
direction the arrow will point.
| | 00:21 |
This is a good graphic shape to take
advantage of brush projection, so you can
| | 00:26 |
actually see how it works and it also
is useful for getting the sense of how
| | 00:30 |
to control this brush.
| | 00:32 |
I'm going to the Brush panel, and if
you go to Shape Dynamics and go right down
| | 00:38 |
here, you'll see this new
checkbox, Brush Projection.
| | 00:40 |
So I'm going to click on that
let's just see what happens?
| | 00:43 |
Now I'm starting to tilt my pen, and as
I tilt it you can see that it's actually
| | 00:48 |
distorting the shape of the
graphic that is the brush tip.
| | 00:54 |
Now I can draw and as I tilt my pen you
can see what's happening is I'm getting
| | 01:00 |
very different shapes associated with it.
| | 01:03 |
Now I'm done moving this right now with
the standard Grip pen, this is the pen
| | 01:07 |
that comes with a Wacom Intuos4 tablet.
| | 01:11 |
It is the one that most people have.
| | 01:14 |
So I'm showing you this to begin with,
but then I'm going to switch to the Art
| | 01:18 |
pen, which also includes the
dimension of barrel rotation and things get a
| | 01:23 |
little different in relationship to
brush projection when you have the Art pen.
| | 01:28 |
So let's take a look at it initially
from the point of view of the Grip pen.
| | 01:32 |
As I draw, it's always going to go in
the direction I'm drawing, but as I start
| | 01:37 |
to tilt my pen, I start to
get a projection of that tip.
| | 01:42 |
Let's say I want to have all of my arrows
facing outward, and I want to start to project them.
| | 01:48 |
I'm holding my pen straight up and down at
this point, when I take each one of these strokes;
| | 01:53 |
I'm going to be tilting my
pen as I draw the stroke.
| | 01:57 |
So what I'll get is, is this kind of
effect. The pen is going to be appear to be
| | 02:01 |
tilting and kind of coming towards
the viewer out of this circular area.
| | 02:06 |
And if I draw a lot of them and I'm
tilting, remember, as I do this, I'm going
| | 02:11 |
to get that perspective on these brush tips.
| | 02:14 |
Now as I get to the center, I will not
tilt as much and you can see where now I
| | 02:19 |
can get tips that are not
projections, but basically the shape.
| | 02:25 |
There's always some projection in here,
it's constantly changing based on the
| | 02:29 |
degree of tilt of your pen.
| | 02:31 |
You can see that once you understand
that it's the direction of the stroke
| | 02:34 |
controls where the head of the brush is
going to be, you can start to play with
| | 02:39 |
that tilt of your pen and what that does
is it introduces a couple of dimensions
| | 02:44 |
of expressive change that
you can do with this brush.
| | 02:48 |
I've shown you what happens with the
Grip pen in relationship to brush projection.
| | 02:54 |
I'm now going to switch to the Art pen,
which remember includes barrel rotation.
| | 02:59 |
In order for this to work,
direction has to be turned off;
| | 03:02 |
otherwise, it gets confused,
so I'm turning that off.
| | 03:05 |
As I rotate the stylus barrel, I can
actually control which direction that
| | 03:09 |
arrow is pointing and I have the
ability to tilt the pen and get a projection
| | 03:15 |
going with the brush.
| | 03:16 |
So unlike the other pen where direction
controlled it, it's now in the hands of
| | 03:22 |
the rotation of the pen.
| | 03:24 |
As I start to use this, it takes a
little while to adapt to being able to
| | 03:28 |
control the direction of the arrow
pointing with barrel rotation, but it does
| | 03:33 |
offer some things you
can't do with the other brush.
| | 03:36 |
For example, I was talking about
painting and getting the arrows to look they're
| | 03:40 |
coming out; that's also pretty easy to do here.
| | 03:44 |
But one thing you can't do with the
other brushes, I can also draw backwards.
| | 03:48 |
Because rotation is now controlled
by the barrel rotation itself, and it
| | 03:53 |
enables me to go back and forth with
the same shape, so that I can easily
| | 03:57 |
control the angle of the arrow pointing, as
well as the projection of the brush with the tilt.
| | 04:03 |
And these are a bit advanced, it is
going to take a little time to learn how
| | 04:07 |
to control this pretty precisely, but
I found this particular brush with the
| | 04:11 |
arrow is actually a very good tool for
practicing, because you're getting an
| | 04:15 |
exact directional hue by the shape of
the brush, and it enables you then to
| | 04:21 |
practice controlling the
directionality of the brush as well as combining it
| | 04:26 |
with the action of tilting.
| | 04:28 |
I will be including this brush and
I'll do that in the next segment, but I'm
| | 04:33 |
going to end here and in the next
segment I am going to be showing you how we
| | 04:37 |
can take this projection capability
and apply it in a way that gives us a
| | 04:41 |
very useful brush.
| | 04:44 |
| | Collapse this transcript |
| Introducing Brush Projection: part two| 00:00 |
In the last segment I showed you how
something simple like a graphic shape, such
| | 00:05 |
as an arrow when applied to the
brush projection, you can do some pretty
| | 00:11 |
interesting manipulations of that image,
as if it were rotating in a shallow 3D
| | 00:16 |
space, especially when you use the Art
pen, although it is useful in concert
| | 00:22 |
with the Grip pen as well, which is the
default pen that comes with Wacom, the
| | 00:26 |
Art pen is the one that
also senses barrel rotation.
| | 00:30 |
With regards to this tool, you
really don't need barrel rotation and this
| | 00:35 |
doesn't become a tool, that's really
only useful for someone with the Art pen,
| | 00:39 |
it's useful with both.
| | 00:40 |
What I've done is taken the airbrush and
just created an interesting kind of splat.
| | 00:45 |
In playing with this, I found that
something that has energy in the ab, that
| | 00:51 |
is going to be used for the brush tip, gives
an interesting result when used as a brush tip.
| | 00:57 |
What I've done with this is I've just
created this kind of splatter and I'm
| | 01:00 |
going to go ahead and
capture this as a brush tip.
| | 01:04 |
And I'll go ahead and define my brush
preset, and I'm going to call this splat.
| | 01:11 |
Now when that's done, let's go to a
separate image and take a look at what we've got.
| | 01:16 |
I'm going to go ahead and grab this now,
and I've got black, so you can see I've
| | 01:25 |
got an interesting pattern. However.
| | 01:27 |
I want to go into my Brush panel here, and
go to Shape Dynamic. Make sure it's turned on,
| | 01:34 |
and right here I can have Brush Projection on.
| | 01:38 |
Now with this on, I can go in here
and I can start to have these apply
| | 01:44 |
at different angles.
| | 01:47 |
So it starts of give me this
interesting splat capability.
| | 01:50 |
There are some other things I can do
here; if I flip X jitter, this will just
| | 01:54 |
make a mirror image of this randomly.
| | 01:57 |
You can see how that's a
flipped mirror image of itself.
| | 02:00 |
I can also go in here and affect the
roundness a little bit, so I'm going to turn this up.
| | 02:07 |
You can see it starts to affect;
each shape comes out slightly different.
| | 02:14 |
The other thing I might do is turn
on a little bit of Scattering. Let's
| | 02:20 |
clear off the screen, and just play
with this a little bit, and you can see
| | 02:26 |
I can start to get a very interesting high
energy pattern based on the angle I'm turning this.
| | 02:36 |
I was creating this with the normal Grip
pen, so you can see how you really have
| | 02:41 |
good control, and as we start to apply
color, you can see how all of a sudden
| | 02:50 |
this becomes a very interesting brush,
and particularly when you have this
| | 02:53 |
ability to rotate this.
| | 02:55 |
The other thing I might do is go in here
and turn on Color Dynamics and start to
| | 03:01 |
have the hue change a little bit.
| | 03:04 |
So now I've got some
modulation of color in here as well.
| | 03:09 |
And every time I change the color
now obviously I'm going to get that
| | 03:13 |
same gathering of color.
| | 03:14 |
So right away you can see here how
this gives pretty interesting effect.
| | 03:23 |
And of course changing size
will also vary the character of it.
| | 03:28 |
It's a very interesting way to take
advantage of projection and there's any
| | 03:35 |
number of very interesting kinds of
projection that one could do with this.
| | 03:39 |
There's really a lot of wide latitude in
what you can do in terms of an original
| | 03:44 |
shape that you may use for something
like this and how you choose to control it.
| | 03:49 |
For example, I could go in and
simply change in the Transfer here have
| | 03:55 |
Opacity controlled by Pen Pressure and
now you see how I have it very light,
| | 04:00 |
but I can also bring it up.
| | 04:03 |
So the idea here is just to expose how
something like projection combined with
| | 04:08 |
an interesting shape, can create an
interesting brush that wasn't possible in
| | 04:14 |
any other way before. It's a way to
create some very interesting effects that
| | 04:18 |
you just can't get any other way.
| | 04:20 |
| | Collapse this transcript |
| Cloning with natural media brushes| 00:00 |
In this video I am going to
demonstrate how to take advantage of the natural
| | 00:05 |
media cloning tools that are
available in Photoshop CS6.
| | 00:09 |
The method used here is a little
different than you've seen in the past, and it
| | 00:14 |
takes advantage of a couple of things,
which in the installation video we went
| | 00:18 |
through making sure we had installed
along with the already default set of tool
| | 00:24 |
preset natural media brushes as well.
| | 00:27 |
First thing we'll do is go to the Tool
Presets panel and I'm going to open up
| | 00:32 |
the fly-out menu and I'm working
with the Artists' Brushes-Sorted.
| | 00:36 |
Now if you only have Artists' Brushes,
that means you have not installed my
| | 00:41 |
behavior organized brushes which are
part of the optional cloning paint extras
| | 00:47 |
that we installed in the installation
video, so you may want to go back and look
| | 00:51 |
at that if you don't have
these, so you can install them.
| | 00:53 |
So I'm working with Artists' Brushes-
Sorted and what that does is organize these
| | 00:57 |
so that in this case I've got all
of my Cloner brushes in one location.
| | 01:02 |
So I'm going to be using these brushes.
| | 01:05 |
Anytime you see Cloner in any of these
natural media libraries, it means that it
| | 01:10 |
is intended to be used with the action
known as the Mixer Brush Cloning Paint
| | 01:15 |
Setup action, and this is part of the
default actions that comes with CS6.
| | 01:20 |
So I am going to select that and let's run it.
| | 01:24 |
And we'll get a dialog here that's
going to tell you a couple of things.
| | 01:28 |
First of all it's going to flatten any
layers that you have, so you may want to
| | 01:32 |
go back if you have a layered image and
take care of saving the layered version
| | 01:36 |
before you go through with this process.
| | 01:39 |
And the other thing it's telling us
is make sure that Sample All Layers is
| | 01:42 |
disabled in the Mixer Brush Property
Bar and that's found right up here.
| | 01:46 |
You can turn it on, but it may cause
some performance slowdowns depending on
| | 01:51 |
your system, so let's say Continue.
| | 01:53 |
And what happens is, this makes a set of
layers in folders and they're described
| | 01:58 |
as the Underpainting layer and an
associated Hue/Saturation Adjustment layer,
| | 02:04 |
which is with each one of these groups,
and we've also got an Intermediate
| | 02:08 |
Stroke layer, and then
finally we've got Detail Strokes.
| | 02:12 |
And as I go through this, you'll see I'm
using each one of these to sequentially
| | 02:17 |
add more and more detail with
my cloning brushes to the image.
| | 02:21 |
The other thing that's
important is there is a Reference layer.
| | 02:24 |
The Reference layer is actually nothing more
than a 50% transparent version of this layer.
| | 02:32 |
And normally we keep it locked,
because if you unlock it, it's very easy to
| | 02:36 |
accidentally start painting on it,
which you don't want to do, since this is
| | 02:40 |
your reference and it's telling you
where compositional elements are within any
| | 02:44 |
image that you apply the Mixer
Brush Cloning Paint Setup action to.
| | 02:49 |
So we'll make sure that we keep it locked.
| | 02:51 |
However, at any time you want to unlock it
and change its opacity, you're free to do so.
| | 02:55 |
Other thing I've installed here
associated with this Reference layer is part of
| | 03:01 |
the Cloning Layer Extras.
| | 03:02 |
There are two actions here, one to hide
the Reference layer and one to show it.
| | 03:07 |
Now you can easily go in here and turn
this on and off as you are working, but I
| | 03:12 |
find while I am working, it's nice
to have a couple of keyboard shortcuts
| | 03:16 |
associated to this functionality.
| | 03:18 |
And by default this will not be
installed. It does say F13 and F14--that's what
| | 03:25 |
works on my keyboard--however, I happen
to be left-handed and so my right hand
| | 03:29 |
is available for me to do a lot of my
keyboard shortcuts while I'm using the
| | 03:34 |
stylus in my left hand.
| | 03:36 |
So if you're right-handed for example,
you may find that assigning lower F keys
| | 03:41 |
like F1 and F2 may make sense for you,
so that your left hand, which is free
| | 03:45 |
while you're drawing and painting
with your right hand, you'll have these
| | 03:49 |
keyboard shortcuts available
to you, so you can change these.
| | 03:53 |
But we still need to initialize
them so that they will actually work.
| | 03:56 |
So I am going to select Hide
Reference, and all I have to do is go up to
| | 04:01 |
the Actions panel fly-out menu and go
to Action Options, and we know we want
| | 04:06 |
F13 here, so I'll go to the function key and
just say F13, say OK, and now that's assigned.
| | 04:13 |
And we'll go through and do the same
thing for the Show action, which uses F14.
| | 04:20 |
Assign it and we're done.
| | 04:23 |
And as I said you can make this
to be any combination you want.
| | 04:26 |
I am going to use my keyboard and I'm
now toggling between an on and off state
| | 04:31 |
for my Reference layer, without having
to take the time to go over and turn it
| | 04:36 |
on and off manually.
| | 04:37 |
So I like this ability to do be able
to have this, and as we work you'll see
| | 04:41 |
this makes a lot of sense to have this
immediate on and off ability associated
| | 04:45 |
with the Reference layer.
| | 04:47 |
I am going to begin by selecting the
Underpainting layer and normally this
| | 04:50 |
is the way you'd work.
| | 04:52 |
You're going to work with an
Underpainting, then you're going to start to apply
| | 04:55 |
more strokes to the Intermediate layer,
and then finally to the Detail layer.
| | 04:59 |
I am going to go in now and go down
to the bottom of the Tool Presets and
| | 05:04 |
select the Flat Fan brush.
| | 05:05 |
We want to make sure we're
on the Underpainting layer.
| | 05:08 |
I'm going to resize my brush by taking
advantage of a CS6 keyboard shortcut,
| | 05:13 |
which on Mac is Option+Ctrl+Drag left
or right, and on Windows that would be
| | 05:21 |
Alt+Right-click+Drag.
| | 05:24 |
And what happens here when I do that is
this lets me reset my brush size, so
| | 05:29 |
it's just a quick keyboard shortcut
for getting brush size readjusted.
| | 05:33 |
And what happens now, when I start to
paint on here is it's going to start to
| | 05:38 |
paint using the colors within the image.
| | 05:41 |
And as an Underpainting, I am going
to simply set this up so that it's
| | 05:46 |
just roughly applied.
| | 05:47 |
I am not trying to do a lot of detail
here, but I am more or less staying within
| | 05:54 |
the lines of the composition
where the basic color elements are.
| | 05:58 |
Now I will temporarily turn this off by
clicking on my F13 key and you can see
| | 06:03 |
that we are getting in fact, and I can
even go in here without it on, it's just
| | 06:07 |
I don't know where all the compositional
elements are, so it's good to have this
| | 06:13 |
on, so that I can in fact see this.
| | 06:15 |
I'm not worrying about any detail and
I can always come back to this layer
| | 06:20 |
later on if I want to add a bit more
detail into it, although this being the
| | 06:26 |
Underpainting layer means that I really
don't have to have a lot of detail in here.
| | 06:31 |
Everything else detail-wise
will reside on top of this layer.
| | 06:35 |
Once again I'll shut it off. I
just need to pick up here.
| | 06:41 |
And while we're looking at this I'm
going to go ahead and zoom into 100%,
| | 06:44 |
because I want to show you something
that's associated with the texture and
| | 06:50 |
I'll reduce my brush size just a bit to show
you what is an important thing to understand.
| | 06:55 |
I am going to go to my Brush panel
and remember that you have these various
| | 07:01 |
canvas textures that you can use and
in this case I am using them associated
| | 07:05 |
with the Artist brush.
| | 07:07 |
You have some control here that
you're going to want to utilize and that
| | 07:11 |
involves the Minimum Depth and Depth sliders.
| | 07:15 |
If depth is up too high, which it
could be by default when you get in there,
| | 07:19 |
you're just going to get very
little of the texture in your brushes.
| | 07:23 |
You're going to want to play around
with depth and turn it down, and you can use
| | 07:27 |
this preview at the bottom of the Brush
panel to get an idea of how much of the
| | 07:33 |
canvas you are addressing, especially
through pressure when you're using a
| | 07:37 |
pressure sensitive tablet.
| | 07:39 |
Basically just playing with the Depth
slider itself will let me get to a point
| | 07:44 |
where I can get to very light touch all
the way to a fully loaded paint touch.
| | 07:52 |
And that's basically what I want in this case.
| | 07:55 |
Once I have this set and if we have the
texture lock enabled, this means that as
| | 07:59 |
I go to these different brushes,
whether they are cloners or paint-bearing
| | 08:04 |
brushes, they will share exactly the
same settings, so all my brushes will
| | 08:09 |
consistently exhibit the same kind of
behavior associated with the texture that
| | 08:13 |
I have currently enabled.
| | 08:16 |
Let's go back to here.
| | 08:18 |
I'm not going to attempt to do this
in a great amount of detail because it
| | 08:22 |
will take some time, but I will show
you a finished version of this image in
| | 08:26 |
which I did take some time.
| | 08:27 |
So you can see a little better what
happens when you go through this all the way
| | 08:32 |
from beginning to end.
| | 08:33 |
Let's now move to the
Intermediate Strokes layer.
| | 08:36 |
For this I will zoom up.
| | 08:38 |
I will once again turn on my Reference
layer, so I can see a little better, and
| | 08:42 |
now I am going to go in and I am
going to start to apply a bit more care to
| | 08:47 |
certain areas of this image.
| | 08:48 |
The other thing I might want to do is
take advantage of the Hue/Saturation
| | 08:52 |
Adjustment layer here.
| | 08:54 |
This lets me adjust what's happening
with the content on each of these layers.
| | 08:58 |
I might want to adjust
upwards a bit the saturation.
| | 09:02 |
And now that we've already got some in
there, you can see how changing that will
| | 09:06 |
affect the way this looks.
| | 09:07 |
But it's nondestructive, so if I want
to come back later, I certainly can same
| | 09:11 |
with lightness and hue.
| | 09:13 |
And in fact, any adjustment layer will
work this way, I just set it up initially
| | 09:19 |
with the hue/saturation, because it
seems to be the most useful initially.
| | 09:23 |
Any adjustment layer that you're used to,
you could certainly take advantage of.
| | 09:27 |
I am doing something that I've done before here.
| | 09:29 |
If you start to paint, nothing is
happening, it's because you're still on
| | 09:33 |
your adjustment layer.
| | 09:34 |
So be sure you go back and re-
address the Intermediate Strokes layer and
| | 09:38 |
now we're painting.
| | 09:40 |
So let's go in here and I'm just going
to again kind of do this rather quickly.
| | 09:45 |
But you'll see a finished version
later on that shows how this works.
| | 09:49 |
And again, I'm playing a bit
with the size of my brushes.
| | 09:52 |
Now this is where I am going to
want to start to get more detail.
| | 09:56 |
It's not as if I'm cloning with the
image; I am cloning with this paintbrush
| | 10:00 |
and using the colors in the image
locally, where they are in the original
| | 10:05 |
composition, to feed my brush and what
comes through is the colors that I need,
| | 10:11 |
and it's taking advantage of the
characteristics of the brush as it set up itself.
| | 10:15 |
So later on I may go back in and start
to paint with my own brushes, adding my
| | 10:21 |
own color, but this gives me a way to
independently play with the photo as a wet oil painting.
| | 10:27 |
So essentially what this setup is doing
is allowing me to paint freehand and not
| | 10:33 |
really have to worry about the
color or placement while I'm painting.
| | 10:37 |
I find that this let's me concentrate
more on the quality of the brush strokes
| | 10:41 |
and not be so concerned about the
composition, because that's already taken care
| | 10:45 |
of by using the source imagery.
| | 10:48 |
And this source imagery could be a
composite of many images, it could be hand
| | 10:52 |
rendered, it could be a photograph,
anything that you want to use as a source
| | 10:56 |
becomes the wet paint that
your brush is going to use.
| | 11:01 |
Turning this on and off gives me a
way to quickly see what's happening.
| | 11:05 |
Now I am going to go up to the Detail
Strokes layer and I think I will actually
| | 11:10 |
enlarge my brush here a bit.
| | 11:11 |
Because I know where this is, I am going
to turn off the Reference layer, so you
| | 11:16 |
can see what's happening here.
| | 11:17 |
Now, it looks like it's bringing the
image through, but it only looks that way,
| | 11:21 |
because it happens to have these
vertical strokes in the slats of the door.
| | 11:26 |
Just depending on how much I move my
brush around, I will or will not necessary
| | 11:31 |
pick up that detail, I don't want it to
look photographic, so I'm not trying to
| | 11:35 |
consciously bring through all of
this detail as if it were a photograph.
| | 11:40 |
This is basically a hand painting. I am
simply taking advantage of the fact that
| | 11:46 |
I can get two colors in an
image, put them through my brush.
| | 11:50 |
It's a combination of
photographic source material as well as the
| | 11:55 |
characteristics of the
brush that I'm painting with.
| | 11:58 |
Now I might switch to another brush;
for example, I'll take this Long
| | 12:03 |
Round Point brush and I may reduce
its scale a little bit and I want to
| | 12:08 |
see my Reference layer.
| | 12:09 |
So I'll go in here and now I am going
to pick up some of these leaf elements.
| | 12:13 |
I can also add a bit more detail in
here if I want, and again, turning this on
| | 12:19 |
and off lets me see what's happening
at any time in the process of painting.
| | 12:28 |
So you can see it's really a process
of refinement starting from very coarse
| | 12:32 |
underpainting brushstrokes and
slowly migrating to smaller brushes on the
| | 12:38 |
additional layers and just
introducing the degree of finish that you want.
| | 12:44 |
Now what happens if I
run out of my three layers?
| | 12:48 |
Well, another action that you have
in the Cloning Layer Extras is Create
| | 12:52 |
Cloning Layer Group.
| | 12:53 |
And I can tell you if you
don't have the Reference layer on;
| | 12:57 |
it's not going to work properly.
| | 12:58 |
So you want to make sure this is on and
if you do forget even when you run the
| | 13:02 |
Create Cloning Layer Group action, it
will tell you that the Reference Layer
| | 13:06 |
must be on prior to running this action.
| | 13:09 |
If it's not on, you want to stop,
turn it on and then run the action again.
| | 13:14 |
And this time I'll go ahead and say Continue.
| | 13:16 |
And what happens, now it creates for me
an additional folder with Hue/Saturation
| | 13:21 |
Adjustment layer as well as a Cloning
layer in it, so I will put this below the
| | 13:26 |
Reference and I go on and
continue to paint on this layer.
| | 13:30 |
You can add as many layers as you want
with this process, you're not restricted
| | 13:35 |
to the three that the initial Clone
Paint Setup action creates on its own. You
| | 13:40 |
can add as many as you want.
| | 13:43 |
Once again, turning this on and off
really gives me an ability to see exactly
| | 13:47 |
what I'm doing here.
| | 13:48 |
Now I might want to go back in this case
and add some more to the underpainting.
| | 13:53 |
So I can go here; switch
back to my Flat Fan brush.
| | 13:57 |
You can see here now I'm
painting under these layers.
| | 14:01 |
Another thing that this enables you to
do is paint in a layer fashion and be
| | 14:06 |
able to play with the
various layers as you're painting.
| | 14:11 |
So I've done this rather quickly, but
here is a version that I spent a little
| | 14:15 |
bit more time working on, and as you
go into this you can see that you get a
| | 14:20 |
very painted result; this does not
look like it came from a photograph.
| | 14:24 |
And that is the whole intent of the
Mixer Brush Cloning Paint Setup action used
| | 14:28 |
in concert with the Cloner brushes that
you'll find in the various natural media
| | 14:33 |
tool presets categories.
| | 14:35 |
Hopefully, this gives you an idea of
the power of a combination of utilizing an
| | 14:40 |
action to set up specially created
layers and use them in conjunction with
| | 14:46 |
brushes that understand how to paint
on those layers and bring the original
| | 14:49 |
image through to that layer.
| | 14:52 |
And in doing so, you can do as we've
done here, and actually build up a painting
| | 14:57 |
that is composed of multiple layers
and gives us a way to get to a very nice
| | 15:02 |
hand-painted result that has the
benefit of being able to use a photograph as a
| | 15:07 |
source of your color that
you flow through the brush.
| | 15:11 |
Sounds complicated, but once you set
this up and use it, it's actually very easy
| | 15:15 |
to work with and is a very powerful new
tool in Photoshop that enables natural
| | 15:21 |
media painting from a photograph.
| | 15:23 |
| | Collapse this transcript |
| Working with erodible dry media| 00:00 |
In this segment I'm going to go
over the Dry Media Tool presets.
| | 00:04 |
I recommend that the first thing you
do before you start using any of the dry
| | 00:08 |
media brushes is to go to the Brush
panel and open up Texture and then go to the
| | 00:14 |
pattern picker and you want to make
sure that you select Erodible Textures.
| | 00:20 |
These are the textures that I
designed to work with it and as such they are
| | 00:24 |
designed to specifically look like the
kinds of textures you're going to find
| | 00:28 |
commonly used in concert with
tools like Pastels and Soft Pastels.
| | 00:34 |
So I've got several here and I'll just
for example take the Rough texture for
| | 00:39 |
this example. Let's begin
with the Pastel Pencil.
| | 00:42 |
The reason you want to do this is that
some of these at first may not appear to
| | 00:47 |
have much texture and it just depends.
I've noticed that many tool presets, when
| | 00:51 |
you go to the textures, they tend to
be turned up all the way to 100% and if
| | 00:56 |
that's true, you're not going to see
any texture in these brushstrokes at all.
| | 01:00 |
So right away you've lost half of the
intended functionality, the way these
| | 01:05 |
particular tool presets work.
| | 01:07 |
So you want to turn this down and
watch the preview at the bottom until you
| | 01:11 |
start to see the interaction right
around here. It looks around 10% or so.
| | 01:14 |
You'll start to get some interaction of
whatever pattern you have selected and
| | 01:19 |
each one may have a slightly different setting.
| | 01:22 |
For example, if I go to Pastel Paper, I
may have to adjust that depth a bit to
| | 01:27 |
get the amount of texture as part of the stroke.
| | 01:31 |
So be advised that texture is
particularly important in relation to the
| | 01:36 |
Dry Media tool presets.
| | 01:38 |
And the Pastel Pencil does
basically what you'd expect;
| | 01:42 |
it's an opaque tool that allows you
to draw with opaque lines of color.
| | 01:47 |
Now let's check out the next set here,
you've got a hard pastel and a soft pastel,
| | 01:52 |
and these do as you'd expect.
| | 01:54 |
The hard pastel, we're not going to see much
difference until we examine the soft pastel.
| | 02:01 |
The difference here is if you watch the
preview up here in the left corner, as I
| | 02:05 |
paint with this, you can see that tip
is actually eroding and the shape of the
| | 02:11 |
tip is different, and so
it does this rather quickly.
| | 02:15 |
Like a soft pastel, the tip shape is
actually changing based on usage, and you
| | 02:22 |
can always go back, and in your Brush
Tip Shape, you do have a Sharpen Tip
| | 02:27 |
command here, I will show you also that
you may want to set up, and I just don't
| | 02:31 |
have it set up here or I would show this to you.
| | 02:34 |
If we go to Edit and go to Keyboard
Shortcuts, and you go to Tools and you go
| | 02:39 |
all way down here, there is actually a
Sharpen Erodible Tips command that you
| | 02:44 |
can assign a keyboard shortcut to it.
| | 02:46 |
So if you like and use the soft
pastels a lot, you may want to assign a
| | 02:52 |
keyboard shortcut, so that you can
very quickly re-sharpen that tip without
| | 02:55 |
necessarily having to open up the
Brush panel and go to Brush Tip Shape, to
| | 02:59 |
sharpen the tip of within the panel here.
| | 03:01 |
But the main difference is that the
hard tips will not erode nearly as quickly
| | 03:06 |
if at all, and the soft tips will erode.
| | 03:10 |
So when you see soft, be advised that this
means it's going to erode rather quickly.
| | 03:15 |
Every time you reselect it, however.
Let's just wear it down--I wore it down.
| | 03:20 |
Every time I select it; it
automatically sharpens it as well.
| | 03:24 |
So each time you select a
soft variant of pastels, you will
| | 03:29 |
automatically sharpen it.
| | 03:30 |
Now we get to the oil pastels and
the difference here is that these will
| | 03:35 |
intermix with colors.
| | 03:38 |
In real oil pastels, there is an oil
base that causes the color to smear a bit
| | 03:45 |
with the underlying color that it
finds beneath it, and so that's exactly how
| | 03:50 |
this is set up to work, so that you'll
get that same smeariness that's going on
| | 03:56 |
when the colors interact beneath.
| | 03:58 |
Then we get down to the Blender brushes.
| | 04:00 |
As I've mentioned in earlier segments,
blenders do not pick up color, they
| | 04:06 |
simply mix it up, it's taking the
characteristics of the pastel and oil pastels,
| | 04:12 |
but presenting it in a noncolor
applying version of itself, so you can see
| | 04:16 |
already this starts to act as
very nice type of blending tool.
| | 04:22 |
Pastel Pencil, once again, is
like its earlier counterpart.
| | 04:26 |
It just in this case, it does not apply color.
| | 04:29 |
So for fine detail work, you may want to
use the pastel blender as a blending tool.
| | 04:35 |
The Cotton Blender is one that I
created that's just a pure blending tool.
| | 04:40 |
It's really kind of the maximum amount
of blend that you can get in relation to
| | 04:46 |
the way the mixer brush works; in fact,
in relation to this blender, as well as
| | 04:51 |
some of the oil pastels.
| | 04:53 |
If you want to control how blending is
working--because right now this really blends--
| | 04:58 |
you can adjust wetness down. If I take
it down to somewhere around 10% or so,
| | 05:03 |
you'll see it now doesn't have as much
aggressiveness in the way that it blends
| | 05:08 |
and pulls on the color; whereas when
this is all the way up, I get a very long
| | 05:14 |
pull associated with the way it's
picking up and moving the colors around.
| | 05:18 |
The Wet slider is our key to how you can
control the amount of blending that you
| | 05:24 |
get with any blender styled brush.
| | 05:26 |
And then finally, we have the cloners
and I've done a bit of discussion of that
| | 05:30 |
in the previous segment, so
I won't go into them here.
| | 05:33 |
But the idea is that the cloners
basically take all of the characteristics that
| | 05:37 |
have been modeled in the color and
color applying and blending variations, and
| | 05:43 |
just uses it in relation to picking up
color from a cloning layer, which once
| | 05:48 |
again is created by going and using
the Mixer Brush Cloning Paint Setup to
| | 05:53 |
create a painting environment
where you're using a source image.
| | 05:57 |
And I recommend that you refer to my
Clone Paint segment to get a thorough
| | 06:02 |
introduction to how the Mixer
Brush Cloning Paint Setup works.
| | 06:06 |
In the next video, we'll look at the
pencils that are associated with the
| | 06:10 |
mixer brushes.
| | 06:12 |
| | Collapse this transcript |
| Drawing with pencils| 00:00 | In this segment we are going to look at
the Mixer Brush based Pencil tool presets.
| | 00:05 | So let's take a look at these, I'm
going to get the Opaque-Hard Pencil here.
| | 00:10 | And I am just going to draw with
that a little bit so you can see.
| | 00:14 | One of the things that you'll notice
if we look up at the upper left here at
| | 00:18 | the Flotilla, these pencils are tipped with
a sharp point, at least the basic pencil is.
| | 00:22 | What that means is when I go straight
up and down I am going to just be using
| | 00:26 | the very tip of the brush, when I tilt
however, I am going to start to use more
| | 00:33 | of a surface area of that
beveled edge that is part of the tip.
| | 00:37 | As I draw, based on how I tilt my pen
as I'm working, I am going to get various
| | 00:44 | changes in the aspect of the tip as it
touches the surface, and as a result you
| | 00:49 | are get a lot of different looks out of a
single pencil, which is remarkable for a single tool.
| | 00:54 | It gives us a wide expressive
range with just a very simple tool.
| | 00:59 | And that's probably the best kind of
expressive media, something that very
| | 01:03 | easily adapts in your hand and based on
things like pressure and the position of
| | 01:08 | your hand, with respect to the stylus
gives you quite a wide expressive range.
| | 01:13 | Now one thing I want to be sure
to mention is when you try this out
| | 01:17 | initially, you may look at this and
go, well, this is very large for a
| | 01:21 | pencil, that's a pretty wide line.
| | 01:23 | But keep in mind that one of the
things I did here is I wanted these to be
| | 01:27 | useful for high-resolution images.
| | 01:29 | If we go to our navigator, you can see
that I am at 100%, but if I back out, so
| | 01:35 | we see the whole document, which is
actually up 4500 pixel x 6000 pixel
| | 01:40 | document, these lines look okay for
what I would call an aggressive pencil,
| | 01:44 | something that's got a lot of way to it.
| | 01:46 | That's the reason they're larger,
however, if you do go into 100% and start
| | 01:51 | using these, there's nothing to stop
you from using your size indicator to
| | 01:56 | change this, you may want to reduce this
down and I'm just using my bracket keys
| | 02:01 | here for quick adjustment.
| | 02:02 | You could see I am taking this down to
maybe a 2, now you can see this pencil
| | 02:07 | for this scale isn't nearly as large
and almost chalk like as the default size.
| | 02:13 | But if you're wondering why
are these pencils so large?
| | 02:15 | That's because I designed them
so that they can be used at these
| | 02:19 | higher resolutions.
| | 02:21 | Now let's talk about what
happens at these higher resolutions.
| | 02:24 | I am going to go back to my Preset panel;
| | 02:27 | I just click on it to take it back to default.
| | 02:29 | One of the things that you will
notice, if you try to use this, you'll
| | 02:33 | see that's very slow.
| | 02:34 | I am going up, picked up my hand, and
so I want to address what you do when you
| | 02:39 | get a brush that starts lagging like this?
| | 02:41 | Well one of the key things you can do
if we go to the Brush panel and go to
| | 02:46 | Brush Tip Shape, right here in Spacing,
I've got a very tight spacing on this
| | 02:51 | for high-resolution, where
2% is just way too tight.
| | 02:54 | So what we need to do is find
what is a much better spacing for a
| | 02:59 | high-resolution document like this,
and so if I crank this way up, well, now
| | 03:03 | that's starting to work a lot better.
| | 03:05 | And if we go up and look at this at 100
%, you will see that I'm still getting a
| | 03:11 | very nice edge, but I'm not getting that delay.
| | 03:16 | One of the things that helps is if I
would turn Texture off for example and draw
| | 03:21 | very quickly, you'll see if we go up
even closer, that there is an artifact, we
| | 03:26 | are starting to see a spacing artifact,
because the spacing is so sparse now, we
| | 03:30 | are starting to see the
individual units of the brush.
| | 03:34 | The trick is to take this down where you
start to not see those marks, I can see
| | 03:39 | them a little bit there at 40%, may
be we will take it down to 35 or so.
| | 03:44 | Now it's just there, but
not really aggressively there.
| | 03:48 | And the other thing that I do is by
using texture, you go a long way towards
| | 03:53 | hiding those artifacts, texture
serves two purposes here, it both makes the
| | 03:58 | pencil mark look correct, because
pencils do react to the uneven surfaces that
| | 04:03 | they are drawn upon.
| | 04:04 | And it also hides the
artifacts of a wider spacing.
| | 04:09 | You can play with spacing to get
your brush to be much more responsive at
| | 04:15 | a higher resolution.
| | 04:16 | Now you see I can draw and there is
hardly any delay in my brush strokes at all,
| | 04:20 | in fact, having played with this
earlier, I know they are right on 40%, is
| | 04:24 | really what gives me what I want,
especially when I hide the minor amount of
| | 04:29 | individual brush dabs that we
are seeing, when texture is enable.
| | 04:33 | This gets me around somewhere of a
limitation for working at high-resolution.
| | 04:37 | I want to show you an
image done in high-resolution.
| | 04:41 | You'll see this looks fine as a pencil
drawing, but as we go in here and you
| | 04:45 | look at it up close and we get up to
100%, you can see that the texture is
| | 04:50 | actually a fairly important part of
the way that these pencil marks look.
| | 04:56 | So what I want you to see here is that
what might not look right when you use a
| | 05:00 | pencil, just that screen resolution,
actually will look very good when you use
| | 05:05 | them at high-resolution.
| | 05:07 | So the upshot of what I am trying to
describe here is that texture is a key
| | 05:11 | component to being able to use these
pencils, not only to have them look real,
| | 05:16 | but to also work in a higher
resolutions, so that you don't get any artifacts
| | 05:21 | and you have the kind of speed that you want.
| | 05:23 | Now the Hard Pencil basically never
will wear out, if we go to the Soft Pencil
| | 05:29 | however, and if you watch the preview
on the left there, as I draw with this,
| | 05:35 | you can see how quickly it's wearing down;
| | 05:38 | part of this is that the tip is soft.
| | 05:40 | What's going to happen with a brush
like this -- and I am also going to want to
| | 05:44 | turn this up as well.
| | 05:46 | One thing I may do is go back in here,
and if you find a spot and you are
| | 05:50 | consistently using a pencil at a high-
resolution, you might want to go ahead and
| | 05:54 | save these as high-resolution
pencils with a wider spacing set.
| | 05:56 | Now I can draw very nicely here.
| | 06:00 | What will happen is with this pencil you
can see that tip is changing based on usage;
| | 06:06 | the character of my
pencil will change over time.
| | 06:10 | When I want to sharpen it, I can just go
into the Brush panel and go Sharpen Tip
| | 06:15 | and that brings it back to
its original sharp point.
| | 06:19 | One thing you may want to consider doing
is assigning a keyboard shortcut to the
| | 06:23 | Sharpen Tip command and actually use
it on your Wacom tablet or as a keyboard
| | 06:28 | shortcut, but you may find that you want
to get access to this without having to
| | 06:32 | constantly open up the Brush palette.
| | 06:34 | Sharpen Tip command is something that
you may want to make a permanent shortcut.
| | 06:39 | Another way to quickly sharpen these
is also if you just go back to the Tool
| | 06:43 | Preset and click on it;
| | 06:45 | that immediately returns
it to its beginning state.
| | 06:48 | So now I have got a sharp
and soft pencil once again.
| | 06:51 | Let's go ahead and take a
look at the Chisel Tips.
| | 06:54 | I am going to select the
Opaque-Hard Chisel Tip pencil.
| | 06:57 | If you look at the Preview up in the
upper left there, you will see as I rotate
| | 07:01 | this that this has a chiseled tip,
which is why it's called a Chisel Tip.
| | 07:05 | What this allows me to do -- and I'm using the
Art Pen right now which allows me to rotate this.
| | 07:10 | I can draw out the wide aspect of
this pencil or I can draw with the
| | 07:14 | narrow aspect of it.
| | 07:15 | So depending on how I control this,
once again, I can get a wide range of
| | 07:19 | different types of tip
shapes going on with this pencil.
| | 07:23 | Now I'm going to switch to the standard
Art Pen, which does not have rotation,
| | 07:28 | however, you can still take advantage of
this, and it's basically based on tilt.
| | 07:32 | Depending on how I orient my tip, I can
either get that kind of corner or I get
| | 07:36 | the narrow edge or I can flatten
it out where I get the fat edge.
| | 07:40 | With either one of these it will take
you little bit of orientation to get used
| | 07:44 | to adjusting the Chisel Tip to
determine whether you're painting with a thin or
| | 07:48 | thick variation of that tool,
basically it does allow once again for a wide
| | 07:53 | range of expression in a single tool,
which was my goal with all of these.
| | 07:57 | And then the Soft-Chisel Tip pencil
is like the other soft pencil we saw.
| | 08:01 | If I work this very aggressively, you
can see how it's wore down that tip, and
| | 08:06 | I can just get back by reselecting it in the
list that will give me back my basic Chisel Tip.
| | 08:11 | And we get into the Blenders and these
basically are just going to allow you to
| | 08:14 | go in and smear around what's
already there, you may want to use them in
| | 08:20 | conjunction with pencils or you may
find that this is a good blender for other
| | 08:24 | artwork that you're doing, the idea here
is that rather than lay down any color,
| | 08:28 | it's only moving color that it finds,
and so, it's not a color applying tool,
| | 08:34 | but a color moving too.
| | 08:36 | And then finally the Cloner
categories work as I've described in the
| | 08:40 | Clone Painting segments.
| | 08:41 | This will allow you to pick up source
image color and paint with those colors.
| | 08:47 | And then finally, I have got the
Eraser in here just as a handy quick tool.
| | 08:51 | It does respect texture, so that you
can see how with a light pressure I am
| | 08:55 | getting a little bit of texture in that
eraser and then when I bury it down, of
| | 08:59 | course, I can completely erase.
| | 09:01 | I do want to talk a little bit about
textures, so I am going to go back to my
| | 09:06 | Hard Pencil here and let's
open up the Texture panel.
| | 09:09 | One of the textures I want to be sure
to highlight is the Sandpaper texture.
| | 09:12 | And I am going to take this to 100
%, this is basically a noise pattern;
| | 09:16 | you can see it in there that it gives
a very nice random fine-grained paper
| | 09:23 | affect to those strokes that it makes.
| | 09:26 | And I find this to be a particularly
pleasing pattern to use in conjunction with
| | 09:31 | pencils, but you've got a whole range
in here, and remember once again that
| | 09:35 | scale usually is useful.
| | 09:37 | Now with the Sandpaper, you can't turn
down, but you won't really see much of a
| | 09:42 | difference, because it's just simply
sampling down what is pretty clear at 100%.
| | 09:46 | But if we get into some of the other
textures, like Laid-horizontal for example.
| | 09:49 | Now if I'm using this just depending on
what resolution I want to be working at,
| | 09:56 | I can go ahead and change the scale of it.
| | 09:58 | The other thing that's important
particularly with the pencils is the
| | 10:01 | Contrast and Brightness;
| | 10:03 | it's depending on how these are set.
| | 10:05 | You see if I lower Contrast, it
wants to fill-in much of the texture,
| | 10:09 | whereas, by raising Contrast, I can get a much
more high contrast rendition of that texture.
| | 10:16 | So you do want to take advantage of
Brightness and Contrast in relation to
| | 10:21 | texture, to even get more range out of the
way a pencil in this case is going to look.
| | 10:27 | And don't forget that depth is very
important here too, as you turn this up, you
| | 10:31 | are going to get less and less of the
texture as part of the strokes that you're
| | 10:36 | making, whereas, down here more like
around 10% or so, that's where I find it to
| | 10:41 | be a very desirable look.
| | 10:42 | But this is going to be different for
everybody and so you'll want to go in and
| | 10:45 | play with these, and even from
drawing to drawing, I find that I go in and
| | 10:50 | sometimes adjust brightness and contrast.
| | 10:52 | At first it might not seem like this
is really important, but you will be
| | 10:56 | surprised how much of a change in
character you can get within, in this
| | 11:00 | case, pencil lines based on how you
adjust brightness and contrast of a
| | 11:05 | particular texture.
| | 11:06 | So I want to be sure you understand that
these are important adjustments to make
| | 11:11 | in advance of doing a drawing.
| | 11:13 | So that wraps up basically looking at
pencils, if you're into the sketching, I
| | 11:18 | think you'll find the Pencil
tools to be quite indispensable.
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