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Using the Bristle Brush preview

From: Photoshop CS5 One-on-One: Mastery

Video: Using the Bristle Brush preview

I'm still working inside Brush settings diagram.psd, found inside the 31_bristle_brushes folder. In the next couple of exercises, I'm going to explain those options that are uniquely suited to Bristle Brushes inside Photoshop, and these include Bristles, Length, Thickness, and Stiffness. So in this exercise, I'll give you a kind of visual demonstration of those options, and then in the next exercise, we'll examine the effects of changing each one of these values. So I've got the Brush tool selected, I also have selected a Round Blunt Style Bristle Brush.

Using the Bristle Brush preview

I'm still working inside Brush settings diagram.psd, found inside the 31_bristle_brushes folder. In the next couple of exercises, I'm going to explain those options that are uniquely suited to Bristle Brushes inside Photoshop, and these include Bristles, Length, Thickness, and Stiffness. So in this exercise, I'll give you a kind of visual demonstration of those options, and then in the next exercise, we'll examine the effects of changing each one of these values. So I've got the Brush tool selected, I also have selected a Round Blunt Style Bristle Brush.

So in addition to clicking on the various Bristle icons, here inside the Brush panel or inside the Brush Presets panel, you can also select any one of them and then change its shape between the ten different varieties. So you've got Round Point, Blunt, Curve, Angle and Fan. So the five round variations followed by their cousins, the five flat variations. I am going to switch for a moment to Flat Blunt, although otherwise I have gone ahead and established some custom settings 30% for Bristle, 140% for Length, 4% for Thickness, 50% for Stiffness, 0% for Angle, we've got 2% for Spacing and a Size of 75 pixels.

They're all listed here at the bottom of the diagram as well, in case you want to set your brush the same way. More likely though, if you're working along with me, you are going to look onscreen and say, hey I've got this thing up here in the upper left-hand corner of my Image window that you don't, and that thing is the Bristle Brush Preview. I will go ahead and bring it up, because it is On by default, and you can turn it on and off by clicking on this icon here. This icon that looks like a little eyeball, next to a brush. It's available at the bottom of the Brush panel and the Brush Preview panel, and if you click on it that brings up the Bristle Brush Preview right there, and if you click again you hide it.

Another thing you can do, I'll go ahead and bring it back up. You can click on this close box to hide it, but then if you do, you've got to come back down here to the bottom of the Brush panel to bring it up again, there is no shortcut incidentally. So what I tend to do, I tend to leave it up onscreen because it's pretty educational and then if I want to get it offscreen, so that I can take a look at what's going on inside of my illustration, because it always has to appear some place on top of your image, by the way, it's got to be inside the Image window. You cannot move it on top of the Options Bar or the right side panels or any of that. But if you want to hide it, you could just press the M key to switch back to the Marquee tool.

So it just shows up as long as you're using a Bristle Brush. Anyway I am going to press the B key to switch back to my Brush tool. You can also move it to a different location like so to get it out of the way. You can make it tinier if you want to, by clicking on this double arrowhead icon. Make it bigger, you click on that icon again. Finally, the reason I went with my Flat Brush is so that we can see what this preview means, we are seeing the handle of the brush of course, and then the bristles themselves. These are the bristles and/or hairs, if you prefer of the brush, and then this dotted line right there is the canvas.

And so when you press in, if we would actually use the stylus, if you press into the canvas, then you will see the brush deform, you'll see the hairs actually bend into that canvas, and I'll show you that in just a minute. But the first thing I want to show you is right now we are seeing a side view of the brush, and this is a flat brush bear in mind. So we are seeing first of all by default, you see the thickest version of that brush. So we are looking at the brush because it's actually, it has a vertical orientation associated with it again by default. We are seeing the brush from either the left or the right-hand side.

If you click inside this preview, you'll switch to either the top or bottom view of the brush, which are going to look the same, because it's a nice skinny brush vertically, and then if you click another time, you are going to see the brush as a bird's eye view, you're looking straight down on it. Now the whole reason I mentioned this, is because it's very easy to accidentally switch to this bird's eye view, which in my experience is virtually useless. It's kind of useful sometimes, but it's not the normal view you want to see. And if you want to switch back to one of the more informative side views, then you just click again, like so.

Now another thing I want to show you here, I am going to move this guy over to the side, and I am going to bring out my Brushes panel again, watch this brush preview as I change the angle. So if I rotate the brush, it rotates inside the preview as well, which changes the nature of the side-by-side preview. So I am clicking here, there is now, look at that, the bird's eye view, and so if I change the angle, we'll see that brush sort of swivel on the fly. Just to give you a sense of what's going on. Anyway I am going to reset it to 0 degrees, click inside there again, and then switch the shape back to Round Blunt, because that happens to be, quite frankly, if I have a favorite, that is it, the Round Blunt Brush style there, and now I am going to go ahead and close the Brush panel for a moment, and I am going to switch to this layer, it's down here near the bottom of the layers list, it's called Rnd Blunt Med, which of course stands for Round Blunt Medium.

I am going to press Ctrl+A or Cmd+A on the Mac in order to select the entire contents of this layer and press the Backspace key, or the Delete key on the Mac, so that I can go ahead and paint in a new brush stroke, and then I will press Ctrl+D, Cmd+D on the Mac in order to paint. Now if you are working along with me, you need to make sure if you want to get the same results that you've dialed in these settings right there. All right, now I want you to notice, as I paint, I want you to notice the appearance not only of the Bristle Brush Preview right there, but I also want you to notice the appearance of my cursor. Right now it appears as a kind of a little scattershot cursor and what we are seeing of course is the brush itself, that dollop that I was telling you, that changes as you modify the pressure with your stylus, if indeed you are working with a stylus, you can work with a mouse as well.

Also when you're working with a stylus, I want you to notice this. See my cursor, see how it's kind of moving around like that, like it has depth, and that's because I'm changing the tilt of my stylus, and you may also note the tilt changing over there in the Bristle Brush Preview in the upper left-hand corner of the screen. So both are trying to show me the angle of my stylus at any given time, which is very useful for getting a sense of what's going on. Even though, I can see my stylus if I just look down on it, it's nice to know that Photoshop is tracking things properly as well.

Anyway, if you are trying to pay attention to this cursor, it's going to be - in my case, I am left-handed, I should say that and so I am leaning, I am tilting the stylus into my hands. So it's tilting up and to the left, and that means that it's going to be the right-hand edge of that cursor that's actually the hotspot. And now if I just go ahead and paint a brush stroke like that, it's going to show up as you're seeing it onscreen, and I started with a fair amount of pressure, applied a little bit more pressure in the middle and then let up off the pressure at the end.

All right, I am going to undo that brush stroke. This time I want you to pay attention to the Bristle Brush Preview itself. Watch the brushes, watch how they behave. Remember that the Length value down here is 140%. It's listed at the bottom of the window, and that's pretty high and that refers to the length of the hairs on my brush. Bristles refers to the number of hairs that are included on this brush. So it's fairly sparse right now, because it's down at a value of 30%. Thickness is the thickness of the individual hairs.

So these are very thin hairs, which I like, because the Thickness value is set to a very low value. Stiffness is how stiff these hairs are as you press down. So I want you to watch this preview once again, and as I press lightly, you can see that the hairs are just lightly pressing against that dotted line which is the canvas, as I bear down like so, I am really mushing into that canvas. This is a function of the Stiffness and as a result because I have a medium stiffness value, I have a very limber brush.

The hairs themselves are quite limber, quite flexible, and I can smush them into the canvas, like so. So that gives you a visual indication of what's going on with Bristles, Length, Thickness, and Stiffness. In the next couple of exercises, I will show you how to modify these values and anticipate the result.

Show transcript

This video is part of

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

192 video lessons · 43682 viewers

Deke McClelland
Author

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

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