- Lesson Details
In week two, you will take a closer look at what instructor Chris Legaspi refers to as “The 5 Major Tools.” These include Layers, Keyboard Shortcuts, Brushes, Selection Tools, and Image Adjustments. Here, he focuses on the first three tools.
Throughout this course, you’ll have access to the NMA community for feedback and critiques to improve your work as you progress.
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going to start to get into the meat of Photoshop and we're
going to talk about what I call the five major tools, what I
think are the most powerful and the most useful tools in
Photoshop so that you can get started making art in the
So make sure your Photoshop is fired up and let's get started.
Transcription not available.
to do the second lesson in the digital art series and we're
going to focus today on what I call the five major tools. Now
Photoshop is actually an incredibly robust, rich, and
in-depth piece of software. It can do quite a bit, quite
a tremendous amount of work, it's very very powerful and it's
very very deep and complex. But today what I want to show
you is what I considered the most important tools, the most
basic fundamental tools of all the tools available in
Photoshop. And these are the tools you'll be using over and
over and over and over and over and over and over again.
Probably each time you crack open the software you're going
to be using these five tools. That's why I think it's very
very important that we cover these tools and you become
familiar with them first and once you get familiar with
these tools, of course, you'll be able to expand your
vocabulary with the software as you learn more tools, more
options, more different ways to do things and personally
myself I've been using Photoshop professionally for
since the beginning, almost two decades now
and to be honest about 95% of the software I don't use and
probably haven't used. So that's why I think these five major
tools is going to be a great starting place for you. Not
only start to learn Photoshop and begin to actually using it,
get comfortable with it, and you'll be amazed by just how
quickly you'll be able to learn these five basic tools. So
before we begin, let's quickly review some of the major
features of the software, kind of review what we covered
in the previous lesson, so I'm going to do a quick overview of
the software so you know what to look for, know how to
open a file and then we'll begin with the lesson.
Okay. So here we have Photoshop and just to quickly review the
parts of Photoshop that we want to pay attention to, again this
is incredibly complex and robust piece of software. So I
want you to start focusing on the key things that you'll be
using. So the first key elements to look at
are at the very top is the file menu.
Again, just beneath that in the software itself is the options menu,
this long strip. To the left is your tool or your tools, your
toolbar, your tool strip.
Over on the right here are your layer, excuse me, your menu
windows. That's very powerful. And over in the middle is your
canvas and here I already
have a canvas open so I'm going to close this now.
And then just quickly review how to open or create a new
file. So I'm going to go up to the file menu. File, new.
And then when you get to these options just focus actually in
the center the dimensions, so width, height, and, resolution. Now
typical resolution that that I like to work with is eight by ten at
300dpi. This is just a nice basic resolution. Nice
basic canvas size that you can use for multiple purposes and I
chose eight by ten inches because because I'm old school.
Eight by ten is the size of a piece of paper if you want to
print this out on a piece of copy paper, eight and a half by
11, this will fit perfectly on that.
So once you get width, height, and your resolution is set,
just click okay.
And boom you have a brand new file. And of course, you can
drag your file off the tab or you can tab it back here.
That's one of the features in Photoshop, basically tabbing,
locking your document or you can move it around. And don't
forget you can also zoom in and out
and pan as with the space bar. Z for Zoom pan for the
spacebar. Okay. That was a brief overview of the software and what
to look for once you have the software open. Now we're going
to get into the five major tools. So remember Photoshop is
a huge and deep and complex piece of software. These are
going to be the five tools that you'll probably be using over and
over and over again. So definitely we're going to focus
on these today. And I want to first go over what the five
tools are and then we'll go into detail into each one. So
first, the first major tool is the layers. And remember layers
are these guys on the right. Excuse me. It's this window here
on the right. We'll explore that into in detail.
The second major tool is control Z and control Z is one
of the edit tools so we'll explore the edit menu and the
various functions and powerful features involved there. Edit
menus right above here and the file menu and we'll explore
these in detail.
The next major tool is Photoshop custom brushes. So
this is a very powerful feature in Photoshop and the custom
brushes can be found here in your layer -
excuse me, your menu windows. Brush and brush presets so
we'll explore this menu. A lot of stuff here. A lot of various
uses, very powerful feature in Photoshop.
The second major tool that you'll be using over and over
again are these selection tools. And selection tools is a very
powerful feature. Selection tools can be found in the file
menu here. Also, the actual tools themselves are in your
toolbar, specifically = these top two marquee and lasso.
So we'll explore those in detail.
And the final major tool are the image adjustments. These
are probably one of my favorite features of Photoshop, the
ability to adjust your artwork on the fly so fast, so quick. And
image adjustments can be found up here in the file menu as
well under image and adjustments and I'll show you
how to use some of the image adjustments that I like and how
to use them.
with layers. Now layers is super powerful, super deep, and
super complex. So what I want to do first is kind of
give you an overview of what to look for when you have your
layers window open and just some of the key features, the
key tools in the layers window itself that you'll be using
over and over again. Okay. So layers is over here on your
menu window. It's one of the most important menu windows in
the previous lesson we talked about the key menu windows that
I like to use and probably you'll be using as well.
And if your layers isn't available or isn't visible you
can simply go to window
in your file menu and go to layers. Now here a default
shortcut is F7.
So if I
press F7 on my keyboard, it should bring it back
and also too don't forget that tab is the keyboard shortcut
for hiding your tools and your menu windows. So if you don't
your layers or any menu windows, you might want to just
check tab, make sure it's not hidden.
Okay, so when we have layers open, there's a lot of stuff
here, looks pretty complex. But remember the key things to look
for are first the -
I'll make a new layer here. First is at the top, this
bar at the left with the drop-down is called the blend
modes. Over on the right you have opacity and fill you have
some menu options here. We'll get into those briefly,
specifically this alpha lock and layer lock.
And then you have the layers themselves, the layer window
itself, in the middle. And below you have some more of these
layer functions here in these submenus. So these are very
powerful as well. So these are the key areas to look for.
Now the key functions, we touched on these briefly in the
previous lesson. So the major functions that you'll be doing
over and over again with layers so you want to get
familiar with them, is to first make a new layer, next delete a
layer, third is to duplicate, and fourth is to move a layer. The
layer order. All right, so first to make a new layer,
there's two ways to do that. One is with this
this button on the bottom layers menu. I use these buttons
quite a bit. So you want to get familiar with them. This button
on the right next to the trash can is the new layer
button. So you can just click that
or you can go under layer, new, new layer up in the file menu
and there's a default shortcut for that as well.
So if you become familiar with the shortcuts, you can start to
use those as well.
And that was shift command new here that was defaulted. So
that's one way to make a new layer, two ways to make layer,
either with the button, the shortcut, which is also in the
The next is to delete a layer. The way I like to do it is by
dragging a layer to the trashcan. So see this menu
item on the far right, this little button, trash can
button. So if I take a layer,
click hold, I'm holding on the screen on the tablet and then
just drag it down just like a mouse. You would drag your
layer down to the trash can, boom.
And you can also delete a layer by using
the delete key or backspace. So just press delete key and boom
the layer's gone. Press delete key that layer's gone, I can make a
And then the next function that we want to become familiar with
is duplicating. So once you have a new layer, all you have
to do is simply click, hold, and drag a layer
to the new layer button and then boom it creates a copy. So
these are both blank. So I'll show you what it looks like.
When you have a copy, let's say I write something. We'll call
it layer one, now if I have a take that layer one I duplicate it
by dragging it to the new layer button, click, hold, and drag and
then boom now I have a copy and then I can
move it, transform it, rotate it, do various functions with it. So
I'm just going to delete that.
Now the next thing you would want to do is change their
order. So let's say I have two layers here, I'll call this bottom
Okay. So now this bottom one
is above layer two. But what if I want the purple layer one above
layer two? So what I can do is either click and hold and drag
layer one above to where I want it. So now layer one, the purple
version, is above the yellowy version.
Or you can do the inverse and
drag the layer above, drag it beneath. So depends on what
you're more familiar with and more comfortable with but the
key is you can change the layer order at any time by simply
click, hold, and drag. So it's a very powerful feature.
So I'm just going to do a group select and group delete.
And one of the things I like about layers is that it works
in a lot of ways exactly like tracing paper or vellum,
perhaps if you've draw architectural drawings before
you lay over sheet of tracing paper or vellum and you can
keep drawing on top of that and
also you can
put down tracing paper over a photo or a drawing and trace
over that so it works exactly the same way. But of course
because it's digital you can make as many layers as you want, you can
make as many copies as you want, you can
copy a drawing you already have in one layer and duplicate it.
So it's almost like having transparent xerox copies, for
example. Or you can take a drawing or a painting that
you've scanned in or photographed, you can put a layer
on it and treat it like a sheet of tracing paper and then trace
on that fresh clean layer. So if you kind of get confused or
stuck just remember layers work almost exactly like tracing
paper and also an animators might be familiar with the
thin paper with the light box underneath you can see the
drawing. So it works a lot like that.
So don't get too intimidated when you're working with
layers. Remember they're digital
unlimited, super powerful tracing paper. That's one way
I like to look at it.
and finally, the last thing that we want to cover with
layers is simply
making items visible and invisible.
So here I have some objects.
Okay, so I have a series of three objects on three layers,
basically three sheets of digital tracing paper on top of
each other. Now, what if I say for example, if I want to
see what the yellow looks like, one thing I could do is
just click this eye button and this eye is for visibility. So
when you see this eye and you want to test what a layer looks
like with it being turned off, you can quickly just drop
So that's another. Of course I can change the
order of these as well.
So remember that the eye is for visibility.
Okay, so that was a brief overview of the layer
functions. Now, let's get a little deeper and talk about
some of the more subtle and powerful features in layers.
All right. First thing I want to do is
talk about opacity and fill. So I use these quite a bit. So
let's say for example, I have a -
I have this kind of
little painting going here
and let's take another example. The cast shadow. the the cash shadow.
So let's say I have an object and sort of a cast shadow, right,
on the object. But the cast shadow is little too dark.
I want -
let's say I want some of this green to show through and my cast
shadow. My my purple triangle object. So one thing I could do
is play with opacity and to do that once a layer is active,
make sure the layer is active, and the way to tell the layer is
active is that it will be highlighted. So notice as I
click through my layers the highlight color changes, so
just to make sure that you're working on the right layer.
Okay. So one powerful use of opacity would be to lower paucity would be To to lower
the opacity for example of this cast shadow so that you can see
some of the green coming in and you can also lighten the value.
So make sure you have your layer selected and you want to
make sure that it's highlighted. So notice as I click around the so notice as I click around the
various layers become highlighted. So definitely keep
that in mind as you work with your layers.
As you start to get more comfortable with layers, you'll
probably build up several layers of layers, right, you
you'll have a few to work with so you definitely
periodically want to scan with your eye the layers menu to
periodically want to scan with your eye the layers menu to make sure that the right layer that you're using is
make sure that the right layer that you're using is
highlighted. Because sometimes in the menu window itself, the
layer you'll be highlighted or that you're actually operating
on may be hidden. So you definitely want to periodically
scan with your eye and one way you'll find out as you use
Photoshop is that you'll be doing operations and you
probably won't see any changes on your screen probably because
one thing that you definitely may not realize is that the
layer that you wanted to be working on was inactive. So you
won't see any result. So definitely keep that as one of
your habits and as you start to play with Photoshop is
to make sure that the right layer, the exact layer that you
want is highlighted. I've done that many many times and you
probably will as well at home as you go through this but
as you become more experienced, you'll quickly learn how
to scan that, make sure your layer is active.
All right, so I got my layer active. I can even rename it.
That's one thing you can do. I'll just call this shadow.
I like to name things personally to make sure that I
can quickly glance over and I know which layer is active. So
I have shadow here. So for now I just go to opacity and click
the drop-down and
I like to move the slider. So that's 10%.
That's 50%. And you notice how it changes and updates on the
fly. This is incredibly powerful, right? This would be
really tough to do with real tracing paper.
So I like it right about there at 37%. You can even
type in numerically. So let's just say 35 for example
enter. So now this shadow layer
is at 35 percent opacity. So some of the green shows through
and you can bring it back at any time or test any time. This
is one of the things I like to do with layers is to once I
make, once I paint an object or make a mark I can test it how
subtle to make it with opacity.
Now fill works almost exactly the same way. So let's take the
same shadow layer and drop the fill. So works almost the same
to me when I use fill, I use it in conjunction with vector
objects, which are these guys here. We may not get to these
in this lesson. It's a little bit more advanced but they work
just like lasso and selection tools. So we'll touch on those in
this lesson. And also fill works with text very well.
And layer effects, when we get to layer effects. So we'll
touch on this briefly as well. But I would generally
just keep fill on the back of your mind for now, mainly focus
and use opacity when you're starting out.
Now over on the left is what we call the blend mode.
And these are a very very powerful feature. Now we'll go
over these in detail in a minute. First I want to
quickly drop down to some of the options down here and what
Over at the bottom row of these various tools here, first you
have these layer effects and you have lots of cool layer
effects. Here typically stroke, drop shadow, and glows are some
things that I like to use a lot. This button is the alpha
channel and we'll explore that as well. It's a very powerful
feature for masking
parts of your artwork or your image.
This button here our
image adjustment layers, very powerful feature. They work
just like image adjustments up here in the file menu, but
they are their own layer and we'll definitely use those as
well. These are layer groups.
New layer and delete layer.
So one quick way to organize starting from the right is the
layer group. So for example, you can take two layers and
highlight them both. I like to hold shift and click to
highlight multiple layers. So in this case, I only want layer
two, which is I'm going to name it purple triangle.
And its shadow, so if I hold shift and select purple
triangle and shadow, do multiple selection. And then I can click
this button group and it groups them together.
So that's very useful to organize your layers. So if you
have multiple layers for one object, let's say I had a third
thing which would be
like a triangle
highlight for example.
That's when groups become handy. It's really helps to
keep you organized.
And you can also
I'm going to delete this group.
And make sure if you delete a group but you liked its
contents make sure you do a group only when that menu pops
up. You can also just click the button, this folder button, to
create a group. I'll call it
triangle, just name the group.
And then you can manually drag the layers you want inside the
So that's great for staying organized there.
And what's cool about a group, once objects are in a group
you can select a group move tool, which is up here at the
very top where the shortcut is V and now you can move
whatever artwork or images are in the group. In this case
it's the triangle and the shadow. So that's a pretty cool
feature of groups.
The next on the left are image adjustments. So we'll explore
these when we get to image adjustments. That's one of the
five major tools, but they work exactly like image adjustments,
but these create its own layer. So I'll just quickly drop down
you don't want all this stuff. So you see how when I select
hue saturation, it created a layer of an adjustment and
we'll explore those as well later in this lesson.
Next is alpha masking
and we'll explore that next but I want to touch on first layer
effects. So one way to use layer effects, and layer layer effects, and
they're quite a bit of
options. So for example, let's say the most when you click
this effects button, which are layer effects, a bunch of
different options will come up,. Stroke, shadow, glow. One of the
or two of the most common things that I use are stroke,
drop shadow, and outer glow. So for example, let's select
So now my purple
object which is the purple triangle
with stroke active - and this is layer style that affects, brings
up this layer style menu. And now with stroke in each of
these on the left, these styles they have various options on
the right. So stroke, one of the options on stroke is size. You
can change the size. You can change its position,
basically center of the object outside. I typically use
outside if I want to just drop a quick stroke, you can play
with the blend mode. You can play with the opacity of course
and you can also change its color. So just click this box
here it brings up this color picker this hue cube and I can
change it from a pure black stroke to maybe more violet
stroke or blue stroke, whatever color fits. It's just one
powerful feature of layer style is stroke. And another one that
I like to use is drop shadow.
So if I go to layer style and go to drop shadow again, it'll
call up the layer style menu. I could also add layer styles
from within this submenu, like outer glow for example, just
by clicking the checkbox. So I'm going to go to activate
drop shadow. Click it, highlight it to select it. On the right
now I have some options here. I can play with the angle. I'm
going to uncheck use global light.
Play with the angle, make the mode normal, blend mode. We'll
talk about opacity in a minute.
And you see how distance -
actually we'll draw
the shadow, notice the shadow I can play with the angle.
That's really powerful, instant drop shadow. I can
change its hardness with spread. We change its size,
amount, how soft or how hard it is with size.
Also, of course play with its opacity and its color as well.
So if you don't like pure black shadow, you can change its
And you can also add various options in here as well. Like
outer glow, inner glow. I use outer glow quite a bit as well
just to quickly get a let's say one of the glowy purple effect.
Change that to blend mode to normal.
And you see the purple glow starting to appear you can
change its softness with these various options. So you definitely
want to play with these options
within the layer styles.
Now there's a lot more to the layer styles. We just briefly
touched on it here.
I would recommend just experiment. These are some of
the things in Photoshop like I was mentioning, the 95% of
things that you probably never use. If, you know, you want to
get deeper in Photoshop definitely play with the layer
styles. They can become very powerful. But the ones I showed
you today, drop shadow, stroke, outer glow, you can see how they
become - quickly become - very useful when you're painting and
composing things within Photoshop itself.
So one of the tools that has multi uses that you'll be using
a lot and it applies to various tools and features in Photoshop
as well is masking also known as alpha masking and masking is just a
way to like cover, hide, or blend parts of a painting or an
object or whatever you're working on and in a lot of ways
it's like masking with airbrush. So one example
would be to take like if you're doing a tight arc
using airbrush or traditional paint, you want to create like
a mask or some kind of template or cut out like you want to cut
out a perfect circle and so you spray inside and
whatever the cardboard is covering is masked out. That's -
it works almost exactly the same way but because it's
digital, of course, it's more robust and more powerful and
much easier and simpler to use. So let's explore masking
So masking has
a lot of different uses. One way I like to use masking is if I'm
editing something I just paint it or just drop down or a
piece of photography. You'll be using masking quite a bit when
you're editing photography.
So for example, what if I want to cut out a circular chunk out
of this triangle?
Like erase the top, right?
Well, obviously I could erase, just select eraser with a hard
edge brush, and just erase the top. So that's just erasing an
arc out of my triangle.
I may not want that because what if I erase but I'm like,
I don't really like that arc. I want to change it. I want a
square shape. So now what happened is the original
purple triangle that we painted is destroyed. It's no longer
there. So that's where masking comes in. So for example, I
I'm going to restore the triangle there. So one thing I
could do is with the purple triangle I could take this
button here. Make sure the layer is selected. Right? It's
highlighted, it's active. Click this mask button, layer mask. Now
there's a mask on the channel. And what masking
does is it will hide or blend and to activate it we use black
and white. So make sure that when you're working with your
mask, not only is it selected the mask itself, you might see
a white box around the mask itself. And that's this white
box here. Notice if I
click the layer itself, the layer gets the white box now.
So now the layer is active is what I'm operating on. Now here
the mask is what I'm operating on. So make sure the black box
or the mask itself has the white box on it and you can
activate simply by clicking and also masking works by painting
black and white if you paint black it'll be transparent and
the layer underneath will show through. If you paint white it
will become opaque again. I'll show you that quickly.
Now notice when my mask is active my colors default to
black and white. So you see that? If my mask, now the layer's
active. See how the colors are back to colors?
Mask is active, white boxes around the mask. Black and white
because masking only uses black and white. There's no color. So
for example, if I want to cut out or erase out or mask out an
ark out of this triangle first, I make sure to change my color
to black and one way
is to either use color
or use this guy use the hue cube. What I like to do is use
a shortcut which is default, D for default meaning black and white
and X will switch. So notice I had black already in the
background, foreground background. So now X is in the
foreground, I'm using it. Just quick way to get pure
black and pure white and now I can simply mask out
using black and what if I -
so if I like it I can keep it
and that's great. I can move forward, I was able to
accomplish what I wanted but let's say for example, I make a
mark and I go oh, I didn't like that that's ugly. So now all I
have to do is to correct my mark or bring back the purple
triangle is by to switch from black to white. So again, I'm
going to hit X to swap colors. Pure white is already in the
background. So now whatever I brush white you see how it
And notice the the amount changes there. So that's pretty
cool. The amount of black and white.
So you see how if I can switch from black and white,
bring it back. And one cool thing I like to do with masking
is to use soft brushes and gradient tool. So, for example,
I can call up one of my soft airbrushy brushes.
And instead of using a hard edge brush I can use
a soft brush to get cool
almost a gradient effect. You see that? Really cool and subtle
and that's with the mask now, of course I can bring it back
with white. So you see that, you can create a cool gradient just
by using the mask. Just one of the many uses of masking.
Now masking is just one of those things that you'll be
doing over and over again. So if it's intimidating at first,
if you get lost at first, don't worry about it. Just make sure
masking kind of works like an eraser. It's a lot like an
eraser that you can undo and redo at any time you want. It's
basically I think the technical term is non-destructive. So
think of it as an eraser you can erase out a drawing or
painting on a layer or photo and still keep the original
layer fresh, keep the pixels or the image fresh. So kind of
think of it that way, as non-destructive erasing. And
you'll definitely want to play with it. Just keep - make sure
you keep the key points in mind that the layer is active that,
the mask is active. Remember look for the white box around
the mask and make sure that you're using pure black and
pure white. And one way to quickly get to pure black and pure
white is with the hotkeys D for default, default colors, black
and white, and X will swap foreground and background. So
just keep those key things in mind. Don't get too
intimidated. Remember it's a way to erase without destroying
And that's kind of what we did here. I kind of erased the top
Notice here, the wrong thing was active. I made a mark, a
brush mark the wrong thing was active in creating this crazy
result. So my layer wasn't active. So I'm going to open my
history and undo those until - there we go. Now my - now the
mask is active and can begin to operate the mask.
Okay, the last thing that we want to cover in terms of
layers are blend modes. Now blend modes are extremely
powerful, you may or may not use them as often. And again, it's
incredibly robust as you'll see there's - there's a bunch of
blend modes and again most of them in 20 years I've barely
used most of them. I'm only going to show you the ones that
I think are most helpful, especially now as you're
starting to use Photoshop and that you'll be using quite a
bit in your in your digital art.
All right, so layers and
What I'm doing now is making a very crude and simple apple,
just so I can show you a couple of ways we can use
Okay. So here's a quick demonstration of blend modes,
and I just painted a crude little apple.
There you go apple.
A monochrome apple. So let's look at the blend
modes real quick. You'll find that over here at the top right
next to opacity.
And there's a lot - my God. Look at this. Whoo! Look
at this big old list. Now you're probably thinking oh my
God, that is crazy. That's a lot of options and I agree.
Probably most of these I
I never use and most of them I barely use. So let me show you
the ones that I think you'll be using, which I think are pretty
useful to start out with. The first is near the top is
Second near the top again second from the top is screen,
right below screen is color dodge, and the next one you'll
be using probably is either overlay or soft light. I'll
explore those quickly. Now blend modes is an incredibly
complex topic and like you saw there's a bunch there probably
won't use them. The ones we're going to cover today we're
just going to go over them briefly and you're only going
to see maybe one or two uses for them and they are
incredibly robust and useful things. So just keep them on
the back of your mind for now, but try to remember that what
you see here is only the tip of the iceberg for what you Of the iceberg for what's you
can do layer - blending modes and layers with.
All right. So one way that I like to use
the first blend mode of multiply is to create shadows. Now
multiply - what multiply does is darken. So for example, if I
have an apple here, right and I want to draw a shadow on the
one thing I could do is select the apple color
and maybe, you know do like a grade slightly darker version
of it, maybe slightly cooler. And here I'm using my color
menu to adjust the color. These HSB sliders.
Now I'm going to make a new menu - or new layer excuse me -
right above apple. I'm going to call it shadow.
And then I'm going to change the mode to multiply and you'll see
what that looks like. So now I have this fairly light color.
Here's what the color looks like.
I'm going to paint directly on
and notice what it does. It looks
pretty close to the Apple color,
it works. The color works, the value works. That's because
this color is being -
the blending mode multiplies being applied to it. I'll show
you what it looks like when you take it off. So back to normal,
now normal you see, you notice the color. Now, it's definitely
not the wrong color, first of all it's too bright, number 64.
It should be darker than the apple, of course, because it's
But once you change it to multiply, a lighter color
That's what multiply does. It kind of multiplies the value of
the color. And then it applies it to whatever is underneath in.
So in this case this purpley shadow is above this reddish
apple and the multiply creates this darkening effect. So
that's one way to use multiply.
The next one is screen. So screen is great because it does
the exact opposite of multiply, it lightens. So I made a new
layer. I'm going to call this light.
And what I'm going to do
is change the mode to screen so here it's already set to screen
and sort of in the upper middle, screen right beneath lighten.
What screen does is it lightens. So I'm going to select for example,
I'm going to select the color of the apple. What I want to do is
make a slightly -
same brightness, I'm gonna drop the opacity because we know that
colors tend to lose saturation as they get brighter and I'm
going to shift it towards the warm yellow light.
I'm just going to do that but then I'm going to brush it on
under light under on a screen mode and see what that looks
like. And while it creates a very bright
looking light side, edge is little too hard for my taste.
I'll show you what it looks like when you take screen off.
And notice now the color's totally yellow so screen and s
little bit darker than what we want. So screen lightens since
Now if I want the edge to be a little bit softer, I could
erase using a soft airbrush.
And I'm going to play with the
opacity of this brush so it gets a really soft kind of light edge.
She just just a blend it a little more.
bring some of that back.
That's the lighter part of the apple using screen mode.
The next is color dodge. So
I'm going to call make a new layer and call this highlight.
So what if I want to highlight right here, right apples are
fairly reflective. So what I'm gonna do is make a new layer,
call it highlight, and then set the mode to color dodge so
color dodge you may have heard the term. It basically makes
things very very bright very very quickly. It's a very
powerful tool. So you want to be very careful. So what I'm
going to do
take the color of the apple in light so I just color picked
it and I'm going to play with the temperature a little bit,
maybe shift it towards a little bit warmer, little bit darker.
with color dodge act - with the layer set to color dodge
blending mode, I'm just going to brush where I think the
highlight should be. And wow look how bright that got.
Look at that.
Now, let's see what it looks like without color dodge. Now
look at that. You don't even see it. That's the color right
there. I just turned off the light layer. Notice it's darker
than the light layer in value. But the moment you change
the mode boom becomes very very bright.
And this what I like to do with dodge highlights is take the
layer and play with the opacity. Once I brush it in like that I
play with the opacity so you can make your highlight
subtle or you can make it more sharp, more obvious.
That's one thing you can do with blending modes combined
with opacity. So very powerful stuff there.
The next item that I use quite a bit is overlay.
So I'm going to make a new layer set to overlay. Now
overlay is interesting because it works kind of like screen and
kind of like multiply. I t can darken and it can lighten and
depending on the brightness of the color you use but what I
like overlay for is because it gives you color variation, a
little bit of color accidents. So for example, I'm going to
turn this highlight off, turn this light layer off. So here's my
light layer, you know, it's set to screen mode. Change the
mode to normal. And the color is is pretty cool.
Here is a little bit warmer. When it's set to screen, right when it's set to screen, right
it gets brighter, but not as interesting, right a little bit
color wise dull. So one thing I can do is I'm going to color
pick that same color, turn it back to normal mode so I can
pick the color.
I'm going to make a new layer. I'll call this light as well.
This is going to be set to overlay, which is near the
bottom. Well, it's near the center overlay and what I'm gonna do is I'm
going to brush it exact same color and see what the results
It's not really showing so what I can do is
change the temperature a little bit.
So notice it's showing up.
Now it's showing up a little bit but not enough. So I'm
going to just my color again
to like a green.
Adjust my color again to a blue.
so because the object itself
is very bright,
the overlay brightness not working. So I'm going to turn
the apple down in terms of brightness. Okay, now we can
see the overlay.
So I'm going to color pick the same color, like color pick the
color the apple. Make it a little bit brighter, a little
bit less saturated, change the temperature. And now I should
get a nice,
look at that, look at that. It got brighter, but also added
cool color variation. Notice when I turn it back to normal
the other color isn't as intense. So I like overlay
to get color accidents. A lot of times what I'll do is I'll use
the gradient tool. I like to use circular gradient and we'll
explore these as well and just use a circular gradient set to
transparency. And now we have a soft gradient and then change
it to overlay so that it's closer to the color I want.
then I'm going to drop the opacity so it Blends a little
bit to make it a little bit more subtle and then add my
light on top of that. So now it's much more interesting to
see that the color becomes much more interesting because this
overlay layer. So that's one way to use overlay. It's very
And these other items below overlay, soft light, hard light,
these all in this group work about the same way. So you
definitely want to experiment. Again blending modes is one of
those things where it's definitely
experimental. You're going to have to just try it, there's
way too many combinations here for one video. So I would say,
you know, play with the basics and then once you get
comfortable with the basics overlay multiply screen and
dodge, then you can start to see, you know, what is does
a hard light highlight look like? What does a overlay shadow
look like? So those things you definitely want to play with as
you get more comfortable using Photoshop and the blend modes.
layers is probably the most powerful feature in Photoshop
because then how cool is it to have unlimited tracing
papers that have all these incredible features. So it's
very very cool. Very powerful. The more you use Photoshop you're
going to fall in love with layers and you'll become more
familiar with using them and become more efficient. Now what
we're going to look at now is what I call control Z or the
various editing options and to me this is arguably the second
most powerful feature in Photoshop.
All right, so edit, menu, and control Z. So
control Z is obviously a famous keyboard shortcut and what that
does is undo. So for example,
if I hit command and - well, it's command Z on a mac, if I hit
command Z now undo the O and if I command Z again it will
redo and that's a setting that set in to
keyboard shortcuts we'll also explore but this feature
alone to me is probably
arguably the biggest advantage to using digital is
the unlimited edits. Just the fact you can make a new layer
and call it -
and then decide later oh, I don't like that. I'll just undo
or hide it. That to me is powerful. So the ability to
edit, to undo, Ctrl Z, and to use layers is really what makes
digital software, Photoshop so powerful and so much fun to use
and so useful to artists.
So that was ctrl-z. Now you can also use history, that's why I like
history. So you see history
will save various actions. This is kind of like edit, undo.
So let's explore
the edit menu.
Now there's a lot of stuff here under this menu. The ones that
we're going to cover today are transform and free transform.
Brush preset, brush pen we'll cover that as well later with
brushes. So that's another useful thing and the other is
keyboard shortcut. So this is a very powerful feature. So let's
quickly take a look at quick keyboard shortcuts.
So keyboard shortcuts is just something that I think every
Photoshop user should become familiar with because it just
makes you more efficient. Now, you don't have to make keyboard
shortcuts or hotkeys, but I think it's a great way to
use the software because it just makes you so much faster
and efficient. I personally think that keeping your hand on
your artwork, your drawing hand, as much as possible is
definitely going to make you more efficient and faster.
That's why I like to use my off hand
with the keyboard to activate the various menu options and
keyboard shortcuts is where we begin to create shortcuts for
So keyboard shortcuts, you'll see in this menu you'll be
able to access the various menus in the file menu.
There's a lot of stuff here.
I'm just going to change two quickly. So I think
very important hotkeys to have. Personally I like to change
control Z or command Z to step backward and step backward is
step backward in history and I'll show you what that is in a
second. So first I'm going to take
command Z is defaulted to undo redo, which is good that's
definitely what we want but to change it step backward I'm
just going to click under shortcut, just click with my
mouse and notice it becomes active. And now I'm just going
to select the hot key I want, just command Z.
And then it'll give me a warning it's already used. That's
fine. I'm just going to hit accept.
And then step forward is shift Z,
shift command Z.
And I'm going to hit okay and I'll show you what that looks
like. So it's undo
key. I'm going to open history
and then when I hit command Z
notice it goes up the history or steps backwards in history.
That's the setting, step backwards. Just goes through the
history. So instead of undoing one one step and then being
able to redo it, I like to go through several steps. It's
just personal preference. I think it's very useful.
And then if you do shift command Z,
you can step forward. And shift command Z was already preset to
step forward. So that's one powerful way that you can use
edit, undo, redo, and step step forward, step backward.
So you definitely want to play with that whether you like undo,
redo, or step backward. It's up to you.
The next thing we want to use in the
edit menu is transform. I use transform quite a bit
and I'll show you what that looks like.
So for example if I have a box or square, just a little rough
square that I have now, then I go to new layer. I'm going
to make like a purple
Just a couple of little primitive objects.
Okay, so transform, now if I activate transform you can
either do edit, transform.
And there's varies options scale, rotate, skew, distort perspective,
warp, all this stuff.
What I like to do is
use command T. So if I go to edit and drop down to the -
notice command T is a shortcut for free transform. So what I'm
going to do is hit command T to activate transform, make sure
my layer's selected.
And now what it does is it draws a transform box around my
object. See even if it's a - for example, if it's a circle and
draws a box around the pixels of that object. So going back
to my box, now I have command T. Now I can pull these points to
transform or change the shape. For example, I can make the box
I can make the box stretch horizontally by pulling these
two points. Very powerful stretching, resizing.
With my pen inside the box I can move, so works just like
If I go to the corner, I can quickly expand, contract, scale
up, scale down under any corner.
And if I go to the corner, but off the dot, you'll see the
curved mark. I can begin to rotate.
So very powerful tool and whatever you - whenever you make
a transform. Let's say I want to stretch it and then rotate
it. All you have to do is once you make the transform, hit
enter and boom. Now it's done and then I can move it, pan it,
zoom in, resize, play with it.
And of course if I don't like it I can just undo
or step backwards in this case, the hot key is set.
If I'm experimenting with transforms, I'd like to
duplicate the layer. And this is a good practice. As you become
more familiar with Photoshop you'll probably start to
experiment with things. One best practice that I recommend is
whenever you try to do a new operation or do something new
you may not be familiar with or you just want to experiment
just to see what it looks like, get in the habit of duplicating
your layer and that's very easy to do by dragging your existing
layer to the new layer window to duplicate it or use the
hotkey but then once you have you duplicate layer you can
can transform and operate on it and even if you don't like it
or if you have to delete it, you still have the original
underneath. So again very powerful feature.
All right. So, for example, I have this layer, this circle, so
I'm going to duplicate it, make a copy of it, and I'm going to
hit the transform tool and I'm going to turn it from a circle
into an oval.
See if I like that. And if I want to rotate it
maybe this way.
And if you hold shift you can rotate.
It locks to within 15 degrees. It's pretty useful.
Like that. So let's say oh, I don't really like that.
I don't want to mess with the undo so you can just delete it.
And then boom, the fresh one is back.
And one cool thing I want to show you too is the scale
transform. So remember if you pull on the points you can
scale, free form scale, but if you hold shift what it does it
locks to the original aspect. So if you hold shift it does
what's called the uniform scale.
So if you want to make something bigger and keep it
uniform and tight, hold down shift and there you go.
And one last thing about transforms is the
the submenu. So remember when you have your object selected,
you're on the layer that you want to operate on - I'm going to
duplicate this just in case. I'm going to hit command T to
activate the transform box. Now if I hold control and click
inside the box, I'll activate this submenu and this is a
powerful sub menu. This menu works exactly like edit,
transform. Right here. See these look familiar? They're
going to be here as well. So hold command t, hold Ctrl and
click within the box submenu. Now, there's lots of different
stuff we can do we can flip it.
We can rotate it.
But what I like to do
skew, distort, perspective, and warp. These are ways to just
kind of warp and distort your object. So for example, if I
hit skew and then I pull these points now I can skew the
triangle, keep the base where it is and just kind of skew it, any
of these points along the top or on the sides.
So that's skew
I like warp a lot. So one thing warp does is it creates the
option to curve. That's what I use it for. If I want to add a
curve to a straight or more or less straight object I use
So I took my triangle, turn it to a curved triangle. That was
warp, transform, warp. See the difference? Curved.
perspective, distort. You probably won't be using that
that much. Perspective is great for if you want to match
perspective in a painting or drawing.
And distort sort of does this freeform thing. So probably
won't be using those that much. Just keep in mind that there is
more options by holding control. You definitely want to
play with these options, but for sure, I think you'll really
will get a lot of use out of free transform.
Also before I forget I want to show one last hotkey that I
think is a must-have for any Photoshop user and that's the
So flip canvas is under image, adjust and we make a hot key by
going to edit, keyboard shortcuts.
Under keyboard shortcut scroll to image and click that arrow
to bring the drop down. This arrow will open up image file.
You can also double-click.
So notice the arrow change direction, it drops down, and now
you have all these other options to go scroll down from
image to adjustments. Here's adjustments. Now you want to go
all the way down to image rotation and then you have the
various options. Flip canvas horizontal, flip canvas vertical,
clockwise counterclockwise. So what I like to do is set flip
canvas horizontal hotkey. In this case I'm going to use F1 or
and it's giving me a warning it's already in use. I don't
care. I don't really use whatever that is. So I just hit
accept. Flip canvas vertical will be F3. So again this
one's already used, just hit accept. And you can set these
keys to whatever is comfortable. I just like F3, F4.
clockwise I'm going to go shift F3 and counterclockwise shift
And again the warning's okay, just hit accept. Now I'm going
to hit okay.
There's a lot more keyboard shortcuts that I like to use
but definitely flip canvas is the one you want to have. So
now I have the hotkey for flip canvas. So if I just do F2,
it'll flip it horizontal. So this is great if you're
checking your drawing, of course, you know, obviously if
you have like a
head or a figure drawing and you want to check your
right, now you can boom, flip canvas. It's exactly like
looking in a mirror.
So again, you'll probably notice that I really treat this
as an old-school traditional tool even though it's fancy
digital tool attached to a computer. Flip canvas is exactly
like looking in a mirror. So whenever I draw or paint boom,
I put a mirror of my face, see it backwards, zooming in and
out, you know, it's like walking away. So pretty much
everything I'm showing you here is
a way to mimic traditional methods.
Flip canvas is very powerful. And of course flip canvas
vertical, just like turning your drawing or your painting upside
And then we have the option of
of clockwise, counterclockwise as well. Just various ways to
flip your canvas and check your image.
Oh and also too I wanted to show you, you can also merge
layers by going to this menu here
and say merge layer, merge down, and the hotkey's command E. So
now the drawing of the head - see the drawing on the head- was its
own layer. Now can merge it down either from the drop down menu,
upper right drop-down menu, or the hot key shortcut command E.
You also do what's called merge visible.
So if you want to merge everything you see three
Go to the drop-down and do merge, visible.
Now everything's on one layer.
You can also do
a flattened image and it'll flatten everything. So just
quickly going back to layers and you can see how each one of
these tools I'm showing you will work with each other, image
adjustments will work with one tool, brushes will work with
another tool, blending modes work with layers and image
adjustments and so on. So just you know, just keep in mind
that there's a lot of stuff that we can do here, a lot of
different ways we can go. What I'm showing, you know,
just sort of just sort of getting your feet wet, getting you
up and going, but you definitely want - the more you get
comfortable the more you want to play and explore the various
combinations. That was a brief overview of the layers and the
edit menu, which I think are number one, number two most
powerful features in Photoshop. The third and the next major
tool that we're going to get into is brushes. So brushes is
incredibly powerful, but it's also incredibly robust, it's deep,
its complex. There's a lot of stuff in brushes. So I'm just
going to kind of go over what I think are important.
What will help you to get started right away. But by
no means is going to be a cover, everything you can do with
brushes. Brushes is a fairly new feature in Photoshop and
arguably it's what makes Photoshop stand out from the
other software and what makes it so powerful, so interesting,
and what makes it so useful to a traditional artist. So imagine
when you're drawing or painting you not only have the Ting you not only have the
brushes you have, the brushes at the store, the brushes you can
order online, but now you can actually create, download, use
almost an infinite range of brushes. So this is a very
exciting feature and we're going to go into detail now
Transcription not available.
feature in Photoshop and it's also one of the most unique
features because custom brush technology is only available or
at least was began in Photoshop. Now brushes are very very
powerful. Very very useful. You going to have a lot of fun
using them and you're probably going to be using them for
almost every project you do.
But brushes are also extremely complex. The depth and the scale
of it is massive. So in this lesson, we're only going to
touch on a few of the key points to brushes, the ones that
I think are most useful and are most helpful to help you get
started and definitely if you want to learn more or as you
start to acquire these first basic tools, you definitely
want to keep exploring. But brushes are powerful and they
can be in an entire 10, 20, 30 hour course on its own. But today
we're just going to cover some of the key aspects. So first
let's review quickly - a quick overview of the brush menu
windows. All right, so just quickly let's take a look at
the brush menu windows in the things that we need to pay
attention to when we're using brushes. So here my layers, my
menu windows, are tabbed together. So I'm just going to pull out
brush and brush presets and tab them together.
And remember the tab groups you just click and drag on the name
and you can move them around.
Now the key things to look at
the brush menu window there's a lot of complex stuff here. But
the first thing you want to look at or look to is over here
on the middle right, you have these crosshairs. And the
crosshairs you can manipulate the shape of the brush. You can
rotate it and you can pinch it at these handles here.
Next is the hardness and that controls how hard and how
soft. Spacing controls the spaces in between the marks and
of course below you'll notice the thumbnail change and that's
called the stroke thumbnail. So this will tell you what the
brush looks like, spacing creates spaces as you can see, hardness
makes it hard or soft and airbrushing as you can see.
The next thing over here on the left are these various
controls. There's a lot of controls here, they do a lot,
but we're only going to cover three of the main controls that
I think are the most useful.
And remember that to activate the control, the sub menu, just
click the name. Click the name to, you know, for example shape
dynamics. If you want to adjust the color dynamics click the
name. Because if you click the checkbox, for example, if you
want to go to texture, if you just click the text box the
menu won't change. So remember it's the name. The checkbox
makes it active or inactive. So the name actually displays the subname.
So that's the brush window. Also you want to keep
your eye on the options menu bar, which is usually locked to
the top. Of course, you can pull that off as well. So these
options menu bar will give you opacity control, which is - we're
going to be using quite a bit.
Also size is up here as well. But I like to use the hotkeys
for the size and the hotkeys are brackets, bracket right and
Okay in the brush control menu window remember we had those
long list of subcontrols, of of these options on the left.
Now we're only going to look at four of these key options that
I think are the most useful
and these are brush tip shape,
shape dynamics, scattering,
Now we're going to begin with the brush tip shape control.
Okay so tip shape is a very powerful control. It's very
simple, very easy to use. So the first thing that I like to do
I like to use tip shape for, is to change the shape of the
brush and to do that you grab these handles. Now what I like
to do is pinch these handles in and you notice it also - you can
do it numerically. Notice that number of roundness change. So
do it numerically. Notice that number of roundness change. So I like to pinch the handles till I get like maybe like a
I like to pinch the handles till I get like maybe like a
20% roundness, basically looks like a flat brush.
And you also want to rotate the angle to 90 degrees or to
negative 90 but something vertically up and down and
pinch it to about 20% and what this does - and we'll test it
this brush out here - is this creates a flat brush. And
you can adjust the size here or this handle but I like to use
the keyboard shortcut of the bracket, bracket right makes it
bigger, bracket left smaller. And now this brush
see how that creates a nice beautiful flat brush. So that's
a really powerful way to make a flat brush. Otherwise if it's
perfectly square or round, a hundred percent roundness, you
just get this kind of round mark. Now the next control that's
very useful is hardness and hardness creates airbrush. So
here's what the
mark looks like.
I'm going to zoom in a little bit here. Here's what normal
ordinary brush mark looks like hundred percent roundness.
At 0% hardness,
look at that little bit softer. See the edge?
See the edge there? Change it back to a hundred percent
hardness. So this you can play with the how fuzzy or how soft
the brush is with the hardness control.
And this brush I'm using is just ordinary hard round, that's what
the name of it. Plain old hard rounds. It's a default
and the last useful control is spacing. So here's
1% spacing, it's all the way
to the left on the slider.
But look what happens when I go to like, let's say a
and you can move the slider or add the numerix. Here's a
150%, basically creates spaces between the
marks in this case. The shape of the brush is just a
hard round. It's basically a dot, a circle. So create spaces.
So you definitely want to experiment with the number of
spacing you can make. In this case you can make field of
polka dots. But spacing becomes useful when we get to It's useful when we get to
texture, which we'll do next, later in this lesson.
Okay. So those are the three major controls in brush tip
Oh and before we leave the tip shape menu, make sure that your
spacing has this checkbox marked. Id you turn it off the
you kind of lose control of the spacing. So it creates kind of
this weird uncontrollable effect and the thumbnail goes
crazy and you don't see a slider. So if you crack open
this this menu and you don't see the slider for spacing,
make sure it's checked, that checkbox is checked. So now you
have full control.
Okay, the next brush control we look at is shape dynamics. And
this one is very very useful and this shape dynamics works
with a lot of the various brush controls, as you'll see that we
played with tip shape, but tip shape combined with these
various controls will create the unlimited effects and
brushes that you'll be able to use. So let's take a look at
shape dynamics. All right, so I'm going to activate the shape
dynamics menu by clicking on the name.
Now there's - right now there's three sliders here that are
active, three sub controls. Size jitter, angle jitter, and
Now let's first take a look at size jitter, now within each
slider as you can see each sub control you have a control,
your sub drop down menu. Now to begin playing with shape
dynamics we want to change the control to size to pen pressure
and that'll activate minimum diameter, so it'll activate this
other control. So first, I'll turn it off. You can see
nothing's active, right? If I go to pen pressure now minimum
diameter becomes available and look what happened to the
thumbnail. Remember to keep your eye on the stroke
thumbnail. So you know what your brush looks like and look
what happened to the thumbnail? It created this thick or thin, you
see that? Beautiful thick or thin it's almost like a pen or
a pencil or any other traditional type mark.
That's a beautiful control, let's take a look at what that looks
like. So here's a
look at that and the pen pressure control using the
tablet allows me to get thicker marks when I press hard and as
I let go thinner marks, you see that? Thick to thin back to thin
by controlling pen pressure. So light pressure thin mark,
hard pressure thicker mark. That's a beautiful way to simulate
thick or thin. And notice if we turn it off, right, we don't have
that option available. So just the plain old big ugly round
mark. So if you want thick or thin if you want this mimic, the
traditional brush look which I love, you definitely want to
experiment or use shape dynamics, size jitter set to pen
pressure control. Remember the key is the control, so don't
forget pen pressure control. Okay, and also as you can see,
you can adjust the diameter of this - of the pinching, of the
thick or thin
all the way up to full minimum full diameter down to zero.
But let's keep it at zero to get that thick or thin. And also
note that depending on your hardware, your setup. You might
see a little triangle here. It looks like - it looks like this.
I'm going to draw it here.
So if you open Photoshop and you want to start playing with
your custom brushes and then you go to your shape dynamics
menu, and none of this is active. The size jitter isn't
active, it's inactive you can't use it and there's a little
triangle warning here,
what that means is that it's a hardware issue that
either your tablet's not connected correctly or tablet
driver's not there or it's incompatible version, could be a Paddle version you could be a
lot of things. If you open this brush menu and the controls are
inactive, you can't activate them by touching on them or
clicking on them it's most likely a hardware or some
kind of compatibility issue. The best thing to do would
probably be to troubleshoot the hardware, but this would be the
first place to look so make sure that your hardware is
dialed in and if you see that warning don't worry it has
nothing to do with Photoshop, has nothing to do with you
personally,, it's just a matter of the hardware
compatibility. So definitely troubleshoot that first before
you move on okay and continuing with shape dynamics,
the other useful control I use is angle jitter.
When I set angle jitter to direction, not pen pressure, and
I'll show you what that looks like. And let's rotate a little
bit here. So what we're going to do is turn the
size jitter off. I'm going to go back to the tip shape menu
and I'm going to pinch
my handles here to give me like
a flat shape brush. Now remember this flat brush we
made? Let's get rid of that. Remember this flat - nice flat
brush we made? Now the problem with this flat brush -
or not the problem but one way to make the flat brush even
more useful, more realistic is to combine it
with shape dynamics. So notice now when I go left to right, it
looks nice and flat, gives me a nice big flat broad mark. But if
I go up and down,
it doesn't change. It actually she becomes a little bit
slimmer right because of the shape of the brush. So what I
can do is go to shape dynamics, go down to angle jitter, turn
the control to direction,
and now if I go up or down
you see that? The shape of the brush actually follows the
direction of my stroke.
So you see that? Before it only goes left to right but up and
down it was nice and thin. Now up and down angles. It's a very
useful feature. So I like to combine angle jitter set to
direction. Make sure the control is set to the
direction. There's a lot of different controls here. To be
honest I barely use any of these if at all, I strictly use
direction 99% of the time so make sure that is active. So you've
got to keep your eye on control. I know it can be
complex but with practice you'll learn that you got to
keep your eye on these various drop down menus to make sure
that the brush is fully functional and you have full
control of the brush.
Okay, next we're going to look at the scattering control and
scattering is how we get cool textural effects. Alright, so
activate scattering, clicking on the name. Now scattering
creates - there's two various controls that we need to look
at in scattering. The first is the - is the amount of scatter,
which is this top bar. So you can slide - use the slider to
increase it. There's also a control but to be honest, I
barely use that control. There's also count. So count is
how much, how much of the brush mark will appear as you make
your mark, the brush shape will appear. Now notice the
stroke thumbnail you're not really seeing too much change
and the reason is is that we need to add spaces. So where is
space that's in tip shape. So tip shape we go back to tip
shape, now we're going to increase the spacing.
And what that'll do is we need a little bit of space between
the brush marks, the brush shapes, so that we can create
some kind of scattering. So I'm going to increase the spacing
to like 150%, go back to scattering. percent go back to scattering
Now when I click scattered look what happens? See that?
See the brushes start to scatter or move apart.
So I'm going to set this top one. There's a both axis,
meaning that it will go not just up and down, but it'll go
left to right.
So in this case, I'll click both axis up and down, left to
right, X and Y axis. Right now I'm going to play with the count. So right
now count is set to one, what happens? Oh look at that. Jumps
up to two, that jumps up to three, four.
So there's lots of dots there. Let's play with three. So
here's the brush.
This creates kind of this kind of bumpy texture. Now because
the shape of the brush is boring, it's a boring circle.
It doesn't look like much texture. So what we're going to
do, let's grab a brush that has a little bit more textural
shape to it. And here's a perfect example,
a leaf brush. Now this leaf brush,
This leaf brush here, brush is also defaulted into
Photoshop. But this one just happens to already have
scatter control. So I'm going to turn those off,
So let's say
I have a leaf brush
and we'll talk about making your own custom brush shapes in
a moment. So I have a leaf brush and you know it has
So just basically makes a leaf shape stroke. Now if I give it
a little bit of spacing, right, now I can kind of create some
kind of leafy texture, which is great.
But let's combine that with scattering, see what that looks
like. So I'll take my textural looking brush, add some chiral looking brush add some
spacing. Now I'm going to go to scattering and then I'm going
to increase the amount of scatter. So look at that. Look
at the thumbnail change. I'm going to go to both axis just
for fun. See what that does.
And now I'm going to increase the count.
Okay to like a three and now look what happens.
Now I can create kind of this randomy mark very quickly.
Now, what I'm doing is just some pressing and I'm just kind
of gliding it across, you know, so it creates kind of a
A random leaf texture that
you can get very easily with scatter control. Obviously you
can do this manually, right? You can just go dot dot dot dot dot
dot dot dot dot, you know, as you can see how quick and
how powerful this can be if you're let's say painting a field were let's say painting a field
of leaves on a landscape for example.
So that's a quick control of scatter.
And also too with scatter what I like to do with scatter is I like
to combine scatter with shape dynamics and
I like to turn the minimum diameter
down a little bit so that some brushes get smaller. And what I
like to do is
take the angle jitter and just move it to like 50% and notice
how the brushes turn,
the shapes turn so this is going to give me a really
randomy look so you see that? So looks much more natural, more
random. So this is a great way to get kind of those happy
accidents that we like to get in traditional media and we
can get this control with scatter combined with shape
dynamics, the angle jitter. Remember angle jitter was what
we use to make our brush follow us. So that's why I don't need
the control to follow, which is direction. I just turn
the control off. What I do need is it - for it to rotate and
that's angle jitter.
All right. Next we're going to use transfer and the transfer
control is very useful for creating blending and almost
paintbrush like effects. Alright, so going back to our
brush menu window. Let's go ahead and activate transfer. So
click on the name transfer and look what happened to the
thumbnail. That's because the thumbnail,
the brush has transfer applied and the main controls that we
look at it and transfer is a opacity jitter.
And opacity jitter what I like to do is I like to
set opacity jitter all the way down to zero,
meaning that it will go
to transparent, which is what transfer does, it makes - it
controls the opacity of your brush, and then I like to set
the control to pen pressure.
And look at what happens to the thumbnail. Well first let's
turn it off. So here's a brush.
Hard edge, no transfer. Now when I turn transfer on, look what
happens to the brush? Now it gets a lot softer
as I release the pressure. Remember the control is set to
pen pressure. So light pressure is transparent, but press hard I
get harder pressure, my lighter pressure as I come up. So
it's a beautiful control.
Very useful and you can see how this can be useful when you're
blending. See that?
So transfer is one of my favorite tools when I want to
And what I like to do like, I like to combine
so I like to turn my hardness all the way down to create that
soft airbrush look and combined with transfer and now we get
beautiful soft airbrushing marks. Look at that. You can
just press down and overlap to get darkness, make it more opaque,
right, because if you turn it off, we have an airbrush
it's fairly soft
it's still really bold and
chunk. But when we turn transfer on now the brush gets
more way more softer, especially as we press lighter
so you can see how you can create beautiful blended marks
and gradations. And also you can play with the amount of
transparency with minimum, this minimum slider can make it
fully opaque or zero percent transparent. So I like to keep
it at zero so I don't mess with the minimum control, but
the control must be set to pen pressure for this to be active.
And again, this is one of those things where you might see a
warning symbol here if your hardware is not set up
properly. So keep that in mind. If you see the arrow here it's
most likely a hardware problem. So transfer was the last of
these sub controls. Let's take a look at the options menu.
There's a couple things we can use the options menu for. You.
definitely want to keep your eye on.
So for example, the thing that I look at the options menu for
Also size and these other controls, flow. I rarely use
This button here actually turns on transfer. So it's a pretty
turns on your transfer control. Notice on the brush window
transfer becomes active. But let's take a look at opacity
and why that's important. So
right now this brush is 100% pure black, hundred percent pure black a
100% opacity. So let's say if I want to blend
and I want a hard edge, look what I like to do is drop the
opacity and you can use the slider but you can also use
So for example if I go to 50,
right now we have
the same mark but 50% opacity. I can go to 20.
Go to 10.
And I'm using the number keys. One equals 10, two equals 20, three equals 30,
and so on. Zero is back to 100. So you can see how for hundred so you can see how for
example if we have a brush set to 40% opacity we can
kind of blend, we can get more of this hard-edged blend, kind
of like a Leyendecker where
if you set it to 20, you can just simply layer
and get your gradations.
Now what I like to do is combine
with 0% hardness, basically a super soft airbrush and this is
a hundred percent. Now I combine it with opacity. So
let's say if I really want a soft mark I'll drop the
opacity let's say to 50, now look at how soft and subtle that mark
is then I can keep adding, keep adding, keep adding, right?
Make a beautiful soft gradation. You can see the
difference between these two, right? So one has - one is a hard
with opacity. One is a soft airbrush combined with transfer
and opacity. So if you want the smoothest softest airbrushed
look you definitely want
0% hardness or a soft brush combined with transfer and then
play - also play with the opacity controls. That's why you want
to get familiar with the numeric keys. You can quickly
go from 100 fully opaque to like 50%, to even 10%. See that?
That's a great way to get gradation. And that's why I
think keeping your eye on the options menu is useful. You're
probably most likely going to only use the hotkeys to
activate the opacity.
Alright, so the last thing we're going to explore in the
brush menu is actually how to make a custom brush. So this to
me is the bread and butter of photoshops brush controls.
It's probably the most powerful feature and it's a
feature unique to Photoshop, only Photoshop software offers
this and it's extremely powerful and once you start to
explore it and get comfortable with it you are going to a lot
of fun because with this custom brush feature, you'll be able
to make virtually any brush you need, you can match any effect
that you want with custom brushes. And, you know, for me, I
like to mimic traditional media. Pencils, charcoals, and oil
painting brushes and we can do all of that with our custom
brush controls. So now let's take a look at how to let's take a look at how to
make some of the brushes. Again this menu or this feature is
incredibly deep. We can spend hundreds of hours on making
custom brushes. So I'm only going to go over a few ideas
that, few of the basics to get you started and I think these
would be the most useful and the most helpful to get you started
playing with custom brushes and making your own set of custom
So to make a custom brush, there are many, many ways, there
are numerous ways to do it.
But for this lesson, I would just want to show you two very simple ways.
These are very commonly used methods, and they are two of the most useful methods.
The first is to start with your own custom shape
and the second is to use photography as a base.
So starting with a custom shape, I'm going to begin by making a
document where I can make my shapes.
So I'm going to go new and I'm going to make a 500 by 500 pixels document.
The DPI, I generally keep it at 72, just for the, you know, for the - just
for the sake of this demonstration.
Typically you don't need more than that unless you're doing print.
So here's my little document or this little area here's where I'm
going to make my custom brush.
So,what you do or what I would do is just make a new layer and draw a shape.
I'm going to use my lasso tool.
You can use either tool.
And I'm going to draw like a leaf, just a kind of hand drawn kind of leafy thing.
There you go.
So I have a little selection and then I'm going to fill it with
That will give me a nice, crisp contrast and edge on my brush.
And there's my little shape.
Now you can use a variety of brushes.
You don't have to use the lasso, you can use a variety
of ways to draw or make a shape.
But I like a lasso, especially for this example, because I
want to make a hard edge brush.
So once I have my shape, I go to edit, define brush preset.
You scroll down.
It's a little bit in the middle.
Define brush preset, and then it'll give you option to name it.
I'm just going to call it a leaf one
and there it appears in my brushes menu right at the bottom here.
Let's see what that looks like.
Now when a brush first appears on your menu, you know, it will appear like this.
So what you need to do is go back to your settings and then we will
start to, customize your brush.
So first obviously I want it to be, you know, random and
scattered, just like a leaf.
So I'm going to give it some spacing.
So there you go already.
We're in the right place and I should rotate it.
Next I want to do is once I have some spacing, I'm going to play
with some other settings here, starting with shape dynamics.
What I want to do is turn the angle jitter here.
So now the brush will kind of rotate different angles
as I stroke it.
They don't want to turn on scattering.
And it's play with the count and let's play with the scatter.
That looks nice.
Try both axes.
So it's a little bit more scattered now, so that's nice.
It kind of looks random.
I want that.
Now, go back to tip shape and let me it, play with the size now I have a jitter
or an option that changes the size.
So I'm going to play with minimum diameter.
So this is full and I'm going to give it, let's go maybe about 25%,
30% or so now when I make a stroke and I use less pressure, the brush
gets smaller and he's more pressure.
He gets bigger.
So this is really nice.
I really liked this brush.
I like that brush.
I'm going to go ahead and save it.
It's a good habit.
Once you have a brush, you like to go ahead and save it.
So what I'm going to do here is I'm going to go to this little button here
to create new brush, or you can use the dropdown menu, new brush preset,
but let's try this little button here.
And there it is.
I'm going to call it leaf custom one.
You can name whatever you want or not name it.
Leaf custom one.
There it is.
So there's the original one that Photoshop created when I first made
the tip shape, the brush shape.
And here's the one that I fully customized with the menu settings.
And for this one, I also wanted to make a version that has transfer just for fun.
So I'll go to transfer and I'll click it and then I'll also select it.
Remember you want to select it so the menu becomes active.
You don't want to just check the box.
So now I'm going to play with the control pen pressure, play with the minimum.
Let's see if I go to zero, what that looks like.
That looks nice.
It looks nice and organic.
We turn it up a little bit.
I turned a minimum up.
That looks great.
I like that a lot.
I like this more.
So I'm going to save this brush actually and go back to brushes and same thing.
This time would use the drop menu, new brush preset, and it'll call it
leaf custom two, or whatever you want.
And now I have two brushes, one that has nice opaque shapes, opaque
marks, and one that has the transfer.
So the opacity is affected by the pressure of my, of my pen on my stylist.
Now I'm going to make some more texture brushes.
This time I'm just going to use random geometric shapes just for fun.
I kind of like to look at this as well.
So I'm going to go to my little 500 pixel little canvas here that I used earlier,
and I'm just going to make a new layer.
And I'm going to turn off the leaf that I made earlier.
This time I'm just going to make square shapes.
I'm going to take my marquee and just make random square shapes.
And if you want to make random marquees or selections on the same layer or the
same action you want to hold shift that you see now I just create multiples.
And it's just real interesting.
I can do that.
And then I'm going to fill that with a black, it looks nice.
And then I'm going to take my lasso tool.
I'm going to put a couple of angle ones, just for fun.
Just have a little fun here.
You know, it was - it'll look really interesting in Photoshop.
We'll see, I don't know.
It's a bit unpredictable, which is, which is cool.
It's kind of like traditional media.
There you go.
Yeah, there you go.
So real, just kind of random geometric looking things.
So go back to edit and define brush preset.
And I'm going to call it texture square and there it is.
And then it pops up on my brushes menu, let's see what that looks like.
So if I want to make it a bit more random and, you know, organic useful for
texture for a painting or a rendering or illustration I go to the brush settings
menu, and just like before play with the spacing, go to shape dynamics,
play with the angle, scattering.
I keep one axis, play with the count, that looks interestingly, see what
that looks like, and we're going to make the size a little smaller.
Oh, see how far apart they goes.
It's a lot of scattering.
So I wanna - I kinda like the count, but I'm gonna drop this scatter a
little bit and go back to shape dynamics and really crank up the rotation.
Now let's see what that looks like.
Oh, that looks pretty cool.
That's sort of like a concrete or pavement texture.
Definitely feels like brick and we can refine it to feel even more
like brick or any material you want.
But for the sake of this lesson, I like this brush has nice geometric hard-edge
shapes, and I could also add the transfer
just like we did before.
Let's quickly see what transfer looks like.
I may want to keep it geometric.
Oh, that's nice.
That's really nice.
Transfer is really nice.
Has that nice opacity effect.But for this brush, I want to keep it hard edge.
I like that.
I'm gonna open up the spacing a little bit and raise the scattering a little bit.
Maybe just a little 10%.
What about shape dynamics?
Do I want to play with the size?
Let's play with the size a little bit.
So I turned my control on to pen pressure and let's play with the size.
That's a minimum size.
Yeah, I like that.
It's like at 65, 70.
Yeah, it feels pretty good.
I'm going to turn it up a little bit more.
I like that.Just enough, tip shapes real subtle.
So I liked this brush.
I'm going to go ahead and save it.
New brush preset, and we'll call it texture square one.
It's already there.
I got a nice texture brush.
And of course you could also make - you don't have to use a square texture.
You can have round texture as well.
So I'm going to use a circular marquee, go back to my brush making
document, the 500 pixels one.
And just make a bunch of circles and random ovals.
Maybe make some overlap.
There you can go just for fun.
See what that does.
Have a feeling it's going to look really strange.
So there's my circle and oval brush, just using the marquee to
quickly make hard-edged shapes.
Again, you can use any technique you want hand brushing if you like.
So go back to edit, define brush preset, oops.
What this means it's a - I need to select - see, I selected this empty layer.
You want to do select the layer.
This - I didn't - I had the wrong document selected, so I select the
layer that has the marks that I just made, the shapes that I just made.
And now I go to edit, define brush preset, and there it is.
So I'll call it a round texture.
And like before it'll make it - makes it a nice kind of a stampy
looking thing and stamps are a great way to use a custom brushes.
So I'm going to obviously we need to go back to settings, play with the tip shape.
This time I'm going to rotate it and see if the pinching helps.
Let's say I'm going to rotate it this way.
And then I'm going to - I got some nice spacing.
I'm gonna play with the shape dynamics, play with the size jitter, go to pen
pressure here, play with the scattering.
Oh, I want to make sure that rotation is turned on.
So angle jitter all the way up.
And my scattering.
Let's see what that looks like.
It's kind of interesting.
Has some little bit of dot look.
So I like that.
You know, you can play with it.
You can add the opacity effect using transfer, but I like it this way.
So I'm just going to go ahead and save it and in brush can do in the dropdown, or
let's add - let's try this button here.
Boom, new brush preset round texture one.
Sounds good to me.
And there you go.
So I want to go ahead and clean up my brushes.
I'm going to delete these, the ones that Photoshop first created.
So just kind of dragging them, click hold and drag them to the garbage can.
There you go.
Got my set of custom brushes there.
All right, so you can see how just with that alone you can
make an almost infinite range of brushes. You'll - you can
probably spend hours, days, weeks playing with that custom brush
feature, making your own shapes, turning into texture brushes,
turning into paint brushes or whatever effect you want to
recreate. So definitely play with that. Now, let's look at
one other way, which is another powerful way to do it is by
taking photographs and turning them into brushes. Okay so I'm
going to take a photograph, turn it into a brush. And what I
think this is useful for is for making stamps.
Like for example this first brush here.
Remember this leaf brush that we played with is pretty much,
it looked like it was a picture of a leaf and someone turned it into
a brush and what that does is it creates a stamp or a pretty
accurate looking mark that looks exactly like a
photographic picture. So that we can do
in Photoshop. So first I'm going to open a picture that I
want to make a stamp. So I downloaded a picture off the
And this is just a tree.
So just a tree I grabbed from the internet. Now what if
I want to make a tree brush,
so it's very simple to do so first luckily this picture
has no background because what we have to do is we have to
extract the tree
from this image because that's all I want. I don't want the
sky or the grass. So luckily there's nothing behind it and
the sky is fairly clear. So first, let's turn it into a
black and white image.
So I'm going to - to do that there's lots of ways to do
that. What I like to do is image adjust hue saturation and the
hotkey for this is command U, command U to bring up hue make a menu to bring up Hue
saturation, and I'm just going to hue saturation, which is
color. Boom. All the way down. Boom. Now we have pure black and
Next is we want to increase the contrast little bit. So
remember we want to get as close to black and white as
possible. There's still plenty of greys here, which is fine.
Greys can make nice effects on brushes as well. So what I'm
going to do is first turn up the brightness contrast. Let's
see what that does. And I pulled up a layer adjustment menu here
so I can play with them.
So turn up the brightness, turn up the contrast. So it looks
I like that there
So it looks pretty good.
I'll show you what it looks like when you turn it off and
you can do that with a layer, image adjustment layer
adjustment here. Can do the same thing up here, but this
gives you that control that it's on its own layer.
So it looks pretty good. So what I'm gonna do is
I'm going to merge that so now we have pure black and white
and I just want to extract the tree so I'm going to draw a
selection or a marquee
And we can even make the brush here because luckily this thing
is working. So one thing I could do is draw a perfectly
square marquee to do that.
Select your marquee too,l hold shift and we do a perfect
And we're gonna try to get as close to the grass or the base of the
tree as possible, the trunk. Now the marquee needs to be
moved. So while the marquee tool is active
I just move my cursor inside and I can literally move and
drag the cursor around so that's what I'm doing here.
And what I'm trying to do is just a perfect square, I'm trying to
fit the tree inside and get as much of the trunk as possible.
So this is a really nice - this photograph was really handy and
convenient. They don't always work this easy, but luckily
this one does. All right. So now I got a perfect square
marquee around my photograph that I adjusted for more
contrast and no color.
So with my marquee all I need to do is go to edit, define
brush preset. Remember, all you need is a marquee to draw to
have a brush preset available to you, define brush preset. So
define brush preset. I'm going to just call it
tree one. You don't have to name it but let's call it tree
number one and then boom now the tree appears in my stack
and look what I have here. Now I have my own.
Boom. Perfect tree stamp, isn't that amazing?
Look at that. And of course, you can imagine how useful this
tool can be. Not just by making trees, obviously now if I want
to, you know, maybe if I'm working on a painting or a comp
or a thumbnail for a landscape painting and I want
forest in my landscape. Look at that. Look at that. Instant
forest and that was with my stamp brush set to a few of the
controls. Remember turn on spacing, turn on scattering.
Now. I have instant forest brush. Look at that, that's
amazing. Very powerful and all came from a straight-up
photographs. That's a wonderful way to make a stamp. And I often
do this with people. You can take a picture of a person and
make a people brush through the exact same process. Doesn't have
to be a tree.
And remember we can save
this brush by doing a new brush preset and boom. There's my new
tree brush. I can delete this first one.
Now I'm good to go.
So that's how you make a stamp kind of brush.
Next is we want to make a texture brush
from photo, this
exact same process. So what I'll do is I downloaded a piece
of like rusted metal texture
from the internet.
And this thing is cool. I like - I like what's happening here.
This kind of plate. Let's say I want to recreate this plate as
use it as a - not only just as a stamp but as a texture.
Actually we can do both, I can use this section as a texture,
use this section as a stamp. So for example, there's a couple
ways we can do this. We can grab the marquee.
Remember a perfect square is what we need. But now the brush,
the thing is this picture needs a little bit more work, right?
This is little bit rotated. So what I'm going to do
is I'm actually going to bring this in 2
square document that I already made. So remember that document.
So I'm just going to drag
in here, so I don't need this anymore.
I'm going to make a copy because I'm going to play with
it. Remember it's good practice
to duplicate the layer before you do any operations.
So this one needs to be scaled a little bit.
So Ctrl T is the way I like to scale
to bring up the handles.
Now I'm going to rotate it
so it kind of fits in my square.
Actually, I can even make it a perfect square
by using the transform tool.
Trying to get it to fit inside here.
It's not a perfect square, but that's okay.
All right. Look at that.
So for this again same thing. The tree, let's first through the tree, let's first
eliminate the color
then let's adjust the contrast. So brightness contrast.
I can also use level. I really like
brightness contrast, it's simple.
Alright, so we got a nice pattern here. I'm going to
And what I'm going to do now is I'm going to
erase out some of these edges. Let me see if I can make this a
I'm going to take an airbrush.
I'll take an airbrush eraser
and I'm going to erase some of these edges because if I save it
it'll become really - if I define this as a preset it'll become too
Just going to
some of the edges and you'll see why that's important.
Because I don't want it to become too
hard edge,, it won't feel and look natural, which is kind of what
And this brush is
boring. It needs a little more texture.
Texture brushes are good because they give you that more
of that organic look so notice I switch to that texture brush
I just made as an eraser, looks much more interesting, right?
Okay. So there's that little metal plate, rusted metal plate.
Now I'm going to go to edit, define brush preset.
And now we brush is locked and ready to go, appears in my
stack and boom. Now I got a perfect plate. Now you see I
still have that hard edge. That's kind of what I wanted to
avoid. You may - you may want it you may not but definitely
can avoid that.
Let's turn us spacing a little bit here.
This beautiful metal brush. We can avoid that by
playing with the outer edge. And I'll show you what that looks
like now, how we can avoid that. But this is another way of
making a texture brush
by using a photo instead of a custom shape.
So one thing I could do, let's say let's take a look at
different area. So I like this section here. Look at this
beautiful random kind of texture happening there.
I like that stuff there. Let's say this one right here. This
will make a really cool texture brush, but we got to get rid of
that outer edge. So there's a couple ways to do. One
would be to erase. First let's process this a little bit so
bring up hue, saturation
to eliminate the color. Bring up brightness, contrast to increase
This time I made a little bit darker. So I'm going to merge
that. Hotkey's command E to merge the two layers, merge down. So
one thing I could do now is
first I'm going to do is I'm going to use a mask instead of erasing.
I'm going to use an alpha mask.
And remember alpha mask is affected by pure black and pure
And in this case I'm going to grab that textured brush. It was
working quite nicely and brush pure black
and just kind of get rid of that edge.
Give myself a little bit of space.
You see that?
And let's see what the circle brush looks like. I'm going to
brush some of it back with circle. I think I like that
Circle brush. Yeah, look at the cool effects when you combine
Now I can even add some softness to it with an
So bring back a soft airbrush, with transfer set on. Remember
transfer gives you the softest possible are brush and I'm just
going to go around and soften the edges just around the edge
not the inside.
Kind of give it a little bit of softness and
you see that?
Okay. So now
I like this and remember this is all an alpha mask. If I turn
off the mask, I'm going to hold shift and click, see still
there. So that's why I chose to use the mask instead of
erasing. So now I'm going to go to edit, define brush preset, and
there it is. Now it's in my stack.
And she's ready to go. Look at that beautiful randomly. Cool,
almost looks like outer space like the moon or Mars texture.
It's really cool. And of course we can combine it
other controls. Need spacing of course first.
And now we get all kinds of very cool
We can even use this as a
sort of a drawing brush. That's one thing I like to do.
And then turn on transfer. Now we have a nice
textural brush we can blend. So you see that?
Combined with transfer
you can use this to blend instead of using a soft
airbrush you can get nice beautiful texture. That all came
from a photograph.
And the last thing we need to know about the
brush controls is rearranging our brush presets. Remember
once we have our brushes,
once we make a custom brush, they appear at the bottom of
the stack. But let's say you want - you want them at the top
or a different location. Let's say you want your, you know,
this dottie brush further at the top so you have more
access to it. So all you have to do is go to the drop down menu,
go to preset manager,
and now you can just drag them up,
or move them around. You can rearrange the order any way
you like now.
This, with this menu and you can also delete a brush, you click
on a brush, you can say delete or hold alt and click and it
will delete the brush for you.
Okay, so now my brushes that I moved are further at the top of
Okay, so that's the preset manager.
You won't be using that too often until you get a bunch of
custom brushes and you get really familiar. That's when
you'll start to play with the arrangement, but pretty much
you won't be using it that often.
Okay, so that was the major features of the custom brush.
Now that you've seen actually how to make your own custom brush
whether with custom shapes or photography, you can see the
massive potential you can see, you know, the infinite things
you can do. now you can make a brush of any picture you want.
You can take a picture of your friends, your dog, your cat, your
house, whatever, turn into a brush, turn into a stamp, play
till infinity. So definitely once you get familiar with this
menu, review this video over again so you can get familiar
with the menu, play around with the custom brushes, and then
start to create your own brush presets, create your own texture
brushes, create your own paint brushes, and then you'll really
be able to
use the full power of the software.
Transcription not available.
going to do is I'm going to start
with - so this is the default Photoshop brush back. So what I
want to do make
a drawing brush, flat brush, an airbrush, and a textured brush,
So I'm going to start with hard round.
Make sure my spacing is correct. Right now it's at zero.
Going to go to shape dynamics. Make sure my control set to pen
pressure. And I'm going to play with the minimum diameter. In this
case I'm just going to not go to zero maybe go to like 22%.
And for this drawing brush I'm going to add transfer.
And transfer will give me that kind of that opacity fade.
Remember the opacity jitter, set the pen pressure and you play
with the minimum
control. And this is what my brush looks like.
All right now the opacity is set to 40.
See that? Thick, thin,
thick, thin, light to dark. Beautiful perfect brush for starting your
drawings. So what I'm going to do is save this brush, so go to
the drop down menu, go to new brush preset at the very top,
and call it drawing one.
Appears at the bottom of my stack.
Next is a flat
paint brush. So I'm going to start with the hard round.
First make sure my spacing is correct. I want 1% spacing. Now I'm
going to change the shape.
Change the angle to 90 degrees. You can drag this. I'm holding
shift and notice how it locks to 15 degree increments. So
drag it to 90 degrees, pinch - oops - pinch the two handles to
decrease the roundness to about 25%,
something like that.
Right notice the stroke thumbnail, remember to keep your eye
Then we need shape dynamics.
And the control we want is angle jitter, remember size
creates thick or thin but we don't want that for our flat
brush. We want the brush to follow. So angle jitter is this,
is the one in the middle, set the control to direction.
Direction means it'll follow your stroke
and this -
this angle doesn't matter unless you want texture but
this isn't our texture brush. We'll get to that later.
Now we have a nice beautiful flat brush that follows our
So let me save this one.
New brush preset, we'll call it
And there it is at the bottom stack.
Next we want a airbrush. So I'm going to start with a hard
round. We already have some airbrushes here. But let's see if brushes here. But let's see if
I'll make one from scratch using hard round. So drop the
spacing. Now airbrush is made with hardness first. So notice
the hardness slider, take it all the way down, right ?Now the
outer edge becomes a little bit fuzzy, little bit softer. And
the last thing we want is transfer. So transfer remember
gives us that opacity controls. And that's right up
here, opacity jitter. Remember it must be set to pen pressure. The
minimum you can play with but I usually keep it at zero then
worry about these other parameters.
Now we have a beautiful airbrush.
Right with opacity control look at that and if we play
with airbrush combined with the opacity of the brush up here in
the options menu. So let's say I go to press five to get 50%
opacity. Look at the amount of control I can get now.
Look at that, beautiful.
The more you go over, the more opaque it gets.
So that's our beautiful airbrush and now I'm going to
New brush preset. Oh, there it is. Call it airbrush one.
And there it is at the bottom of the stack. So now I have drawing
brush, flat fill brush, and a soft airbrush.
The next brush we want is texture. So there's a couple of
ways we can do that. Photoshop has some nice default texture-y
Here, but if you want to make one from scratch you can do
that as well. Remember there's a couple of ways to do that but
one way is to make a texture-y image. So let's go to make a
new document. File, new.
But this time it won't be the size of a drawing paper it'll
be a perfect square. Remember that. So let's make ours 500 pixels
by 500 pixels, 72 DPI, perfect square. And I'm going to bring
this over just so you can see.
And this one I'm going to just take my lasso tool
and just kind of draw a series of randomey shapes.
Right? Nice texture-y looking things.
Okay, make a new layer first and fill it with black.
That's pretty cool. Right?
simplify this a little bit. Might get too texture-y. it to texture e
Doesn't really matter once we turn on
And then also I'm going to sort of I'm taking my mask here, put
a mask on the layer. I'm going to take a soft air brush that
I just created and sort of just kind of mask out or soften
the outer edge here
just so that the edge of the brush doesn't have that
super hard boxy look. It feels a little more natural when you
do this at the edges. Okay.
Now I'm going to
make a new brush preset. So go to image, excuse me, edit,
define brush preset.
We'll call it texture one. So it makes a brush preset out of
this black and white image I just made.
Now look at that. If I go to my document look at that how cool
that is, right?
So let me a tab this back.
Right now it's set to eraser. And remember the new brush preset
puts it at the bottom of your stack. So let's play with this
brush here at 100% opacity. Wow, interesting
texture, right? But remember
right now I'm just kind of stamping.
if I want to make it more natural as a textured brush we
got to play with the settings. Starting first go to tip shape, starting first go to tip shape
play with the spacing. Give it a little bit of space.
Or lot of space, depends on what you need. I like to go to shape
dynamics next. Turn on angle jitter just to rotate it a
little bit, also turn on minimum diameter. But in this case I
won't go to complete zero to get that thick or thin. I just
want a little bit of a pinch. So maybe I'll go to 75,
something like that, a little bit of a taper at the end. Next
go to scatter.
And of course scatter gives us the amount or the distance that
they scatter and also the count is how many appear.
Okay, and then finally transfer if you want it.
In this case I'll - remember before we had minimum set the zero of
the opacity jitter. Now I'm just going to set it to about
So now let's take a look at our texture brush.
Look at that kind of a cool randomy kind of texture, very
very cool. I like this brush. So if you like the brush, you
like to the settings that you created remember go to the drop
down menu, new brush preset. I'll call it texture one.
And you don't have to name your brushes. I'll just do it in this
case. Now I don't need this brush right here, the original
Remember we captured this, defined it, and I turned it -
put this in our stack so we don't need that. I'm going to
Look at that.
Now we have pretty much every brush we need to get started a
drawing brush, a fill brush, soft airbrush, and our first texture
brush. So now what I'm going to do is save my brand new
brushes. So I'll go to
Before I save it, I want to kind of get rid of the other
brushes I have. So I'm gonna go to preset manager and remember the
brushes that I just made the ones that I want to keep are on
the bottom. Whenever you define a brush they appear at the
bottom of the stack, but these other default brushes I don't
really need them or want them. So I'm just going to go
click the first one and then hold shift and click to the
last one and then it selects all - it's kind of like a
document in a finder folder, Windows folder. You hold
shift to select multiple items in a folder. So I just selected
all the brushes that I don't want and I'm just going to hit
delete, right there, boom. And now I'm going to click done.
Now I only have these four brushes in my stack.
So I'm going to go to save brushes and I'll call these -
I'll save them on the desktop in this case. I'll call them
my first brushes one.
And that's how you do it. Now let's say just also for the
We saved our brushes, they're on the desktop. So let's say
I'm going to reset brushes to the default.
All right up. So now
let's say you crack open Photoshop or you're working at a
friend's or at your office and you want to load your brushes
that you just made,
you go to the drop down menu
and instead of saying over in the middle, instead of saying
load brushes, which will put the brushes at the bottom of
the existing stack, we don't want that. We want replace, so
go to replace brushes.
Right? Find the brush you want, in this case on the desktop my
And boom it replaces that entire stack with just the four
brushes that I originally created, which is what I want. If
you didn't, let's say remember
if you just go to load, click my brush.
See they appear at the bottom and then you have all these
other brushes that you have to deal with that you really don't
want. So remember it's replace, replace brushes to get a nice
clean fresh stack of your first set of custom brushes. Okay.
I'm going to open some photographs I have
on my desktop there.
cool telephone pole. I can show you can make a brush out of the
pole. But let's say I like this
patch of grass here. I want to turn that patch of grass into
like a grassy kind of texture brush. So just -
and this document is pretty high res. So what I could
probably do if I go to image, image size. Yeah. This one is
really high res actually it's a big photo. So this one I don't have
to make a new document.
But let's do that anyway, so file new. So I'm Anyway, so file new, so I'm
going to make a new brush document. Remember I like to make
my brush documents about 500 pixels
by 500 pixels, remember has be perfectly square, 72 DPI.
So when we do is I'm going to grab a section, use my marquee
and just kind of grab a section.
And I'm going to move them the marquee. I like this little
section right here.
I like this section here. So I'm going to go control C. Then
go to my document do control V and it's pretty big so I'm
gonna have to shrink it a little bit.
Okay now it's in my brush document.
What I want to do is
mask out or erase some of the hard edges, so I'm going to add
a mask and I'm going to take the texture brush that I made
previously and just sort of just kind of dabble at it.
Just get rid of that hard hard edge.
This textured brush kind of working a little bit.
You can even start to take the airbrush. And what's cool about
the mask as you can bring it back at any time. Let's say I
go to I wanted that just change the color to black or
whatever the invert color is.
And I'm going to
kind of give it a little bit of a texture-y kind of look.
Kinda give this more organic-y kind of look
as much as possible. I want it to feel like a piece of organic
field of grass sort of.
But I don't want that hard
edge, hard boxy edge of the document there. Okay. So that's
a pretty good edge. Now, I'm going to make sure to select
the image itself. Not the mask but the image then go to edit
define brush preset.
Call it a grass
Look at that, now it's at the bottom of my stack. Try it out in
my document here. See how it looks. Wow looks pretty cool.
So if you zoom in you can see the cool grass. Obviously the
hard edge square is still there. So that's easy to fix.
All we got to do remember because it's on a mask
we just go back to our original and I'll
just, you know, take out a little bit more from the edge.
That's really what it needs. Just needs to get off that edge
unfortunately. Although I like the organic look of that edge,
it's just way too hard and that feels unnatural. So just going
to come in a little bit.
Just come in a little bit,
texture a little bit, make it feel a little bit more
Okay cool. So try that again. Edit,
define brush preset.
Okay, there it is. And now let's take a look.
All right much better. See the edge is much better? So what I'm
going to do is I'm going to delete the first one
and then now I have a really nice
kind of grassy looking brush real cool texture made from a
photograph. Pretty cool, huh?
Alright, so the next brush is a stamp so I can make a stamp out
of this telephone pole actually. That might be useful.
And remember how we masked out the figure. So exact same way.
So I'm going to
make a quick -
just a quick mask to surround the thing that I want to use.
I'm gonna duplicate it. Then I'm going to put on a mask. Then I'm
going to turn it off so I can see the transparent
background. I just turned the eyeball off is what I did
there. Now I have a mask and I'm just going to fine tune it.
Make sure I select polygon lasso
and just kind of
get as close as I can
to the shape that I want to cut out.
Remember don't go - don't get too ambitious and try to do too
Although you can change your mask at any time.
Now whenever I make a section I
go to paint bucket, which is G,
fill it with black, boom. It cuts it up for me. Well, it doesn't
really cut it, it's just masking it out, but that's the beautiful
thing about mask it's non-destructive, which is
So this part's a little - can get a little bit tedious depending
on how complex the thing you're masking is. In this case it's
not too too bad. But if you can imagine if you had to do like a
tree for example or a bush or like a complex city scene or
something, complex building. That might be a pain in the
Remember to double click to close.
And this is the only tricky part.
This whole masking job is you these small little objects. I
probably don't really need these objects, but they're kind
of fun looking so I'll keep them.
Little, I don't know what they are actually little.
So you can see how -
that when closed by itself - how often you'll be
using selection tools. So definitely you may think I'm
going fast now, but when you get comfortable after two or
three tries, believe me, you'll be just as fast.
And you can review of course if you get lost in any time.
There you go. Good. Obviously this part will be home much
easier. Just a nice long
That'll be the hardest part is this curve of the bottom of the
Alright, so now
I got the just the telephone pole. So what I'm going to do
since this one's masked what I want to do is
cut and paste so I hold command and click on the mass. Remember
to draw a selection. Remember if you click on the layer with
while holding command, it'll draw a mask and whatever's in
that layer and this case it's I clicked on the mask so I can
draw a mask on the mask I just made. So I'm going to go
and then go to the object or the layer, right? This is just
the mask. I want to select the actual photograph. So put the
boxes around the photograph by clicking on it. So I do command
and then I go back to my document, brush making document,
command V and it's going to be a lot bigger in this case. So
it's going to shrink it down.
Command T to bring up the transform and then
corners to make a scale.
Or you can drag all the corners but corner makes a
uniform scale. So now I have a nice thing in my stack. One
thing I could do is
go to edit, define brush preset
and now it's called
telephone pole stamp number one.
So now go to my brush
There it is, telephone pole for days. So I didn't have to
turn it black and white because a brush defaults
by black and white but notice how you can make really simple
perspective. Look at that. Oh, it's so beautiful. This is why
I love Photoshop. This kind of thing is quite tedious in real
life, but in the computer look at that. Beautiful with our stamp
Now you can imagine this is a simple telephone pole but just
the possibilities of what kind of brushes you can make, right?
Texture brush stamps.
The possibilities are unlimited. Alright, so that was
the end of the assignment. Hope you learned a few things.
don't stop here. Review the lesson and keep playing with it,
keep playing with it until you get comfortable. Really we
didn't go over much. Right? Only a handful of tools, handful of
adjustments here and there, a few little buttons here and
there and then boom. We're able to create some cool stuff. So
these are the tools you be using over again,
practice as often as possible. When you get comfortable your
confidence will soar. So until next time.
Free to try
1. Lesson Overview21sNow playing...
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2. Learning Recommendation24s
3. Introduction to 5 Major Tools6m 57s
4. Layers46m 25s
5. Undo and Keyboard Shortcuts20m 22s
6. Course Alert24s
7. Brushes1h 2m 10s
9. Assignment Demo25m 53s