Oreilly Photoshop CS5 The Missing Manual_6 doc

527  :    Customizing Brushes • Spacing controls the distance between the each tip’s brush marks in a stroke. • Scatter lets you control how the brush marks are distributed throughout the stroke. • Count lets you specify the number of brush marks at each spacing interval. Color Dynamics These settings let you control how the paint color varies throughout a brushstroke— another way to introduce a bit of variety into your strokes so they don’t look uniform (see Figure 12-29). Figure 12-29: The Color Dynamics settings let you make a single brushstroke look like it’s made from more than one color. If you don’t have Color Dynamics turned on and your foreground color chip set to green, your brushstroke will look like the one on the left. But if you turn on Color Dynamics and set your background color chip to yellow, you can use the Foreground/Background Jitter slider to create a brushstroke that randomly combines those two colors (middle). And if you turn on the Hue Jitter setting, you can introduce all kinds of funky colors to your brushstroke (right). • Foreground/Background Jitter and Control. These settings let you con- trol how the paint alternates between the foreground and background colors throughout a stroke. In the Control pop-up menu, you can choose from Off, Fade, Pen Pressure, Pen Tilt, Stylus Wheel, and Rotation (described on page 522). • Hue Jitter. Lets you control color variation in your brushstroke; a higher setting introduces all kinds of funky color flecks. Figure 12-29, right, shows this setting in action. Drag the slider to the right to introduce more color flecks and drag it left to introduce fewer. • Saturation Jitter. Increasing this setting makes Photoshop vary the saturation of the color throughout the stroke. • Brightness Jitter. Use this setting to vary the brightness of the color throughout the stroke. 528 P CS: T M M Customizing Brushes • Purity. This setting increases (if you set it to a positive percentage) or decreases (if you set it to a negative percentage) the color’s saturation. Transfer This category, which used to be called Other Dynamics, lets you adjust how much paint Photoshop lays down with each brushstroke (see Figure 12-30). The Opacity and Flow settings here override the ones in the Options bar, so if you tweak them, you may find that the Options bar’s settings don’t seem to work. For example, if you set your Opacity Jitter to 60 percent, that’s the most opaque your brush can be, even if you set it to 100 percent Opacity in the Options bar. You’ve been warned! Here are your options: • Opacity Jitter and Control. These settings control how transparent the paint is throughout the brushstroke. Setting the Opacity Jitter slider to a higher per- centage makes the stroke more see-through (see Figure 12-30, bottom). In the Control pop-up menu, your choices are Off, Fade, Pen Pressure, Pen Tilt, and Stylus Wheel (page 522). • Flow Jitter and Control. This lets you specify how much paint the brush lays down throughout the brushstroke. A higher percentage means the flow varies more and a lower percentage means the flow varies less. The Control menu gives you the same options as Opacity Jitter Control menu. • Wetness Jitter and Control. You can use this setting to make Photoshop vary how wet (liquidy) your brush strokes are. • Mix Jitter and Control. Tweak these settings to vary how much paint you’re mixing from your canvas onto your brush. Figure 12-30: If you want your brushstroke’s opacity to vary randomly, increase the opacity jitter. Here you see the difference between a brushstroke with no opacity jitter (top) and one with the opacity jitter set to 100 percent (bottom). 529  :    Customizing Brushes Noise Turn on this checkbox to make Photoshop apply a dose of random, grainy texture to your brush tip (if you’re using a dual brush tip, the program applies it to both tips). You can use it to introduce more texture and randomness to your brushstrokes. For some reason, the noise isn’t as noticeable with hard-edge brushes as it is with soft- edge brushes (maybe because the noise is just more visible in the gray edge pixels you get with soft-edged brushes). Wet Edges Turning on this checkbox makes the center of your brushstrokes transparent, so the paint looks like it’s building up along the edges of the stroke (similar to painting with watercolors). Airbrush Turn on this checkbox to make your brush behave like a can of spray paint. It has the same effect as clicking the Airbrush button in the Options bar (page 500). Smoothing If you want your brushstrokes to look smoother than they were when you painted them, turn this checkbox on. It’s especially helpful if you don’t have a very steady hand, which can make your brushstrokes look jagged. Protect Texture This checkbox lets you apply the same texture, pattern, and size to all your brush presets (the built-ins) that have a texture. So, for example, you could use this option to make it look like you’re painting on the same surface with a variety of brushes without actually having to turn on the Texture category for each brush. You can think of it as a global texture option. Suggested Brush Customizations With so many settings, it can be confusing to figure out which brushes really need changing. You’ll find that the presets are really handy, and with just a few tweaks here and there, they can become indispensable. Figure 12-31 shows a sample of some extremely useful yet simple customizations. If you like what you see, check out Table 12-1 to learn about specific settings. 530 P CS: T M M Customizing Brushes Table 12-1. Suggested brush customization Brush number in Figure 12-26 Description Opacity 1 Spacing 2 Shape Dynamics Other Dynamics Uses 1 Round, hard- edged brush 25% 0% Size Jitter = Pen Pressure None Shading, blocking in color, sketching 2, 3 Rough-edged brush 25% 0% None With (2) or without (3) Flow Jitter = Pen Pressure Shading, adding texture, making hair 4 Rough brush (custom) 3 30% 0% Angle Jitter = 20%; Control = Off None Adding texture, shading 5 Small dot brush (custom) 3 30% 0% Size Jitter = Pen Pressure Opacity Jitter = Pen Pressure Making hair, shad- ing 6 Round, rough-edged brush 100% 20-25% Size Jitter = Pen Pressure Opacity Jitter and Flow Jitter = Pen Pressure Shading, blocking in color 7 Textured round brush 30% 0% None Flow Jitter = Pen Pressure Adding texture, shading 8 Textured round brush 100% 0% Size Jitter = Pen Pressure Flow Jitter = Pen Pressure Sketching, creating line art, adding fine details in small areas 9 Scattered spot brush (custom ) 3 70% 25% Scatter = 20%; Size Jitter = Pen Pressure Opacity Jitter and Flow Jitter = Pen Pressure Adding texture 1 Adjust this setting in the Options bar. 2 Set this in the Brush Tip Shape category—see page 521. 3 Meaning a custom made brush you make from scratch as described in the next section. 531  :    Defining a New Brush Figure 12-31: There’s no limit to the number of brushes you can customize or create, so feel free to go hog wild. Here’s a sample of a few brushes digital artists can’t live without. The first column shows what a single dab of paint looks like using each brush so you can get an idea of the brush’s shape. The second column shows a single brushstroke, and the third column shows multiple brush- strokes using three different colors of paint (green, yellow, and blue). If any of these brushes strike your fancy, see Table 12-1 to learn the spe- cific settings used to create each one. 1. 2. 3. 4. 5. 6. 7. 8. 9. Defining a New Brush For some seriously creative fun, try making your own brushes. You can make them out of anything—a stroke that you’ve drawn with another brush, your logo, even an image that you’ve scanned into your computer to use as texture (like a leaf). Some folks call brushes that you create yourself sampled brushes because you sample part of a pattern, object, or image to create them; in other words, you have to select the pattern, object, or image you want to base the brush on. The first step is to create the paint dab—a dab of paint in the shape of the brush tip—you want to turn into a custom brush (see Figure 12-32, left). You can create a paint dab in a variety of ways, from the quick to the super involved. The basic prem- ise is to create a new 300×300–pixel document and then use a variety of brushes at 532 P CS: T M M Defining a New Brush various opacity settings to create your dab. You can even add texture to it—the more irregular and messy the dab, the more interesting your brush will be. To turn the dab into a brush that you can use to apply color, you have to create it using black and gray paint at 100 percent opacity (that’s the Options bar’s opacity setting). When you paint with the brush later, the 100-percent black areas will create opaque color and the gray areas will be semitransparent. Note: If you want to practice making a custom brush using the paint dab shown in Figure 12-32, down- load the file DotsBrush.psd from the Missing CD page at www.missingmanuals.com/cds. Figure 12-32: Left: You can create this paint dab by starting with one of the small, soft-edged brush presets. Set your foreground color chip to black, paint a few dots, and then switch to some percentage of gray and paint a few more. Just make sure that the Options bar’s Opacity field is set to 100 percent. Right: If you make a few changes in the Brush panels, you can create an extremely useful texture and shading brush. Once you’ve created your paint dab, follow these steps to turn it into a brush: 1. Use the Rectangular Marquee tool to select the dab. To define a brush, you have to select the object first. Press M (or Shift-M) to grab the Rectangular Marquee and draw a selection around the dab (Figure 12-32, left). 2. Choose Edit➝Define Brush Preset. In the resulting dialog box (Figure 12-32, left), give your brush a name and then click OK. 533  :    Defining a New Brush 3. Create a new document (it can be any size) and press B to grab the Brush tool. Press �-N (Ctrl+N on a PC) to open a new document so you can test drive your new brush. 4. In the Options bar, select your new brush from the Brush menu and then open the Brush panel. Once you’ve selected your new brush, click the button at the far right of the Op- tions bar to open the Brush panel (or click its panel dock icon on the right side of your screen or choose Window➝Brush). Tip: Alternatively, you can open the Brush panel first, click Brush Presets, and then select your new brush from there. 5. In the Brush panel, click the Brush Tip Shape category. To create a brush similar to number 4 in Figure 12-31, change the diameter to 100 pixels, the angle to 70 degrees, and the spacing to 1 percent. If you have a graphics tablet, click the Other Dynamics category and set Opacity Jitter and Flow Jitter to Pen Pressure. 6. Click the Shape Dynamics category. If you have a graphics tablet, set Size Jitter to Pen Pressure and Minimum Diam- eter to 30 percent (Figure 12-32, right). If you don’t have a graphics tablet, try entering a Size Jitter of 25 percent instead (you just won’t be able to change it by applying more or less pressure with your pen). 7. Turn on the Smoothing checkbox. As explained on page 529, this setting makes your brushstrokes smoother, so they look less jagged. 8. Save your brush again. Click the “Create new brush” button at the bottom right of the Brush panel (it looks like a piece of paper with a folded corner). If you don’t save the brush again, you lose the settings you just changed. In the resulting dialog box, give it the same name that you did in step 2. Not only have you created a brush that’s great for textures in digital paintings, but you can also use it to make some interesting grunge effects when you’re editing photos. The ability to make your own brushes gives you a ton of control when you’re apply- ing textures. Who knew? 534 P CS: T M M Installing New Brushes Tip: If you want to share your new brush with the masses, choose Save Brushes from either the Brush menu’s fly-out menu (Figure 12-21) or the Brush panel’s menu. Give it a name and then hop on over to the Adobe Studio Exchange site (www.adobe.com/cfusion/exchange) and upload your file to achieve Photoshop fame. Installing New Brushes You’re not alone when it comes to creating new brushes. Folks love sharing their creations, and once they’ve made a really cool brush, they’re usually happy to share it with the masses. That’s why all manner of free brushes are available on the Web. One of the best resources you’ll ever find is the Adobe Studio Exchange site (www. adobe.com/cfusion/exchange). Click the site’s Photoshop link and then choose Brushes from the category list on the right side of the page (you can find all manner of actions, custom shapes, gradients, and so on here, too). You can even download a brush set that’ll make your image look like it was printed on torn paper as shown in Figure 12-33. Once you’ve downloaded the brush set to your hard drive, choose Load Brushes from the Brush Preset picker’s fly-out menu (or from the Brush panel’s menu) and navigate to where the brush set lives (look for a file whose name ends in “.abr”, such as Paper_Damage.abr) and then click Load (you can also double-click the .abr file and Photoshop will put it in the right spot). Your new brushes appear in the Brush menu, ready for you to use. The streaks in Figure 12-33 were made by setting the foreground and background chips to white and brown (respectively) and then choosing Filter➝Render➝Cloud followed by Filter➝Blur➝Motion Blur. Next, the streak layer’s blend mode was changed to Hard Light. With a few clicks of the funky Paper Damage brushes, the photo looks ancient! 535  :    Installing New Brushes Figure 12-33: At the Adobe Studio Exchange site, you can download some amazing brushes and share your own creations (top left). After you download and install the Paper Damage brush set (top right), for example, you can use its brushes to age a photo (bottom). In this image, each damaging brush- stroke was painted in white on its own layer to control the layer’s opacity and protect the original image. 536 P CS: T M M Installing New Brushes GeM IN tHe RoUGH The Art History Brush Adobe would have you believe that you can use the Art History Brush to turn a photo into a painting, but the darn thing doesn’t work very well (as is painfully clear in the figure below). It’s similar to the more useful History Brush (page 29) in that you can select a snapshot of your im- age (a previous version saved at a particular time) to work from, which is why it’s in the same toolset. That said, take this tool for a spin and decide for yourself whether it de- serves a spot in your regular tool rotation. Here’s how: 1. Grab the Art History Brush by pressing Y. Adding the Shift key lets you cycle through all the tools in a toolset. So, if pressing Y selected the History Brush, simply press Shift-Y to select the Art History Brush instead. 2. In the History panel, pick a snapshot or history state (page 27). Open the History panel by choosing Window➝History and then choose a state by clicking the left column beside the state or snapshot you want to work with. 3. Pick a small, soft-edged brush from the Options bar’s Brush menu. You can set the tool’s blend mode and opacity in the Options bar just like you can with the Brush tool, and use the Ctrl-Option-drag (Alt+right-click+drag on a PC) keyboard shortcut to resize your brush on the fly—drag left to make your brush smaller and right to make it bigger. 4. In the Options bar, choose Tight Short from the Style menu. You’ll find 10 different painting styles in this pop-up menu, including Tight Short, Loose Me- dium, Loose Long, and so on. Anything with the word “tight” in the name works a little better than the oth- ers because it keeps the brushstrokes close together. 5. Change the Options bar’s Area field to 50 pix- els. This setting controls the area covered by the artsy (and totally destructive) brushstrokes you create as you brush across your image. Enter a large num- ber for more strokes or a smaller number for fewer strokes. If you have any hope of recognizing the ob- ject you’re painting, keep this number relatively low (less than 40 percent). 6. Make sure the Tolerance field is set to 0 percent. A low tolerance lets you paint strokes anywhere you want. A high tolerance limits them to areas that differ from the color in the snapshot or history state you picked in step 2. 7. Mouse over to your image and paint it. As you brush over your image, your clear, recognizable photo will be replaced with random, supposedly artistic swaths of paint, transforming it into madness and mayhem. Undo command, anyone? [...]... starfish) from the Tools panel—it’s in the same toolset as all the other shape tools Then head up to the Options bar and open the Custom Shape picker by clicking the down-pointing triangle shown in Figure 13-13 Photoshop CS5 comes packed with even more Custom Shapes than ever before The new categories include Artistic Textures, Film, Grime Vector Pack, and LightBulb Whee! 556 Photoshop CS5: The Missing Manual... enter a percentage in the Concavity field 3 Enter a width for the line In the Options bar’s Weight field, enter a width for your line in pixels 554 Photoshop CS5: The Missing Manual Drawing with the Shape Tools 4 Pick a line color Click the Color box at the far right of the Options bar to summon the Color Picker (page 493); choose a color and then click OK If you don’t select a color, Photoshop uses your... circle), press and hold the Shift key as you drag with a shape tool and Photoshop keeps the shape’s sides the same size To draw a shape from the center out, press and hold Option (Alt on a PC) as you drag All the shape tools work pretty much the same way Here’s how to use the Line tool: 1 Grab the Line tool from the Tools panel The Line tool lives in the shape toolset near the bottom of the Tools panel If... traveling (left to right), the middle image shows what happens when you drag the handle up and to the left, and the bottom image shows what happens when you drag the control handle down and to the left Bottom: The farther you drag control handles, the longer they get and the more curved your path becomes In the upper image, long control handles make for a really deep curve In the lower image, short controls... drawing process is the same no matter which mode you choose: You pick the Pen tool or one of the shape tools, choose a drawing mode, draw the shape, edit the shape, and then save it for future use In the following sections you’ll learn how to do all that and more Now that you have a bird’s eye view of the process, it’s time to dig into drawing with the Pen tool 540 Photoshop CS5: The Missing Manual Drawing... shown in Figure 13-5 Drag to the right First click Second click Drag to the right Note the direction of the drag on the control handle Figure 13-5:  The direction you drag the control handle determines the direction of the next path you draw; you can watch the path between two points twist and bend as you drag the handle And notice that the two opposing handles are connected and they move in tandem If you... right, shows the affect of different length handles on two similar paths 548 Photoshop CS5: The Missing Manual Drawing Paths with the Pen Tool Figure 13-8:  Top: Here’s what happens when you drag the control handles in different directions In all of these images, the path was drawn from left to right The top image shows what happens when you drag the control handle in the same direction as the path is... Figure 13-5, middle) 544 Photoshop CS5: The Missing Manual Drawing Paths with the Pen Tool 3 Create a third point by clicking and dragging upward and to the right The path that appears when you click to add this third point curves downward because you pulled the control handle downward in the previous step Drag the third point’s control handle upward and slightly to the right to make the curve shown in Figure... that blend together in the middle 560 Photoshop CS5: The Missing Manual Editing Paths Figure 13-16:  Left: The first piece in this flower was drawn in Shape Layers mode (page 540), but the rest of the parts were drawn in “Add to shape area” mode so that everything stayed on one layer Drawing all your shapes on a single layer lets you combine the parts together into a single shape Right: Use the Path Selection... line like the one in Figure 13-20 (right) Try drawing that Z freehand using the Brush tool—it’s really hard to create such a perfect Z shape But with the Pen tool, you can draw the path first, edit it (if necessary) using the techniques described in the previous sections, and then add the fancy red stroke using your favorite brush (see Chapter 12 for more on brushes) 562 Photoshop CS5: The Missing Manual . create them; in other words, you have to select the pattern, object, or image you want to base the brush on. The first step is to create the paint dab—a dab of paint in the shape of the brush. book’s Missing CD page at www.missingmanuals. com/cds and download the file ComboPath.tif. 2. Move your cursor an inch or so to the right, and then click to set your second point to the right of the. line, grab the Direct Selection tool by pressing Shift-A until the white arrow appears in the Tools panel. The Direct Selection tool it lives in the toolset just below the big T in the Text tool