Skip to main content

Paint Brush Tools

Lesson 56 from: Adobe Photoshop: The Complete Guide Bootcamp

Ben Willmore

buy this class

$00

$00
Sale Ends Soon!

starting under

$13/month*

Unlock this classplus 2000+ more >

Lesson Info

56. Paint Brush Tools

Lessons

Class Trailer
1

Introduction To Adobe Photoshop

04:05
2

Bridge vs. Lightroom

06:39
3

Tour of Photoshop Interface

18:21
4

Overview of Bridge Workspace

07:42
5

Overview of Lightroom Workspace

11:21
6

Lightroom Preferences - Saving Documents

08:19
7

How To Use Camera Raw in Adobe Photoshop 2020

05:10
8

Overview of Basic Adjustment Sliders

13:09
9

Developing Raw Images

30:33
10

Editing with the Effects and HLS Tabs

09:12
11

How to Save Images

03:37
12

Using the Transform Tool

04:48
13

Making Selections in Adobe Photoshop 2020

06:03
14

Selection Tools

05:55
15

Combining Selection Tools

07:37
16

Using Automated Selection Tools

17:34
17

Quick Mask Mode

05:07
18

Select Menu Essentials

21:28
19

Using Layers in Adobe Photoshop 2020

13:00
20

Align Active Layers

07:29
21

Creating a New Layer

06:15
22

Creating a Clipping Mask

03:02
23

Using Effects on Layers

11:24
24

Using Adjustment Layers

16:44
25

Using the Shape Tool

04:39
26

Create a Layer Mask Using the Selection Tool

04:39
27

Masking Multiple Images Together

15:15
28

Using Layer Masks to Remove People

10:50
29

Using Layer Masks to Replace Sky

10:04
30

Adding Texture to Images

09:11
31

Layering to Create Realistic Depth

05:35
32

Adjustment Layers in Adobe Photoshop 2020

05:29
33

Optimizing Grayscale with Levels

10:59
34

Adjusting Levels with a Histogram

03:37
35

Understanding Curves

06:18
36

Editing an Image Using Curves

18:41
37

Editing with Shadows/Highlights Adjustment

07:19
38

Dodge and Burn Using Quick Mask Mode

07:14
39

Editing with Blending Modes

08:04
40

Color Theory

05:59
41

Curves for Color

16:52
42

Hue and Saturation Adjustments

08:59
43

Isolating Colors Using Hue/Saturation Adjustment

13:33
44

Match Colors Using Numbers

16:59
45

Adjusting Skin Tones

05:25
46

Retouching Essentials In Adobe Camera Raw

10:52
47

Retouching with the Spot Healing Brush

07:53
48

Retouching with the Clone Stamp

06:51
49

Retouching with the Healing Brush

04:34
50

Retouching Using Multiple Retouching Tools

13:07
51

Extending an Edge with Content Aware

03:42
52

Clone Between Documents

13:19
53

Crop Tool

10:07
54

Frame Tool

02:59
55

Eye Dropper and Color Sampler Tools

08:14
56

Paint Brush Tools

13:33
57

History Brush Tool

06:27
58

Eraser and Gradient Tools

03:06
59

Brush Flow and Opacity Settings

04:17
60

Blur and Shape Tools

11:06
61

Dissolve Mode

09:24
62

Multiply Mode

15:29
63

Screen Mode

14:08
64

Hard Light Mode

14:54
65

Hue, Saturation, and Color Modes

11:31
66

Smart Filters

11:32
67

High Pass Filter

13:40
68

Blur Filter

05:59
69

Filter Gallery

07:42
70

Adaptive Wide Angle Filter

04:43
71

Combing Filters and Features

04:45
72

Select and Mask

20:04
73

Manually Select and Mask

08:08
74

Creating a Clean Background

21:19
75

Changing the Background

13:34
76

Smart Object Overview

08:37
77

Nested Smart Objects

09:55
78

Scale and Warp Smart Objects

09:08
79

Replace Contents

06:55
80

Raw Smart Objects

10:20
81

Multiple Instances of a Smart Object

12:59
82

Creating a Mockup Using Smart Objects

05:42
83

Panoramas

13:15
84

HDR

11:20
85

Focus Stacking

04:02
86

Time-lapse

11:18
87

Light Painting Composite

08:05
88

Remove Moire Patterns

06:11
89

Remove Similar Objects At Once

09:52
90

Remove Objects Across an Entire Image

05:46
91

Replace a Repeating Pattern

06:50
92

Clone from Multiple Areas Using the Clone Source Panel

10:27
93

Remove an Object with a Complex Background

07:49
94

Frequency Separation to Remove Staining and Blemishes

12:27
95

Warping

11:03
96

Liquify

14:02
97

Puppet Warp

12:52
98

Displacement Map

10:36
99

Polar Coordinates

07:19
100

Organize Your Layers

11:02
101

Layer Styles: Bevel and Emboss

02:59
102

Layer Style: Knockout Deep

12:34
103

Blending Options: Blend if

13:18
104

Blending Options: Colorize Black and White Image

06:27
105

Layer Comps

08:30
106

Black-Only Shadows

06:07
107

Create a Content Aware Fill Action

08:46
108

Create a Desaturate Edges Action

07:42
109

Create an Antique Color Action

13:52
110

Create a Contour Map Action

10:20
111

Faux Sunset Action

07:20
112

Photo Credit Action

05:54
113

Create Sharable Actions

07:31
114

Common Troubleshooting Issues Part 1

10:23
115

Common Troubleshooting Issues Part 2

07:57
116

Image Compatibility with Lightroom

03:29
117

Scratch Disk Is Full

06:02
118

Preview Thumbnail

02:10

Lesson Info

Paint Brush Tools

as we move further down in our tool panel. Next we have a slot that has a bunch of retouching tools. We covered the majority of these when we had a lesson on retouching, So next coming down would be our paint brush tool. Let's create a brand new document to work with and take a look at some of the settings related to our brush. When you have a brush tool active, you're gonna be painting with your foreground color. If you want to change your foreground color, just click on it. Choose a color from this vertical bar and then choose a shade of it from the big square on the left. Then we have our brush settings. If you go in your options bar at the top of your screen, you'll see a an example of your brush edge. Click on it. There we can change the size of our brush. We can also change how hard the edges on our brush and below that we can click on presets, toe load various shaped brushes just by clicking on these. But there's more to those presets than what you see here. If you go to the win...

dow menu. There's two choices. One is called brushes, which is the same as what we saw in the lower portion of that screen we're on a second ago, and then the 2nd 1 is brush settings, so the one that's just called brushes are presets. That's where you can load in various brushes that you've designed previously in the brush settings or the actual nitty gritty of what makes up your brush. So let's take a look at what some of the settings do in our brush settings. There are so many settings here that we won't have time to get into all of them. I would do that if I had a class specifically about painting, but I can give you a pretty good overview of what the settings mean. If we look down here in the lower sections, you will find a bunch of odd shaped brushes, and we could choose any one of these to paint with. And as you go on top your image, you'll see that you don't have to have a round brush. I'm gonna come down here and just scroll down quite a ways to see if I can find something that I think would be an interesting brush to work with and let's see, just can't choose or so many choices available How you're supposed to choose. I'm gonna go with this guy. Alright, so I've chosen the shape of my brush. Then just click with it and you can see what your brush looks like. And if when you're painting, you're going to find that there's a setting down near the bottom called spacing, and it has large change how it works with your picture. Let's say I chose this star brush, what with the star brush. If I click and drag to paint with it, you think you might just see a bunch of stars, But instead you see just their tips, and you see that there's a certain amount of space between them. That's because when you paint, all photo Shop is doing is clicking. Add one of these shapes. It's moving over a certain distance and clicking again. And then again, and then again, it's just doing that for you. In the spacing setting determines how much space there is between each one. If you increase the spacing setting so it's above 100 then you're gonna find the stars don't overlap each other, and therefore you could give them spaced out like that. So now that we've seen, what spacing does you might know, then why? When you use a normal round brush, sometimes the edge doesn't look smooth. Let me go back to a normal round brush, and I'm gonna use one that has a hard edge on it. When I use one with the hard edge, especially if I use a large one watch. What happens is I paint. It's really going to depend on the spacing setting. This looked relatively smooth, but the default setting for spacing is usually 25%. So let me bring it up to that setting because most of the time when you end up using a round brush, especially a large one that is hard edged, you end up getting an edge that doesn't look smooth. Do you see this where you can see it looking kind of round on the edge? Well, that's your spacing. So when you use a soft edge brush, just bring that hardness setting down a bit. You don't notice that edge being little bumps going around the edge. And so it's mainly when you end up getting your hardness turned up to 75 or higher that you got to be careful. When have you ever used a large brush? Anytime. Use that large brush, you're not going to get a smooth edge in. Therefore, even though I might want to cover a wide area, I'm probably going to end up with a smaller brush because it's going to look smoother on the edge. It still has that little roundy edge on it if you look close enough, but as you get a smaller and smaller brush, the amount of space between it goes down. You might think that you want to set your spacing really low, like I bring it down to 1%. And that could be great because now it's only gonna move 1% of the width of my brush. And so when I pay, it looks pretty smooth. The problem with that is, if you ever work with your opacity turned down, let's say I bring my opacity on really low like 10%. Well, now that could end up building up rather quickly, because when it puts down the different paint strokes, it can build one on top of another. Especially if you end up using settings like Flo. We'll end up covering flow in a moment. So anyway, you have to be careful with spacing and realized that the default is 25%. It will mainly affect cartage brushes because soft edge brushes you don't notice it so much. And now let's go back to amore. Oddly shaped brush in C. What kind of settings are related to it? Here's the brush shape that I currently have chosen. It just creates a curved line that gets thinner as it gets to the tip. Doesn't look like anything special. Well, if I go to the left side of my brush studies, here is an entire list of settings that we can apply to our brush. And if you click on not the check box that's here but the name of a category. This area on the right is going to populate with settings related to that. So let's figure out what some of those settings do. Any time you see the word jitter, it means randomly, very this setting. So here we have a choice called size jitter. It's currently set to zero. That means if I paint the size of this brush is not going to vary. But if I bring size jitter up, then look at the preview that has found down below. And as I bring this setting higher, do you see that it's showing it very more in height? Well, now, if I end up painting with this brush, you'll find that it varies in the size of the brush application. Each little brush tip. Well, let's say that these I wish thes applications were a little spaced out further. Well, that's where I could go to brush tip shape, and we had spacing if I brought it up really high. Just look at the preview. Down here, you see the amount of space between them. I bring it really low, they'll be much more densely packed together. But if we go back in here to shape dynamics, let's take a look at what some of the other settings are here. It says minimum diameter. The minimum diameter is how much can it vary the size of my brush? Is it able to go down to a tiny, tiny version of it or not? So as I bring this up, it's going to say I can go from 100% normal brush size down to how much smaller? So if I only wanted to vary a little bit, maybe I bring this down to 70%. If I wanted to be very a lot, I could bring it down a lot further. So then here we have angle jitter. Remember it, general means randomly vary something. So in this case, it's gonna change the angle of my brush. Watch the preview down at the bottom so it could make it so it rotates them all the way around. But maybe I want this to look a bit like grass. And if that's the case, the base of the grass should always look at what's coming from the bottom. So I think the most I could vary. That would be about seven or 8%. But now, when I paint, you can see that they vary an angle. Then we have roundness, jitter, and that means Kennett scale my brush vertically so that it's not as tall. Just watch the preview down at the bottom. As I bring this up, you can see it's squishing them a little bit vertically and so I might have it turned up just a little bit so they can vary. Then here we have minimum roundness, which is similar to the minimum diameter, which this means how much can it vary? It We bring it really low. Then it could bring it all the way down to 1% so it can, uh, scale it quite a bit vertically where you can limit it. Let's look through some of the other settings that air here we have scattering in scattering is going to make it so each brush tip instead of going in a perfect line where you've painted, it's going to deviate from the line that you're painting. So watch the preview at the bottom. You'll see things moving up and down, and therefore I can get it so it doesn't look quite as orderly when I paint. So now if I paint, it's going up and down there both nicely angled as well. Then we have count, which is how often is it gonna put in a new one of these? And if I bring that up, it's gonna put in more. Fill it in very quickly, But the main thing is count jitter is gonna do it randomly, so you get a little more kind of clumping, but you have to have a count up a little bit if we continue going down. I mean their whole sections here that we could skip over because they're very similar. If you look at a word and you see the word jitter, it means randomly vary it. So once you get used to some of those settings, then you can figure these out on your own. Here we have color dynamics and let's say that I changed my foreground color. Since we're making something looks similar to grass. Maybe I choose a greenish color. Then here it says, Huge inter. That means the basic color. Can it vary it? If I bring it all the way up, it could have all sorts of variation in the the hue. We could have saturation jitter, which means it will randomly make it more or less colorful, same with brightness, and therefore, if we do all of those things, we can suddenly get it. So the color of these is all over the place. Now, with that huge inter, it only picks the color of the first time you click in, so therefore you'll get just different colors each time. If I want to, I could bring that down just a little so it's barely turned on. Therefore, will primarily get color similar to my foreground color. But if a let go and click again, it will very. It's just gonna very closer to the color I started with the color I requested anyway, there's all sorts of things in here. We can have more than one brush tip where one brush trip kind of crops the other, Um, we can even have brushes that have what looks like what edges. But the more you experiment with this, the better. And if you get a brush that you really like, then you want to be able to save that brush as a preset, and so we can do that. Go over here to the brushes and at the bottom is a little plus sign. And that's where I can call this grass, and I can tell it to include my foreground color so that therefore, it always does green because I wouldn't want bluegrass or black grass. Ah, and that kind of thing. And I can also see, should the size always start at this size or not turning on that check box? But now I have. That is a preset, and I can tell by looking at the preset that includes the color Ah that I would use. Therefore, it's gonna be very easy to make grass in the future just by clicking on that preset. But let's continue working down our tools panel here and see what other tools we have, so we don't spend too much time on any particular tool when you go to the paint brush tool. If you click and hold down on it, you'll find there's more than one tool in that area. The pencil tool is similar to the brush tool, but it will create a completely hard edged line. It's very rare for me to use it, but on occasion, if I need a completely crisp edge, that's what ID use. Here we have the clone stamp tool. It has two versions. Clone stamp and Pattern stamp Pattern Stamp would simply apply a pattern, which means a repeating shape that it goes over and over, not something usually need that often

Class Materials

Bonus Materials with Purchase

Lessons 1 - 6 - Handbook 1: Introduction to Adobe Photoshop
Lessons 7 - 12 - Handbook 2: How to Use Camera Raw
Lessons 13 - 18 - Handbook 3: Making Selections
Lessons 19 - 24 - Handbook 4: Using Layers
Lessons 25 - 30 - Handbook 5: Using Layer Masks
Lessons 31 - 38 - Handbook 6: Using Adjustment Layers
Lessons 39 - 44 - Handbook 7: Color Theory
Lessons 45 - 51 - Handbook 8: Retouching Essentials
Lessons 52 - 59 - Handbook 9: Tools Panel
Lessons 60 - 64 - Handbook 10: Layer Blending Modes
Lessons 65 - 70 - Handbook 11: How to Use Filters
Lessons 71 - 74 - Handbook 12: Advanced Masks
Lessons 75 - 81 - Handbook 13: Using Smart Objects
Lessons 82 - 86 - Handbook 14: Photography for Photoshop
Lessons 87 - 93 - Handbook 15: Advanced Photo Retouching
Lessons 94 - 98 - Handbook 16: Warp, Blend, Liquify
Lessons 99 - 105 - Handbook 17: Advanced Layers
Lessons 106 - 112 - Handbook 18: Actions
Lessons 113 - 117 - Handbook 19: Troubleshooting Issues
Practice Images 1: Introduction to Adobe Photoshop
Practice Images 2: How to Use Camera Raw
Practice Images 3: Making Selections
Practice Images 4: Using Layers
Practice Images 5: Using Layer Masks
Practice Images 6: Using Adjustment Layers
Practice Images 7: Color Theory
Practice Images 8: Retouching Essentials
Practice Images 9: Tools Panel
Practice Images 10: Layer Blending Modes
Practice Images 11: How to Use Filters
Practice Images 12: Advanced Masks
Practice Images 13: Using Smart Objects
Practice Images 14: Photography for Photoshop
Practice Images 15: Advanced Photo Retouching
Practice Images 16: Warp, Blend, Liquify
Practice Images 17: Advanced Layers
Practice Images 18: Actions
Practice Images 19: Troubleshooting Issues

Ratings and Reviews

Noel Ice
 

I am an avid reader of photoshop books, and an avid watcher of photoshop tutorials. I have attended (internet) several hundred of presentations. In the course of this endeavor, I have found my own favorite photoshop websites and instructors. Creative Live is probably the bargain out there as well as among the top three internet course sites. I have to say with great enthusiasm that the best Photoshop instructor is Ben Willmore. There are many great ones, but truly, he is the best I have come across, and, as indicated above, I have watched literally 100s of tutorials on Photoshop. I have seen all of Ben's courses, I think, and among them, this one is the best by far, and that is saying a lot, because that makes this course the best course on Photoshop to be found anywhere. I am going back and watching it twice. Not only is it comprehensive, but Ben is so familiar with his subject that he is able to explain it like no other. This is crème de la crème of Photoshop classes. I have been wanting to write this review for some time because I have been so thoroughly impressed with everything about this class!

ford smith
 

Highly recommended if you want to take your Photoshop skills to the next level. Ben Willmore is clear, concise, and professional. He also has a good speaking voice that is not distracting but also keeps you engaged. Lastly, I would recommend that as you become more advanced, increasing the speed of the video (one of the options given on the menu)...especially if you've gone through the course once before and maybe want to watch it again. The double speed is very efficient as you become more advanced in Photoshop. Thanks for the help Ben!

a Creativelive Student
 

Wow. I cannot communicate the value of this course!! The true value in this course is how the instructor identifies workflows you'll need before you'll ever realize it, repeats important information without it becoming annoying, and explains the "why" behind the techniques so well that even if you forget the exact method, you can figure it out via the principles learned. Excellent value, excellent material, excellent instructor!!!

Student Work