Reimagine Learning

An Overview of Photoshop's Brush Tool

on Feb 17, 2012 8:06:48 AM By | Jackie | 0 Comments | Blog Technique of the Week Art Tutorial
Many working artists nowadays use Adobe Photoshop to create digital paintings and illustrations. This week, we will be exploring the Brush Tool and its various options. Photoshop’s Brush Tool seems simplistic at first glance. You choose a color for your brush using the color palette or color picker. As for the shape of the brush, Photoshop provides plenty of brush presets for shapes and effects that you can choose from in the Brush Preset Picker. You could also make your own brushes or download brushes online, but we will not be covering this right now.   In the Brush Preset Picker window, you will notice two sliders. One is to adjust the brush size. The other is to adjust the hardness of the brush. Changing this slider determines how hard of an edge the brush has. A hardness of 0% gives your brush a soft, feathered look. Next, we will discuss Mode. The Mode works just like your layer Blend Modes; changing the bMode makes the brush apply color using that mode. For example, if you change from a “Normal” mode to “Multiply”, your brush will apply a “Multiply” effect to the canvas. The Opacity and Flow sliders sit next to the Mode menu. Opacity is self-explanatory - the less opacity, the more see-through the brush will be within a stroke. Changing the Flow effects the rate at which your brush produces color during the stroke. It can be difficult to differentiate Flow from Opacity, so it’s best to think of Flow like you’re applying multiple layers of thin paint within a stroke as you go over already painted canvas. You will notice a button next to the Flow slider that looks like an airbrush. When activated, the brush will slowly produce color while you hold down for a stroke - just like an airbrush! You can use the Flow slider to help control this. PRO TIP: The Brush Size, Hardness, Opacity, and Flow options can all be change using keyboard shortcuts! The use of these shortcuts allows you to complete your work quickly and efficiently. Use the square brackets [ ] to change Brush Size. Hold down the Shift key while pressing the brackets to adjust the Hardness. The number keys will change your Opacity to that percentage (Press “5” to get “50%.” Press “5” twice quickly to get “55%.”). Hold down Shift while pressing the number keys to adjust the Flow. If you are in Airbrush Mode, the Opacity and Flow shortcuts will change so Flow is changed without use of the Shift key. The Brush Tool grows in complexity with even more options in the Brush Window. Here you will find a bunch of additional adjustable qualities, including roundness of the brush, the angle of the brush, cool effects like Noise and Wet Edges, and more. If you have a pressure sensitive tablet, this is where you can make these qualities react to the pen pressure. I will not go over all of these options here, but it is worth playing around with them yourself to get a feel for how they all work. Here is a showcase of some different brush effects: If you are interested in learning more in-depth information about the Brush Tool, leave a comment! We’d be happy to hear from you! Until next time, Jackie
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Line Art: An Adobe Illustrator Tutorial

on Jan 13, 2012 10:43:18 AM By | Jackie | 0 Comments | Blog Technique of the Week Art Tutorial
Happy New Year from Second Avenue! After taking a couple of weeks to enjoy the end of the year holidays and festivities, we are back with another Technique of the Week. In this installment, we will be returning to the creative side with tips on how to create a black and white line art piece using Adobe Illustrator. (NOTE: You should be familiar with the Pen Tool prior to following this tutorial.) The use of line art can be an effective technique depending on the type of look you are going for in a piece. Its stark contrast makes for a striking appearance that puts emphasis on the edges and form of your subject. Since line art provides a lot of clarity, it is a style that is often used for educational or informational artwork. Using this technique in Adobe Illustrator allows you to maintain full control of line width and shape, creating a very crisp look to your artwork. For this example, I found this photo of an African elephant and will be making a line art piece of its head. The wrinkles will provide for an interesting result. When preparing an image for reference, you should keep in mind that a higher resolution will allow you to include more detail. We will begin by placing the reference image onto the art board. If you do not know how to do this, simply go to File > Place... and a file browser will pop up, allowing you to choose which file you want to place. I generally keep this image in a separate layer from my line art and lock the layer once it is all set. If your reference image is ever in the way of your line art creation, you can try altering the opacity in the Transparency Panel to make things more clear.     After placing our image, make a new layer for your paths. I organized my layers according to region of the elephant, but it’s up to you how you would like to organize your paths. It’s time to make art! We will be using the Pen Tool (No Fill, black stroke of varying weight) and Selection Tools exclusively for this. Take your pen tool and start tracing the outer parts of your reference, beginning the path from one end of the line you want to create. After you are completed with the outer line work, start tackling the inner details in the same fashion, using a thinner line weight.   Here is what we have so far, sans reference. It’s rather... flat. We can help fix this by varying the weight of the strokes. When doing this, keep in mind that the thicker strokes should be used for objects closer to the viewer, shadowed areas, and outer line work while the inner details, farther objects, and lighter parts should be a thinner width.   Before the Stroke Change And After!   The result is not perfect, but it is an improvement. Unfortunately, the lines are still looking a bit blocky and the piece isn’t very clean yet. Assuming your strokes are close to the final width you would like them to be, it’s time to start refining the line work with some tapering and smoothing. In this part, we will be making good use of the nifty command known as Outline Stroke. Before we go on to the next step, I highly recommend duplicating all of your artwork layers because you will not be able to go back to your original strokes once you use the Outline Stroke command on them. If you are ready, select the path you would like to work with first and select Object > Outline Stroke.     You can see the results above. The stroke of the path is now its own shape. We can use the anchor points of this new shape to morph the stroke. If you are working with an organic form or a form where the lines represent a flowing shape, I recommend tapering all of the ends of your lines. This technique will get rid of the block-like feel of your original lines most effectively. There are a couple ways you can go about doing this. Before Tapering After Tapering   For almost all of my lines, I use the method pictured above. I completely deleted one of the end anchor points from the path by left-clicking on the point with the Pen Tool. One point is remaining to cap off the line, making the line appear tapered rather than chopped at the end. Note that your lines will not usually come out looking clean like in this example and the path will most likely need further tweaking. Another method, which I used for the tusk detail lines, is to Average the two end points. You can do this by selecting the two points and selecting Object > Path > Average... (Alt + Ctrl + Join on Windows). This will bring up a window that will ask how you want to average the points. Choose “Both” so the points meet up with each other and the line will appear tapered. This method is a little quicker, but I do not like it as much as the previous method since there are multiple points to deal with if you want to edit the shape further.     To help bring the line work together, I use the Pathfinder Panel to Unite intersecting lines. To do this, you must have this panel open (Window > Pathfinder). Select the two shapes you would like to be united and click the top-left button. This will combine the shapes into one path. Before Uniting Paths   After Uniting Paths Now that the paths are combined, you can either leave them, or smooth out the shape and create the effect of an implied shadow as explained below. In the area you would like to edit, add anchor points to either side of point you would like to smooth out as shown above. Delete the middle anchor point at the intersection by left-clicking the point with the Pen Tool. This will smooth out the intersection as well as create an implied shadow effect. You will probably want to clean this up, as simply deleting the middle anchor point will not be enough in most cases.   Before Editing Adding Points...   After Editing Continue to edit your line work using these techniques until the entire piece is complete. Always keep in mind how wide your lines should be depending on the placement and how the light is hitting the object. Here is my final result! Don’t be afraid to experiment a little with colors as well. Until next time, Jackie
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Technique of the Week: A Festive Art Tutorial

on Dec 15, 2011 2:46:35 PM By | Steve | 1 Comment | Blog Technique of the Week Art Tutorial
'Technique of the Week' is an ongoing series where the art and development teams here at Second Avenue will dish out some quick, useful, and hopefully fun tips and techniques. We will try and provide some insight on the skills that allow us to realize our projects or observations about works that inspire us creatively. With this being the inaugural 'Technique of the Week' post, I wanted to kick things off with the infinitely useful skill of crafting custom holiday wrapping paper. Okay, well-- the practical part of this is making a seamless pattern with custom characters and designs. This work flow will let you make quirky and fun patterns that are great for fabrics, print designs, and in this case: wrapping paper. Let's dive in. I used Adobe Illustrator to create my pattern, however any graphic editing tool can be used in conjunction with hand drawings as well as digital ones. First, I made a few characters.   Try and implement color and shape diversity to break things up, as this will make the end product more interesting. I also made up a few smaller elements to spice up some of the white space and fill out the final result. Once you have your designs built, set up a perfect square. I went with 400x400 for this exercise. Behold, a square. I like to populate the edges first. This is where elements are going to be cut off and need to be aligned to ensure seamless repetition. I placed my Santa on the left edge and will need to duplicate him and align him along the x-axis so that he will be cut off on the exact same spot on the opposite side of the square. The best way to achieve this is to look at where the first instance is located on the axis, and then use the transform box to position the duplicate. We know that the square is 400x400 pixels, therefore we need to move the duplicate Santa over exactly 400 pixels in the x-axis.   Located in the top right of Illustrator, the transform box allows you to manually position or scale the selected item based on its registration point. In this instance, I changed the x- axis box from 0 to 400. Exact positioning is necessary for a seamless pattern. Use the x and y-axis boxes to ensure that everything is in line. Double Santa all the way! Next, start to place your other elements around the border.   Finish your composition making sure to use the smaller elements to fill in where the pattern might start to break apart.   Once you have everything how you want it, we can make this into a pattern. Duplicate the box and paste it on top of all your elements. Delete the original box that is on the bottom layer.       Use your cursor to select everything. Go to Object > Clipping Mask > Make. Name your pattern in the box that pops up, and hit OK. Now, a square will remain with the pattern area defined by the mask. The background will be transparent if you deleted the original square. Almost there! Select the masked square and go to Edit> Define Pattern.     Name your new pattern in the pop up box (leave all other settings the same) and hit OK! If you look in the Swatches palette, your pattern will be there. Create a new shape of any size and scale you want, and then select your new custom palette from the swatches. It should apply to the shape and have a transparent background. The reason I like to give it transparency is because now that you have the pattern, you can duplicate the shape and place it underneath the original, and then fill the new shape with any color. This allows for quick and easy color manipulation.     Now you have a great custom pattern that you can have printed and use for giving your gifts that extra personal touch!   -Steve      
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