Design Your Own Creative Brush Packs in Photoshop & Illustrator | Gerren Lamson | Skillshare

Design Your Own Creative Brush Packs in Photoshop & Illustrator

Gerren Lamson, Chief Design Officer of Creative Market

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
12 Lessons (40m)
    • 1. Trailer

      2:16
    • 2. An Introduction to R&D

      2:08
    • 3. Filling out your Creative Brief

      2:17
    • 4. Path A: Create Physical Illustrations

      11:34
    • 5. Path B: Using Found Objects & Surfaces

      7:36
    • 6. Path A: Refine Physical Illustrations

      2:24
    • 7. Path B: Refine Objects & Surfaces

      2:07
    • 8. Path C: Refine Digital Illustrations

      1:22
    • 9. Path D: Bonus! Physical to Vectorize Art Refinement

      2:10
    • 10. Export your PS Brush Set

      2:14
    • 11. Export your AI Brush Set

      2:04
    • 12. Tips for Creating Screenshots

      2:15

About This Class

This class is for anyone who has access to Adobe Illustrator or Photoshop, and a scanner or camera (if making raster brushes). If you have an inclination to start creative side projects that can help enhance your work and the work of your peers, then this class is for you!. As an added bonus, your digital resource could generate passive income if offered as a product for sale on Creative Market.

fd9e243e

Designers, artists, illustrators, and creative professionals have an amazing opportunity to make and sell pre-made design resources on Creative Market.

In this class, students will learn how to research, brainstorm, and create a unique, artistic brush pack in either Photoshop or Illustrator from concept thru completion — with the opportunity to potentially sell it on Creative Market too!

Through the brush creation process, we'll discuss what it means to incorporate artistic techniques such as using: artistic brushes, pencils and markers, watercolor paints, scanning physical objects, photographing surfaces, and more.

I’ll walkthrough the process and options available to you as you produce your Photoshop and Illustrator brush pack, respectively. 

0d1199b5

What You'll Learn

  • Research and Idea Development. In this unit, we’ll cover the process of coming up with a brush idea from research through a personal creative brief. This will include steps such as brainstorming ideas for a PS or AI brush set, foraging visuals online for an inspirational mood board, and shaping up your approach and creative brief before you walk through the production process.
  • The Creation & Refinement Process. In these units, we’ll walk through the entire brush creation process. If your starting point is physical illustration, we'll discuss the different opportunities available. If your starting point is sourcing found objects and textures, we'll explore what you can do. If your starting point is vector illustration, we'll discuss how to start creating vectors in prepartion for making Illustrator brushes. Lastly, students learn how to appropriately adjust their produced set of artwork in order to output it into Photoshop raster or Illustrator vector brushes.
  • Output, Packaging & Marketing. In these units, we’ll take our finalized artwork set and convert it to a brush set in Photoshop or Illustrator. This will include exporting the final artwork set into the brush, producing examples of use for potential buyers, and lastly, naming the brush pack, creating compelling marketing copy and screenshot visuals to promote the brush pack online. 

bc710f2f

What You'll Make

Together, we'll explore what it means to research objects, materials, textures, patterns, stamps and more as we conceptualize and build a creative idea into a flexible, high-quality brush pack. The idea and content are totally up to you! I'll offer a wide variety of suggestions, but ultimately you get to chose your own design adventure. Regardless of the path, student will end up with a raster, vector or combo brush set to enhance their design projects.

Transcripts

2. An Introduction to R&D: - So now that you've committed to making a brush product with me, - the first step is really more about research, - brainstorming and putting together creative brief. - So you have a general action plan and understanding an idea of what you want to make and - for what audience. - Um, - you can start looking at inspiration everywhere. - You can go to creative market and take a look at some of the brush is that people are - making and selling over there. - You can dig into Pinterest. - You can pull out a blank piece of paper and start writing down a short list of potential - objects or illustration types that you want to practice that you haven't maybe been able to - and kind of nailed down that idea. - So the other thing to think about is two different approaches. - So there are embellishment, - brushes and utility brushes. - So when you're thinking about your idea in terms of embellishment brushes, - think about pre made finished artwork that someone can just drop in using your brush right - on top of their projects, - and it immediately adds value and enhances their project. - So things like, - uh, - you know, - out of the illustrations and drawings, - seals and frames and badges, - sort of that artwork that doesn't need any editing that someone could just immediately get - some awesome use out of in their project. - On the flip side, - as you're coming up with your idea, - if you want, - explore utility brushes, - those are more of like the raw material types of projects where you're gonna wanna source - things that maybe are more textural and tactile, - that a designer is gonna have to manipulate and maybe layer multiple times to really get - the most use out of it for their project. - So there's two different approaches there. - But in general, - if you get stuck or you need more inspiration for your brush packed project, - I'm happy to help you again. - There are sort of it's sort of a blue sky. - You could be as creative as you want to, - but I really encourage you to think about how people might be using your brush in their in - their projects and but a photo shop and illustrator. - So dig into the product steps below. - If you need help, - I'm here to help 3. Filling out your Creative Brief: - in this video, - I wanted to share with you the most important take away from the research and development - phase. - And that's really the creative brief. - So here I've got the sample template that I put together for us to all use. - And essentially, - it's really important to come out of this section knowing what you're gonna create and some - of the details behind your action plan that you're gonna take and also who's potentially - gonna be buying and using this brush. - So in this fictitious project, - I've given my brush a working title of natural wood texture brushes, - and I'm thinking about sourcing. - Some found wood samples from a scrap yard. - Now I might collect more than 20 samples of wood, - But here I'm calling to shoot for 20 final brushes, - depending upon how the photography of the wood turns out. - Now this approach in particular for me is utility. - So I've selected that for the approach, - and the creation path is finding that Goodwood samples taking photographs from a top down - view and then bringing those into Photoshopped to create a BR brushes. - So what I'll need to do that is my camera and scanner and then also sourcing wood boards - and scraps and pieces that looked pretty good, - um, - from a local store, - whether that's a scrap yard or or other, - and the content and the visual style of this is pretty straightforward. - So the woods gonna be in its natural state. - I'm capturing it. - As is. - I might have pieces that are both distressed and some pieces that air clean and also just - picking up various types of wood for the different grain styles that that I'll be shooting - the target uses for my particular brush might be things like digital art. - People might be overlaying the wood grain textures to enhance their illustrations or use - them as backgrounds, - either in art pieces or websites. - That sort of things. - So really describing the target uses will give you some ideas around how toe manipulate and - capture that artwork, - to turn it to a brush. - And then finally, - so I already mentioned this before. - I'm looking to produce a BR roster brushes and gonna throw in some extra file formats to - make it more flexible with tiff and J pic files. - So after you filled out your creative brief, - it's time for us to actually go start sourcing or making our artwork 4. Path A: Create Physical Illustrations: - So if you chose physical illustrations as your starting point to creating a brush, - Um, - I'd like to just share with you a couple high level considerations in order to produce the - best work. - So the 1st 1 is this is all about experimenting. - It's really all about having as much fun as you possibly can on the page through using your - specific chosen art tools and just exploring a variety of styles for the type of content - that you're creating. - And ultimately, - what you really need to consider is just producing high contrast ID artwork instead of less - contrast, - id artwork and do as much or even Maura's, - that than you think possible in order to have a big batch of artwork to choose from, - to edit things out that maybe aren't working and give yourself a really good chance of - producing a great brush pack. - So the first start tool we're gonna look at today is some pencil work. - Um, - and I've got a couple pencils here. - I'm gonna sharpen them. - And essentially, - when picking out pencils to use, - you're gonna want to make sure to get in the B range because they're much darker than the H - range. - Um, - and that will help you produce more contrast id darker artwork that will actually get you - much further when you're, - um, - scanning it in and creating brushes. - So depending upon if you're doing a utility or an embellishment approach for utility, - you can just sort of start creating swatches on the page so you can start with shading - blocks like this that are more, - uh, - linear from left to right, - a horizontal block. - You can also take different angles and think about the motion of the strokes in your mark - making and create more of a grid. - If you're thinking about producing these utilities, - watches that will ultimately be turned into brushes that create some good layering effects - for illustration. - Alternatively, - if you're doing more of an embellishment approach, - you can look at producing patterns and pencil so you can start with simple shapes and lines - and produce pattern bricks or swatches that you could look at producing as brushes. - Or you could actually draw something specifically that's going to be an object that you're - looking at. - So if I was looking at my eraser, - you could actually sort of start doing some contour line drawing. - Make sure your hands really loose so that the artwork really translates the night's action - and quality of the pencil. - Now, - if drawing from scratch like this is too much, - you can actually use tracing paper if you have a flat object and you can do some tracing - work as well. - So that's a little bit about the pencil. - It's really fun to play around with the line work, - and you can actually do more shading by holding it in a different manner to get different - effects. - So really encourage you, - depending upon your concept, - to just really explore and let loose here. - If you're doing patterns, - it's important to do as many iterations as you think possible appropriate to your project. - And if you're doing texture swatches, - it's really great idea to just do as many as you possibly can stand, - Uh, - before you take him in to the scanner. - Another set of tools that can create some really good effects, - especially if you're looking to build utility brushes, - is charcoal. - Now they're a couple different types of charcoal Here. - In my right hand, - I have non compressed charcoal and hear my left F compressed. - I really recommend using compressed. - You're going to get a darker, - more highly contrast ID image, - and you're going to get better effects. - But I'll just show you some of the other types are softer. - They allow you to do smudging so you can use your hand to get some different effects with - compressed. - If you're looking for a lot of motion and action, - you can get really good work going just through a loose wrist and drawing swatches that - really capture the essence of compressed charcoal. - In general, - you can change it to different angles on its sides. - It really depends on your concept what you're working into. - If you're looking at badges and seals, - you could create these circular or shapes swatches. - Really explore the diversity there, - and you can also take an eraser, - either for pencil or for charcoal, - and start to impact the artwork that you've created in order to make different effects. - So you'll note, - though, - as we have darker imagery happening here that's going to scan and produce a really solid - brush. - So the lighter the greatness of some of these pieces of artwork, - especially in the pencil range, - is going to produce and replicate that level of greatness versus some of the higher - contrast black pieces. - So depending upon what you're trying to accomplish, - I always say to air on the side of of darker effects. - Now, - if just drawing free style by hand is a little too intimidating for you, - there's another method you can use with charcoal. - Specifically, - you grab some tracing paper and have a flat object such as this leaf. - You can smash it down, - and we can do what we sort of did back in grade school and get some nice rubbing effects - happening. - So this is part of your concept. - Could really explore a variety of objects within a Siri's and get some really nice effects - to that would scan in pretty well great some nice artwork for a brush. - But really, - it's all about having fun. - Charcoal works best if you're a little messy and if you actually are very quick with your - wrist in exploring the emotion of your mark, - making so another art tool that is very common and is easy to work with is pins and markers - . - Lots of us have sort of grown up as doodling, - and you can get some really nice effects through your pens and markers. - I use my crones for my intense drawing and lettering. - If I'm gonna do that type of work, - you can also describe off the shelf sharpies or highlighters. - If you're looking to create more swatches or sort of hand drawn patterns and illustrations - . - The important thing to note here is markers are a lot more bold. - So instead of getting a range of contrast, - like the charcoal and the pencil samples have done here with markers, - you're really making a strong, - definitive mark. - Um, - you can try to go on a side angle and get more of AH texture quality, - where you can see some of the lightness showing through. - You could just be bold if you want and use the marker. - Teoh. - Do what it's meant to do. - Just create 100% black stroke designing patterns illustrating all types of ribbons and - seals. - You can really explore a variety of content through markers. - Now, - with my Cron's, - it's a little more fine and refined, - so the line work potentially is going to be a lot smaller. - You can start with a no fiber and eight if you want to start with lettering. - It's a good idea to maybe get paper that has a dot pattern on it, - a grid so that you can so that you can follow that, - but essentially just to keep your wrist loose and just start exploring what it means to - write individual lines. - Or actually, - you know, - fill it in a couple times and create the letters or motifs that you're looking to build out - . - So beyond sharpies and microns, - you can actually use some bigger Prisma color markers. - There's a lot of different types on the market and different brands and explore what it - means. - Teoh go from over transparent look. - You can use colored markers or black and white if used colored. - Keep in mind that we're actually going to be stripping everything and de saturating it toe - black and White State. - And some of these markers actually have different tips, - so you can get a lot of different effects here as well. - Some of the tips are actually really big, - which is really great if using tools like pencils are charcoal or markers and pens doesn't - really sit well with you, - but you'd like to try to explore physical illustration more. - Uh, - some water based mediums might be the thing for you. - You can look at it water brush colors. - You can look at a doing wash or acrylics, - so let's explore little that real quick on. - And it's important to have ah lot of different brush sizes on hand, - and you really don't need to paint with different colors, - since in photo shop will be stripping out the color and make sure you have a lot of water - on your brush, - but essentially depends on your idea. - But it's a good idea to start spreading out paint and getting a variety of darkness and - lightness, - because when you're producing Photoshopped brushes out of this, - you're really gonna want tohave. - Some contrast. - If your water coloring on Lee turns out, - is like gray, - that might be your intention. - It might create a little post production work on the backside, - but again, - you can really express and do a lot of really interesting mark making and work with brushes - . - You can get a lot of motion and create some really interesting work going on here. - If you get a bigger brush, - you can obviously do bigger strokes, - which will let you scan in higher resolution, - so it's great to do a really large batch of iteration and you can see that just by applying - black I'm already getting like a very strong bolt image. - A lot of motion in the mark making could really provide some really interesting uses for - illustration and design work. - So one last art 12 like to show you if you're feeling a little bit more ambitious and want - to work with your hands is you can get some rubber, - a look craft store, - and you can work with stamps. - You also need one of these I would just made by speedball, - and this will help you cut into the rubber. - So I've got a couple samples here that I've already cut. - But essentially, - the process is pretty easy. - You just dig in with the groove and you start to impact your image and shape your image. - What you're pulling out of the rubber is actually gonna be white space. - You have to think of your image creation in the reverse way than some of the other art - mediums. - But once you have some stamps created, - you can just grab a solid black ink pad, - and you can start to come in here and make patterns out of them. - If you make embellishment type shapes like here, - we've got a sand dollar. - You want to get it nice and dark, - and you get some really interesting textures from stand making. - So this could be another path. - Teoh producing artwork that has a unique spin on it, - show one more here, - so hopefully had a lot of fun experimenting with your physical illustration. - Exercise in the main point here is to just let yourself play. - Capture a wide variety of mark making specific to your art tool and also your content and - style of the idea that you've come up with. - Make sure that you range different contrasts. - Go for darker pieces and more middle grayscale pieces, - and that you really explore what it means in your mark making toe have motion and strokes - and different sizes and scales. - But ultimately this is all about having fun. - So hopefully was a lot of fun for you, - and you have a big, - beautiful batch of artwork that we're ready to take into digital to start enhancing and - adjusting to create your brush pack 5. Path B: Using Found Objects & Surfaces: - so if he chose found objects and surfaces as the artwork that you want to produce a brush - out of. - This is all about being as creative as possible with materials around you. - And so the first thing to consider is, - if it's a flat object, - you're gonna probably get better mileage out of it by scanning it. - You can get higher resolution if it's more three dimensional than you're probably going to - need to photograph it from a top view or a side view on white surfaces to get it into into - digital. - But ultimately, - this is about gathering. - It's It's about gathering the biggest batch of materials that relates to your to your - project and thinking about capturing them, - either as they are or fun ways in which you can arrange them or edit them or manipulate - them to create a really useful piece of artwork that's gonna be turned into a photo shop - roster brush. - So let's get started. - So the most natural place to look for found objects and surfaces is obviously outside in - nature, - but you might have things in the home, - uh, - maybe office supplies or things in the kitchen or food, - so I want to look at a couple of of those types of objects and services first. - Obviously, - you could capture leaves in a variety of way. - You can focus on leaves that are green or in particular, - dried leaves might have a little bit more interesting contrast happening in them, - which is great. - There are other objects in nature you can explore, - such as like Berries and different types of needles from pine trees and evergreens. - You can arrange sticks in a particular way. - Those could make type. - Or you could build out little frames with them grasses, - rocks, - pebbles, - dirt. - So there's a wide variety of objects in nature, - obviously that you can go out and look at and then do really interesting arrangements with - them. - You could just isolate them, - or you can you can enhance the meeting in the way that you, - uh, - you place them so some other really cool objects that you might find in the home could - potentially be craft supplies. - So here I have some washi tape, - which has patterns the steps really cool. - You could just tape that down on a piece of paper and scan it in. - You could dio different shapes with, - um, - you could make type out of it arrangements, - seals, - frames. - And this is really useful for people that are looking for taped to use in their design work - as well as a digital scrapbooking. - Other objects they might find around the home potentially could be type. - So if you are looking around antique stores, - antique shopping, - some type like this, - you could shoot the straight on. - That could be really interesting as a brush, - and there's a variety of things you can do. - Also, - if you have some twine or some string lying around, - you can shoot that as it is where you could tie it in a bow, - or you could make letters or words out of it. - So it's really up to you how to push some of these materials. - And obviously the lighter that the material is, - say, - for instance, - in this rope, - it's not gonna make a strong a brush, - so you're gonna have a little bit more work to do in a photo shop after you you photograph - or scan that in. - So if you're looking to create some utility brushes, - that arm or in the spirit of texture, - distressing particles dust that sort of stuff. - There's a couple easy ways you can do it. - Obviously, - you can go out and photograph dirt or distress concrete, - copper, - all sorts of surfaces. - But if you want to stay in the home and make this a little bit easier for yourself, - you can actually use spices from the kitchen. - Um, - so here I've got some spices that a little bit darker in nature. - This is poppy seed, - and if you wanted to just get a very nice loose miniature particle sort of texture, - you could spread some of this out. - You can also use things like paprika and pepper and get more of a focused look. - You could try to shape this in the type if you wanted to, - or circles triangles. - Lines like you name it as creative as you want to get. - But if you just gently tap this, - you can see that you can actually get are really nice sort of particle texture there. - So that's one quick hack to creating some textures that are really desired in the design - community for adding sort of a dimension and physicality to their projects. - Other things you might have laying around the home obviously money and change. - You could have seashells that you picked up from from a trip to the beach, - so there's a lot of opportunity to capture things from nature in the home and in the - kitchen as well. - So I want to share a couple other types of objects or actually surfaces that people may - find really useful. - These air typically really accessible and what we're talking about. - Our textures and tactile surfaces like papers, - leathers, - fabrics. - You name it like it's the whole gamut of flat surfaces that are really easy to get in. - You can scan them so you can see here. - I have some paper samples. - There are different types of papers. - You can get more textural papers like water, - color and printmaking, - and you can actually impact those papers so you can see here. - I have a piece of paper that I t died, - and that's brought out some of the richness in the surface of that. - You can also mixed mediums a little bit more to these air. - Some samples that I painted on a long time ago with the acrylic paint so you can actually - impact the paper and created to be a little bit more of an interesting resource as a brush - . - But beyond papers, - you conduce fabrics and those sorts of services. - Here I have an example of some leather. - So if you're able to get some of these swatches, - you could actually scan a whole series of fabrics, - leather, - linen, - cotton, - you name it. - You can scan or photograph both topside in the bottom side to get a variety of options in - your brush pack. - And also, - if you have old books lying around those air really wreak Great resource is well, - you could scan and covers Ah, - lot of old vintage books or sort of out of date, - and you can probably get away with scanning in some of the patterns in here for historic in - nature. - The paper inside. - These books are also pretty aged and nice, - so they create a great resource is well, - and sometimes you find Little Jim's of illustration inside that are beautiful - embellishments that might produce a pretty cool looking brush. - And also there's a couple other surfaces that are really easy to grab. - You can go to a local scrapyard and get all types of metals. - You can get wood samples like I've got here and scan in a variety of wood grains. - Depending upon how many pieces you have. - You can even impact those and look at exploring some dies and transforming some of that - work into a different look. - So there's a lot of opportunity out there when you're sourcing objects, - and I really encourage you to go have fun, - make a day of it on the weekend, - just go out. - Try to collect as much of one type of material is possible that's relevant to your project - , - and then see where we can take it. - Alternatively, - if you didn't want to tackle surfaces, - you could look at going antique shopping, - which I think is a lot of fun. - And you can get really interesting pieces like this that might make for a really cool - brushes that people don't expect from you. - So have fun with it and go collect your material, - and then we'll move to the next step of getting it into the digital world. 6. Path A: Refine Physical Illustrations: - in this video lesson, - I'm going to share with you some quick ways to enhance and adjust and refine your physical - illustration. - Work in photo shop to prepare it to be output his brushes. - So you want to isolate each individual piece of artwork you created in a new document. - You'll see here the layer conduct click background. - Click OK to remove that lock, - and the main goal is to increase the brightness and contrast. - Just get a boulder visual to produce a better brush that will have some transparency to it - So to do that, - . - we can go toe layer new adjustment layer, - and we can use these four different layer adjustments to enhance the image. - You can use just one or you could stack multiples. - We'll try brightness and contrast. - Click OK. - You want to make sure that the layer is actually above your original artwork is a great way - to non destruct your original artwork, - but adjusted so in the properties panels that pull up for these adjustment layers, - you want to just mess with settings and always try to increase the brightness and contrast - , - especially since increasing the brightness removes the paper texture that was showing up - from the original scan, - so we get a much cleaner brush piece of artwork, - right click. - Out of that, - I can double click it and pull a Batic open. - I can click and drag this to create a new copy of itself to double the layer effect. - We can actually click and drag and copy the charcoal duplicated and start to apply some - multiple or color burn and get a very rich, - unique effect. - So for the other adjustment layers, - they're very similar. - Levels actually has sliders as well, - so you can start to play with lightness and darkness. - Slider curves is a little bit of a unique one and gives you a white X Y coordinate grid. - You can click in the North East position and southwest pulling that north east one up in - the Southwest, - one down to get the same effect. - And exposure also has sliders, - so these are all very similar, - and you can stack multiple of them. - You can turn on multiple layers just to get the best version of your artwork as possible, - and you'll want to repeat this for all your artwork and save individual PST s so that we - can output your brush pack 7. Path B: Refine Objects & Surfaces: - in this video lesson, - I'm going to quickly show you some tips about how to refine your found objects or surfaces - . - If you chose that path for your photo shop brush. - So here you'll see I have one of my scanned in leaves. - Um, - this is the original, - and we're gonna create new adjustment layers to impact the brightness and contrast of this - so that it makes it more useful brush. - So therefore, - adjustment layer options in here. - You can explore each one as you create it as a adjustment layer will show up here in your - layers panel, - and you can start to mess with settings so you'll see in this specific example of the leaf - brightening. - It actually removes a lot of the greatness that was around it, - but it's still not a very clean finish for a brushes. - Some of the shadowing came through in my scan. - I'll show you about that in a second, - but you can actually layer and choose any of these curves has a grid you can hit here in - the north, - east and southwest. - Caught quadrants and pull up can really start to get some nice effects going on. - Um, - so in order to create the cleanest brush. - If you're objects are oddly shaped, - you need to use the lasso tool, - and you can try the polygonal lasso or a magnetic tool, - and you actually zoom in using command plus and click in here an outline and select the - whole piece. - And it will look like this with the marquee selection. - So what that will do actually clip it out, - which would look more like this. - You can apply a mask after you have the selection done through this button right here, - and it'll look like this. - And so that's pretty much it. - You're gonna want to adjust all of your artwork the same so that you haven't even brush - pack. - But if you need to clip it out, - that is a really good approach to go, - and you can layer these different effects. - You can click and drag them to a new layer to create some really nice, - bold imagery will create for a better transparent brush in photo shop. - So that's it. - Go ahead and produce all of your artwork this way and read through the written steps. - If you need more specific help and tips and insights 8. Path C: Refine Digital Illustrations: - in this video lesson, - I'm going to walk through quickly how to prepare your illustrator artwork document in - orderto output vector brushes, - So the first thing we need to do is open the brush panel. - You can go to the main menu windows and click on brushes, - and we need to clear out this panel in order to not include any of these in our brush pack - . - So click the top left most brush preset, - hold down shift and click on the bottom to highlight all of them and then click the trash - can the bottom right corner to delete all of them, - some pretty straightforward and simple. - And the purpose of this document to is toe have a clean display of all the artwork you want - , - including your brush pack. - So lastly, - just make sure that your brushes, - if there are multiple pieces of vector illustration in click and drag to select them all - and go toe object group to make sure they're grouped or used the keyboard shortcut. - Command G and that's pretty much it. - You can choose whether or not to leave artwork that's using strokes as is, - or you can expand that into just fills by going to object, - expand and making sure that's grouped. - So it's pretty straightforward and easy. - And now we're ready to create our illustrator vector breath pack, - whether that's going to be a scatter, - a pattern or an art brush. 9. Path D: Bonus! Physical to Vectorize Art Refinement: - in this video, - I'm going to show you an extra bonus if you created physical illustrations using our tools - and then went through the path A. - To refine them, - save down a tiff or JPEG high Resolution one and then open it up in Illustrator. - So here you'll see that I've got a charcoal swatch I want to click it, - and I'm an illustrator here and I'll go to the image trace option, - and I can use the black and white logo or sketched art options there to vector rise it. - Those both produce good results. - I'll click on it. - It will process that information, - and then it's essentially translated the grayscale image into black and white vector bits. - So wall selected, - I want expand that, - and now you'll see that it show me all the points and the Phyllis black. - So with this, - I can create a really cool scatter brush that will then repeat itself along a path. - Um, - another piece of artwork that would be a good candidate for actually a vector art brush are - straight strokes and dashes like this, - so I'll go through the same process this time on select black and white logo for the image - tracing vector rising and expand it. - Eso in this instance, - it actually gave me two layers. - I'll need to Owen Group that using the keyboard shortcut shift command G. - And if I click and drag, - you'll see there's a white layer I want to make sure to select, - um, - the same fill color. - So I get all the white and hit delete on the keyboard so that all I'm left with is the - black. - I'll select it all and use command G to group it. - And this is a great candidate for an art brush, - which essentially draws it once along a path. - So there's a great bonus and benefit if you feel ambitious using your physical illustration - . - Artwork if it makes sense, - and you can create a separate product an illustrator for flexible vector texture brushes, - so we'll explore more of this in the next steps. - Make sure to follow the written information below in Path D of this section. - If you want to choose this option 10. Export your PS Brush Set: - in this video lesson, - I'm going to show you the four major steps to create each of your individual brushes and - then how to output the whole thing as a brush pack. - So essentially, - the first step is to clear out all of the brush presets by going to edit presets preset - manager. - Then you want to click and hold down, - shift on the top, - left one, - and then click the second time in the bottom right one to select all of them. - You're not delete all the brushes out. - Got to clear it all out. - Next, - you want to merge the adjustments that you made for each of your brushes. - So you click on the 1st 1 hold down shift, - click on the bottom and use the shortcut Command E or in the menu, - go to layer merch layers, - and next we'll want actually create the brush. - So to do that, - you go back to edit and down to define brush preset. - And now, - once you click that you're creating your first brush. - So think about naming this, - making it relevant to the pack that you're creating. - Um, - if you've got 10 brushes, - perhaps a name for this one might be like charcoal swatch number one. - So I'll go through and actually do this process for all 10 just like I just showed you and - click. - OK, - and I've created the brush. - If you want to see that, - it's actually been created. - You can click the brush tool and go up here and you'll see that There it is. - It's 3000 pixels. - If I wanted to, - I could turn that off and create a new layer and actually hit the page and take a look at - it. - So looking good, - there's our first brush. - So after you've gone through the process of doing this with all your artwork, - the last step is to export everything that you've put into the preset manager. - And to do that, - you go back to edit presets, - preset manager, - and at this point, - you should see all of your brushes in here 10 20 depending on how many you've created, - you want to highlight all of them, - so you click on the 1st 1 you're hold down shift and then you'll click on the very last one - in the bottom right position, - and then you'll save the set, - and that's it. - Now you've got a new a BR brush back 11. Export your AI Brush Set: - in this video lesson, - we're gonna show you how to create individual vector brushes based upon the artwork you - created an illustrator, - and whether that be a scatter pattern or aren't brush your intending to produce all then - show you how to export the whole set as a brush library. - So it's pretty straightforward and simple. - You grab your first piece of artwork, - you drag it into the brush panel and you'll get the three different options that we're - looking to create. - Scatter brush, - Arte brush and pattern brush. - So say, - for instance, - I wanted pattern brush. - It's gonna bring up a specific dialogue box with options to address there. - So I highly recommend reading through the written materials of this step so you can get a - sense of what those options will do for you. - And after you've created it, - you can get the pencil tool and create a path and then apply the brush to get a sense of - what you just made. - So if you came from physical illustrations and managed to refine and vector rise them, - you can follow the same process. - You can click and drag that piece in there and say for this charcoal Swatch. - We're going to use it for a scatter brush. - You can adjust the different settings which are listed and discussed in the written steps - on this project, - and then you can try it out by removing the stroke, - drawing a path and applying that to that path. - Alternatively, - if you have rather straight artwork, - they're good candidates for art brushes. - So again, - click and drag it in and select Arte Brush. - Make your adjustments in here that you want to see happen, - and then you can try it out by drawing a path and applying that. - So after you've gotten all of your brushes into the brush panel, - created individual brushes. - You'll click on this icon down here to open the Brush libraries menu, - and then you'll save this file as your actual brush products your brush pack and that's it - . 12. Tips for Creating Screenshots: - In this last video tutorial, - we're gonna talk a little bit about creating compelling copy and also some tips about - creating a compelling first screenshot in order to bring your new brush product to the - marketplace. - So after you've gone through the first project step of really thinking about a final title - for your product and a description, - the next part is really putting together a nice primary screen shop. - And here I have an example of one of my products, - which is a texture kit. - You can see that in this sample. - I have just put the title very large and big created some color swatches that are hosting - three different pieces of textures from the kit and given some diagonal motion for visual - interest. - So one thing that I failed to do, - which is probably a really good idea, - is distilled down, - um, - part of my description into a sub line that helps this further describe the product at hand - . - So with with this particular sample, - saying that there are 15 different texture brushes in this pack is a really good idea. - Now there are a couple other ways that you can do the layout of your first screenshot, - and those can look like more of a centered approach in the second sample for the same - product. - I've put eight swatches on the page in circles cropped, - cropped, - amassed in, - and those textures are floating in there and you can see that they're more samples - available to people. - So look at and the title and the description copy is locked up in the middle. - Alternatively, - you could split the copy and put the title at the top and the description at the bottom and - really have the samples in the middle. - Or you could actually float these things on top of each other. - So this is just a quick crash course is starting to think about putting the visuals upfront - and being very bold and concise with your copy. - The additional screenshots that you may want to make after your primary one can really help - you share all of the brushes included in your pack, - as well as give some example usage to people to compel them to buy the product. - So hopefully that's really helpful. - And if you guys have any questions, - I'm here to help and happy screenshot creation and getting it up on the Internet. - Thank you guys so much