Photoshop for Lunch™ - Create a Reusable Wreath Design | Helen Bradley | Skillshare

Photoshop for Lunch™ - Create a Reusable Wreath Design

Helen Bradley, Illustrator for Lunch™ & Photoshop for Lunch™

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7 Lessons (43m)
    • 1. Photoshop for Lunch™ - Create a Reusable Wreath Design Introduction

      1:32
    • 2. Photoshop for Lunch™ - Pt 1 Understand The Basis for the Wreath Design Solution

      6:03
    • 3. Photoshop for Lunch™ - Pt 2 Create the Wreath Design

      8:58
    • 4. Photoshop for Lunch™ - Pt 3 Make the full Wreath

      4:50
    • 5. Photoshop for Lunch™ - Pt 4 Make a New Brush and a New Wreath

      15:03
    • 6. Photoshop for Lunch™ - Pt 5 One More Wreath, Project and Wrapup

      3:05
    • 7. Extra video for Photoshop CS6 users

      3:09

About This Class

Photoshop for Lunch™ is a series of short video courses you can study in bite size pieces such as at lunchtime. In this course you'll learn to make a reusable wreath design and brushes you can use to decorate your wreath. The design can be used over and over again with different brushes to get a different look each time. You will learn some tricks for making and using simple paths and brushes in Photoshop. The skills you will acquire will help you in your day to day work in Photoshop..

More in the Photoshop for Lunch™ series:

Photoshop for Lunch™ - Create a Color Scheme Graphic

Photoshop for Lunch™ - More Patterns - Diagonal Stripes, Chevrons, Plaid, Colorful Polkadots 

Photoshop for Lunch™ - Create Text on a Path - Paths, Type, Pen tool

Photoshop for Lunch™ - Create an Award Badge and Ribbon - Shapes, Warp, Rotate  

Photoshop for Lunch™ - Color a Sketch with a Texture - Masks, Dodge/Burn, Hue/Saturation 

Photoshop for Lunch™ - Create Mockups to Use and Sell - Blends, Smart Objects, Effects

Photoshop for Lunch™ - Create the Droste Effect with Photoshop and an Online Tool 

Photoshop for Lunch™ - Layered Paper Collage Effect - Layers, Layer Styles, Gradients,

Photoshop for Lunch™ - Cutout & Frame Photos - Clipping Mask, Layer Mask, Rotation, Shapes

Photoshop for Lunch™ - Get Your File Size Right Every Time - Size Images for Web & Print 

Photoshop for Lunch™ - Seamlessly Blend Two Images - Masks, Content Aware Fill

Photoshop for Lunch™ - Set up Colors, Tints and Shades for Working Smarter in Photoshop

Photoshop for Lunch™ - Folded Photo Effect - Gradients, Guides, Stroke, Drop Shadow 

Photoshop for Lunch™ - Surreal Collage Effect - Paths, Cloning, Warp, Blend 

Photoshop for Lunch™ - Make Custom Shapes - Combine, Exclude, Intersect & Subtract

Photoshop for Lunch™ - Pattern Bombing Effect - Patterns, Selections, Mask, Warp, Vanishing Point

Photoshop for Lunch™ - 10 in 10 - 10 Brush Tips in 10 Minutes or Less 

Photoshop for Lunch™ - 10 Blend Tips in 10 minutes 

Photoshop for Lunch™ - Patterns as Photo Overlays for Social Media 

Photoshop for Lunch™ - Whimsical Rotated Patterns 

Photoshop for Lunch™ - From Ho Hum to WOW - Everyday Photo-editing Made Easy

Photoshop for Lunch™ - Pattern Making - Seamless Repeating Patterns

Photoshop for Lunch™ - Draw a Fantasy Map - Brushes, Patterns, Strokes & Masks

Photoshop for Lunch™ - Clean & Color Scanned Line Art

Photoshop for Lunch™ - Create HiTech HUD Rings - Repeat transform, Filters & Textures

Photoshop for Lunch™ - Text Over Image Effects - Type, Glyphs & Layers

Photoshop for Lunch™ - Hi-tech Mosaic Effect - Brushes, Patterns & Pixelization 

Photoshop for Lunch™ - Make a Photo Collage for Social Media - Masks, Selections & Patterns

Photoshop for Lunch™ - Making Kaleidoscopes - Rotation, Reflection & Smart Objects

Photoshop for Lunch™ - B&W, Tints & Isolated Color Effects - Adjustment Layers, Masks & Opacity

Photoshop for Lunch™ - Pattern Bombing Effect - Patterns, Selections, Mask, Warp, Vanishing Point

Photoshop for Lunch™ - Photo Texture Collage - Gradient Map, Blending & Textures

Photoshop for Lunch™ - Grid Collage for Social Media - Clipping masks, Shapes & Layer Styles

Photoshop for Lunch™ - Vintage Image Cutout Effect - Selections, Drop Shadows, Transparency

Photoshop for Lunch™ - Snapshot to Art - 3 Photo Effects - Faux Orton, Gradient Map, Tritone

Photoshop for Lunch™ - Paint a Photo in Photoshop - Art History, Color, Texture

Photoshop for Lunch™ - 4 Most Important File Formats - Choose & Save As: jpg, png, pdf, psd

Photoshop for Lunch™ - Turn a Photo into a Pattern - Selection, Filter, Pattern Swatch

Photoshop for Lunch™ - 3 Exotic Patterns - Shapes, Paths, Patterns

Photoshop for Lunch™ - Complex Pattern Swatches

Photoshop for Lunch™ - Using Illustrator Objects in Photoshop - Files, Smart Objects, Shapes

Photoshop for Lunch™ - Make & Use Photo Brushes - Brushes, Masks, Watercolors

Photoshop for Lunch™ - Make and Sell Geometric Overlays for Social Media - Shape, Transform, Fills

Photoshop for Lunch™ - Create Backgrounds for Projects - Halftones, Sunburst, Patterns

Photoshop for Lunch™ - Upside Down Image Effect - Masks, Selections, Flip Images

Photoshop for Lunch™ - Color a Scanned Sketch - Blends, Brushes, Layer Styles

Photoshop for Lunch™ - Curly Bracket Frames - Shapes, Paths, Strokes

Photoshop for Lunch™ - Grab Bag of Fun Text Effects - Fonts, Clipping Masks, Actions & More

Photoshop for Lunch™ - Double Exposure Effect - Masks, Blends, Styles

Photoshop for Lunch™ - Glitter Text, Shapes and Scrapbook Papers

Photoshop for Lunch™ - Make & Sell Photoshop Brushes - Brushes, Templates, Preset

Photoshop for Lunch™ - Recolor Objects without Making Selections - Master Color Change Tools

Photoshop for Lunch™ - 10 in 10 - 10 Brush Tips in 10 Minutes or Less

Photoshop for Lunch™ - Create a Mandala - Template, Rotation, Texture, Gradients, Pen, and Shapes

Photoshop for Lunch™ - Create Organic Patterns - Pen, Offset Filter, Free Transform and More

Photoshop for Lunch™ - Reusable Video Glitch Effect - Use Channels, Shear, Displacement Map & Noise

Photoshop for Lunch™ - Overlapping and Random Circles Patterns

Photoshop for Lunch™ - Metaball Patterns - Structured and Organic

Photoshop for Lunch™ - Isometric Cube Patterns - Shapes, Repeat patterns, Smart Objects

Photoshop for Lunch™ - Create Plaid (Tartan) Repeat Patterns

Photoshop for Lunch™ - Recolor Pattern Techniques

Photoshop for Lunch™ - Intro to Photoshop Actions

Photoshop for Lunch™ - Photoshop Inking Techniques

Photoshop for Lunch™ - Valentine's Day Inspired Hearts

Photoshop for Lunch™ - Layers and Layer Masks 101 for photographs and photographers

Photoshop for Lunch™ - Abstract Glowing Backgrounds

Photoshop for Lunch™ - Whimsical Textures for Drawings

Photoshop for Lunch™ - Sketches & Brushes to Whimsical Patterns

Photoshop for Lunch™ - Critters with Character - Pen Free, One Color Designs

Photoshop for Lunch™ - Create a Custom Character Font

Photoshop for Lunch™ - 10 Selection tips in 10 minutes (or less)

Photoshop for Lunch™ - Complex Selections Made Easy - Master Refine Edge & Select and Mask

Photoshop for Lunch™ - Demystifying the Histogram - Understand & Correct images with it

Photoshop for Lunch™ - Bend Objects with Puppet Warp

Photoshop for Lunch™ - Emboss and Deboss Text and Shapes

Photoshop for Lunch™ - Remove Unwanted Objects & Tourists from Photos

Photoshop for Lunch™ - Using the Scripted Patterns Tool in Photoshop

Photoshop for Lunch™ - In the Footsteps of Warhol - Create Awesome Animal Images

Photoshop for Lunch™ - Make & Sell a Shapes Collection

Photoshop for Lunch™ - Whimsical Scrapbook Paper Designs using Displacement Maps

Transcripts

1. Photoshop for Lunch™ - Create a Reusable Wreath Design Introduction: Hello, I'm Helen Bradley. And welcome to this episode of photo Shop for lunch. Create race in photo shop. Every photo shopped for lunch class teachers, a small number of Photoshopped techniques, and you'll get plenty of opportunity to practice your new skills when you're completing your class project. Today we're going to be creating a variety of reefs in Photoshopped, and while on the face of it, it looks a fairly easy thing to do, It's not actually as easy as it looks. And so we're going to investigate a few issues that come up when you're trying to design race and trying to do it in a repetitive and a very efficient way. You're gonna learn some tips and tricks for working with brushes and how to get these race created fairly quickly and fairly A's lay. Now, as you're watching this video, as you will see a prompt, which will ask if you would recommend this class to others. Please. If you are enjoying the class and learning from it, would you do two things for me? Firstly, answer yes, that you do recommend the class and secondly, right, even in just a few words, why you're enjoying the class. These recommendations really help other students to see that this is a class that they, too, might enjoy Emblen from Now, if you see the following on the screen, click it to keep up to date with new classes as their released. If you'd like to leave me a comment or a question place to itself, I read and respond to all of your comments and questions, and I look at and respond to all of your class projects. So now if you're ready, let's get started making wreaths in photo shop. 2. Photoshop for Lunch™ - Pt 1 Understand The Basis for the Wreath Design Solution: Before we start on the actual solution, the actual wreath will be drawing. Let's have a look at where the inspiration came from. This is a little thank you card that arrived with a parcel from a company in China and I kind of like the little reef and thought it was rather cute. And it was prompting me to make a class on making wreaths and $7 photo shop class. In quite some time, I thought it would be a good time to do Oh so well, I struggled with the actual design a little bit. And the solution that I developed relies on a few things, and that's why we're going to spend a bit of time having a look right now. At the problems that I encountered, The obvious thing that I thought off to start off with was to create a brush that I could use. So I have created a little sort of life brush that's going to bay around my race. We're gonna have a look at how we would create that in just a minute, but we've got it to start off with. I also wanted this to be automatic, so I wanted to be able to sort of select something and just apply the brush to it without having to place the brush shapes all the way around the Wraith individually and so automating the solution brings up a few issues. I thought about creating a path, so I'm going to quickly draw out a path with the pen Tal's. I'm going to click and drag in two points to draw out a sort of half of a rave them not to worry about what it looks like right now, because this is not actually going to be used. But I do have a path here, and I can select it with the past selection to all this black arrow tool. Now that I've got a brush created Aiken, select my brush and over here in the bottom of the past panel, with a past selected, there's an option here for stroking the path with a brush. So if I click here now, I'm going to strike that path with my brush. Well, it's not working particularly well, but it is part of the way to the solution. So let me just press control or command Z toe. Undo that on Let's go in, adjust our brush, what we're going to need to obviously increase the spacing a little bit so that there is more space between each off these leaves. Let's go back to a path and let's go back to stroking it. So our brushes now going around our path and it's a bit of breathing space between the leaves, but it's not following the part, so let's just undo that. Let's go back to the brush settings here, and we can make it follow the path if we go to shape dynamic, so we'll turn Shape dynamics on and then over here in the settings were going to set the angle. Jitter. We're going to set the angle jitter to what's called direction. In other words, follow the direction off the line. So let's go the past tall. It's click here and well, it followed the direction of the line, all right, but it's following it in a way that we didn't mean it to. We wanted delays to look a bit more Wraith like no, be pointing the way they are. Undo that again, go back to the brush settings panel and see what we can do about that? Well, the trick is to change the starting brush. Right now, the brush is pointing upwards, and so we wanted to point a different direction. In fact, I wanted to point with the blunt end over here and the pointy end over here. So let's just rotate it around. So I think that's going to be pretty good. And you might be already able to say What my problems going to bay? Because let's go and see. This is the problem now. The life brush is going all the way around the reef, but it's not going in an attractive manner and we're not getting any variety. And how the laser positioned around the shape and at this point in developing the solution , I was ready to throw that path out because it really wasn't giving me what I wanted. But there is a way of applying a brush to a single line, so let's go back to the pen Tal. I'm gonna draw two lines here, so this one's going to be drawn from the top down, so just two clicks press escape to stop it drawing. Now, This next line I'm going to draw from the bottom up. So I'm gonna start here and finish up here. So there's a difference in where I started and where I finished. Let's go back and let's go on. Grab both these lines. Let's go to the brush settings tall here and let's just make sure that we've got our brush selected. So we've got the same brush settings as we had previously. Let's go to the path and let's stroke these lines with that brush. Just gonna undo that. And let's just increase the spacing of it because it's a little hard to say exactly what's happening here. So this is what's happening when I'm stroking these. Pause with a brush. You can say that there's a difference depending on where I drew from. If I started at the top and drew down, then the brush goes this way, and if I started from the bottom and drew up, then it's going upside down. So there is a method for me to control the direction that the brush goes by, creating a line that is in the right direction. So let me just go and draw a line at an angle. I'll select it with the past selection tool. Make sure I have the brush selected and click here once. And now I've got a leaf that's going in a particular direction. It's going in the direction off the path that I've drawn. And so here is the secret source. If you like the sacred, how we're going to create a reusable reef design so that we can apply all sorts of leaves to our Wraith, and it's going to be dependent on some shortish lines, and it's also going to be dependent on which direction the lines are drawn in. And if we want consistency throughout our Wraith, then we're going to need to be really careful that we draw them correctly. So let's now go and see how we can apply this knowledge to creating our actual Wraith. 3. Photoshop for Lunch™ - Pt 2 Create the Wreath Design: Now that we're ready to create a wreath solution, I'm going to give you this image and it's going to be in the class project area for you to download. What I did was I draw a circle on a sheet of paper and I sort of mark out where I thought I wanted my wreath elements to go. Now I did two designs. I did a more sparse design and a more intense design, thinking that I would make half of a wreath and then go back and flip it to make the other half of the wreath. So this is the design I'm going to give you and your just open it in photo shop and you could do something similar yourself. If you wanted leaves off the Wraith to come out at the same point, then you would just design it that way. But leave a little bit of Snow spice here between the line off the wreath and where you actually want the leaves to bay, and the lines were going to make them pretty much the same length. But just draw them out something like this, and you'll have a pretty good basis for creating a design. But as I said, this left half is one race style on the right hand side is a totally different one. So we're going to the pen tall, and we're going to make sure that we have passed selected here. There are three options here. You want path because we want to create a set of parts and we already know that we have to be consistent when we do our design. And so what I'm going to do is I'm going to start with the point that is closest toothy circle. And then I'm going to create the second point. So I'll click here and click. He asks. So if you can click with a mouse, you can use the pen tool for this project, our press escape to stop drawing. I'll come here and do this one click Click s Skype. I'm going to do that all the way around the Wraith on each of these lines. Now, I might make some minor adjustments as I go. If I think my pencil line wasn't as good as it could have been. If the sort of angle off the line was not what I really want now you could do a design like this in photo shop yourself, but entry just fine. Pencil and paper. Sometimes it's just easier to design on, and you can always just a raise it if you need to and just get something that is going toe work for you. So pretty much my lines are about the same length and pretty much following the design that I had here, and I want one at the very end again. I'm working from the base first and then the tip second. So this is the set of lines I've gotten for my first race. Let's have a look and see what we've got. We've got a work path here in the parts palate. You can, of course, get to that by choosing window and then pars. And so this is the set of lines. Now it's a work part, so that is always under threat of being lost. So when you have a work path, if you want to keep it, I suggest you just drag it onto the new icon, and that turns it into just a regular path. And now Photoshopped won't lose it for you, so makes it a little bit more robust in the last panel here. We've just got the background. Now I'm going to add a new Latin and I'm going to hide the background cause we don't need that right now. In fact, if we wanted to, we could add a white field lab behind all of this. So we would have something to look at our Wraith on on. I might do that. So with the last selected, I've got White as my background color. Here are press control back space that would be on the pace, a control backspace on immaculate press command dilate. So now let's add another new lab because I want my lays of my race to be on a separate lad . That's always a sensible idea. Right now. I'm working in black, so I have my new lab visible and I've got my path here and now we need a brush Now. We could use the brush I've just created, but let's go and create our own brush so you can see how easy that is to do. Let's choose file and then new. I'm going to make a really small document here. 150 pixels by 150 pixels. That means my brush is going to be about 150 pixels. Toll. If you want a bigger brush, make a bigger document. I'll click create. I'm going to zoom in here and I'm going to make sure I have black here. I've got my brush tool, but this time let's use a circular brush. So just going Get a circular brush. I wanted to be pretty hard, but not totally hard. Something like about 80% hardness would be good. Now the size is huge. I want to back off the size Ah lot. If you want to adjust the size of the brush, the open and close square brackets are really good tip to use. The open square bracket makes it smaller. The close square bracket makes it larger, so I'm just going to draw a line, and then I'm going to draw the sort of elements for my brush. So it had sort of three of these, and that had some little bits in here. And that is quite simply how I made that original brush might make the tail of it here a little bit longer, so now we'll go to select. Also, we select the entire document will go to edit and then define brush preset. And I'm going to call this Wraith leaf one and click. OK, so this is what the brush looks like. I don't need this document any longer. The brush is saved with photo shop, so let's go back. We've got our path selected. We've got always little parts selected. If they won't, we would go to the past selection tall and just make sure they were all selected. Let's go to our brush tool. Let's go on. Make sure that we have the lost brush, which is this one here selected. That's when we just created. And if we just go and apply it to our shapes just to start off and see how things look, let's go and do that. And, of course, it's not working. So press control or command Z to undo it. Let's go to the brush settings again. If you don't see brush settings here, you can get took by choosing window, and then brush settings were going to increase the spacing that we only want one brush stroke for each of these lines. So we want to push this facing up as far as we can do. So just to make sure that we're only going to get one of these per line, I'm also going to increase the brush size. I think it's probably a little bit small right now. Let's go to parse and let's try this again and see how it looks. Well, that size looks reasonably good, perhaps a little bit small. The direction is all wrong, so we just increase the size of it a little bit end to make it follow these lines. We go to shape dynamics and we go toe angle jitter and we set the angle to direction, and I know that I'm going to have to have this brush paint in a sort of horizontal direction. So before I do anything else, I'm just going to rotate this round. So it's painting from left to right, if you like. Now let's go back to the pars. Let's go back to the stroke path with brush tall and let's see what we've got. So that's what out race looks like. That's the result off applying these leaves, toothy lines that I created and you can see the lines by going back to the path tall. So if you think your lines need to be altered, you can go ahead and do that. So what I would do is go ahead and move any of these lines that I think need adjusting. So let's go to the direct selection told the White Arrow. It'll let's move this a little bit, and you can adjust the length you can adjust the positioning off any of these lines. If we go back to the last palette, you'll see that the brushstrokes went on this last, so it's very easy to get rid off those. Add a new empty liar. Go back to your past, make sure that you have your part selected. With the past selection tall, you have your brush still in place. So provided you just click on the brush option here or if you press the later bay. And I strongly suggest that you learn the letter bay for brushes for this class because it's going to make life a whole lot easier. And then just click here on strike path with brush and then you'll get an updated look to your right. If you're going to get the wreath as it now looks, with some changes having been made to the positioning of those lines, and you can go back and continue to make changes. You might find different results if you use I slightly small a brush. So I'm adding a new empty lot on going back to the past pallet, making sure that I have all of this pause selected. I'll go back to my brush, make sure I have my brush selected over here, or press the letter bay. Wind down the size off the brush a little bit and see how it differs when I created this time. And so once we've created half off our wreath, we can go ahead and create the second half. We're going to do that in the next video. 4. Photoshop for Lunch™ - Pt 3 Make the full Wreath: we've already created half the race. That's going to be very easy to create the other half. We've got a layer here that has all those brush strokes on them. I'm going to duplicate that layer by dragging and dropping it onto the new icon. So that gives me too. And all I'm going to do is to move this across. I'm going to start dragging on this edge off it. I'm gonna look up here at the values and I'm looking for this with value here, and I'm going to adjust it to minus 100% of the moment. It was a little bit less than that. If I do minus 100% then it is exactly flipped over, and I can now move it across a little bit, just using the smart guides to position it accurately. And I'll click this check mark here. So now I have two sides off my Rafe, and I'm ready now to add some filler elements. And one of the filler elements I want to add is a brush that's going to add some little dots here. So let's see how we do that. I already have a lot of dot brushes, so we can go to the Brushes panel and we can create a dot brush. But we need to be a bit careful, because if we want to continue to use this wreath brush, we may want to save it as a preset. So let's go across here to the Brush Settings panel. We still have this brush created and set up, so I'm going to create a preset for it. So I'll do that by clicking here on the fly out menu and I'll choose new brush preset, and I'm going to call this Wraith leaf set up. And so we know that they set up for the brush is already built in, So we'll click. OK, now we can get that back at any time. So what I'm going to do now with a dot brush is not going to lose that set up for us. So let's go now to the Brushes panel on Let's go and select one of these general brushes. So and that's going to use this big dot brush. Now it's huge, so I'm going to decrease that size considerably, and I'm going to increase its spicing quite a lot, so I wanted to paint as a syriza off different size dots, and I want them to go sort of splatter everywhere. So this is not splatter everywhere. And let's do it in a collars. Well, let's give it sort of orangish Barre. So let's go and get an orange color to make it draw. Mawr, interestingly, will go to shape dynamics. All turn shape dynamics on. Make sure I select check dynamics. Now if I want the size of the brush to very, I can increase the size Jeter, and that means that the brush is going to paint in a whole Siri's off different sizes. Angle jitter is not going to matter with this brush because of the round brush. It's not got any angle associated with it. But if we wanted to, we could use around the studio and then the angle jitter because around the studio would give the brush a little bit of flattening. I'm not thinking that I want to say much around this chitter at also maybe just a little bit, so just increase that to a small value. We also want the brush to paint a whole lot more intensively. Either side of where I'm drawing, so we'll go to scattering and scattering. I'm going to select here both axes, so the scattering is gonna happen across both access, and I'm going to start increasing it. And so now when I draw, you'll say it's scattering as it goes. And if we wanted to scatter Mawr than we're going to increase the count, so now it's going to paint more like this. And if you think that there are things that you want to change, so I'm thinking that the maximum size is a little bit big right now, then you can go ahead and make those changes. So I'm thinking the science Jeter. I'm going to bring back to a smaller value, but I'm going to start off with a smaller sized brush. So once I've got my brush said, I'll probably want to save that preset as well. So I'll just make this scattered dots and we're including the color in it, so it's always going to start out painting orange. You can make changes to that, but that's hot set up. Let's go to the last pallet. We want another new last so that we're painting on an empty layer and I want the dots to appear behind that the leaves here. So I'm gonna make sure that this lattice behind the other one and now we can just come in and sort of fill in this race shape by destroying these thoughts. And my dots are pretty conservative. You'll say that they're not moving a long distance away from where I'm painting. You may want to have them more separated. You could make adjustments to the brush to do that. But we're filling in some of the gaps in the Wraith in this way. 5. Photoshop for Lunch™ - Pt 4 Make a New Brush and a New Wreath: So now that we've made the first rate, let's have a look and see how we could take the path that we've already created and use it in a brand new document. So I'm gonna choose file new and I'll create a new document. This one's going to bay 1200 pixels by 1200 pixels. So I'm working again in a square document and our click create. Now I want the past from this document. So with this document open, I can go to the parts here. If I select the black, our or the past selection tall Aiken, select over the parts. Now all I'm selecting is this set off path lines. So all choose edit and then copy. I'll switch to the document that I'm working in and all choose, edit and then paste and that paste in these parts. Now they're bigger than this document. But if I go to the past selection tall and select over all off them, then I can resize them. I can do that by pressing control or command t to bring up the transform handles. I'll hold the shift key and just scale it down from the corner here and then place that where it's going to bay half off my race. Now I'm thinking that my document actually should be a little bit wider. So let me just place that about here. Been over the edge and I'll click the check mark if I need to enlarge my document. Aiken do so with the crop tool, so I will select the crop tool, which in later versions are. Photoshopped is just selecting the entire background. So now I'll just drag outwards and I'll do that holding the cult or option case. I'm adding extra content to both sides off the document. Now it's going in black, so let's just undo that. Let's switch these colors around and do it again again, cult or option drag. And now the background is white. So this path this time is a work path and work pass are not permanent parts that always temporary. So if you want to make sure that this path is going to be saved in this document, just drop it onto the new path icon and it becomes Path one, and it's going to be here permanently. So we've got a document here that has absolutely nothing in it. Let me just select the regular move tool. Let me de select this path and you can see it's just an empty document. But hidden here in the past panel is the secret to making a wreath, and that is the sets of lines that we can apply a brush toe. So let's go on create another brush. I'll choose file and new because I like to develop my brushes in smaller documents. So again I'll work with small document. This time, 600 pixels by 600 pixels are click create Now for this particular brush. I want a little bit of dimension, so I want some dark elements and some not quite so dark element. So let's see how we do that. I'm going to use the pen Tal's. I'm just going to use that to draw out the sort of main part off the element that I'll use for my brush. So I'm gonna click and drag down here, click and drag across a little bit, click and go back up to here and I'll click and drag, and what I want is sort of something that looks a little bit like the stem off a set of late. So let's go back now to the drink selection tour. Once we've actually created the starting shape, then we can start coming in and editing it. If you want to move one of these handles in isolation, then hold the old or option can that stops his teeter totter sort of behavior. So here are hold the old option Que And now I can move this handle independently off the other. This white ara K or the direct selection tool allows you to just select and work on one particular point at a time. So here is my work path again. I'm working with parts here. When you go to the pen told you can say that I'm working with parts, gonna add some leaves here and leaves there going to be based on an ellipse. So let's just go and get their lips tall again, making sure that we're working in a path that's going to drag out a tall the lips. I'll go back to the pen tall area off the toolbar and choose the convert anchor point. Till now if I click one stop here, I get a sharp point. Let me go and just select and drag out these shapes a little bit to make it a little bit more lifelike. Now, with the past selection tool, I can come in and rotate it. To do that, I'll press control or command T to get these transform handles, and I'm just going toe, rotate it around and let's go and place it in position here. I'm going to make a copy off it. It's already selected salt shoes and a copy and then edit paste. Now that's pasted the copy on top of the original. So you can say I can just drag it out of the way Control or command T. And I'm going to rotate this around so that I can get a leaf on the other side here. Now it's also possible Toa alta or option drags. I'm gonna hold the altar option k down. You can say that the mouse pointer when I have this black arrow with this path selection tool selected gets a little plus beside it. Well, that's allowing me to drag a duplicate off this leaf away and again, I'm just going toe, make it a little bit smaller here. I'll drag another one over here, old or option Dragon Control Command T to get my transform handles and let's go and put that in position toe. We'll select both of these and move them up as a pair. How, press control or command tae and then shift drag in woods. And now I could just select one of them and move them out, going to shorten this stem a little bit. I think it's a bit long, and I'll bring all the other shapes down, so I could just put one at the very top use the past selection told this black arrow toll, provided you select over some element in a path the whole path is going to bay. Selected from its altar option. Drag this one away and let's just rotate it to go on the very top. Once you've completed drawing an element like this as a set off parts, you can again make this a real pass. I just drag it onto the new I concerts now, a path that won't be delayed ID. This can also obey sized as a custom, shapes all true's edit and then define custom shape. And I'm just going to call this slaves because I've gone to so much trouble to design this , I'm going to be able to find lots of other ways that I can use it. So I am going to save. It is a custom shape now at this stage, I can just they select it now toe actually use that shape to create the Lays that I'm going to use as a brush. I'll go to the custom shapes tall. I'll go and select the last shape, which is the one that I have just drawn. I'm going to start with pure black. I'm using the shape options here, so I'll just drag out the shape. Hold the shift. Case arts constrained. If I do want it to be constrained to those proportions, think I might actually make it a little bit wider? And so there is my shape now. It's all black, but I want to make it a sort of fill off MAWR offer Grady in. So let's go to the fill options here and let's select Grady Int and for the Grady, and I want it to look like this. I want it lighter at the top and darker at the bottom, but I think the top needs to be a little bit less than white. So let's just double click this stop and let's make the top stop a little bit darker, so this could now become a brush. What I'll do is select everything with control or command I and then choose edit and define brush preset, and this then becomes my brush. And the colors that I've applied this graduated color from a sort of like gray to a dark gray is actually being incorporated with the brush because brushes are black and white. But there are also great scale, so they will save lighter colors as well as darker colors. So I'm gonna call this leaf brush, graduated color and click, OK? And so I now we've created our brush along the way. We also created a custom shape because we've spent a bit of time making the brush so I can close all of this. I don't need to keep it because I've got my brush saved. I've got my custom shape saved. I don't need any of that back here in this document. I have my past, so that's going to select the path with the past selection tall, we have our brush, So let's go to the brush tool. Lets go and select the brush. It's always the last one in the Brushes panel. Now it looks huge. So let's go to the brush settings and we already know some off the settings that we're going to want to use. We know we wanted to be quite a bit smaller, and we also know that we want the spacing to be as wide as we can because we only want one brush leaf for each one of these lines here. And I'm just testing the sort of brush size here and looking at what size I might want. So I'm going to use about 200 pixels here. Let's go to shape dynamics again. We want angle jitter on, and we want it to go with the direction of the brush. But let's go back to the brush tip shape because we know we wanted to paint from left to right, so we're going to need to rotate it about. This should be fine. So let's test that. Let's go to our past and let's make sure that we've got a brand new layer toe work on go to our parts panel and click here on stroke a path with brush. Now I think my brush is too big, so let's go back and let's just reduce the size of it and try again. Now I've got a painting quite nicely. I quite like that, but I am going to undo it because what I'd like it to do is to paint in a sort of green color. So let's now go and pick up a green color. So now I have my green color. Let's go back and let's do that brush strike again. And now you can say Here, let me just click away. But the brushes painting with dark green and light green. Gonna under that for a minute because we can go one step further again. Let's go and select our parts. Let's go back and select our brush. Let's this time change the color off the background, so let's go and get a green that's a little bit off a different green. Well, actually, let's go and get a blow so that we've actually got something to look at here. Right now. The brush is going to paint green because it always paints with the foreground color illness. Do you tell it to do something else? And this is the Tell it to do something else area. So we're going to color dynamics. And what I wanted to do is to jitter between the foreground and the background color between the green and the blue that I just created. And if I just click here on the strike parts with Brush, you'll say that Photoshopped right now is ignoring me. While a reason for that is that I'm doing a one click hit, Always Lines with the Brush and Photo Shop is interpreting that as a single sort of brush strike. Now, if I want a change for every tip for every application of the brush, I need to click here on apply per tip. And now when I click here, we're going to get a range of different colors from the green to the blue. Let's discard. Increase the jitter to a full amount and let's go and apply that here. We've got some greens in here. We've got some blues. So this time with our wreath, we're getting a variety off different colors coming through because of the way that we set up the brush. And again, if we like this brush and we like that settings, then we can go back and save those setting so we can go and choose new brush preset. What I'm thinking off doing, though, is just winding that back one step. So let's go and do that. I just want to change the angle off this brush a little bit. I'm going to tippet. So it is that a little bit of an angle and let's see what we get there. We're getting a little bit more variety. That may be something that you want to do is just alter the actual angle that your got your brush going out at to get a result that you like. So let's just go and save that as a brush. I'm gonna call that leaf brush set up, and I'm including the colors here. So all of the color dynamic settings and everything is being saved with this brush, including the starting colors. Although of course we can alter that. Should we wish to do so, I'll click. OK, we already know how to finish this race off. We're going to take this layer here. Well, let me just get rid of the past selection because that's in my way. But go to this land will make a duplicate off it. We're going to select it with control, click on the Latham, now press control or command T to get the transform handles. And now we can just transform it across the vertical looking here for this Woods to B minus 100% and then click the check mark. And if necessary, we can move it out of the way. But I'm thinking that the placement for this is pretty good going to add a new layer here, and I'll brush some elements in behind it. So let's go and get the brush that we created that Dottie Brush that painted orange. Let's go and get that. Well, right now, I've got something selected. Something's gonna press control or command day to de select that selection. But let's go to the brush presets. So let's go to the brushes here and in the process. Here is this gathered dot brush and see. Its color is set up here to it, so let's just go on select. It got its color already associated with it. But if we want to. We can change that. Let's make it a sort of more yellowy color this time, and we're just painted in behind these elements. You can say that saving brush presets is a really good idea because it means they're going to be accessible to you at any time. You don't have to go to all the trouble off resetting up the brush and doing all that experimentation. Everything's going to be set up ready for you to go. 6. Photoshop for Lunch™ - Pt 5 One More Wreath, Project and Wrapup: before we finish up here, let's have a look at one final example Now, in this case, the Wraith goes all the way around, and I've added some text to it and also some little flowers. I reused the daughter brush that I was using previously and this leaf brush. So let's have a look at the flower brush for the flower brush. I just created a document and added some circles here and then over the top, a dark, great circle and then a light gray circle, and I save that as a brush, and I set it up to paint in blue and green, that same color dynamic setting in the brush palette. So whenever I touch the brush to the workspace here, it would paint in a different version off the blue or the green. I also adjusted the size for it. So that's how those brush strokes. All those flowers have been added to this design, and I, of course, added some text to it. Now let me just turn all the text, end the imagery often. Let's have a look quickly at the parts. Now, in this instance, the past go all the way around and I've just offset them. So there are the same number off elements inside as there are out. And to apply the brush strike this sort of circular brushstroke here. What I did was I used apart. So I just created a path. And then I stroke that path with my circular brush to make sure that I got a nice, even sort of circular result. So that's how this particular design has been put together, and they raise obviously look really good with some text in it. So I just applied some text in a really nice little script fund. Your project for this class will be to create a wreath design using the process that I've shown you set up a Siri's off lines and then stroke those lines with a brush that you have created, and then finish off the design with perhaps some little daughter elements and some text, and you might even want to create some little flower brushes that you can use as well post an image of your completed race design as your class project. I hope that you have enjoyed this class. I hope that you've learned things about photo shop of which you were previously unaware. Now, as you were watching these videos, you will have seen a prompt which asked if you would recommend this class toe Others plays . If you enjoy the class and learn something from it, would you do two things for me? Firstly, answer Yes, that you do recommend the class and secondly, right, even in just a few words why you're enjoying the class recommendations like this help other students to say that this is a class that they, too, might enjoy and learn from. Now, if you say the follow link appear, click it to keep up to date with my new classes as they're released. If you'd like to leave me a comment or a question place do so I raid and respond to all of your comments and questions and look at and respond to all of your class projects. My name's Helen Bradley. Thank you so much for joining me for this episode off Photoshopped Financial. I look forward to seeing you in an upcoming episode soon 7. Extra video for Photoshop CS6 users: I've had a question from a user who is using photo shops a or six, and they want to know if this is going to work the same in photo shops there. Six. Well, it is, but with a little bit of difference in that, it's a little bit harder to see the parts as you're drawing them. So I have opened my Wraith image and I'm going to the pen tal here in photo shop, say, as six. And I'm just going to draw those lines exactly as we did in the other video, clicking in the middle, clicking at the end, pressing the escape cane out. I can't say anything as I'm working, so I'm trusting that the process is working. If you want some visual feedback, then open up the parts palette. Here. I use the drop down menu, and I went to panel options. I made sure that I had the largest possible some nail size. It just makes a little bit easier to say where you're going. And so now I'm just going to continue putting in those parts, Click, click, escape and go all the way around this shape. Now I have already taken the time to make the brush that I'm going to use here in photo shop, say six because the brush is made exactly the same way as in later versions of Photo Shop says, there's no real difference there. It's going to finish up. There's lost lines here. So we're having a look here in the work path and we can say all the lines we've created. I can drag it onto the new icon. I get my path now. It's really important that this stage that you add a new lad to your document because you're going to have to drop your brush strokes into a new lab. So I'm going to turn the background off. I'm going to add a new lie exactly as I did in the previous video. Fill it with this white color with control back spice that would be command delayed on the Mac. So I am saying these lines here because I have this past selected. If I click away from the path, I won't say those lines. So it is important that you click on the path here in the past palette so you can see your lines. We'll go here to the past selection tall and select over all of the lines, so they get little handles on them. And, of course, once they've got the handles on them, we can go and set about brush. So let's just go and get the brush that I created. And we're going to do exactly the same thing with this brush as we did in the previous videos. Gonna increase the size a little bit, make a point in the correct direction, go to shape Dynamics said it to direction. Think the brush could probably be just a little bit bigger. Let's go to the past palette. We'll make sure in the last pallet that we have are empty. Lie was selected, which we do in the past Palette or we need to do is click here on stroke path with brush making sure, of course, that we have black paint as our foreground because otherwise, if we paint in white, which is not going to say the results, so there we are. It's working pretty much the same in photo shop CS six, as it was in a photo shop, say say, with the exception that it's a little bit difficult to see your past while you're working. But if you keep your part palette visible, you should be just fine. So if you have any other questions if you're using an earlier version of photo shop, don't haze attack to ask, and I will do my best to help you.