Photoshop for Lunch™ - Make & Sell Photoshop Brushes - Brushes, Templates, Preset | Helen Bradley | Skillshare

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

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

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
7 Lessons (37m)
    • 1. Photoshop for Lunch™ - Make and Sell Brushes - Intro

      1:08
    • 2. Photoshop for Lunch™ - Make and Sell Brushes - Part 1

      8:40
    • 3. Photoshop for Lunch™ - Make and Sell Brushes - Part 2

      3:22
    • 4. Photoshop for Lunch™ - Make and Sell Brushes - Part 3

      6:20
    • 5. Photoshop for Lunch™ - Make and Sell Brushes - Part 4

      4:39
    • 6. Photoshop for Lunch™ - Make and Sell Brushes - Part 5

      9:48
    • 7. Photoshop for Lunch™ - Make and Sell Brushes - Part 6

      3:29

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 create brushes from sketches in Photoshop, how to package them into an .abr file and how to create a sales image for your brushes. By the end of the class you should be able to make Photoshop Brushes to sell or give away as premium content on your blog. This is the sales image we'll create to go with the brush pack we will make:

5cdd76b5

More in the Photoshop for Lunch™ series:

10 Photoshop Pattern Tips and Techniques - A Photoshop for Lunch™ Class

Circle Patterns - Step by step seamless repeat patterns - A Photoshop for Lunch™ class

Creative Layer Styles in Photoshop - A Photoshop for Lunch™ Class

Make Patterns from Sketches & Digital Art - A Photoshop for Lunch™ Class

Photoshop for Lunch™ - 10 Blend Tips in 10 minutes 

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

Photoshop for Lunch™ - 10 in 10 - Ten Top Photoshop Tips in 10 minutes (or less)

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

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

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

Photoshop for Lunch™ - Abstract Glowing Backgrounds

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

Photoshop for Lunch™ - Bend Objects with Puppet Warp

Photoshop for Lunch™ - Clean & Color Scanned Line Art

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

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

Photoshop for Lunch™ - Complex Pattern Swatches

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

Photoshop for Lunch™ - Create a Color Scheme Graphic

Photoshop for Lunch™ - Create a Custom Character Font

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

Photoshop for Lunch™ - Create a Reusable Wreath Design

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

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

Photoshop for Lunch™ - Create Complex Half Drop Repeating Patterns

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

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

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

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

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

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

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

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

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

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

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

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

Photoshop for Lunch™ - Emboss and Deboss Text and Shapes

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

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

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

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

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

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

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

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

Photoshop for Lunch™ - Intro to Photoshop Actions

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

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

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

Photoshop for Lunch™ - Make & Sell a Shapes Collection

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

Photoshop for Lunch™ - Make & Sell Scrapbook Designs - Formats, Files, Marketing Materials

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

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

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

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

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

Photoshop for Lunch™ - Metaball Patterns - Structured and Organic

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

Photoshop for Lunch™ - Overlapping and Random Circles Patterns

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

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

Photoshop for Lunch™ - Pattern Making - Seamless Repeating Patterns

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

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

Photoshop for Lunch™ - Photoshop Inking Techniques

Photoshop for Lunch™ - Preparing images for Social Media, Blogs and eBooks

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

Photoshop for Lunch™ - Recolor Pattern Techniques

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

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

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™ - Sketches & Brushes to Whimsical Patterns

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

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

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

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

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

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

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

Photoshop for Lunch™ - Valentine's Day Inspired Hearts

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

Photoshop for Lunch™ - Whimsical Rotated Patterns 

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

Photoshop for Lunch™ - Whimsical Textures for Drawings

Photoshop Type Basics - Tips Tricks and Techniques - a Photoshop for Lunch™ class

Using Textures in Photoshop - A Photoshop for Lunch™ class

 

 

Transcripts

1. Photoshop for Lunch™ - Make and Sell Brushes - Intro: Hello, I'm Helen Bradley welcome to this episode of Photoshop for lunch, make and sell Photoshop brushes. Every Photoshop for lunch class teaches a small number of Photoshop techniques. You'll get plenty of opportunity to practice your new skills when you're completing your class project and today we're looking at creating Photoshop brushes that you can use yourself but also you can package to sell. You're going to see how to create brushes and how to gather them into an ABR file, and also how to put together a promo pace so you could sell or even give away your brushes on your blog. As you're watching this video, you will see a prompt that will let you recommend this class to others. Please look out for it, and if you're enjoying the class give it a thumbs up. These recommendations help other skillshare students to find my classes so they too can learn more about Photoshop and if you'd like to leave a comment please do so. I read all of your comments and I respond to all of them. I also look at it and respond to all of your class projects. Now, if you're ready let's get started making to sell Photoshop brushes. 2. Photoshop for Lunch™ - Make and Sell Brushes - Part 1: Before we get started on actually making brushes, let's look and say what it is that we're really trying to do. You can download online free brush sets and you can also buy them. There are people making and selling, or making and giving away brush sets. I do that on my website. What I do is I actually exchange them for e-mail addresses. If you want to download my brushes, you give me your e-mail address, you can have the brushes. I build an e-mail list that way. Now, you can create brushes from almost anything and I like to do them from hand-drawn images, but I also source public domain vintage images and I turned those into brushes as well. Today we're going to look at the hand-drawn approach just to how we would start with some hand-drawn images, make them into a brush set, get them ready and package them for sale. That's what we're going to do. We're going to start with some hand-drawn images. Now, my brush pack is going to be a brushes this one. But we're not going to sit here through a brushes, we're just going to handle two right now. This is a portion of my sketchbook laser two of my caravan drawings, I want to make each of these into a brush, but this is just a scan from my sketchbook. Now, if you took my skill share clause on cleaning up the scooter image this one here, which taught you how to clean and color scanned line art, you already know how to clean Scanned Line Art. You could skip forward to the next video. If you didn't see that video, if you want to refresh it, we're going to quickly clean up the scans. I strike out on my sketchbook, let's open the last pallet and as we would expect, we've got one layer. It's a background layer it's locked. We need to get rid of this lock icon. Easiest thing, drag and drop it into the trash on Photoshop CC and lighter, you can just click and drag it away and it just comes away. We need to get rid of the white and we need to clean up the gray. I'm going to go to the Magic Wand Tool. Now, I've tried the Quick Selection Tool, it's not nearly as good as a Magic Wand Tool here. I've got a pretty clean white papers on my tolerance is set to 20. That's how many pixels close to the one that I'm clicking on a going to be selected. I'm going to deselect contiguous because I want to get rid of all the white paper throughout this entire page. I've got my sample size set to a 3 by 3 average. That's just going to make the tolerance work a little bit smartest still. Here there's four little icons here I've got the second one selected, and that's called Add to selection. I can just click and click and it's just going to keep adding to my selection. If you don't have that turned on, you'll need to shift click each times. Let's just start clicking around here, and say well, I really only have to do one click because I've selected pretty much all the white in the image and a bit of gray each areas I didn't really want to select. But let's just press "Delete" for now, and "Control or Command D" to deselect the selection. Let's put a layer beneath this one. I'm going to control or command click on the new layer icon to add a new layer. Going to press the letter D to get my default colors. Where is my background color? I'll press control backspace, that would be command delete on the Mac to fill this bottom layer with white. Now, it looks like we haven't progressed very far at all. But what we've done, is we've isolated out some of the line work. We just need to clean up these gray areas. Let's go back to this image. Before I clean up these gray areas, I want to sample a color from here. I'm just going to sample some of this gray color because actually I want to put it back, but I just want it to look a bit nicer than it does right now. I'm going back to the Magic Wand Tool. This time I'm going to reduce the tolerance to about 15. I want to be a little bit more discrete here, and I do want contiguous enabled. I'm going to click in here, and I'm going to keep clicking on all of the gray areas, and if it doesn't select all of them, I'm going to keep clicking to select as much as I can of this gray areas. Again in here, and again here, and again here, and there's a little bit of gray in here too. Now, this time I'm not going to press "Delete". This time I've got my foreground color is the gray that I actually want to use. I'm going to press Alt backspace, or option delete on the Mac. That's going to give me a more even gray. I'm going to press "Control or Command D" to deselect the selection. I'm going to zoom in to where I can see some minor problems. I'm going to go and get my brush. I'm going to make sure that I'm operating with a very hard brush here. Now this brush is enormous. I'm just going to use the open square bracket to size it down. The gray color is in the foreground here, so I'm just going to roughly color over this now. I wouldn't mind if this is a little bit rough. I don't want to color in always white pixels, but I do want a evenish gray here. If I've smudge my pen as I've drawn in a place, then I'm going to use this to clean up any smudges. If I say any pin lines that are going places, I'm going to clean those up "Control or Command 0," and let's just go in her, I'm going to switch to the zoom tool. Here is one of those areas where my pin went a bit smudgy. I'm just going to clean those up. Just making sure I've got some nice gray in here. Brushes can only be black and gray, so it's no point in putting color in here right now that it's not what a brushes all about. Now that we've got add lines as lighter and we've got some pretty good grays. We need to get rid of anything else that's hanging around here. Maybe I dotted on the paper or maybe the scan clean up so far is not as good as it could be. With my isolated lines selected, I'm going to click the fx icon and go to stroke. You can see I've already been playing with this. This is what we're going to do. I'm going to line up the stroke to a value of around about 18, whatever you need to say dots all over your image. You want it to look like it's got a case of measles. Position is outside. Absolutely has to be outside and you won't fill type color and you want the color that is going to show. It doesn't really matter what color it is, but you just need to be able to say it. You're just going to click "OK". What you've just done as you've added a stroke around everywhere that Photoshop has found a little bit of black or something that is not transparent. What we're going to do is we're going to use these dots as an indicator as to what we need to arise. I've gone to my Eraser. I've got a solid eraser at very hard edge that's really important here that this has a really hard edge because you don't want to fluff around here at all. What you're going to do is you're just going to click over the dots, and the very middle of the dot is one or two or a few pixels of stri stuff. You don't want those in your brush because that's going to really annoy the user later on if the brush has speckles of extra stuff in it. Just coming around and just removing these and you just want to go over the middle of them, and as soon as you hit them in the middle, the spot goes because there's no longer a pixel there for the spot to be anchored to. When you get close to these lines, you just want to again, make sure that you're over the top of the spot. If you make a mistake, just press control or command Z to undo because you do not want to destroy your lines. You may need to change your brush size as you work through here. I just use the open and close Square bracket case. Now, I'm not going to be pedantic here, but I'm just going to click and remove the worst of the spots. I want my brush shaped to be pretty even because this is my reputation going out with these brushes, "Control or Commands Z" to undo that. When you get close to a line, you just want to make sure that you're over the top of the dot and don't destroy the line in the process. Got a couple more to do here. Now when you're done with that, when you've cleaned up all the dots and all these stray bumps, all you need to do, is to come across here and remove this stroke. We're just going to grab the effects and we're going to drag them onto the trash can and they have disappeared. But we know that this is now a claim scan and that's what we need to do to make our brushes from. Let's go forward in the next video, and let's go and create brush. 3. Photoshop for Lunch™ - Make and Sell Brushes - Part 2: Now that we've cleaned up this image, we're ready to create it as a brush. I'm going to go and pick up the Rectangular Marquee Tool because that's going to allow me to select either the whole of this shape. Now if you get into a bit of trouble and can't select around the shape without getting a pace of another shape. Just use the left so Marquee here, because you just want to isolate the single shape that you want to be a brush. Obviously I would want each of this debate, I separate brush. So with it selected, I'm going to choose Edit and then Define Brush Preset. In a minute, I'm going to tell you what you're going to do if this is not enabled. So I'm just going to click here and I'm going to call this Retro caravan. I think I'm up to number seven. So I'm going to click seven and press OK. Then I'm going to go and do the other ones. I'm going back to my Rectangular Marquee Tool, is going to drag over this one and go and make it a brush the same way. So they now created as brushes, but there is a physical limit to the size image you can use for a brush in Photoshop, in earlier versions of Photoshop. So I'm thinking probably round about 66 and earlier the limit was 2500 by 2500. So you couldn't make a brush that was more than 2500 pixels in any one direction. So it couldn't be more than 2500 pixels wide or tall or both. So when you select something that is too big, when you go to Edit, Define Brush Preset, you just won't be able to select. It's going to be great at. Photoshop is not going to tell you what's wrong. It's just going to say, sorry, you can't do that. So you have to work out what's wrong and what's wrong is normally like 99.9 percent of the time that you've selected a too big area. I'm still looking for the actual brush limit in Photoshop. Say I cannot find it by detest at this morning was something that was 6,000 pixels wide and it didn't work. So I'm guessing that the limit is probably going to be around 5,000 pixels by 5,000 pixels. If I find out what the limit is, I'm going to post it in the class project here. But that's going to be, the issue is that's going to be size. If you make your image too big and you can't make a brush out of it, just go to Image, Image Size. Now in earlier versions of Photoshop, your dialogues are going to look a bit different to this, but you want to constrained proportions. So you have a checkbox for constrained proportions. You'll see the current width and height in pixels while I'm going to bring it down to 2500 by 2500. So I know I've got a bit of space around the edges. Now there'll be a re-sample dialogue and you'll just want to choose a re-sample method that is suitable for reduction. So I'm going to choose by Bicubic Sharper and I'll click okay. So in older versions of Photoshop now this image is 2500 pixels wide, which means that if I make a selection that looks like this, it's going to be less than 2500 pixels and the edges, which means that if I go to Edit, Define Brush Preset, I should be able to create it as a brush. So that's really all you need to be worried about. We've now created two brushes. I went ahead and created a whole lot more. So in my brushes palette, let's go and get the brushes pellet. Down the bottom here, I've got all my retro caravans. So in the next video we're going to say how we can put these together into a brush pack. 4. Photoshop for Lunch™ - Make and Sell Brushes - Part 3: Before packaging the brushes, I'm going to test them. So I'm going to choose file new, and make a really big document, 10,000 pixels by 10,000 pixels white background. I'll click "Okay". I'm going to add a new layer to this document, I'm going to make sure I'm working in the default colors, I can click here just to set them. I'm going to open up the brush preset. So I'm going to choose window and then brush presets. With the brush tool selected, the presets are going to give me access to my brushes and they're in this panel here. The other way of doing this is to go to the brush panel here and just select each of these brushes in turn. Because we've got such a big document, we're able to just click to apply these brushes, and I'm just testing each of them. One, I want to make sure that they look all right, and I haven't done something stupid in creating them. The second thing is I'm actually going to curate these brushes because I will typically make one or two more brushes than I actually want to use. Sometimes it allows me then to remove one or two brushes from the set. So I'm looking at this, I'm just going to Zoom in, and I'm just going to make sure that they look like a homogeneous set, that they're all going to work together. When I make brushes, I like to make a theme. So all of these obviously retro caravans, you might do ink splat, you could do all things. This one's looking a little bit no in comparison to the other. So I'm going to use the outside aid and leave this one behind. But I know now exactly what I'm doing. So let's just close that down. The other thing I want to do is wherever these brushes go, this is my artwork. If somebody wants to contact me or somebody wants to know where they come from, I want them to be able to find out. So this is what I do. File new. I'm going to make a document that is inside the brush size. So able to be used as a brush. 2,000 pixels by 1,000 pixels will work just fine. So I'll click "Okay". White background, that's fine. I'm going to the text tool. I'm going to choose a plain font mirrored prose fine, I'm using a 101 points, 100 points is fine, black color, and I'm going to type some text in here. Now I already have my text in a Notepad file just so that you don't have to watch me type. So I'm selecting it, I'm click in my document, and I'm going to press Control or Command V to paste in my text. I'm going to move it into position. Now, the copyright symbol here, you can get on a pay say by holding down the Alt key as you type out on the numbers keypad 0, 1, 6, 9. On the Mac, it's option G. Now, I might also choose text to put one of my little caravans in here that might be a nice touch. So let's get the brush, and let's go and pick a caravan. One of the ones I'm actually going to use, I'm going to add a new lab because right now that little no-go sign is telling me I'm on a text layer, and I can't add content to a text layer. I'm just going to add a regular layer, I'm going to size this brush down using the open square bracket key, and I'm going to click once to apply it in here. So this is going to be a brush. I'm going to choose select all, I'm going to choose edit define brush preset, and I'm going to make this a retro caravan brush and it's going to be number 9. I'm going to sell or give them a pack of eight brushes. It's going to have nine in there. As soon as they install that into their Photoshop, that is going to get my copyright information along with those brushes. Everywhere that that brush file goes, so too does my copyright information. You can put whatever you like in here, I just think it's important to brand your content. Now let's go and create our brush packs. I'm going to choose edit, presets, preset manager, because this is where you see your brushes, and down here are my brushes. So if I double-click on this one, you can say that this is retro-caravan brush 9. I've got all the others. Now one of them I was going to take out, and this is the one that I'm going to remove. So I'm just making sure I know which one it is, I'm just going to delete it. I'm then going to go through just because I like to be neat and tidy, and just make sure that each of these is numbered correctly. So this is number 4, there is 6, 7, there's another 7, and here's 8. So I'm just going to re-number this five, so that now I have numbers 1-8. I'm going to put this back in position 1, 2, 3, 4. It needs to go in here. So I'm just going to drag it into position here. So you can move brushes around in this brush presets panel by just dragging them around. So I'm making sure that everything's in numerical order is all neat and tidy. So here's brush 1, and here it is all the way through to brush 9. So I'm going to click on brush 1 and shift click on brush 9. So these are all selected. Now I am choosing save set. It goes into the correct place for brushes. Now, the correct place of brushes may not be where I actually want it to go. So if I wanted to save this for my own purposes, I would put it in here in pre-set brushes. If I wanted to save it to be able to give to other people, I might choose somewhere different. I'm going to choose my desktop. It's going to be easy to find it there because it's practically nothing on my desktop. So now I'm going to call this retro caravan brushes. It's going to be an ABR file and I'll just click "save". Back in the process manager, I can re-save it so I could re-save it as my own personal brush set by clicking save set and just putting it wherever Photoshop suggests it be put, but I can also just click done and that will get me out of here. Now I've created my brushes as an ABR file. That's the file that you would give away or sell. But of course, to make it attractive to give away or sell, you want to create some marketing materials. So we're going to create brush marketing materials in the next video. 5. Photoshop for Lunch™ - Make and Sell Brushes - Part 4: When it comes to creating the marketing materials for your brushes, it can help to go and look and see what other people do. I've gone and done a Google search, and I searched for free photoshop brushes. Those are the things that people do. Some people show the individual brushes and some people show a compilation image showing the brushes in use, and some people will even do both. they'll show a compilation image and the brushes in use. The illustration I use is typically showing the brushes painted in color on a background and then the individual brushes below. I'm going to show you how I set up a layout like this. I've already measured and thought about the size document that I'm going to create. I'm going to choose "File" and then "New". My document is going to be 1,000 pixels wide by 800 pixels tall. It's going to have a white background, and I'll click "OK." Whenever I create these brush images, I'll pre-prepare it as a template so I could easily reuse it over and over again. That just makes it a little bit easier, and it's making the work that I do a little bit more effective. I'm going to add some guides. I'm going to add a vertical guide at 25 percent and another one at 50, and one at 75. You can put percentages in for your guide values, but you can also use absolute values. I'm going to use absolute values for the horizontals. I want one at 450 pixels. You'll probably want to add the px on the end just in case your dimensions are set to something different, and that's usually an indicator that your dimensions are set to something different if you don't type px, and when you enter your guide, it doesn't actually appear. I've got one more to go in, and that's at 675 pixels. Basically, what I've allowed for here are eight boxes at the bottom for the brushes themselves. This is going to be a black banner describing the brushes and this is going to be my little illustration. I'm going to open up the "Layers" palette. I'm going to click to add a new layer. On this layer, I'm going to put all the eight brushes. I'm going to open the "Brush Presets" because I find it a little bit easier to use, but you can also use the brushes panel. Your brushes are going to be here at the bottom. I'm going to select the first one. I'm going to press the letter "D" to set the default colors. I'm going use the square bracket "K" just to size the brush down, and I'm going to click to add it. Then I'm going to continue and do this for all eight brushes. Next up, I'm going to the last panel. I'm going to add another new layer. I'm going to use the rectangular marquee tool, and these guides are going to be snap two, so I can just drag out a rectangular marquee that goes all the way across the area where I want my text banner to be. Black is my foreground color, so I'll press "Alt Backspace." That would be "Option Delete" on the Mac to fill that banner area with black. I'm going to add a new layer and I'm going to the "Text Tool" and I want my text to be white. I'm going to make sure that I have white showing. My text is myriad pro regular. It's 40 point type, which is a pretty good typeface size for this particular image, and of course I'm typing in white. I'm going to click here and I'm going to type a description. I'm going to do a second line of type but make sure it's on a different layer so I can move it around. I'm going to use the "Move tool" to just move these into position. I want to center them pretty much in the image. It would be pretty embarrassing if we had a typo in this text so I'm going to select both layers that have text on it. I'm going to run a spellcheck. "Edit", "Check Spelling". Photoshop has picked up the website. It's not familiar with that, but I know that it's correct. I'm going to click "Ignore" and the spellcheck is complete. I've spellchecked this text, I know it's correct. I'm going to save this document and then we're going to come back and create the top part of it. 6. Photoshop for Lunch™ - Make and Sell Brushes - Part 5: When it comes to creating the top of my image, I like to use a texture background, and the textures that I frequently use are from Flickr. There are set of textures provided by somebody called Skeletamess, they're free to use and they're very high-quality textures. I'm going to give you the link to this set in the course project area, so you can browse them and see if there's a texture that you would like to use. I already have downloaded a lot of his textures, so I'm just going to open the folder, and select a texture to use. I'm not concerned if these textures are not in the same aspect ratio as the image itself, because the textures nobody's going to know if we've squashed them up or not. I'm going to right-click the background layer here and the last pallet choose Duplicate Layer. I saved my image that I was working on as brush master image. From this drop-down list, I'm going to locate the same file name, click on it, and click OK. I don't need this image opened any longer, so I am going to close it. When I come back to my main image, you can see that the texture has been added to it, but it's way too big. I'm going to press Control+T and then Control+0, so I can see the sizing handles. I'm going to hold Shift+Alt as I just bring this texture in. Then I'm going to size it to suite. I'm actually going to push it up so that it fills the whole of the top of my document so it's squashed up in effect. Let's press Control or Command+0 to zoom back in. If you wanted to see the sizing handles on the Mac, you're going to press Command+T and Command+0. Next up, I'm going to add a new layer, and then I'm going to create a little picture using my caravan images. On this brand new layer, I'm going to select the color to use. I'm going to use some fairly dark colors. Then go and get the first of my brushes. Click on the Brush tool, get my brush, resize it to suite, and the I'm going to just place it into this image here. If I click a couple of times I'll get a slightly darker version of my brush, and that might be appropriate. I'm going to add a new layer and put the next brush down. By putting each of these on a separate layer, I'll be able to move them around later on if I need to. I'm just going to go ahead and speed up the video as I do this. Now that I've got all my caravans done because they're all on separate layers, I can go and select the individual layers and move them around if I want to. Every time I click on a layer because I have Show Transform Controls selected, I'm able to say exactly which Caravan is on that layer, and I have the opportunity of moving it around. I may also want to blend these in using the Multiply Blend Mode, that's going to darken them quite considerably. Now I can do that for all of them at the same time by selecting all of these layers and changing the blend mode of all of them all at once to Multiply. This just make things a little bit easier. Once I've got my image presented the way that I want it to look, I'm just ready to do the finishing touches. The grid lines that we're seeing over the image here actually belong to the guides, and so they're no longer going to be there when we save this document. That's fine for the top part of the image, but I would like these areas down here to be divided up. I'm going to go and position myself just on the background layer here. I'm going to click on the Background Layer and click the New Layer icon because that's giving me a new layer that I can put a set of guides on. I'm going to select the Rectangle tool and make sure black is my foreground color, particularly on earlier versions of Photoshop, that's going to be really important. I'm going to make sure that I'm working with a shape. I've got Shape clicked. With shape, I can create a shape that is actually wider than the documents so I'm just going to start dragging out here. It appears that my shape is drawing from the middle out for some reason, but I'm just going to put it down and then go to the Move Tool. I'm just going to move it into position. I can read in the Properties panel of the most recent version of Photoshop exactly how tall it is. I'm actually going to size it up, so it's five pixels. By knowing five pixels, that's actually going to help me because I'm going to know how wide I need to make everything else. Once I've got this down, I'm going to duplicate this shape layers, drag and drop it onto the New Layer icon. I'm going to rotate it. So I'm actually going to press Control and zero so I can see my sizing handles, because this is little bit difficult right now. I'm going to hold the Shift key as I rotate it around, because I want it to be rotated in a perfectly vertical direction. I'm going to line it up with these guides, then take a duplicate of this shape again onto the New Layer icon, go and get the Move tool, and zoom in so I can see. I move handle. I'm going to move the duplicate into position. Then I'm going to do that again, drag and drop the rectangle onto the New Layer icon with the Move tool, just go and drag this into position. I'll press Control or Command+0 just to zoom back out. My line is really long, but I'm not really too concerned about that because I'm going to go out and get all these Shape layers. There's a whole heap of them, I'm going to right-click, and I'm going to choose Rasterize Layers, and right-click, and choose Merge Layers. They're all going to be merged down to a single layer. That's going to provide me with my grid. Now at this point, if I want to, I can also grab the Crop tool. I have Delete Cropped Pixels, select this. I'm going to press Enter twice to just crop away the excess of those lines that I no longer need. I'll press Control or Command_0. I want to align around the whole of the outside of this document. To do that, I'm going to need to be above this texture because otherwise the line is going to run under the texture layer. I have to the texture layer selected, I'm going to click on the New Layer icon. Now I'm going to choose Select All, and that makes the selection all the way around the current canvas. I want to add a line around this, so I'm going to choose Edit and then Stroke. I want a five pixels stroke because that's going to match the white of the lines that I created. I want it to be black and want it to run inside this shape. I don't want it to be over the edge because that's not going to give me my five pixel line. It has to be on the inside, and I'll click OK. Then Control or Command day to day select the selection. Now I've got a black guide around here. So any color pipa or any color website that this image goes on, it's bringing with it it's black lines, all its borders, and all its grid lines. I no longer need my guide. So I can choose View, Clear Guides, and this is the image that I'm going to use for my brushes. I'm going to make sure that I save it, again using File Save because I've already saved it, I'm going to make sure that I've saved an updated version of it. I would now save this as a JPEG file. Saving it as a JPEG file will allow me to put it up on the web. I could also re-size it if I needed to. If I was selling these on a site that said that I needed a specific width image, well then I would just re-size it to that appropriate size. Say If somebody wanted this at 750 pixels wide, I would go to Image, Image Size. I would type in here 750, and I would make sure that this lock icon is checked. On earlier versions of Photoshop, you'll be looking for a checkbox that says Constrained Proportions. I want to use a re-sample method that is suitable for reduction, and so I would just go ahead and click OK, and it would be sized down. I'm not going to do that, I'm going to keep this at the highest value. If I were to use this as a template, I would also go through and I would start labeling things. I would label this as my grid lines, and I would label this as my brush samples, and so on. That will make it very clear later on what I need to replace. I obviously want to replace my grid lines, so I could even lock down my grid lines if I wanted to, by just clicking on the lock icon there. I could block down this black marker because it doesn't need to move. I might also lock down this particular text line because it's going to be the same every time, but the brush description won't. By labeling my layers, and by locking things, that's going to make it a whole lot easier next time I want to create another image for my brushes. Of course, if you are branding your content, you want to be fairly consistent in the designs that you use. 7. Photoshop for Lunch™ - Make and Sell Brushes - Part 6: Before we finish up, let's just have a look and say how you would go ahead then and package your brushes for upload. One of the things I like to include in my brushes file is a README file. This is a really old one. But basically, I'm telling people in here, exactly what they're allowed to do with the brushes. I'm saying that the brushes can only be downloaded from my particular website page and that the brushes are free to use for non-commercial purposes and what you need to do if you want to use them for commercial purposes. I'm also telling people how they can find me via email if they wanted to talk to me about those brushes. I create a README file for all of my brushes and that goes out with the brush set. This is one of the brush set. This is a set of frame brushes. With that frame brush set, I'll be sending out my README text, I'll be sending out my ABR file, and I'll also be sending out this image file. So it's packaged in a zip file with three pieces. The license information, the ABR brush file for Photoshop, but also this image. The reason why I do this is that some people will download these brushes and use them. After a period of time, they might also blog about themself. They want to blog about them. They've got the image that they can use to advertise the brushes. They've got all the information in the README text about where the brushes can be downloaded from. So I like to package everything up in the hopes that people will do the right thing by me with those brushes. It would be very difficult for me to insist that my brushes were only available for use for non-commercial purposes if I didn't put a README text file in there. You can't expect people to notice I always make sure that the licensing information goes out with the brushes. From here, what you do with your zip file, it really depends on how you're distributing your brushes. I upload mine to my website and make them available there. But you may want to do something different with them. You'll need to provide information and the files in the format that, that site that you're sending them to requires if you're not in control of it yourself. Your project for this class is going to be to create a brush set. Now, you don't have images to use. I'm going to give you my two caravan file, the one that we worked on in class, so you can create a brush set of two caravans and your copyright information. Go ahead and produce everything that you need to make a salable or distributable brush set, that's your ABR file, your license information, I'm going to give you a copy of mine in the class project areas so you can see what it looks like, as well as the JPEG image that's going to advertise your brushes. Post a JPEG image in the cost project area. I hope that you've enjoyed this class and that you've learned something about creating brushes in Photoshop and packaging them in a way that they can be sold or distributed online. If you did enjoy this class and if you see a prompt to recommend it to others, please give it a thumbs up. This helps other people to identify this as a class that they may want to take. If you'd like to leave a comment, please do so. I read and respond to all of your comments, and I look at and respond to all of your class project. I'm Helen Bradley. Thank you so much for joining me for this episode of Photoshop for Lunch, make and sell Photoshop brushes. I look forward to seeing you in another episode of Photoshop for lunch soon.