Paintbrush vector painting1/21/2024 ![]() ![]() You can push it to the right to make it push dark so it takes lighter pixels and pushes them darker or you go the other way and it makes it lighter, so this is how I adjust the paintbrush after I scan it in. And then the middle one is the midtone range. How much artifacting you want to leave in it, if you pull this in a lot you can see how it fills in certain areas, and in this case I want to keep some of that white, I want to keep some of the artifacting so I don't want to like pull this in so far that it loses all the little details, so that's just your preference, your prerogative in terms of kind of the look and feel you want. Now, from this point you can just visually adjust it based off of your own preference. I don't adjust them all at the same time because each one has their own characteristics so I like to save the source art and I usually keep my original scan on its own layer, then I'll make a duplicate of that layer and in this case I'm just calling it Adjust Levels because now that I have a duplicate on another layer, this is where I'll begin making my adjustments to it so I'm going to go to Image, I'm going to pull down to Adjustments and to Levels, and that'll bring up this window, and I'm just pulling it off to the side so you can see how we're going to affect the base art that we're adjusting here, the scan of this brush, and I usually just start pulling in from the left side, this is what's going to blow out all the kind of midtones to make it lighter, and I just want to pull that in just so it gets rid of a lot of the background levels of gray you can see in this scan, and then if you pull in from the left, this is where you're going to darken it up. So, I start with my original scan, you can see the layers here in the Photoshop file and when I create a brush, I'm creating it individually with all my brushes. Actually, almost all of my courses are that way with exception of a few proprietary functions that are only available in newer versions of software, but for the most part I try to make it backwards compatible. Now I should point out that even though we're in CC Photoshop version, you can do this all the way back to let's say you're using Photoshop five, everything I'm going to show you here you can do in older versions, you don't need Creative Cloud to do this, it's that simple. I scanned it in as a grayscale image and this is what you see here, and don't worry if it doesn't scan in completely black, that's okay, that's what Photoshop's for, we're going to mess around with the contrast and the levels in order to achieve kind of the look and feel we want to. But this is where it starts, this is the genesis of creating your digital asset that you're going to use to paint with vectors in Illustrator, and it all starts in Photoshop. I do that because when we bring these assets into Illustrator and image trace them I want them to be tight, I want them to hold up some nice, little artifacts and detailing so it gives the authentic look that I'm after. ![]() Any scanner like that is going to work well for this and I scanned in my paint strokes in at 800 dpi, so a very high resolution. So you saw me painting out by hand using a traditional paintbrush and paint on paper to paint out and create paint swatches or paint strokes like the one you see here, and once I have those painted out and they're dry obviously I'll scan them in and I use an Epson Flatbed scanner. ![]()
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