Brushes
and Actions
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Actions & Brushes You'll need these Actions & Brushes as They are mentioned often |
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| Brush Name | Shading Brush or Sponge Brush |
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This is my all purpose shading brush. Press light and it's light, Hard and it's darker. The pattern is scattered. I'll use it on a shading layer and paint layer. |
| Brush Name | Better shader |
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I
use this one the
most, it's a modified version of the one above. It fits in spots
tighter. |
| Brush Name | Brush Stroke Mike straight |
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This
one is
used in light rays as a way to break it up. It can be used for hair,
But set to smudge it creates hair and such. |
| Brush Name | Sparkle high light SMOOTH |
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Still
experimental, it will vary your stroke or edge. It takes foreground and
background and mixes them up. It will soften an edge a bit, and add a
bit of randomness for shading. |
| Brush Name | Cracked Wall Lines Lg - Crack |
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This
was a
crack brush, but it didn't work out. It creates a very fine line and
has a crack like appearance. There's a larger version next to that
brush. Next to that is a signing brush that also failed. |
| Brush Name | PEN - fine fade |
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This
is the
brush I'll use to paint things in, shade things, and works great in the
overlay layer to add shadow and highlight. Light pressure will be small
and faded. Works best in layers. |
| Brush Name | PEN - fine outline |
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This
is the
one I'll use with Vivid light. It creates a nice and soft highlight. It
has the same properties as above. It's also a good paint brush for
small things. |
| Brush Name | PEN - Sketching |
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The
stamp tool uses this. Light pressure will create a fine line and it
fades a little bit. |
| Brush Name | PEN Full size fade |
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An
easy way
to shade things. Full size, light pressure makes a light line. Used
best in layers. I don't use it as much now since I made the grunge
brushes. |
| Brush Name | Dust Speckles |
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Experimental,
I wanted
a slight amount of dust in my windows for sunlight to look at. It
creates a nice stipple look. |
| Brush Name | Snow Brush |
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Experimental,
looks like
the dust brush. I used it to fill in or create snow. Push it hard and
the flakes are larger and darker. It still doesn't work right, I have
some ideas for the future. |
| Brush Name | Hair - Mike |
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Experimental,
It
creates a hair like look. I used black and white, but any can be used. |
| Brush Name | Dazzle Sparkle |
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I
made this for a
varied highlight. Where straight lines look too mechanical, this one
creates an almost sparkle trail. |
| Brush Name | Cartoon brush stroke |
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This
is a
modified Chalk brush. It creates a cartoon like pastel smear. Good for
sketching and rough filling. |
Prints
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| Actions |
| I've
included a series of actions most of which are explained in the
tutorials. But here's a brief explanation of what each does for you
when making your image: SOFT LIGHT - If you apply white to this layer, any color underneath will get a little brighter, however there is a limit to how bright it gets. The tone has a pastel look. Add black and it becomes more saturated. If I were to apply it to red brick, the effect would look like as if it just rained on that brick. Adding color will intensify the color below it, and is sometimes useful to shade a gray image. HARD LIGHT - I use this for sun rays, with white or black it's similar to not using a layer mode at all, I think the difference shows more if you use very dark solid colors. VIVID LIGHT - I set this layer to color 128,128,128 - modifying this gray layer with white will brighten the items underneath it dramatically. Do it too much and it will burn it out, Black creates a deep black. I use this layer to highlight the items, and add edge contrast. OVERLAY - White will add dramatic contrast in an area. Similar to vivid light only you'll have less of a chance of burning through it. I'll use this when I want to bright an area but not to much. Adding black will not burn it and is a cross between no layer mode and softlight but darker. When I shade cloth I'll use a small soft brush, and shade the light areas brighter, dark areas darker. Emphasizing the edges. Vivid light would burn the edges too much. When you want a glint of light as if it was a shiny object, use vivid. When you want it to be brighter because it's cloth, etc, use overlay. So for example, you have a leather couch with cloth pillows, and the arms have a wood part. The wood would get a vivid light edge treatment. The pillow and couch overlay. With maybe a touch of vivid on the arms. SOFTLIGHT HDR - Action - This will apply a Gaussian blur to a layer set to soft light and open a Curves dialog. This will saturate the image a bit, darken the contrast a bit as well, and it creates a pleasant glow. Great for indoor scenes that has some noise, or for a sun lit window look. CONTRAST MASK - Action - This will balance the light a bit by creating an inverted layer that is blurred over. The blur dialog will pop up. The lower the setting, the more cartoon like it will look. The higher the setting (more blur), the realer it will look. The amount is Dependant on the design and taste. HIGH PASS SHARPEN - Action - This will apply a highpass layer set to I believe 1 px radius, which is then set to HARD LIGHT, This will give you a nice even sharpen without highlighting the noise. I use this right before I reduce the size and sharpen it with Focus Magic. |
Prints
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| Machine Shop Circa 1900's - by Mike Savad |
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| Can be purchased as a print or a gift |
Prints
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Copyright - Suburban Scenes by Mike
Savad 2012
