Master custom brushes for characters

Master custom brushes for characters Chapter 01
Chapter 01 Large Scaly Monster

Software Used: Photoshop
Introduction
This aim of this tutorial is to create a custom
brush that can be used to add scales to a
creature of some description.
Before we go on to deal with the task of creating
the actual brush, there is the issue of designing
the monster. As there was no criteria or a brief
to work to, I decided to start doodling and see
where my brush took me. I didnt have any
preconceived ideas prior to starting, except
that I wanted to avoid a bipedal animal as I had
recently painted one of these and thought a
change might be interesting.
The problem facing a custom brush specifically
I based my design on a quadruped, but also
moved from the chin down to the groin area.
aimed at characters is that it has to conform to
amalgamated the characteristics of a gorilla,
I didnt want the creature to look like it had an
the anatomy, which means the pattern or texture
which walks on its arms. I moulded the head
octopus placed on its shoulders!
must follow the anatomical contours. This is
and upper back around an octopus, but lent the
somewhat trickier compared to using them in the
face a rodent-like appearance with a jaw full of
I then added the fourth arm, which I attached to
context of an environment, but as we shall see,
incisors. The hind legs resemble those of a dog
its neighbor with a thin web of skin (Fig.03).
the brush presets help.
whereas the front legs are somewhat different,

with an elongated carpus.
As already mentioned I didnt have any
I also experimented with some other head

designs, as I was unsure about this aspect. The
preconceived notions, so using a standard Hard
I blended these varying aspects together from
one I favored displayed bat-like ears and an
Round brush with opacity set to Pen Pressure I
numerous animals to try and create a more alien
almost kangaroo-shaped head. This variation
started to sketch.
appearance. To avoid it looking to similar to a
was seemingly undersized for the body, but I
centaur I also drew in a second set of arms.
quite liked this quirk.
error, I arrived at an initial idea, which you can
Fig.02 shows a more developed stage of the
With the key ideas drawn in, I began refining the
see in Fig.01.
design with modified hind legs and the tentacles
creature in preparation for the scales (Fig.04).
After some trial and error, and then some further
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Chapter 01
Chapter 01
Master custom brushes for characters
The first stage when creating any custom brush

is to decide on a motif or shape that will form
the basis of the brush stroke. When you look
at scales on a fish or reptile, you soon realize
that they are made up of a series of interlocking
shapes that are similar in structure. Therefore
when creating a custom brush, it follows that we
start from a similar starting point.
Fig.05 shows a basic scale shape I created as a
black outline surrounded by a selection area.
Once you have a shape you need to go to Edit >
Define Brush Preset and turn this into an actual
brush (white outline). After naming it, select
it within your brush library and then open the
brush palette.
The first thing we need to do is alter the Spacing
under the Brush Tip Shape tab. If the spacing
is left around 1% then the brush stroke appears
as a continuous black line (see upper stroke in
Fig.06). By dragging the Spacing slider we can
reveal the scale shape (in this case 70%).
You can see now that when you drag the brush
across the canvas, it displays a series that can
then be interlocked.
The next set of parameters that generally need
addressing are the Shape Dynamics. In this
case one that is worth experimenting with is the
Angle Jitter, as this will help paint scales that
that the scales remain aligned throughout the
the lower example, they now follow the angle
align with the contours of our creature.
curved stroke.
of the stroke. This is particularly helpful when
Fig.07 shows three brush strokes in the upper
When the angle is set to Direction the scales
left with the Angle Jitter set to Off. You can see
orientate with the brush, and as you can see in
trying to add them onto the anatomy.

One of the other useful parameters worth
experimenting with is Size Jitter, which you
can see in Fig.08 is set at 68%. You can also
manipulate the Minimum Diameter, which alters
the scale of the smaller deviations.
On the left are two versions of the brush with
Size Jitter enabled (lower) and one with it turned
down to 0% (top).
You will notice how the random variations in
scale help add a more natural look to the scales,
albeit slightly exaggerated in this instance. If
you were to ramp the Minimum Diameter up
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Chapter 01

to around 70%, then you would have a more
realistic variation within the set brush size (1).
If you prefer using the pressure sensitivity of the
tablet to vary the brush size then this is also an
option under the Size Jitter.
Fig.09 shows a stroke with varying pressure and
the resultant variation in the size of the scales.
This can be an effective way of changing the
scale of a brush stroke, but it does require quite
a steady hand and a fair amount of control.
The previous settings are not crucial, but are
worth exploring when you create your own
library.
Fig.10 shows three different brushes used on
our sample creature with the blending mode
set to Screen. You can see that each one has a
different quality and none perfectly match, which
is inevitable.
Although these brushes will not produce wholly
accurate scales, they will at least provide
a decent starting point and be adequately
suggestive of the different planes.
If we want to be more meticulous we can add
scales in sections and then use the Warp tool
(Edit > Transform > Warp) to more carefully
match the perspective and anatomy (Fig.11).
With a brush such as this it is unrealistic to
presume you can swiftly add scales to any
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Chapter 01
Chapter 01
design and they will work immediately. It will
will solve all of your artistic problems in a series
In this case I used the custom brush to help
require refinement and further brushwork, but for
of brush strokes; the process is simply not that
determine the array of scales and their size and
the most part you will be able to quickly create
mechanical.
position. Once done I began modifying them to
the right impression, which is the key principle.
create highlights and used a soft-edged eraser

Ultimately you will need to use any custom
to tone them down in specific areas.
Fig.12 shows one of the brushes quickly applied
brush with some level of discretion and learn
across much of the body. In Normal mode (left)
how to edit the marks you create. They can
From the initial phase seen in Fig.12 I went on
it looks a little crude, but when we alter the
certainly provide a strong foundation, but
to develop the scales through to the version
blending mode we can see a more satisfactory
invariably will require a degree of adjustment
shown on the left in Fig.13, and eventually
result with both light and dark outlines.
and an artistic eye.
through to the modified stage seen on the right.
The next stage is to use this as a foundation on
Think of them rather like using textured paper
I retained certain areas to suggest partially
which to focus detail in certain areas and this
combined with a specific medium; it will help
reflective scales and toned down other regions
will involve some manual refinement. There is
achieve a more tangible effect, but they are
that were facing away from the light.
no way you can produce a custom brush that
nonetheless no more than tools.
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Chapter 01
Richard Tilbury
Web: http://www.richardtilburyart.com
Email: ibex80@hotmail.com

Chapter 02 Red Indian
Introduction
In this tutorial the goal is to create and paint
using custom brushes, to build details and to
enrich a character. I have made three types of
brushes shape, stamp and painting which
were going to use in lots of different ways. I
have also given an explanation and included
images of how to create each type and how to
use them, followed by images of the painting
where they are used.
Creating the Brushes

The first of our brushes the shape brush can
be seen in Fig.01. Heres how it was created:
Use a photo or painting to get a black and white
shape. It can have grays in it; its not necessary
Shift key held down. In order to get the correct
In the Brush window, select the Shape
to use strictly black and white. In fact, grays can
final shape, the marquee selection has to be
Dynamics. There are plenty of options to choose
be useful sometimes. Its important to know that
perfectly square.
from. The blue sections of Fig.04 show the
the black is going to be the part that will become

the active painting area.
settings I have used to create the result, which

Once its selected, go to Edit on the top row
is painted on the side to demonstrate how it
of the main options and press Define Brush
looks.
Select the Rectangular Marquee tool. While
Preset. It will create a brush that is instantly
dragging the selection, make sure you keep the
saved in your Brush Preset window, with the
The options are not very complicated, but its
same resolution as the originally selected image
still necessary to investigate them in order to
(Fig.02 03).
understand them and achieve the result you
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Chapter 02
Chapter 02
need. Its good to set some values and do a little

painting to see if your brush is going in the right
direction.
Next we have to consider rotations controlled
by the attributes of your pen or the percentage
of the values. Basically when we drag the
brush it makes random variations, showing an
accumulation of shapes created there by an
effect of specific material and texture (Fig.04).
Adding Scattering will control the scatter by
a percentage value, whether using the pen
attributes or numeric values. Scattering is a
very useful way of achieving a random look
I separate the transfer into two types that I
I applied the shape brush to the characters staff
and easily covering more surface. This option
mostly use: V1 and V2.
to create the animal fur, as well as is in other

parts such as on the arm, the chest, the belt and
can also be tweaked once the brush is finished,

to polish the result or achieve the look that is
Transfer V1, as you can see in Fig.06, is thick
required (Fig.05).
and works by enhancing contours; it can be
Finally we activate Transfer. A simple
the bonnet (Fig.09 11).
used to enforce silhouettes or sometimes to fill
Shape brushes are still repeating shapes, but
surfaces.
in this case they arent accumulative; they have

to keep a distance between themselves. Its
explanation of this setting would be that it

allows the pen to change the size of the shapes
Transfer V2 works by just changing the settings
a brush to draw detail thats as specific as we
and the opacity by using varying amounts
that are on the image. It creates a feeling of
want, like a sort of pattern that will repeat as
of pressure. Of course, you can always set
depth and is very good way to achieve textured
we paint. In this case Ive used a simple stitch
numerical values to be used instead of using the
surfaces with depth and more detail. When I use
shape. You can use details from a photo if
pen pressure.
them I combine both types (Fig.07 08).
necessary, but Ive painted my shape.
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Chapter 02
Once youve created your shape brush and its

in the Brush window, its time to take care of the
Brush Tip Shape. There is an option to change
the angle, so the shapes go in a horizontal
direction (Fig.12).
This can change if we captured the initial shape
horizontally, but it has to end up like the one on
the lower part of the window in Fig.13; this is
a sample of how the stroke will look. Then we
tweak Spacing until there is no overlapping of
the shapes; the repeated shapes have to remain
more or less the same distance apart. Its very
easy to see by just moving the slider.
The settings shown in Shape Dynamics in
Fig.14 will make the brush work well. Control:
Pen Pressure, under Size Jitter, is controlled by
the pressure of the pen, so if I paint more softly
You can keep building on your own brushes and
Our next brush is the stamp brush. In Fig.19
then the stitches will become smaller.
create more detailed ones, by painting a little
you can see examples of some effects you can
and applying what youve done to the one that is
achieve with this brush.
The second option is the key one. Angle Jitter
already created. Use the same process to save
has to be on Control: Direction. This option
it and you have a different brush (Fig.15 16).
will make sure that shapes are drawn in the
The stamp brush is pretty self-explanatory; one

single click and the brush draws what youve
direction of your stroke and will continue
You can see the areas of the image where I
created. As shown in Fig.20, select a texture,
changing direction whilst you paint.
have used this technique in Fig.17 18.
make it black and white, use the contrast to
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Chapter 02
Chapter 02
get rid of some of the unnecessary grays, then
production of a kind of volume effect. Based on
The goal of this brush is to have noise and
clean the borders or they will show on the brush.
that information, if you just keep stamping bigger
variations, but not necessarily a recognizable
sizes or rotating color variations and using some
shape so that the feeling can be that of a real
Make sure its on a square selection, so it keeps
layer blending modes, the result is a quick but
brush stroke. It can still be very useful to add
the same proportions when you stamp it. I like to
interesting texture made with one single brush
details; I will now explain the creation and some
add another texture on Overlay mode, in order
(Fig.21 22).
of the ways to use it.
turned too black; it gives variation just on the
Ive used this brush all over my canvas. In
First select any shape you want (in my case I
places where you want it. Then use the same
some areas it is very subtle and in others it has
went for a non-circular one), then in the Brush
process that we used earlier on the shape brush
been used harder in order to create texture and
Tip Shape set the Spacing low enough to look
to create your stamp brush and thats it!
surface variations (Fig.23 24).
like a single stroke (Fig.26).
One example of how useful it can be to have
The final brush Im going to cover is the painting
With Shape Dynamics selected, follow the
just the single stamp texture, with a light color
brush. In Fig.25 you can see examples of the
settings shown in Fig.27; these are based
painted and a darker one over it, is in the
effects that can be achieved with this brush.
more on an automatic variation than in the
to have more variation on the areas that have
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Chapter 02
pen options. These options are very easy to
In order to use these brushes I recommend
name for it its always good to label them. The
understand by just playing around a little bit.
selecting shapes that are quite different from
brush will then stay in your brush palette.
The Scattering here gives the effect of a more
each other, otherwise, if we are not careful, it
Fig.32 is an example of how this brush can be
organic brush stroke (Fig.28).
will sometimes create a random noise without
used to achieve very interesting results if used
an interesting look.
along with the Eraser tool. It can be painted with
For this particular brush, we have to arrange
a normal brush and then some strokes can be
the Transfer settings first. It can be done in
Once you are happy with how the brush looks,
removed, creating irregularities and interesting
different orders, but this way is the best because
go to the top right corner of the window (as is
textures. I use this technique a lot.
it allows us to see the results in real time when
marked in red in Fig.31). The option New Brush
we activate the most important option straight
Preset will appear. Click it to show a pop-up
You can see examples of where I have used this
after (Fig.29).
window with the basic shape and then enter a
brush and the effect it gives in Fig.33 34.
The most interesting option for this brush is Dual

Brush (Fig.30). Here its about playing with the
options. Normally the secondary shape you add
has to be almost the same size or bigger than
the principal shape; by using the Size slider its
very easy to see it. Scatter is the same as the
main scatter, but applied just to the secondary
shape.
It is better to have the percentage or thickness
of Count low, otherwise the textures and the
variations will disappear in a solid stroke.
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Chapter 02
Chapter 02
I have illustrated the base mesh of my character
I hope this tutorial has helped you to understand
and my starting point in Fig.35.
custom brushes and motivated you to use them
David Munoz Velazquez

Email: munozvelazquez@gmail.com
a bit more. Thanks to 3DTotal for the chance to

Fig.36 40 demonstrate how the image grew in
participate and all of you that have read these
detail, by using the different types of brushes I
words.
have explained in the tutorial.
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Chapter 02

Chapter 03 Beaten up Thug
In the following tutorial Im going to show you
how to create a thug character, from a rough
thumbnail to a finished concept drawing. I will
then take that same character and, by using a
small handful of brushes, will bruise, cut and
scrape him so that he looks like a beaten up
version of the original (Fig.01).
There are five brushes that I will use primarily
for this tutorial. The first brush in the bunch is
a simple default Round brush in Photoshop. I
have the brush set to Pressure Sensitivity, so
that it feels fairly close to rendering with a pencil.
Personally, I use this brush most often, but as
youll see, other unique specialty brushes can
help in the process of creating a concept much
more quickly (Fig.02).
The second brush is one that I found online by
artist Yang Xueguo, in a free batch of brushes
he was kind enough to share with the public. I
find that this brush creates abstract shapes that
help to paint details and what I call noise, to
add to the realism of any given painting. The
remaining three brushes are custom brushes
that I created specifically for this tutorial to paint
strokes that I will talk about later.
In Fig.03 you can see that I always start off with
straight forward and I dont do too many
a rough thumbnail, whether Im painting a quick
thumbnails. Basically I want a thug that looks
concept of a character, a lush environment or a
like you wouldnt want to mess with him!
complex scene that consists of both characters
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and scenery. I will first do a set of thumbnails to
Moving Forward
get an idea of what I want in terms of design and
In Fig.04 Im simply taking the basic structure of
composition. Since this tutorial is specifically
the face that I roughed out earlier and pushing it
about brushes, Im keeping the concept fairly
in a more refined direction.
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Chapter 03
Chapter 03
Im starting to paint in the details more for his

overall body. In both cases, Ive used the first
brush of the group mentioned earlier (Fig.05).
Keep Things Loose

Everything Ive done up to this point is still fairly
loose and I keep it all pretty monochromatic,
without any vibrant colors. Early on I like to
keep it somewhat simple value-wise. For me
personally it helps to stay focused on whats
important at this stage, and thats the design.
For this particular concept I want the character
to have a tough face, and look very rugged
and mean. I give him deep set eyes and use
very angular and jagged shapes to construct
his face; there are no rounded or soft edges. I
also increase his muscle mass from the early
thumbnails. I want this guy to be intimidating
and basically somebody that has seen trouble
before. Maybe his face has some scar tissue
already, as if hes been beaten up before.
Quick Tip
I always start with very broad brushes early
that can take away from the overall concepts
scheme I paint over it with my Normal brush
on in any given concept. I usually have an
success and design.
again to make sure it doesnt look too digital.
loose with a big brush, I can usually find nice
In Fig.06 Ive done a basic color copy of my
I start to commit to a design at this point. Ive
accidents in the brush strokes that I later turn
grayscale version. I usually do this by just
decided to change his face slightly, since the
into specific areas of the design. Also by using
changing my brush mode to Color and that way
previous version was just not quite what I had in
a big brush early, it prevents me from getting
I can create a very fast wash over my concept.
mind. At this point it becomes really subjective
too tight and carried away with the little details
Then when Im happy with the fundamental color
and if youre working with a client or studio art
idea of what I want, but by keeping things very
director, the iteration process on a characters

face can go back and forth dozens of times, if
not more. Luckily for this tutorial, Im my own
boss and Ive decided on this face! I also felt
that the shorts were making him feel a bit sporty
or just again, not quite what I had in mind, so I
went ahead and gave him trousers (Fig.07).
Using Filters
As shown in Fig.08 I use the Liquify filter to
push the paint around and create the beaten
up look Im going for. I even use the Bloat tool
in that filter to puff out his lips and the areas
around his eyes.
You can also see that Ive started to use the
various brushes that Ive created to give the
character blemishes and bruises. Its pretty
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Chapter 03
random at the moment, but again these brushes
reference and it helped considerably, even
some depth and an overall saturation level that
create shapes and abstract strokes that I can
though I thought that I had a pretty good handle
feels stronger and more successful to me.
turn into the exact look Im going for (Fig.09).
on how they would look. But be careful how
Unique Brushes
much you actually copy versus simply getting
Now Ive created some additional textures
ideas and inspiration. Your copied reference
for his flesh by adjusting some of the brush
Brushes 4 and 5 from the set mentioned earlier
material can end up becoming very stiff and you
properties (Fig.11). By playing around with
are used to create strokes that I wouldnt
want to learn as much from your references as
these sliders you can add a tremendous amount
normally get from the default Round brush.
possible and not just become a Xerox machine.
of variation to your brush strokes and the effects
Quick Tip
I always get reference material for areas Im
Blending Modes and Brush

Properties
not already familiar with. With the abundance
In Fig.10 Im still using the same brushes, but
of references online, theres no excuse not to
Im experimenting with different blending modes
grab reference photos for things that you arent
on the layers where I apply the brush strokes.
I also use the Warp tool to stretch out some of
exactly sure how they should look. In this case
By using different modes, you can get varying
the strokes, until they conform nicely to the flesh
I wanted to look at bruises and wounds for
effects. In this case, the Multiply layer gives me
and muscles, as you can see in Fig.12.
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that they can give you. I use the basic round

brush and make some changes to its properties.
By putting the new strokes on a Multiply layer
Im able to get the feel Im looking for.
Chapter 03
Chapter 03
Back to the Basics
and environments. Brushes can help to create
Creating a Brush
In Fig.13 14 I am showing how I used the
mood and atmosphere, but be cautious in how
In Fig.16 17 I demonstrate how to actually
basic round brush to do the majority of the work
you use them.
create a custom brush. Here I want a brush to
to finish of my concept. While I definitely do use
add some subtle realism to the flesh, like veins.
custom brushes, textures, filters and adjustment
Dont rely too much on custom brushes;
By putting down some simple brush strokes then
layers, at the end of the day my basic round
remember, without the knowledge of some
selecting Define Brush Preset, Ive now created
brush is used most often to paint the majority
basic art fundamentals, a painting will suffer by
a brush at its simplest level. Now I can go in the
of the concept. This is mainly because I find
simply using various brushes and not applying
brush preset menu and, as mentioned earlier, by
I have the most control with the basic round
that knowledge of anatomy, composition, color
experimenting with the sliders I can get varying
brush. There are no surprises with what Im
and light, etc. An artist should be able to create
effects.
going to get with that brush. I treat it the most
the ideal material hes looking to paint with the
like a pencil out of all my brushes and I am able
simple default brush and some modifications to
Subtlety is the Key
to render as needed with the brush over the
pen pressure, or opacity.
Fig.18 shows the use of the new vein brush
top of the strokes that the unique brushes have
that I created, but its hardly noticeable unless
created.
In Fig.15 you can see a close up of what Im
talking about. My custom brushes help to create
some of the noise that makes up the flesh and
bruising, but I go in tight with my basic brush to
create the actual gash.
Quick Tip
Its great to have specific brushes that you need
for textures that are common like dirt, wood,
grass, flesh, etc. Also a good noise brush is
great and can come in handy for both characters
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Chapter 03
zoomed in close. Its important to make sure

that everything isnt too in your face. Sometimes
less is more.
The Final Progression

Fig.19 20 show how the concept moved from
its original design to the now beaten up and torn
apart thug. Throughout the process the various
brushes were used to create textures for skin,
blood, cloth, stone, and I even created a quick
custom brush to rough in a tattoo. The final
concept is not a finished illustration, but its a
design that can be handed off to a modeler or
can be easily assessed by a client or art director
to determine what, if anything, needs to be
addressed or added.
Bart Tiongson
Web: http://riceandeggs.blogspot.com/
Email: btiongson@robotentertainment.com

Chapter 04 Alien
Introduction
The theme of this tutorial concerns custom
brushes and, specifically, those that could
be used to add detail to an alien, describing
skin patterns, markings and camouflage. The
objective is to create an array of brushes, which
can be used to provide some textural variation.
The brushes can be modified and combined to
create further adaptations and become the basis
for a more extensive library.
We shall begin by designing the creature on
which we will demonstrate the custom brushes.
Because this tutorial requires a version of the
alien on which you can apply these brushes
yourself and create your own interpretation, I
will compose a line drawing before adding any
color. This is not normally how I would approach
a painting, but on reflection it seemed like the
best way of providing a template for people to
experiment with.
Often the first step I take is to create a number
of thumbnail sketches and perhaps sketch
a group of silhouettes to help flesh out the
general proportions and overall shape of the
character. Alternatively, as in this case, I fill
in a background and then start to draw on a
separate layer using a hard round brush.
I have the Opacity Jitter set to Pen Pressure
and simply start doodling until a design begins
to emerge. Repeatedly drawing random shapes
and flowing lines will usually result in some sort
of concept or idea taking form, which can serve
as the foundation on which to build a more
elaborate design.
Fig.01 shows an initial metamorphosis on the
the proportioning, alongside a reorientation of
Fig.02 shows two further stages during the
left, which originated from repeated doodling,
the muscle groups. You will also notice that
process in which the anatomy and proportions
and on the right, is the more refined version. I
the posture has changed from left to right. The
have evolved. I decided early on to create a
restricted myself to the brush mentioned earlier,
initial character seemed a little whimsical and
humanoid alien, but I felt that the hands and
simply because it was necessary to provide a
somewhat subordinate, and so I opted to give
feet in illustration 1 resembled humans too
template drawing.
it a more domineering and assertive stance. I
closely and so deleted them. The other aspect
decided to replace the gray background with
that looked wrong was the articulation of the
This concept went through a number of
pure white in order to see the creatures outline
deltoid, or shoulder muscle, with the pectoral or
transformations, involving subtle changes in
better.
chest muscle. Although I was trying to achieve
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Chapter 04
Chapter 04
a hunched appearance devoid of any neck,
The first brush I chose to use was derived from
the shoulder nevertheless looked too high
a photo of fish scales, which can be seen in
compared to the chest and so I lowered the
box 1. This shows the brush shape itself on the
deltoid, which is evident in illustration 2.
left and the corresponding stamp when single

clicking on the canvas.
I also changed the shape of the arm, as the

relationship between the biceps and triceps
Whenever you create a new brush, usually the
looked wrong. The other main modification
first port of call will be the Spacing under Brush
was to the head, which although still lacking a
Tip Shape (2). This is where you can separate
neck, now at least seemed to articulate more
out the shape of the brush to be identifiable
realistically with the shoulders.
throughout the stroke. If the Spacing is left at

its default setting, then the stroke overlaps the
The drawing at this point was almost resolved
brush shape producing the effect of a loaded
barring the hands and feet, and so these
brush being dragged across a canvas, in an
needed to be added.
almost unbroken block of color (3). You can see

here that the Spacing is set at 79%, which has
In Fig.03 you can see the completed template
produced a string of brush shapes throughout
alongside a color overlay, which provides a
the stroke.
descent mid-tone to begin working with.

The next aspect worth changing are the X and Y
in order to create some variation and avoid an
The next step is to start painting in some
Jitter settings under Shape Dynamics (4). This
obvious symmetry. Compare the stroke in the
texture, but before doing so I will briefly run over
effectively alternates the vertical and horizontal
lower window to the previous one highlighting
some of the brush presets (Fig.04).
orientation of the brush throughout the stroke,
the Brush tip Shape.
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Chapter 04

The last area to consider is the Opacity Jitter
under Other Dynamics, which I generally set to
Pen Pressure; a preset suited to graphics
tablets (5). You can now see that the tonal
range throughout this stroke varies.
This brush now has the ability to paint a
patchwork of scales, the density of which can
be determined according to the number of
overlapped strokes (6).
With this brush and its modified settings now
saved, it is time to start adding some details and
patterns across the skin.
Fig.05 shows the first stages of using this brush,
which I painted on a new layer set to Normal
mode. I changed the color of the brush to reflect
the variation across the legs and torso, as well
as modifying the size. The best method is to lay
down some strokes without worrying too much if
they are exact, and afterwards use the Eraser to
refine and tidy up things.
As this is a tutorial I have separated the texture
brushes into layers in order, so that you may
see their individual contribution.
The next is made up of a few randomly spaced
dots, which can be seen in the upper left box in
Fig.06. This brush uses a spacing of 104%, but
only takes advantage of flipping the Y Jitter. You
will also notice from the stroke (center, top) that
the opacity is set to Pen Pressure.
I chose a dull, reddish brown and painted in
some spots across the alien, predominantly
along the arms and chest. The layer was
eventually set to Screen Blending mode, but the
small image in the center shows it at Normal
mode on a white background in order to reveal
where it was used. The creature on the right
shows the layer applied compared to the one on
the left, which represents an earlier version.
Although subtle, each one of these texture
layers will contribute a little towards the final
effect and if you removed all of them you would
notice a marked difference. The secret is to
avoid exaggerating details such as these.
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Chapter 04
Chapter 04
With this layer now complete it is time to move
With the brush palette open, scroll down to Dual
onto the third brush, which is somewhat different
Brush (below texture) and tick the small box
to the previous two as it involves a Dual Brush.
on the left. Fig.08 shows the brush on the left
I will explain what this means shortly, but before
before Dual Brush is active, which as you can
that lets have a look at the new brush.
see creates a stroke resembling a paintbrush.

The right window shows the same brush, but
Fig.07 shows the brush in the upper left and its
with Dual Brush now enabled. The sampled
resultant stroke to the right (centre, top). This
brush was extracted from broken glass, but
time around I used a pale yellow set to Overlay,
more importantly you can see how this function
but have also included a detail in black and
completely transforms the brush stroke.
white to show where the brush has been applied

(center). You can see how it has created some
By experimenting with the dynamics and
highlights across the head and shoulders, as
combining different presets it is possible to
well as some subtle patterns across the arms
swiftly create an array of very different qualities,
and legs.
all of which stem from a single brush. There

are several brushes included with this tutorial,
One other brush I developed during this tutorial
As already mentioned, this brush incorporates
so I would encourage you to experiment with
is pictured in Fig.09, which I used to add
a Dual Brush, which is a great way of creating
these as well as developing some of your own
another layer of detail. You will notice that the
variations.
versions.
Shape Dynamics employ some Angle Jitter and

also have the X and Y Jitter flipped. The brush
tip can be seen in the upper left alongside the
resultant stroke.
Fig.10 illustrates how this brush has lent
another dimension to the skin and injected some
delicate variation. The character on the left
shows the stage before the brush was applied,
with the adjacent copy showing the new texture.
As I was painting the creature and creating the
brushes, I was continually revising the design
and trying new variations. In this example I
amended the mouth, as well as adding an eye
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Chapter 04
and some gruesome detail in the form of a

trophy head!
The alignment of the knees had been wrong
since early on and should have been addressed
at the beginning, but it is never too late to
fix a problem. The other area for concern
was the perspective and so to account for
foreshortening, I reduced the size of the left
hand and also altered the curvature of the
furrow that runs up through the center of the
head.
With some color corrections and a handful of
small refinements, the character was finished
(Fig.11).
Richard Tilbury
Web: http://www.richardtilburyart.com
Email: ibex80@hotmail.com

Chapter 05 Yeti
In this tutorial I am going to paint a Yeti and
show how I use six brushes to get varying
degrees of texture, and what I call noise, to
achieve a painted feel, along with atmosphere
and realism. I sometimes use textures/photos
to gain the grit and texture that I want in my
images, but for this specific tutorial Im going
to rely solely on brushes and in-program
techniques.
All of these brushes are set to have pressure
sensitivity, because when I paint digitally I like it
to feel similar to drawing with a graphite pencil.
I like to control the darkness or size of my brush
strokes with the amount of pressure that I apply.
Youll also see how some of the brush settings
can be adjusted, so that some very cool effects
are created depending on how hard or soft you
are pressing on the tablet (Fig.01). 1 is just
the default round brush that I use most of the
time; I find that I have the most control with
this brush. 2, 3 and 4 are noise brushes that I
often use to help with textures for rock, or dirt,
or atmospheric density. 5 is a brush I found
online created by artist, Yang Xueguo. Its nice
for abstract shapes that Ill talk about later in
the tutorial. Finally, 6 is a soft brush that I use to
create foggy or misty effects.
I do some quick thumbnails to see what type
of composition or design I want to go for. Any
brush will work for thumbnails. Sometimes I like
to use a brush with some subtle abstract shapes
because it creates little unplanned strokes,
which I can later use to create specific designs.
The number 5 brush is perfect for this and not
only does it give abstract shapes, it also creates
some variations in value that I like when I dont
want to be super tight and precise.
Thumbnails are the perfect time to just relax and
have fun with the image, and be very loose and
gestural (Fig.02)!
After I decide on a thumbnail, I start to block out
the large value areas. In this case I know that I
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Chapter 05
Chapter 05
want to eventually put the Yeti in a snow scene
strokes at the beginning of a painting this
number 5 brush to scribble in some fur. Since
and, of course, hell be white as well. I want
helps me to not focus in on the tiny details,
that brush creates different values with each
there to be a nice amount of contrast between
which are fun to paint, but may be smart to stay
stroke, I find its really helpful when creating the
the character and the background, so I start
away from until later in the process.
fur. Im able to get a feeling of depth with that
blocking in some dark rocky areas (Fig.03).
brush, and the very subtle illusion of strands of

Ive painted in some more background elements
hair and tufts of fur (Fig.06).
I try to keep the main focus on the Yeti, but I
and Ive established some details on the Yeti
dont want him to be smack bang in the middle.
itself. At this point Ive used my primary round
Fig.07 uses the round brush to sketch in the
While its possible to create visually interesting
brush for most of the painting, along with the
fur, and Fig.08 uses the number 5 brush for fur.
imagery with symmetry, and having the subject

perfectly centered, usually (unless I want to
create a sense of unease, or theres a specific
reason to center the image) Ill offset the focal
point slightly to the left or right (Fig.04).
Im starting to rough in some bushy fur, just to
get an idea of how far Im going to push the
design elements. At this point Im still really only
using brush number 1 for control (Fig.05).
Tip: Early on in the painting, try keeping
your shapes big. Stay away from the details,
and concentrate on the silhouettes and the
compositions. I like to use big, broad brush
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Chapter 05

Its a very subtle difference, but sometimes that
subtlety is the key for getting the desired effect.
I take the brushes previously used and begin to
paint in blowing snow and fur. These brushes
work well both for their abstract shapes and very
subtle strokes. Again, the varying values help to
create depth and shadows for a more realistic
texture (Fig.09 10).
Im starting to add color to the image. While still
Tip: Make sure to create your own unique
see what you can come up with, and you may
very minimal at this point, the cool and warm
shapes for brushes. Experiment! If you try
just create a brush that you will use over and
colors allow me to see how and where I can
various settings, you never know what your
over again. Adjust the sliders and discover the
take the painting. I also begin to paint in the
brushes will end up creating. Play around
various effects that you can achieve through
details of the far off mountain range (Fig.11).
with all the different brush settings; its fun to
experimentation!
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Chapter 05
Chapter 05
At this point in the image the face is pretty

temporary in terms of design. I always knew that
I was going to develop it somewhat, so I decide
to polish it up and throw in some specific details.
I have the Yeti in a stage where Ive roughed
in the face, but in Fig.12 I take it in a different
direction somewhat. This isnt unusual in my
process and I often change the direction my
designs go in. Its very important though to know
when to stop doodling and begin to focus, and
commit to a design.
I start to picture a giant gorilla covered in
white fur; after all, nature has some of the best
references that an artist could ever ask for, so
why not use them? I also start to move forward
on the horns and fur surrounding his face. This
is the area of most interest, so I want to make
sure that I give it the necessary and appropriate
amount of attention.
I want the dark horns to provide a nice amount
of contrast to the white fur and I further
accentuate the contrast by placing snow onto
the horns. Use of brush number 5 is perfect for
this situation because it spreads areas of thin
and thick paint, allowing for some of the boney
material to show through.
In Fig.13 Ive decided to take the facial
expressions of the Yeti even further. Rather than
Tip: I often use photo references to help when
copy it. After all thats what being hired as an
having a rather relaxed face, I decide to show
painting something Im not super-familiar with;
artist is all about: creating something new that
him mid-ferocious scream.
in this instance, a gorilla. However, be careful
hasnt been seen before!
not to over-use your photo references. The last

In Fig.14 you can see where Im starting to
thing that you want is for your painting to appear
Here are more examples zoomed in close to
take the brushes and really get specific about
as though you have just copied an image that
show how important it is to paint in grit, noise
the details, like the stray bits of fur. Even in the
already exists. This holds especially true when
and the various elements of texture that exist
shadow you should be able to recognize the
creating a unique creature. Be imaginative and
in the world around us. I like to think of this
texture or material of any given object.
do your own take on an animal, dont simply
as the icing on the cake. Im getting close to
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Chapter 05

finishing the painting, but it just doesnt quite
have the detailed polish that I want to achieve
yet (Fig.15).
For the really fine, minute and subtle details
I use my noise brushes and just scale them
up or down to get a variety of sizes in the
textures. The amount of contrast and details are
being added more and more in Fig.16, but its
important not to overdo it. Ill add these noises
on a separate layer and adjust the degree of
opacity, so that it doesnt become too extreme
or heavy handed. Also, remember that as you
move further into the distance, the contrast and
values become more subtle. Even color begins
to lose its hue the further away you go.
Ive started to ramp up the blowing snow effects.
In Fig.18 Ive painted a foreground element to
that it doesnt take attention away from the Yeti.
I want this to feel cold, so I add more blowing
help create some depth, while at the same time
Finally in Fig.19 I adjust some of the colors in
snow throughout. Subtle brush strokes, along
guiding the viewers eye to the focal point of the
the shadows and I add some debris blowing
with using the Blur filter in Photoshop, can go a
image. I use all my different brushes to get the
along with the snow. I also paint in the details
long way to creating that blizzard effect (Fig.17).
rock texture I want and then I blur it slightly, so
of his fingers, since some of it got lost in the

process. I also make sure that the levels of
detail close to the Yeti arent so subtle that they
become non-existent, specifically the area of
rock underneath his hand.
Remember, use different brushes for different
effects and textures, but dont rely on them to do
the real work for you!
Bart Tiongson
Web: http://riceandeggs.blogspot.com/
Email: btiongson@robotentertainment.com
www.3dtotal.com
page 35
Chapter 05

Chapter 06 Period Drama Girl
Custom brushes have become a very popular
subject over the years, due to the diversity
of digital artists as well as the popularity of
speed painting. Very common questions that
professional artists hear are things like what
brushes do you use? And can I see your
brushes? But the question that should be asked
is: why do you use the brushes that you use?
For this demonstration, I will be painting a
female portrait and will be explaining how I
make the custom brushes, as well as why I am
using them. When I create brushes I usually
think of the multiple purposes each brush can
have. A brush for rocks could be used to paint
fabric and vice versa; it just depends on how
you use it. Youll see later on how I will re-use
brushes in the demo.
I start this piece by using a basic round
it doesnt end up feeling too digital. Creating a
For people who are new to creating brushes,
Photoshop brush because it is a responsive
custom brush is a fairly straight forward process
the steps are pretty straight forward. First,
and simple brush. I also do the sketch
and with practice can become second nature,
create a black shape or texture on a white or
monochromatically and will be adding color later
so you can change and manipulate brushes on
transparent background. Then select the shape
for the sake of the demo. I dont spend a lot of
the fly.
with the Lasso or Marquee tool, go to Edit >
time with the sketch because I like it when my
Define Brush Preset, and thats it. All you need
paintings evolve (Fig.01).
To create the brush seen in Fig.02, I use a

Lasso tool to create an interesting shape and
to do now is find the new brush you created

at the bottom of your brush list and modify it
I then use a custom-shaped brush to add a little
then erase some of it to add variety. I have
accordingly.
texture and some edge variety to the sketch, so
Spacing set to 11%, Shape Dynamics on,

Texture on, and Transfer on (all set to Pressure
Sensitivity). You can do almost any random
shape and make it work, as long as you play
around with the brush settings.
If you are having trouble coming up with shapes
that work, try looking at natural media brushes
and tools, and try to come up with ways of
translating that into a Photoshop brush. You
can also use photos as brushes by grabbing an
image, making it black and white, then lassoing
parts of the photo that you think might be useful.
I start to add color to the portrait by creating
an Overlay layer and blocking in large shapes
of color, and then using a Normal layer on top
to adjust the colors accordingly (Fig.03). I use
a cooler yellow against warmer shadows to
emphasis some of the forms in the face.
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Chapter 06
Chapter 06
When I start to detail the hair, I want a large

streaky brush that resembles a natural brush.
I start by creating a pattern of dots with a
round brush and then add Shape Dynamics,
Dual Brush and Transfer in the brush options
(Fig.04).
The three items Ive circled in Dual Brush are
the modifiers you will be using most of the time
when using Dual Brush. When creating custom
brushes with textures, the Dual Brush is very
important. It can add an almost random (natural)
quality to your custom brushes and really come
up with some awesome variances. I can spend
a lot of time creating brushes that try to mimic
natural media, but sometimes it just doesnt
work because at the end of the day its still
digital trying to be natural.
As you can see in Fig.05, I continue to refine the
forms in her face and hair. I also start flushing
out her clothing. For these steps I go back and
forth between the two brushes shown, while
adjusting the brushes as needed. I also adjust
some of the anatomy, as well as the surfacing
in her face to get the look I want (which Ill
probably settle on much later).
In Fig.06 I want to add in some interior shapes
and colors. For that I go with a rectangular
block-in brush because it resembles laying in
thick, flat colors. When I use brushes like this
I think of what its like painting with a house
paint brush, palette knife or flat sponge. For
this example I am thinking of a sponge-like flat
brush and like a sponge it is textured, because I
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page 40
Chapter 06

still want texture variety even if its only a little
apparent.
When I start to soften the textures in certain
areas I tend to stay with a rough, streaky brush
(Fig.07) because it gives the appearance of
a smooth surface without losing the painterly
roughness. This brush can be reused countless
times because of the interesting shapes and
textures it creates with minimal changes. You
can also use an airbrush or the Smudge tool to
soften the edges and forms, which are just as
good, but its up to you (Fig.08).
I decide I dont like how the character is working
out, so I change it. I give her a little more edge
and also add more character in her face by
refining the shapes. Using the round brush
means I have a lot of control and it is also
very fast at refining the silhouette. I use the
round brush a lot, but I always change it in the
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Chapter 06
Chapter 06
moment, whether its changing the texture, Dual

Brush or Spacing; its a very versatile brush.
Round brushes are good from start to finish
because they are responsive and have lots of
variety. Also, if they are textured properly then
they can even prevent an image from looking
too digital. In Fig.09 I show only a few choices
of a vast amount of possibilities with the round
brush.
As seen in Fig.10, you can miss even the most
obvious issues, like the fact that her ears are
way too high and the top of head is getting lost. I
adjust her ear by lassoing it, then I Copy Merge
it on top and reposition it. I also add white lace
in her hair to stop the top of her head from
getting lost.
Brushes are a wonderful tool that can streamline
brushes, and there are many resources out
your work, add texture and interest, or even
there to help you create your own brushes that
I smooth out some rougher areas and some
help create some abstract shapes that can
fit the way you paint. But the best advice I can
edges that are too sharp. At this point of the
really open up your imagination. One of the best
give is the advice I was given: experiment, play
painting I am constantly flipping and hiding
ways of learning how to create brushes is to
and have fun!
layers to see if the edits Im making are working
download other peoples brushes and pull them
or not. I am fairly happy with the outcome here
apart to find out what makes them tick. Many
Chase Toole
and call it done.
artists have different ways of using and creating
Email: chasetoole@gmail.com
www.3dtotal.com
page 42
Chapter 06
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Master custom brushes for characters

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Master custom brushes for characters Chapter 01

Chapter 01 Large Scaly Monster

I based my design on a quadruped, but also

moved from the chin down to the groin area.

aimed at characters is that it has to conform to

amalgamated the characteristics of a gorilla,

I didnt want the creature to look like it had an

the anatomy, which means the pattern or texture

which walks on its arms. I moulded the head

octopus placed on its shoulders!

must follow the anatomical contours. This is

and upper back around an octopus, but lent the

somewhat trickier compared to using them in the

face a rodent-like appearance with a jaw full of

I then added the fourth arm, which I attached to

context of an environment, but as we shall see,

incisors. The hind legs resemble those of a dog

its neighbor with a thin web of skin (Fig.03).

the brush presets help.

whereas the front legs are somewhat different,

As already mentioned I didnt have any

I also experimented with some other head

preconceived notions, so using a standard Hard

I blended these varying aspects together from

one I favored displayed bat-like ears and an

Round brush with opacity set to Pen Pressure I

numerous animals to try and create a more alien

almost kangaroo-shaped head. This variation

appearance. To avoid it looking to similar to a

was seemingly undersized for the body, but I

centaur I also drew in a second set of arms.

quite liked this quirk.

error, I arrived at an initial idea, which you can

Fig.02 shows a more developed stage of the

With the key ideas drawn in, I began refining the

design with modified hind legs and the tentacles

creature in preparation for the scales (Fig.04).

After some trial and error, and then some further