The point is, your brushes will evolve with your progression as an artist. Then, if you get really advanced, you can start to experiment with dual brushes, pattern overlays, color variation, scatter, etc. You can make a “sharp” brush, by making a point with a rapid falloff, rather than the typical round brush that has a large fully opaque blotch in the center only fading off at the edges. You can make lizard scales by having tilt on “follow”. Then you get more and more advanced, creating brushes whenever you need one. Random flip on the x and y axis, and some size jitter, will make it look varied enough not to look repetitive.ĭupe of “grain brush”, but with small lines for scratcy surfaces.Ī “clouds brush”, similar with with soft shapes, like a blurred out piece of popcorn in a crescent.

Oriented to brush tilt, but also with it’s roundness affected by brush tilt, so it’s thinner when held at a sheer angle. A random but roughly circular pattern of dots and specs. Then add a “palate knife”, a long straight brush that fades at the edges, using brush tilt for rotation. Start with a soft round, using stylus pressure to adjust opacity, fade, and size, just how you like. Delete almost every brush, then incrementally start adding brushes for different purposes. While the artist will have gradually populated their library with brushes that they made and refined for specific purposes, building a working memory of what each of those brushes is good for, attaining a brush library just dilutes your library with a lot of brushes that you don’t know exactly how to use, making it harder to find the ones you do know how to use. Then you spend an hour trying out lots of different brushes, but never really getting familiar with exactly how to use those brushes. Photoshop actually has sort of a bad brush management system, and it’s no use flooring your brush palate with hundreds of good brushes. I’ve tried downloading brushes from my favorite digital artists ,and they’re easy to get.

Tree branch brush photoshop