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pdf : Pen Tool And PATTerns photoshop studio with bert monroy : digiTAl PAinTing �
this document is devoted to two photoshop features that are
very important to understand. the first is a tool that i use more
than any other in photoshop—the pen tool. the second item,
patterns, is usually overlooked for its total potential.
when i conduct a seminar, i usually ask the attendees, “how
many of you use the pen tool?” most of the time i estimate a
quarter of the attendees raise their hands. i then ask, “how
many of you hate the pen tool?” in response, more hands go
up than for the first question. it is my intent to make this
powerful tool a strong ally in the arsenal of tools that you
use on a regular basis.
patterns? why devote pages to something so simple? well,
i intend to show you how to create patterns that are more
complex than just your ordinary wallpaper.
pen tool and patterns
what they’re All About
Excerpted from Photoshop Studio with Bert Monroy: Digital Painting by Bert Monroy. Copyright © 2008. All rights reserved, Pearson Education, Inc. and New Riders.
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the pen toolIf you count the number of times I use the Pen Tool
throughout the book, you’ll realize that it is one of
my favorite tools in Photoshop. It is, in my opinion,
the most powerful tool for precision selecting and
the creation of images. The Pen Tool is Photoshop’s
tool for creating vectors. It is my main tool for draw-
ing, selecting, and creating masks.
My paintings start with the Pen Tool. It is, to use a
reference to traditional media, my pencil sketch on
the canvas. Traditionally, I would sketch the image
on the canvas with a pencil or charcoal. I would
then apply the paint over the shapes to build up
the image. In Photoshop, the Pen Tool produces
the shapes that can then be used to contain the
color. It is its capability to easily alter shapes plus
its low RAM requirement that make it the ideal
tool for planning out my images and, ultimately,
rendering them.
Figure 1 shows the basic shapes for the elements
in the painting “Lunch in Tiburon.” Each shape is
a distinct path that can be altered in any way that
I might need or want. Those very same paths are
then turned into selections for adding color.
Figure 2 shows the basic sketch for the painting
“Oakland.” Here you see that the paths start to get
much more complicated. The details in the objects
in “Lunch in Tiburon” are fluid because they are
mostly shapes that get distorted as they are seen
through glass. These details were accomplished pri-
marily with the Paintbrush Tool and fluid motions
of the stylus on the Wacom Cintiq, as covered in
Chapter 8. In the case of “Oakland,” the details are
a variety of specific shapes such as neon tubes and
the sockets that the tubes go into. These were shapes
that were made from paths that were filled with
colors and gradients, as covered in Chapter 3.
Figure 3 shows the paths for the shelters on the left
platform of “Damen.” Like “Oakland” the elements
are specific shapes, and there are many of them.
Here again all the basic shapes have been created
with the Pen Tool.
Figure 1 the paths for the painting “Lunch in tiburon.”
Figure 2 the paths for the painting “oakland.”
Figure 3 the paths for the platform for the painting “damen.”
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In this document you will see the creation of these
shapes and their eventual use to complete the image. Let
me first provide you with an understanding of how the
Pen Tool operates.
pen tool operationThe Pen tool made its debut in the first version of
Adobe Illustrator. The moment I saw it, I fell in love!
Such incredibly precise control. However, not everyone
shared my enthusiasm. I remember reading reviews
in which people complained about how difficult the
“handles” were to use. The tool met with much resis-
tance from the artistic community because it did not
conform to the way people were used to working with
graphics tools on a computer. Artists were used to the
conventional clicking and dragging with tools to pro-
duce a line or shape. Clicking and dragging with the
Pen Tool produces an anchor point with a handle. It
is not until a second click is performed (producing a
second anchor point and handle) that a line is actu-
ally created. What those little handles do has confused
many to the point where they abandon the use of the
tool altogether. The main reason for the neglect is how
it is used, which happens to be very different from any
of the other selection tools in Photoshop. Mastering
it, though, could be one of the best things you do in
Photoshop because it is one of the most flexible and
powerful selection tools in the application.
Let’s take a close look at this wonderful tool.
Excerpted from Photoshop Studio with Bert Monroy: Digital Painting by Bert Monroy. Copyright © 2008. All rights reserved, Pearson Education, Inc. and New Riders.
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pen tool paths (Vectors)The Pen Tool creates what is known as a path
or vector. A Photoshop document can store
up to 32,000 of these paths, which can be
turned into selections, filled, or stroked at any
point. Paths take up virtually no memory.
Having a few thousand of them will not make
a noticeable difference in the storage size of
your image.
There are two methods for making paths
available to the Pen Tool. In the options
bar for the Pen Tool, the two choices are at
the left, adjacent to the Tool Preset Picker
(Figure 4). Even though there are three
choices, only the first two apply to the Pen
Tool. The first choice creates a Shape Layer
(Figure 5). This is a vector layer that is filled
with the currently selected foreground color
and uses the path created as a mask. Consult
your manual for a full description of this
function. This function does not appear
anywhere in the book.
The second choice (Figure 6) is the one I
use the most. It creates paths.
Figure 4 the method that the pen tool will employ is chosen from the option bar.
Figure 5 the first choice is for creating Vector Layers.
Figure 6 the center choice is for creating paths. this is similar to the path tool in Adobe illustrator.
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The paths created with the Pen Tool can be
stroked with any of the tools that utilize a
brush tip. Even the Eraser Tool can follow
a path. This is very handy when trying to
create a long, smooth flowing line like the
one in Figure 7. If you used the Paintbrush
Tool alone to make that shape, you would be
doing it and undoing it many times, and still
you might not get it right.
With the Pen Tool, the path is created and
then stroked with the Paintbrush Tool. In
Figure 8 you see the path that was created
with the Pen Tool.
Figure 7 A smooth line like the one shown here is difficult to create in a single stroke with a mouse or stylus.
Figure 8 the path for the shape in figure 7 was created with the pen tool.
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Stroking the path can be done in a couple of ways.
One way is by choosing Stroke Path from the Path
panel submenu (Figure 9). A Stroke Path dialog box
pops up (Figure 10), allowing you to determine which
tool will be used to perform the stroke. The other way
is to select the particular tool you want to stroke the
path with, and then click the Stroke Path icon at the
bottom of the Path panel (Figure 11).
This second method is my preferred technique of
stroking a path. Choosing the submenu choice will
Figure 9 stroking the path can be done from the path panel submenu.
Figure 10 in the stroke path dialog box you can choose which tool will be used to stroke the path.
Figure 11 stroking the path can also be done by clicking the stroke path icon at the bottom of the path panel.
Figure 13 A path can also be filled by clicking the fill path with foreground color icon at the bottom of the path panel.
use the selected tool. However, the settings for that tool
will reflect the last time it was used. By stroking from
within the tool, you have total control of the shape and
parameters set for the tool, ensuring that the resulting
stroke is what you intended.
Paths can be filled with a color by either choosing Fill
Path from the panel submenu (Figure 12) or clicking
the Fill path with foreground color icon at the bottom
of the panel (Figure 13).
Figure 12 A path can be filled by clicking the fill path option in the path panel drop-down menu.
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When filling a path, it is important to consider whether
the path is an open or closed path. An open path has
starting and ending points that do not meet. The path
in Figure 14 is an open path. If you filled this path,
the result would be what you see in Figure 15. The fill
creates a straight line from the starting to the ending
anchor points.
Figure 14 An open path has distinct starting and ending anchor points.
Figure 15 filling an open path creates a fill that creates a straight line between the starting and ending anchor points.
Figure 16 A closed path is a complete shape where the starting and ending anchor points meet.
Figure 17 filling a closed path adds the fill to the complete shape.
The path in Figure 16 is a closed path. The starting
anchor point at the bottom is matched up with the
ending anchor point, thus closing the path. When a
closed path is filled, the result is a filling of the total
shape, as shown in Figure 17.
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selections and the pen toolThe Pen Tool can be used to make difficult
and precise selections. There are many times
when selecting a part of an image is difficult
or far too labor intensive for the other selec-
tion methods and tools. Let’s say you needed
to use the baked basket of flowers you see
in Figure 18. Due to the complexity of the
element and monochromatic nature of it
against its surroundings, separating it from
the background would be a nightmare with-
out the Pen Tool. Later in this document
you will see it selected.
As with the other selection tools in Photoshop,
a feather radius can be assigned to the selec-
tion beforehand. This will give the selected
area a soft edge or vignette.
Making the path a selection can be accom-
plished in a number of ways. Make Selection
can be selected from the Path panel submenu
(Figure 19). This will bring up the dialog box
you see in Figure 20 where attributes, such as
the feather amount, can be input.
Figure 18 selecting the basket of flowers is the perfect job for the pen tool.
Figure 19 A path can be made into a selection by clicking the make selection option in the path panel drop-down menu.
Figure 20 this make selection dialog box allows you to set certain parameters for your selection.
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The path can also be dragged over the Make
Selection icon at the bottom of the Path panel
(Figure 21). If you use this method, the result-
ing selection will take on any attributes previ-
ously assigned in the Make Selection dialog
box, for example, a feather radius.
A third method is to Command-click
(Ctrl-click) on the path in the panel.
If an area of the image is currently selected,
making a path a selection gives you the abil-
ity to have the path interact with the currently
selected area (Figure 22). The path can override
the current selection and make a new selection
based on its shape and attributes. It can use its
shape and attributes to add to, subtract from,
or intersect with the current selected area.
how does the pen tool work?To make a comparison to traditional tools
of the trade, the Pen Tool is the equivalent of
using any tool such as a brush, pencil, or art
knife with a set of “french curves.” If you are
not familiar with french curves, they are simply
plastic shapes used as guides for any tool to
create a flowing, curved line (Figure 23). The
use and limitations of working with french
curves is the perfect analogy to help you under-
stand the methodology involved to make the
most of Photoshop’s paths. The main challenge
when using french curves is selecting the
specific curve that will give you the longest
and most accurate sweep.
It is often necessary to switch shapes or change
the position of the french curve to follow a
particular sweep. With the Pen Tool, a similar
approach is vital. You must try to create the
longest possible distance between two points
to keep paths as simple (with as few control
handles) as possible. The more points you
have in a path, the longer Photoshop will take
to process it.
Figure 22 when making a path a selection, if there is currently something else selected, you can choose how the path will interact with that current selection.
Figure 21 A path can be made into a selection by clicking the make selection icon at the bottom of the path panel.
Figure 23 french curves are plastic guides used to control tool movement over a paper or canvas.
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A path is any shape or line that is used to
surround an element in an image. It can also
be a shape created to serve as a new element
in an image. The path is made up of anchor
points that determine the starting and end-
ing point of each line segment (Figure 24).
These anchor points can have handles that
produce curved lines or Bezier curves. An
anchor point that has no handles makes a
corner (or sharp) point, which produces
straight lines. Figure 25 shows a comparison
of the two types of lines produced by the
two different anchor points. The path on the
left is made up of corner points that make
the resulting lines straight. The path on the
right has handles for the anchor points and
is made up of Bezier curves.
Figure 24 here you see a path that is formed by starting and ending anchor points.
Figure 25 the path on the left is made up of straight lines because the anchor points are corner points with no handles. the path on the right is made up of curves because the anchor points have handles.
ending Anchor point
starting Anchor point
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using the handles
To properly use the handles of an anchor
point it is important to understand how
they work. The most important thing to
keep in mind is to click and drag in the
direction that your line (path) will be travel-
ing. Figure 26 shows a path that starts at the
bottom left and travels to the upper right.
The handle on the second point is being
pulled to the right. To add to the confusion,
the handle that is pulled out is not the one
that determines the angle of the line: The
handle that faces the line is controlling the
curve. In Figure 27 you see a line that has
been generated. Note that the point has a
handle on either side. The handle on the
right of the anchor point is the one that was
pulled when the point was created. When
that handle was pulled, the second handle
that appears on the left of the anchor point
was generated and is a mirror image of the
other handle. It is this second handle that
will ultimately control the curvature of the
resulting line.
Figure 26 the handle of the anchor point is pulled in the direction the line is traveling.
Figure 27 the handle pulled is controlling the handle that faces the line, which is the handle being used to determine the line shape.
handle facing line and controlling path shape
handle pulled out when creating path
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The click and drag action produces a handle.
This handle is not the line itself but simply
the method by which a path is controlled.
The actual line of the path is created when
the second anchor point is created: The result
is a line between the two anchor points.
There are times when you might want to pull
the handle in the opposite direction of the
route the line is following. These moves will
produce lines that exaggerate the curve or
make the line curve back on itself. Figure 28
shows how the handles work when pulled in
different directions.
The length of the handle determines the
height or depth of the curve. Figure 29
shows the effect of the length of the handles
on two similar line segments.
The control of the handles is followed for
each additional anchor point until the entire
shape is completed. The shape can be a
closed path, which means that the shape is
one complete form, such as a ball. The path
can also be an open path, which means that
the starting and ending points do not meet.
This can be used to create an arc. Figure 30
shows an open path and a closed path.
Figure 28 handles pulled in different directions will have different effects on the lines being produced.
Figure 29 the length of the handles determines the depth of the curvature.
Figure 30 At the top is a closed path that makes a complete oval. below it is an open path that makes an arc.
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Changing direction
There are times, however, when a subsequent
point must follow a different curve. In this
case it is necessary to create a new handle
from the last anchor point to follow the tan-
gent of the new curve. Pressing the Option
(Alt) key while clicking and dragging on the
anchor point will produce a new handle that
can be set to an entirely new angle (Figure 31).
You can also grab the end of the handle while
pressing the Option (Alt) key and redirect it.
Figure 32 shows the effect on the line with a
new handle and without.
As mentioned earlier, having the fewest pos-
sible points on a path speeds processing and
ensures smoothness. Figures 33 and 34 show
a comparison of a good path to one with too
many points.
Figure 31 with the option (Alt) key pressed, a new handle is pulled from the anchor point.
Figure 32 the path on the left is continuing the path with the handle unaltered. the path on the right has a new handle to change the direction of the line from the anchor point.
Figure 33 the path in this image has far more anchor points than are needed to surround the element.
Figure 34 only the crucial posi-tions have an anchor point, making this an ideal path.
new handle being pulled from Anchor point
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Additional pen tools
Another important detail to remember is
that the Pen Tool is very forgiving: If you
don’t get it right the first time, you can
always adjust it later. After a path is created,
you can click on any line segment with the
Direct Selection Tool and drag it to alter
the shape, or click on the anchor points of
that segment and the handles will appear.
Dragging the handles will adjust the line to
the desired shape. During the adjustment
period, if you find it impossible to get the
proper line with the existing points, you
can add more points. By the same token, if
you feel you have too many points, you can
delete some. Placing the Pen Tool over an
existing path will turn the tool into the Add
Anchor Points Tool. Placing the Tool over an
existing anchor point will convert the tool
into the Delete Anchor Points Tool. Placing
the tool cursor over an existing anchor point
while pressing the Option (Alt) key will turn
the tool into the Convert Anchor Point Tool,
which allows you to change a curved line
into a straight line and vice versa.
These last three tools mentioned can also be
chosen from the toolbox under the Pen Tool
(Figure 35).
single and compound paths
A path saved in Photoshop can be made
up of multiple line segments or individual
shapes. If there is more than one shape to
a path, it is considered a single path, and
any actions performed by it will affect all
elements uniformly. In Figure 36 you see
a close-up of the paths that make up the
image “Oakland.” Only certain paths within
the overall path are selected. Since these
particular paths were singled out from the
rest, any action performed will be applied
to the selected paths exclusively, as shown
in Figure 37.
Figure 35 Additional tools that can be used to modify paths can be found under the pen tool in the tools panel.
Figure 36 here you see multiple paths that make up the basic shapes for the painting “oakland.” the small triangles are selected.
Figure 37 filling the path with blue only affected the paths that were selected, leaving the other shapes untouched.
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If any shape intersects another, the area
where they intersect will act as a compound
path, creating a hole in the shape. Figure 38
shows three shapes that have been filled
with a color. Figure 39 shows the same three
shapes, but they been moved to create an
overlap that acts like a hole when filled with
a color.
Figure 38 here two paths have been filled.
Figure 39 here the two paths overlap, which causes a negative area where the overlap occurs. this overlap area is not filled when the path is filled with a color.
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selecting an odd shape
Let’s now select the basket of flowers in the
pastry crust (Figure 40). If you want to use
the same image, you can down load it from
the Peachpit Web site as with the other exam-
ples in the book.
It’s best to start out at a point where there are
two opposing angles, as you see in Figure 41.
That is a corner where two strands go in
different directions. A handle is pulled that
follows the tangent of the curve and is out
about a third of the distance to the next
point. In Figure 42 the second point is set.
Now the edge of what is supposed to be the
handle of the basket takes us in a different
direction. Pressing the Option (Alt) key,
a new handle is pulled to follow the new
direction (Figure 43).
Figure 40 the pastry crust flower basket needs to be separated from the background.
Figure 41 the first anchor point is created at a juncture.
Figure 42 the second anchor point is set.
Figure 43 with the option (Alt) key pressed, a new handle is generated for the anchor point.
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A point is placed at the small twist in the
crust (Figure 44). It is then finished at the
top (Figure 45). A new handle is pulled and a
new curve follows the next shape (Figure 46).
On and on it continues until the entire shape
is surrounded. Interior shapes are also out-
lined. In Figure 47 I’ve stroked those interior
shapes to make them easier to see. As men-
tioned earlier, these shapes will be compound
paths that will cut holes in the overall shape.
Figure 48 shows the silhouetted pastry crust
flower basket.
It takes practice to master this tool. Rest
assured, the hours spent getting to know the
Pen Tool will pay off in the long run. Figure 44 An anchor point is set at a crook in the shape.
Figure 45 the anchor point that com-pletes the edge is set.
Figure 46 A new arc is created to follow the shape.
Figure 48 the final cutout.
Figure 47 the paths that will eventually cut holes in the overall shape.
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patternsA pattern is usually used to fill large areas
with a repeating motif. People use patterns
as backgrounds for Web sites. But patterns
have many uses. In the book patterns are
discussed in Chapters 8 and 9. Two different
patterns are created in Chapter 9. Let’s start
with one of those patterns. In Chapter 10
you will create an intricate pattern of your
own. Figure 49 shows the brick wall on the
side of the orange building in the scene. I
have outlined the creation of a brick wall in
other books and videos, but this one is a bit
different. It required a lot of randomization
for the brick shapes. Chapter 9 goes into
detail on its creation.
To create a normal brick pattern, the process
is fairly simple. Chapter 10 provides a tuto-
rial that creates a complex pattern, but I feel
the need to show the comparison between
a simple pattern and a complex pattern by
providing you with this short step-by-step
tutorial.
1. Create a new file like the one in
Figure 50.
Figure 49 the brick wall on the side of the orange building.
Figure 50 the new file dialog box.
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2. Choose View > Show > Grid (Figure 51).
3. Choose Photoshop > Preferences >
Guides, Grid & Slices (Figure 52).
4. Change the Subdivision number to 11
(Figure 53).
The reason for a large number is to make
the subdivisions small. These subdivisions
will be used to denote the grout space
between the bricks. The odd number will
ensure that the pattern will be symmetrical.
Figure 51 the show Grid menu option.
Figure 52 the Grid preferences.
Figure 53 the number for the subdivisions is set to 11.
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5. In a new layer select a rectangle with the
Rectangular Marquee Tool that spans two
gridlines and goes down four subdivisions.
Then fill the selection with a color for the
brick (Figure 54).
6. Press the Option-Command (Alt-Ctrl)
keys to make a copy, and then drag the copy
to the right, leaving one subdivision between
the original and the duplicate, as shown in
Figure 55.
7. Drag another copy and center it beneath
the other two (Figure 56).
Here you see the reason for the odd number
of subdivisions, which enables you to center
a brick under the other two and add grout
space.
Figure 54 A single brick is created within the grid.
Figure 55 the brick is duplicated.
Figure 56 the brick is duplicated once more and centered beneath the other two.
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8. Turn off the “eye” for the Background
layer. You want the area between the bricks
to be transparent.
9. Select the bricks, as shown in Figure 57.
10. Choose Edit > Define Pattern
(Figure 58).
11. Name the pattern in the Pattern Name
dialog box that pops up (Figure 59).
Figure 57 the bricks are selected to create the pattern.
Figure 58 define pattern is chosen from the edit menu.
Figure 59 the brick pattern is defined.
NOTE: When you create a pattern, the selected area treats the Photoshop file as if it was a flattened file. All elements within the selected area become the pattern.
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12. Fill the layer with the pattern (Edit >
Fill > Pattern), as shown in Figure 60.
13. Fill the Background layer with a color
for the grout.
14. Add some noise (Filter > Noise > Add
Noise) to both the grout and the bricks
(Figure 61).
I usually will add a small amount of noise
that is non-Monochromatic for the grout,
which will introduce some colored texture.
I use Monochromatic for the brick to add
texture but maintain the brick color.
15. Give the bricks a little dimension by
applying a layer style of Bevel and Emboss
with Style set to Outer Bevel, as shown in
Figure 62.
That was easy!
Figure 60 the layer is filled with the brick pattern.
Figure 61 the background layer is filled with a color for the grout and textured with the Add noise filter.
Figure 62 the brick is given a layer style to give it dimension.
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