Adobe Photoshop for Matte Painting
Course 2: Let’s Paint! Get to Grips with the Brushes: The amazing mixer brush
By David Vega Palacios , Graphic Designer
Joined November 2019
About the video: The amazing mixer brush
Overview
“This brush simulates real painting techniques on a canvas, but it also has other very interesting properties. In this unit you will see how to use it in a creative way by creating a brush that paints with volumetric effects and also with images.”
In this video lesson David Vega Palacios addresses the topic: The amazing mixer brush, which is part of the Domestika online course: Course 2: Let’s Paint! Get to Grips with the Brushes. Learn the basic concepts of using brushes on Photoshop.
Partial transcription of the video
“In this lesson. i'll show you how to use the mixer brush to paint with images instead of color. Let's this technique together. The mixer brush mimics the effect of a real brush with increased realism. taking into account elements like the paint load on the brush and its moisture. This tool is highly useful for crafting realistic painting effects on canvas. For our specific purposes. we'll employ it in a manner that's not necessarily artistic is indeed very creative and practical. as you will soon observe in the following steps. We will now create a 3D brush for volumetric effects like drawi...”
This transcript is automatically generated, so it may contain mistakes.
Course summary for: Course 2: Let’s Paint! Get to Grips with the Brushes
David Vega Palacios
By David Vega Palacios
Peruvian-born David Vega is passionate about the entire creative and transformational process of a photo-compositional project. Founder of MIDAS studio, he dedicates his time to creating impossible images in a fast-paced, constantly evolving environment.
He has collaborated with brands like Toyota, Movistar, Mitsubishi, Nissan, Coca-Cola, Scotiabank, UPC, Oreo, Backus, Renault, Cartavio, Honda, Ford, and many other brands and advertising agencies. In 2019, he made the “200 Best Digital Artists” list from Lürzer’s Archive.
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