Creating a kind of multi dotted brush stroke

Hi,
I have this shape here based off of various circles.
But I cant get a working stroke.
It always f****s it up.
No matter which one I choose.
I just need this shape to repeat over and over again throughout the brush when doing strokes.
It should not strech etc.
It should also adept to changes of the stroke size accordingly.
This is the shape I want to turn into a brush:
http://rghost.net/47835827.view
Kind regards

Hi,
1) The Dashboard consists of multiple tabs.
you can use the "tab component" to achieve this.
2) The Data source for this multi tab dashboard is a Webi intelligence report.
I am sure about the connection you are going to use to call the report, please find the below link which explains various connection type to call the report. Or else please specify the connection type we can assist you better on this.
BOBJ Tricks: Live Office vs. QaaWS vs. BI Services
http://www.sdn.sap.com/irj/scn/go/portal/prtroot/docs/library/uuid/b02e31fb-3568-2e10-e78f-92412c3c0a96?quicklink=index&…
Hope this Helps!!!
--SumanT

Similar Messages

Create a continuous brush stroke using a base image? (ex. barb wire, vines, etc )

Is it possible to create a brush that makes a stroke that's a continuous image and not just an instanced image as per usual?
I've seen brushes that do this already, I just can't find any information on how they do it.
Here is an Example
Any help is appreciated!

You could do it by stroking a path with a brush multiple times. Once for the body of the wire — you make the wire rough by using a small splatter brush with close spacing, lots of angle jitter, and a tiny amount of scatter jitter.
Then stroke again with the barbs or razors. For regular barbs just give your custom brush a loose spacing, and set angle jitter to Direction. You could make a multi-barbed brush, but not too long, or the angle jitter would move it off the wire. Still doable if wire and barbs are on different layers so you could nudge the barbs back into place with FT warp.
Layer Styles could give the wire depth and realism.
OK... money where your mouth is time... Two examples. I shaped the razer brush with the Pen tool and guides. The Barb brush was shaped from a DL'd image. The wire in both instances is an 80% hard round brush (the slight softening to give it a touch of anti-aliassing on the curves).
Spacing set wide, and Angle jitter to Direction. Those are the only brush dynamics I used. Bevel & Emboss layer style to give it depth, and Colour overlay because it is easier to experiment with layer styles. The barb brush looked a bit thin, so I duplicated the layer a couple of times. The look better on a black BG with the layer styles.
I _tried_ to get the affect in your example image, but couldn't do it convincingly. If I had a better mind's eye view of what I was trying to achieve, I think I'd have been able to do it. But once you have the brush presets made and saved, it's a very quick and easy to do.
If you do happen to have access to Illustrator, the Art Brush is pretty damn clever
Create an Art brush | Adobe Illustrator CC tutorials

Created a multi-colored brush using pantone colors

Hi, I am trying to create a multi-colored brush comprised of a single pantone color at different opacity settings, i.e. 100%, 75% and 25%. All of the multi-colored brushes I've seen have a variety of different colors, this is not what I need. Is this possible, or perhaps there are already brushes that will allow me to alter the color patterns. I would like to change colors and their respective opacity if possible.
Any help you can provide would be appreciated.
Thanks.
Mark

Mark,
As I (mis)understand it, you may create an object with the desired colours and transparencies and shape(s), and then turn it into an Artbrush, which will then be stretched to fit the path and adapted in width through the Stroke Weight, or proportionally adapted, depending on your settings.

It seems not possible to create this kind of "Brush" in Photoshop CS6, can anyone help?

I found this website.
http://newhive.com/andrew/drawonme?q=%23All%2F
And I thought this "brush" is a really cool technique for fast sketches. But it does not seem possible in photoshop, does it? I tested it with CS5 and even the new CS6 Brushes.
Thanks for any help

If I understand correctly the »thing« about this Brush is that it creates individual lines that interact with existing strokes by fanning them out when in proximity to an existing path.
I think this is not possible with a Brush in Photoshop what with it being a pixel oriented application (with some vector functionality, though, fortunately).

Dots at the Ends of Brush Strokes?

I just uprgraded to CS4 from CS3 and there's a problem with the brushes that I can't seem to figure out. I have the brush set to pen pressure, and at the end of each stroke, there's a dot. Like this:
/Users/jpb1343/Desktop/Picture 13.png
I thought it may have been my drawing tablet, but CS3 worked fine. Is there anything I can do to make the brush strokes smooth?

Sorry. Does this work?
<br />
<a href="http://www.pixentral.com/show.php?picture=1kJXbKAzdBCZJGbXWiNzfGQPfS0ur1" /></a>
<img alt="Picture hosted by Pixentral" src="http://www.pixentral.com/hosted/1kJXbKAzdBCZJGbXWiNzfGQPfS0ur1_thumb.png" border="0" />
<br />I use a Hanvon drawing tablet to draw. Is it not compatible with PS?

Creating a brush stroke or stamp from a logo

I recently upgraded from 6 to 8 because my computer containing 6 crashed. On 6, I was able to convert my photo logo into a brush stroke with a little help from my daughter who uses Photoshop 7 at school and was able to click on the brush stroke and size it for my photo, place it, click and it was there. But now in 8, I can't seem to do it. Would anybody be able to help? I also have a watermark that I was able to save from the crash, but the logo looks better and I place it in a corner similar to what pros do, and it's a lot faster, I can also change its color to compliment the photo. From what I remember, we placed the marquee around the logo, dropped down edit and the brush stroke select was highlighted, clicked on that and it became a selection in the drop-down menu for brush strokes. Does anyone have a suggestion? Thanks --

Select your logo/watermark image and make sure its on a transparent background and no bigger than 2500 pixels.
Alternatively select any image, then select the horizontal text tool and type a new logo and adjust color and opacity. Delete the background copy layer and you will have your new logo.
Then select: Edit > Define Brush
Give it a name like Pac Man Logo, then click OK.
Click on the brush tool and scroll down the default brushes and you should see your new logo brush near the bottom.
You can now use it on any image with just one click.

Need info about making brush strokes into objects

I have been using a Wacom graphics tablet and Freehand to create my illustrations for many years (since Freehand v.2). Since Freehand's days are obviously numbered, I have finally decided to make the switch. So far, it hasn't been that difficult, but I seem to get stuck on one problem, and for me, it is a pretty big one.
In Freehand, I select the "variable stroke" tool in order to make a variable width line. It actually doesn't make a stroke, though. It makes a shape. I can then select the points anywhere on the edge of the shape and make adjustments.
In Illustrator, I do basically the same thing. I make a stroke, and the more pressure I put on the tablet the thicker the line gets. So far, so good. But, I can't do any adjustments to the thickness, make the ends of the line taper to a point, etc. So in order to make that stroke into a shape (with points along the outside edge) that I can adjust, I have to select the stroke, go to Object, then Expand Appearance for each stroke I make. This is a tremendous timewaster for me.
My question: Is there any way to make the "Expand Appearance" function stay on so that every stroke I make is automatically converted to a shape? Or, is there another function in Illustrator CS1 that I can select that will make all of my strokes shapes as I draw them?
If it will help, you can look at some of my work to see how I use the Variable Stroke tool and how essential it is to my style of illustration at: http://www.norrishallstudio.com

Norris,
Illustrator 7 and earlier drew all brush strokes as filled shapes. (It only had calligraphic brushes.) The live centerline arrived in AI 8, along with the other brush types.
While Illustrator does not have any "auto Expand" option, and one could theoretically be added, I wonder if it might not instead be preferable to give direct user interface control over the data collected by the tablet.
For example, take the following brush stroke:
If expanded, it would look like this:
But even though the individual anchor points of the fill shape would then be editable, it would still not be convenient to do most kinds of editing. The centerline kind of edits would become very difficult. But even doing things that preserve the centerline, such as thickening the stroke or adjusting the apparent pen tilt, you would have to move anchor points on both sides, possibly adding some, adjusting handle lengths, etc.
What if there was an option, possibly available via a button on the Control Palette when a brush stroke was selected, to show control handles for the pressure and other tablet data, something like this:
The controls would have sensitive regions that activated different kinds of variation, similar to how the Bounding Box transform controls do. Possibly it would be workable to control them via the Direct Select tool, but if that turned out to interfere too much with other Direct Select tool operations (such as adjusting the direction handles of the centerline, which would be likely to often be near the pressure controls), then there could be a dedicated tool or mode for adjusting them.
There are up to 5 kinds of tablet data that are collected at each sample point: pressure, tilt, bearing, rotation, and stylus barrel pressure. But only at most four can have meaning for any brush stroke, since there are at most four brush options that can be assigned tablet data to vary by. (For calligraphic brushes, the options are angle, roundness and diameter. For scatter brushes, they are size, spacing, scatter and rotation.)
If the tablet data controls had the I-beam shape shown above, there are four easily distinguishable aspects of the control: its length, its angle relative to the centerline, the width of the crossbars, and the tilt of the crossbars relative to the I-beam vertical.
(One could imagine assigning more variation, such as controlling the two crossbars independently, or moving the I-beam offcenter, but the more variables one allows, the trickier it gets to manipulate.) One could say that the length controlled whichever tablet data point was attached to the diameter or size of the brush, the I-beam angle controlled whichever tablet data point was attached to the brush angle or rotation, the crossbar width controlled whichever tablet data point was attached to the brush spacing or roundness, and the crossbar tilt controlled whichever tablet data point was attached to the scatter distance of a scatter brush. (One could also imagine calligraphic brushes having a symmetry setting, that controlled whether the brush shape was elliptical or squashed like a pear, and attach that to the crossbar tilt.)
Since there would be way too much visual clutter to show every sample point, I think it should be sufficient to show them at anchor points, and possibly at max and min values for the variable data. If the user wanted to gain control at a position where there was no marker displayed, they could always add an anchor point.
Although I am calling it "tablet data", a path drawn with a mouse or with one of the shape tools could still have the controls. It would start initally with all "average" values since no data was collected, and tablet data would be artificially constructed by moving the controls and then saved.
If controls like that were available for live brush strokes, would you still prefer to auto-expand your brush strokes on mouse up instead of leaving them live?
(For all I know, there may be some third-party plugin that already provides some such controls. The tablet data can be accessed and modified through the AITabletData suite in the public SDK.)

Can you smooth out a brush stroke?

I am using an animated brush stroke to provide the Indiana Jones look on top of a picture of a google map for a trip I took. I can draw the brush stroke and set a key frame on the "end" attribute so that it paints on the stroke, but the stroke is not as smooth as I would like it and I can't find a way to edit the vertices of the brush stroke and can't apply the smoother to it either. Once you draw a brush stroke, can you smooth it out? Also, since I drew the brush stroke on top of my layer, is there a way to put a shadow underneath the brush stroke?
Thanks in advance!

I'd use a shape layer and the Trim Paths path operation rather than a paint stroke.
There's a link to a video tutorial showing how to do this in the
"Alter shapes with path operations" section of After Effects Help on the Web.
But, if you are using a paint stroke, then you can decrease the value of the Spacing property to make the strokes more smooth and continuous. See the
"Brushes and the Brushes panel" section of After Effects Help on the Web.
[Edit: Oh, I just realized that just meant "smooth" as in having fewer and less sharp turns. For this, you should copy the Path property of the paint stroke, paste it into the Position property of a temporary dummy layer, run the Smoother on that motion path, copy the motion path, and then paste that into your paint path. If you just want to edit the path a little bit, then you can copy it into a mask path and use the mask path editing tools and techniques. David Wigforss has a tip about this
on this page. The basic thing to take away from this is that you can copy and paste between the various kinds of paths and use the tools for one to help you with the other. (See
"Create a mask or shape from a motion path".)]
Regarding the shadow: There are many ways to do this. The first that comes to my mind for the paint stroke is to duplicate the stroke, make it a dark grey, reduce its opacity, and offset its position slightly from the other stroke. (Each paint stroke has its own Transform properties, so you can just go into the duplicate stroke's Transform property group and add a little to its Position values.) If you decide to go with the shape layer option, you could do essentially the same thing or you could use a Drop Shadow
layer style.

"UNDO" & "BACKWARD" not working for brush strokes?

After making three consecutive brush strokes in my image:
Click on Undo once, History list backs up one step, but last stroke remains on screen. Press Undo again (Redo) and History list returns to last position, last stroke is still on screen. Click Undo again, History list backs up one step, but now brush stroke disappears as it should.
Or, after clicking Undo the first time, the brush stroke will disappear if I apply another stroke or enter a command, e.g. add new layer.
After making three consecutive brush strokes:
Use Backwards command, the History list backs up one step, but brush stroke remains on screen. Use Backwards command a second time, History list backs up another step, the last two brush strokes disappear from screen. Use Backwards a third time, History list backs up another step (now 3 steps total), and the first brush stroke disappears as it should.
These commands work fine when creating three consecutive layers, then undoing or moving backwards.
I am using CS 5.1 for Mac running OS Lion 10.7.4. This problem occurs using either a trackball, Wacom Intuos4 tablet or keyboard shortcuts. Can this be a screen-draw bug in the brush tool? Thanks.

*Rich* wrote:
I still don't know what Vertical Sync pertains to relative to OpenGL Settings. Anyone know? Thanks.
Only Adobe knows the exact implementation under the covers, but what it conceptually does is prevent display updates in the middle of a scan.
Keep in mind that what you see on the screen is sent pixel by pixel, row by row, to the monitor - much as it was done in the time of CRT displays and scanning electron beams, even though today most have LCDs.
Once the last pixel at the bottom has been sent, there is a time called the "vertical sync" time where nothing is sent, before the "scan" starts again from the top.
Setting the "Vertical Sync" option is supposed to limit display updates to only occur only during the vertical sync time.
As Conroy has said, this generally can make a display seem cleaner, as when moving something around you might see part of it moved more than another part without Vertical Sync. This is called "tearing" (as in "tearing a piece of paper in two and having the two parts not line up").
By definition the Vertical Sync option setting causes a difference in the timing and the sequence of display operations, and that may be working around a bug in the display driver on your system. It sounds kind of far-fetched, but it happens more than you might think. Adobe provides all these options to help work around problems.
-Noel

CS5 screws up brush strokes drawn in CS4

I have a drawing that was created in CS4 and which uses many brush strokes created with an Intuos4 pen. When I open the file in CS5, everything looks OK, but if I try to make ANY edit to the stroke - whether changing color or moving or re-orienting an anchor point, the complete character of the brush stroke is destroyed.
I might add that often, these strokes had a specified thickness defined with their brush that was later altered with the strokes thickness setting (usually made thinner). But since no such corruption would ever take place in CS4 when making such trivial edits, I can only assume there is a problem with the way CS5 handles this kind of altered brush stroke.
Here is a screen shot:

Monika,
If I change the Options of selected object for one particular stroke in CS4, the same one I showed in the screen shot, here is what happens. The specifications were for it to be 1.7 points. I had manually specified .3 point in the path stroke settings. If I make the specifications .3 point, the stroke loses all its character and is barely visible. I think the expressiveness of the stroke may have to do with the fact that I made this manual tweak.
Also, I have SEVERAL THOUSAND such strokes in this particular file, and they were based on a variety of brush designs and were all manually overriden in this way (not one at a time though; I just kept drawing with the manual override and it maintained it).
I cannot imagine how many weeks it would take me to revisit them and tweak them to fit new brush behaviors (if this is not a CS5 bug). I really want to take this and other files into CS5 because the performance of everything else is so much better.
I hope someone will chime in who knows what's going on between CS4 and CS5 in this regard and has a solution. I don't want to resort to using Expand Appearance or Outline Paths to solve this - I want to maintain their integrity as brush strokes at least until I am completely done drawing...

Hidden brush strokes "Woof"

In InDesign one-on-one Deke McClelland mentions some hidden brush strokes, I'm interested in one called "Woof" which produces a track of paw prints rather than dashes. I've tried to create this new brush stroke with no success. Is there such a thing? How do I access it?
Thanks
don

Nini , I finally got to Paws but it needs tweaking: I created a new stroke in the new Stroke window settings were:
Name Woof
Type dash
in the next box a black bar went in a continuous to the 125 mark on the ruler Length was at 1p0, pattern length 2p0, corners none Preview wt. 18.5. I clicked OK.
If I look at Stroke styles I can see Woof preceded by some tiny paws.
OKAY now how do I use it?
I'm using the Pencil tool, do I draw a line and then convert it to paws? Do I select Woof Stroke before I draw the line? If so how do I select it? I've been pressing the down arrow in a black bar located to the left of the opacity symbol, if I select Woof I see paws in place of the black bar. Next I go to the widow directly above that and change it from 0pt to 9 or 20 or whatever, then I take the pencil and draw a line, I get a line of connected dots-not paws. Somehow accidentally I managed to get a line of paws but they were in a black line not individual prints on my yellow background. How do I get paw prints that are separated by spaces and stand out as individual prints against the yellow backgriund of my book cover?
If this sounds like the ramblings of an old man, it is. I have found it is much easier to write a book than to do all of the publishing work.
Thanks for your patience, I'm looking forward to your response and maybe we can put this hread to bed.
Don

How can I change a brush stroke to a pencil stroke after I've drawn it?

How can I change a brush stroke to a pencil stroke after I've drawn it? Is this possible?

h,
As I (mis)understand it, (in effect) just by clicking the Reduce to Basic Appearance button in the Appearance palette (and setting the desired Stroke Weight, if different from 1pt).
The Pencil Tool creates a uniform width path like the Pen Tool, producing Anchor Points like the Artbrush Tool. So when you reduce to basic appearance you will get a path corresponding/identical to the one you would create with the Pencil Tool.

Brush strokes show in history but not reflected on mask

I have CS4 Extended, Dell Precision M0, WinXP 64bit and 20GB of Ram (overkill I know). This issue happens most often in the 32bit version of PS which I need to use for certain filters. It also happens in the 64bit version but takes longer to manifest itself.
When I apply a filter to a duplicate layer and then add a layer mask OR of I add an adjustment layer and try to fine tune the effect by painting on the mask, the brush strokes show up in history but they have no affect on the mask. It typically happens mostly on very large files such as those from my 5DMKII but also happens if I've added several layers and masks to smaller files.
As a workaround, I can make selections and fill the area on the mask with black and it works. This is time consuming as you can imagine.
The brush problem is only related to masks. I can create a new layer, for instance, and paint on it with black or any color.
I've also had this issue when trying to use the spot removal tool or when cloning. Again...very large files.
I've entered every imaginable query and haven't had any luck! I'm hoping someone here has a clue.
Thanks in advance.

Thanks for your reply. I sure wish it were that simple but no....that is not the problem. I'm an advanced PS user and know the workings of a computer well. I've been through every imagineable possibility and now am wondering if my video card isn't up to the task of redrawing the brush strokes on huge files. I'm grasping at straws.
Thanks anyway.

Scale a Paint's "path" without distorting the Brush "strokes"?

Anyway to scale a Paint Brush "stroke's" "path" along only one axis without distorting the brush strokes?

Besides having no idea what you're trying to say, I don't think you're considering the problem.
Here's the same issue, solved with regards lines and their strokes distorting:
scale a line, not it's outline/stroke...
That's a particularly cool trick.
But I don't see anything similarly possible with Paint Brush based "strokes".
Please, consider that this is what I'm "painting" the line with, so I'd like the circles (dots) to not distort into ovals when scaling the path in only one dimension, see my answer at bottom:
Small Circles (dots) on a path instead of dashes?

Bug - PDF export missing brush strokes

Can anyone reproduce this apparent bug in FHMX?
1. Apply a brushstroke to an object.
2. Group with 'Transform As Unit' checked.
3. Duplicate object several times. Scale some of the copies
larger and some
smaller.
4. Export document to PDF.
Open exported PDF in Acrobat, Illustrator or Preview.
Unexpected results:
All of the scaled copies of the object are missing from the
PDF.
Judy Arndt
FHMX 11.0.2, Mac OS 10.4.6

Rich Hudgins wrote:
> Confirmed in FH10 - OSX 10.4.x. I tried opening the PDF
back into FH
> just for kicks... very interesting. There are the exact
number of
> originals and dupes directly on top of the original.
i.e. I made an
> original and two smaller and two larger dupes, offset
from the original.
> In the FH opened PDF there were 5 exact copies of the
original item
> directly on top of each other. There were also 5
nostroke-nofill copies
> of the original shape without the brush stroke.
Wow! Yes! Same here.
Any transforms done to an object after being grouped with
'Transform As
Unit', are being ignored by the PDF Export.
This series of steps will produce the same problem described
by Makate.
1. Apply a brushstroke to an object.
2. Duplicate object and move it to another location on page.
3. Group the duplicate object with 'Transform As Unit' (TAU)
checked. Then
scale it larger.
4. Export document to PDF.
Unexpected results:
The duplicate object will be the same size as the original
object.
This will happen not only with brush strokes but with
ordinary strokes. PDF
Export is missing all transformations made after TAU is
applied. If I
remember correctly, TAU, which has been in FH since very
early versions, is
a kind of Postscript envelope. My theory is that because FH
doesn't have a
Postscript interpreter, it's missing the Postsript
transformations.
This limitation in PDF Export is very unfortunate because the
default
preference setting in a new FH installation is "Groups
transform as unit by
default". It is the logical way to preserve the appearance of
artwork with
strokes, brush strokes and vector effects. New users could
not possibly know
that this is one of the many limitations of PDF export. It's
not listed in
the technote, but it may be the reason for 'missing objects'.
http://www.adobe.com/go/tn_13496
Using Acrobat Pro/Distiller is the only safe way to generate
PDF files from
FreeHand.
Judy Arndt

Creating a kind of multi dotted brush stroke

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