Thick paint...

Im trying to figure out how to get a thick paint effect in illustrator similar to the background of the print below.
Any ideas?

steve fairbairn wrote:
Any ideas?
Photoshop.
Nah.... Painter.

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Applying makeup to a face

Is there a way to add realistic looking makeup to a face in a picture? I'm new with this software and the few things I tried look like thick paint.
Gary

Gary,
I used a soft round brush about the size of her cheek (125px). This gave a much softer and lighter result than with a small brush. Since the large brush drifted onto her hair, eyes, and mouth I used the Eraser tool with large soft brush to remove the excess.
The gradation in coloring is not something you control. When you use blending modes the result is determined by various factors such as base color (original color of image), blend color, the image's luminance, hue, saturation, etc. Here is the description of the Soft Light and Color modes from the PSE manual:
Soft Light
Darkens or lightens the colors, depending on the blend color. The effect is similar to shining a diffused spotlight on the image.
If the blend color (light source) is lighter than 50% gray, the image is lightened as if it were dodged. If the blend color is darker than 50% gray, the image is darkened as if it were burned in. Painting with pure black or white produces a distinctly darker or lighter area but does not result in pure black or white.
Color
Creates a result color with the luminance of the base color and the hue and saturation of the blend color. This preserves the gray levels in the image and is useful for coloring monochrome images and for tinting color images.
Check out these excellent tutorials on blend modes:
http://www.freetimefoto.com/photoshop_blending_mode/#color
http://www.arraich.com/ref/tool_blend_modes.htm
You asked about the brush next to the eye icon in the layer bar. I have Elements 2 so apparently this icon is not in 6. The brush simply means that layer is active for editing.
Mark

Live paint seems to make lines thicker

I'm new to illustrator, and I'm having some issues with the live trace and live paint tools.
When I use live trace, my image looks exactly as it should. However, when I change the image to a live paint group and then begin to change some of the colors, the lines seems to get thicker.
Why does the image look okay after being traced, but changes once made into a live paint group?

5) Click on one of the black lines in the image and change color to Pantone Black C
You haven't described at all what settings you used for the autotrace, or what kind of objects you have after expanding it. Are the black objects filled, stroked, or both?
Also, the LivePaint tool can apply Fills and/or Strokes, depending on how you set its options. Based on your description, you may be applying black strokes to the autotraced black-filled paths. That would, of course, result in "thickening" what you are calling the black lines.
JET

Paint Bucket Tool applied to 1px line makes it thicker

I need to change the color of a 1 pixel line. If I use the paint bucket tool it makes the line wider. How can I stop this behavior?
Thanks

What are the Paintbucket Tool’s settings in the Options Bar (Tolerance, Anti-aliasing …)?
Anyway, if it can be avoided I would recommend steering clear of that tool.

I'm using a pc, (windows 8.1,) and I cannot get a thick and thin line with CS6. None of the brush tool settings have any effect, even in the preview. Is there a setting I need because I'm using a pc?

I'm using a pc, (windows 8.1,) and I cannot get a thick and thin line with CS6. I want to draw, but I cannot get any linework like I should. I also use Sketchbook Pro, and ToonBoom, and I get wonderful linework. But not with Photoshop.
None of the brush tool settings have any effect, even in the preview. Is there a setting I need because I'm using a pc and not a mac?

Thanks for your response,
I'm using a Fujitsu T901 laptop, with a stylus pen. Painting works great in Photoshop, but for drawing there is no sensitivity at all. Frans Vischer
author and illustrator of Fuddles, A Very Fuddles Christmas and Jimmy Dabble
www.fransvischer.com
pamperedfatcat.wordpress.com

Is it possible to vary the thickness of a stroke like in Anime Studio Pro?

I'm new to Illustrator and vector drawing in general, but I've used Anime Studio Pro years ago when it was still Moho, one feature I really liked about it was how you could vary your stroke's thickness from point to point or even hide certain parts of a stroke, that feature was perfect for cartoony drawings and stuff.
Now I went over the lynda.com basics videos which gave me a fairly good idea of how Illustrator works, but this particular feature wasn't covered and I haven't been able to find it on my own.
Is this even possible to do in Illustrator?

I don't see any particular new feature being asked for here. Jack basically asked if Illustrator included any so-called "variable stroke" features. Those have been described to him. Jack has not yet sufficiently described the behavior in Anime Studio Pro to which he alludes, to discern whether it is significantly different from Illustrator's treatment.
(And thanks, but no thanks; if I want to "formalize" my feature ideas, I'm quite capable of doing that myself, rather than delegating it to someone who probably doesn't understand what I'm saying. I'd say most others have communication skills sufficient to do the same.)
Other users in this forum have often asked for an elaboration of a variable stroke weight feature that they could deliberately modify after-the-fact. Think about this: They want to more accurately control the results of "variable stroke" features. (More about this below.) They have suggested (sometimes with elaborate mockups) such things as special on-object handles or (egads, no!) additional modal dialogs to controllably alter the positions of thicks and thins. Such suggestions:
Are seldom very thoroughly thought-out. In practice, they would be every bit as tedious as just drawing the path the way you want it to begin with.
Usually overlook the existing functionality. The yet-another-dialog suggestors fail to understand that the current implementation of ArtBrushes already provides that.
Universally overshoot the real-world practicality of such ideas. They all result in too-complicated interfaces with too much tedium to use them.
Almost always stem from a beginner's fear of using the primary tool of a Bezier path drawing program: The Bezier path drawing tool.
As explained at length, Illustrator already provides tools for both the "as-you-draw" (limited by the real-world inaccuracy of current stylus hardware and [I suspect] Illustrator's 1/12 second redraw response) and the "applied shape" (hindered by a few interface and option problems) methods.
In all drawing programs I've used, I invariably find the "applied shape" method superior for both loose, sketchy, cartooney work and for painstakingly accurate work. That's why I consider stylus hardware in vector programs to largely be an "emperor with no clothes." People who swear by it go to absurd stretches of "logic" to defend it, grossly--often laughably--overstating their supposed "advantages."
Fact is, when you really LISTEN to what people are saying, it boils down to this: Users (usually newcomers) think they want a vector drawing program to act like a raster painting progam, because they think that's more intuitive, and they think that the only difference between vector and raster artwork is that one is scaleable and the other isn't. But vector artwork by its nature seeks accuracy and whether they think it or or not, accuracy is what such requestors seek.
Why else does that stylus-enamored user engage in that ever-tighter re-shaping of the path dozens of times? Because he WANTS that loosey-goosey hardware/software combination to accurately match his mental image of what that raster "stroke" is supposed to look like. He is SEEKING vector-like accuracy and smoothness. But he's doggedly determined to do it with a hardware/software combination that is inherently inaccurate (i.e.; "painterly" features like Blob, Pencil, Brush, Eraser, Smooth tools; "automatic drawing" commands like LiveTrace, Smooth; "painterly" pointing devices).
All these things strive against the inherent nature of vector drawing. It's like vector drawing being ashamed of its own advantages. He does this purely to avoid the direct-drawing methods which are designed for accuracy--i.e.; those which are commesurate with the advantages inherent in vector drawing. (It's not just about resolution independence.)
So newcomer user-demand drives development to concentrate on such dubious "painterly" features, trying to make vector programs "more approachable" by forcing them to act like what they are not, while neglecting year-after-year, version-after-version, interface improvements of the features which reflect what vector programs really are. As a result, much-needed advancement of vector-appropriate features and interface elegance goes unaddressed. The net result is vector software that doesn't even feel serious anymore.
Illustrator's Brushes are best-of-class, but they all fall short because of this misdirected focus on their being loosey-goosey "painterly" and inaccuate. Here are the fairly modest improvements they despirately need, which I have stated many times over the years, and which just fall into the black-hole abyss of Adobe's feature-requests:
Art Brushes
Need ENDINGS. Art Brushes should completely obviate Illustrators' hideously outdated Arrowheads feature. But they don't, because you can't apply a non-distorting END to the paths.
Need a set of sensible default presets that demonstrate to newcomers that Art Brushes can be employed for far more commonly useful things than strained and always-disappointing attempts to emulate "natural media" like chalk or watercolor. The most useful Art Brushes are those made from extremely simple geometric shapes.
Pattern Brushes
Need an option to DISALLOW scaling/distortion of the END TILES and CORNER TILES.
Need a set of sensible default presets that demonstrate to newcomers that Pattern Brushes (provided the other improvements mentioned herein) can be employed for far more things than mere frame borders.
Ends & Corners
Alternatively, separate ENDS & CORNERS as a distinct kind of "brush" that can be optionally applied in combination with all other Brushes.
Include options for non-exclusive occurances at: Path Ends, Path Corners, All AnchorPoints, Segment Centers.
With careful thought, this feature could probably encompass, and thereby obviate the functionality of Scatter Brushes.
Art Brushes and Pattern Brushes
Need to support use of Symbols as Ends and Corners.
Need improved interface for controlling their position boxes. The crude rearmost-invisible-rectangle thing is half-baked and grossly unintuitive.
Need a double-click interface to edit their base artwork commensurate and consistent with Isolation Mode and editing Symbols. One should not have to drag the Brush artwork to the page, Ungroup it multiple times, and AltDrag it back into the Brush palette to edit its artwork.
Art Brushes, Pattern Brushes, and Symbols
Need an option to DISALLOW scaling of STROKE WEIGHTS in the base artwork.
Graphic Styles
Need a set of default presets that leverage the above-mentioned uses of ArtBrush/PatternBrush combinations that demonstrate to newcomers the range of practical things possible through such combinations, instead of just yet-another-worn-out-attempt at "gel buttons."
All Brushes, Styles, and Symbols
A better treatment for managing Libraries.
ABOVE ALL:
Illustrator's horrible interface for drawing paths and making selections needs a complete, from-the-ground-up, rework, so newcomers will stop fearing direct Bezier drawing in the first place. This is the root cause of the vast majority of Illustrator's learning curve pain for newcomers.
Illustrator's horribly scattered interface needs a complete consolidation and reorganization, NOT just yet-another window dressing pasted over the existing [dis]organization scheme.
Illustrator's horribly outdated feature set needs to be brought at least fully up-to-date with other mainstream vector drawing programs. It is simply missing too many bare-bones basic functions that should be standard-fare, and have long been standard fare in other programs (user defined drawing scales, joining of paths, proper cutting tools, path combinations without ridiculous caveats, and much more.)
If doing any of the above means breaking backward-compatibility with previous versions, SO BE IT. Stop development of this buggy, sluggish, outdated application where it is, and call the above a new product.
JET

Quick paint stoke question

Very quick and hopefully easy:
How do you make a paint stroke in a straight line? I tried putting in a guide, but my hands aren't talented enough to do a perfect straight line.
Thanks all

you have motion 3, right? you can animate the start and end offset parameters in the inspector for the line tool. draw your line, put the playhead at the point you want it to start, set your end offset parameter to 0, add a keyframe. move to where you want the line to be completely drawn on, add another keyframe to end offfset and move the slider to 100. you can also adjust the brush type, opacity settings, and line thickness in there.
if you only have motion 2 for some reason (your info says FSC2, so i'm assuming you have v3) you can make a line draw on using the sequence replicator. check out this link for a little tutorial at a great site: http://www.motionsmarts.com/tutorials/drawinglines/drawinglines1.html. or you could use the line tool and animate a mask to reveal it, making it look like it's drawing on.
-gardy

How Did I Do It? Oil Painting Effect- Really Realistic!

I'm sure I was using PS CS3 32 bit on Windows XP when I did this...
Notice in the model's hair the shiny reflections of the thick "oil" brush strokes. I have used Eye Candy and Photo Tools before, but about all I find when I search now is pixel bender, and that doesn't come close. Any ideas? I would love to be able to do this again!
I'm using 12.0.4 64 bit on Windows 7 Home Premium. Thanks!

There are lots of ways you might have done that.
You might google for photoshop Oil painting effect or Russell Brown has some great painting videos for cs5
http://russellbrown.com/tips_tech.html
http://russellbrown.com/scripts.html
John Derry
http://pixlart.blogspot.com/
MTSTUNER

Line weight/thickness update

Hey all,
The line tool is not functionning too intuitively for me. It creates a line in a new layer - so far, so good - named "Shape n" (where n is its number). Why not "Line n" ? And then the line weight or thickness won't update when I go to the option bar, having the "path selection" tool on. I can change the colors though. Care to explain, if you've been there ?
Thanks in advance for the support.
Charles

Wow, I knew I was mostly new to this, but I didn't think it was this bad. I say this because there's not a word in two I know the meaning of in your answer ^^
I do however have ideas about this :
1) So the line tool essentially creates a fully painted layer, but then masks it with a vector mask, and that mask has a hard time updating itself ?
2) Stroke feature ? I'll look around for this one and see what this yields.
3) Now, open or closed paths, what does that mean ? As in, the path loops on itself and surrounds a finite portion of the canvas' plane ? And at any rate, what's a subPathItem ?
Thanks again for your concern.

Drawing line from thin to thick

I need to draw a line where some segments of the line is thicker than the rest.
I can draw the lines, but I need some kind of smooth transition from thin line to thick and the other way around. I'm using generalpath and stroke to draw the lines.
What is the best (easiest) way to do this?

Check out following code if it works for you. I've used b-spline approach to generate the shape of the path. You just need to specify control points and width at them.
import java.awt.*;
import java.awt.geom.*;
import javax.swing.*;
public class FloatWidthPath {
    Point2D[] pnts1;
    Point2D[] pnts2;
    CurvedPath cp1;
    CurvedPath cp2;
    public class CurvedPath {
        Point2D[] cPoints;
        double[] params;
        CubicCurve2D[] curves;
        public CurvedPath(Point2D[] pnts) {
            this.cPoints = pnts;
            double s = 0.75;
            double [] curSeg = new double[2];
            curves = new CubicCurve2D[cPoints.length-1];
            params = new double[cPoints.length];
            for (int i = 0; i < cPoints.length-1; i++){
                curves[i] = new CubicCurve2D.Double(
                    getCP(i+1).getX(), getCP(i+1).getY(),
                    -s*getCP(i).getX()/3 + getCP(i+1).getX() +
                    s*getCP(i+2).getX()/3,
                    -s*getCP(i).getY()/3 + getCP(i+1).getY() +
                    s*getCP(i+2).getY()/3,
                    s*getCP(i+1).getX()/3 + getCP(i+2).getX() -
                    s*getCP(i+3).getX()/3,
                    s*getCP(i+1).getY()/3 + getCP(i+2).getY() -
                    s*getCP(i+3).getY()/3,
                    getCP(i+2).getX(), getCP(i+2).getY());
        Point2D getCP(int i) {
            if (i == 0) {
                return new Point2D.Double(
                    -0.5*cPoints[0].getX() + 1.5*cPoints[1].getX(),
                    -0.5*cPoints[0].getY() + 1.5*cPoints[1].getY());
            } else if (i == cPoints.length+1) {
                int l = cPoints.length;
                return new Point2D.Double(
                    -0.5*cPoints[l - 1].getX() + 1.5*cPoints[l - 2].getX(),
                    -0.5*cPoints[l - 1].getY() + 1.5*cPoints[l - 2].getY());
            return cPoints[i-1];
        public CubicCurve2D getCurve(int i) {
            return curves;
public Path2D getPath2D() {
Path2D.Double result = new Path2D.Double();
result.moveTo(cPoints[0].getX(), cPoints[0].getY());
int i = 0;
while (i < curves.length) {
result.append(curves[i], true);
i++;
return result;
public FloatWidthPath(Point2D[] pnts, double[] width) {
pnts1 = new Point2D[pnts.length];
pnts2 = new Point2D[pnts.length];
double dx = 0;
double dy = 0;
double l = 0;
for (int i = 0; i < pnts.length - 1; i++) {
dx = pnts[i + 1].getX() - pnts[i].getX();
dy = pnts[i + 1].getY() - pnts[i].getY();
l = Math.sqrt(dx*dx + dy*dy);
double dx1 = (dx*width[i])/l;
double dy1 = (dy*width[i])/l;
pnts1[i] = new Point2D.Double(pnts[i].getX()- dy1, pnts[i].getY() + dx1);
pnts2[i] = new Point2D.Double(pnts[i].getX()+ dy1, pnts[i].getY() - dx1);
int i = pnts.length - 1;
double dx1 = (dx*width[width.length - 1])/l;
double dy1 = (dy*width[width.length - 1])/l;
pnts1[i] = new Point2D.Double(pnts[i].getX()- dy1, pnts[i].getY() + dx1);
pnts2[i] = new Point2D.Double(pnts[i].getX()+ dy1, pnts[i].getY() - dx1);
for (i = 0; i < (pnts2.length >> 1); i++) {
Point2D tmp = pnts2[i];
pnts2[i] = pnts2[pnts2.length - i - 1];
pnts2[pnts2.length - i - 1] = tmp;
cp1 = new CurvedPath(pnts1);
cp2 = new CurvedPath(pnts2);
public Path2D getPath2D() {
Path2D.Double result = new Path2D.Double();
result.append(cp1.getPath2D(), false);
result.append(cp2.getPath2D(), true);
result.closePath();
return result;
public static void showPath(String frameName, Point2D[] pnts,
double [] width) {
JFrame frame = new JFrame(frameName);
final Point2D[] shownPnts = pnts;
final double [] showWidth = width;
frame.getContentPane().add(new JPanel() {
public void paint(Graphics g) {
Graphics2D g2d = (Graphics2D)g;
FloatWidthPath cp = new FloatWidthPath(shownPnts, showWidth);
g2d.fill(cp.getPath2D());
frame.setPreferredSize(new Dimension(100,100));
frame.setDefaultCloseOperation(JFrame.EXIT_ON_CLOSE);
frame.pack();
frame.setVisible(true);
public static void main(String[] args) {
showPath("CurvedPath demo", new Point2D[]{
new Point2D.Double(10,10),
new Point2D.Double(100,30),
new Point2D.Double(100,100),
new Point2D.Double(10,120),
}, new double [] {3, 4, 20, 8});

Ecc 4.7 smartform table/template cell border thickness cannot be reduced

Hi
I am executing the SF_Example_01 and 02 and 03 and the table borders are not appearing properly. They look very thick and I could not figure out a way to reduce the thickness anywhere in table painter. I use sap version 4.7 and the printing device selected for preview is LP01. I am getting the same result when I try to preview the tables or templates that i created. The table cell lines just appear very thick. Please help me solve this
Thanks
Ajith

Hi Jshree
I have already tried that . did not work. In fact I tries all the answers given in the below link for no avail.
Smart form:extreamly thick table frame line
Thanks
Ajith

Thicker lines in table

Hi,
Is it possible to have differences in thickness of the lines in a table? I would need a line between all my data and also lines for the header but those should be thicker so there is a clear difference.
Can't find any information about this
Thanks!

Sorry, i wasn't complete in my explanation.
If you start the table with the width of each column, press the button "Table Painter" in this screen.
Then you'll see the possibility for the Box width.
Don't forget to select the row/columns (in the bottom) for which you want to change the width of the box.

Painting Brush Issue

Ok I've been painting an image in Cs4 for some time but I took a break from it for a few weeks and I just came back to it, The issue I'm having is the way my brush presets are acting towards my brushes. I was using a Charcoal Brush which when messing with the presets works similar to a real paint brush in terms of the way the bristles show. This is sort of hard to explain but I'll try. My brush when I was using it, had like a dry brush effect; you could the see individual bristles depending on how much I messed with the brush shape dynamics, it could be thick like a loaded brush or it could be thin like a dry brush whatever. Now though when I try and recreate the brush when I go to the shape dynamics its not acting the way it was before. The brush wont thin out it takes on a splatter effect when I move the scattering slider and size jitter that never happened before and I cant get it to stop. Before the way those sliders would effect the brush is it would spread out the bristles now they just add a splatter on them and I cant change it.
^^^^^ That image is the brush before I mess with the presets. Normally I'd spread out the bristles but when I try I get the effect on the image below.
I know this is a bad explanation but I really cant figure out what I'm doing wrong I've reset the brushes I don't know how many times same with the presets I've messed with the opacity and flow but nothing is working. I wonder is there anyone who has an Idea of how I can possibly fix this? It's a problem because I need that effect from the brush in order to match the rest of the painting, Any help or advice would be appreciated, and again sorry for the bad explanation.

Yea I've tried both Size Jitter adds a splatter on it so I already have it at 0 and Pen Pressure just rounds out the edges which I don't mind but neither really have to do with the effect from before. I've tried to mimic the way I had the brush before going in and erasing some. The way it's working now is the top stroke and the way I had it is the bottom. Before the strokes where more spaced out, result of messing with the presets now if I mess with the they add a splatter to them.

What is the quickest way to paint a straight brush stroke that is NOT on 90 or 180 degrees?

I do perspective drawing for interior designers and do the colouring in Photoshop. Think of old fashioned painting with a brush/copic marker against a ruler to get a straight line, but with varying thickness or opacity. I would like the same effect in Photoshop.
The closest that I have come is to press Shift before the brush stroke. That constrains the stroke, makes a very neat line AND allows me to vary the line/brush thickness as I paint.
Often the lines may need to be at an arbitrary angle which is NOT 90 or 180 degrees. The only way I know of for getting that brush stroke in the correct position is to make sure that each stroke is on a separate layer. Select the stroke/transform/rotate. Quite a few steps as opposed to the one it takes to draw the line in the correct position and angle with a brush/ copic marker on paper.
This becomes time consuming and difficult once you have many lines to paint and if you need to be accurate (as with perspective drawing). If you are working on a very large canvas the point of rotation can sometimes be very far from where you are working (i.e. on a vanishing point) and difficult to see without a lot of Zooming and moving around on the canvas.
To Stroke a path with the brush gives an unrealistic and even line thickness which does not look hand painted.
Any suggestions?
Has anyone ever used a ruler while drawing on a Cintiq? That may give the desired effect and be much quicker than selecting and rotating.

Thank you R_Kelly! Though it is still a bit tricky judging the angle as you rotate the page, your workaround is actually a bit quicker than having to rotate each line individually.
This allows me to see the line as it develops in place and I also don't necessarily need to create a new layer for each new brush stroke, if I work carefully. Very close to placing the ruler on the work space before drawing a line!
Thank you!

Keyframing width with the Paint Stoke tool

Hi,
I'm trying to draw a line with the paint stroke tool in Motion 3 and have it animate using the write-on function. All good so far......
The problem is, I want the line to start thick (say width 65) then carry on thinner (say with 50) to emulate handwriting with a marker pen.
When I try key-framing the width parameter of the paint stroke, it changes the thickness of the line BEFORE the key frame too
I guess its because the line is one object so any changes will happen to all of it.
How can I get around this? I thought maybe razor cutting the paintstroke clip in the timeline may help but I can't find a way to do this either.
Please help!
Many thanks
Rob

Use the Sequence Paint behavior.

Thick paint...

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