Hi, and welcome. My name Is Lawrence. Baker and this video is going to be about creating a sunburst or starburst or some flare brush from scratch, lets. Get going, make sure that you’re working on the same hymn sheet as me. Workspace, graphic and web and always reset it to make sure it looks like that now. I like to have all my panels its icons, and I like to use keyboard shortcuts, so I’m going to come to this double-headed arrow and collapse two icons. Now we need a new document command or control command on a Mac controller Windows System N for new document. I’m going to use Web large, but I’m going to make the artboard background transparent. It doesn’t matter what document size you use, but it will dictate the size of the brush, so just go create on that, and we got our document there f7 to bring out the layer’s panel D for default colors, so that’s black in the foreground, white in the background and then go alt on a window system option on a Mac backspace to fill with black. We need a new blank layer layer, new layer shift command or ctrl N command on a Mac ctrl on a Windows system, So I could do that. Now all, come down here and click on that icon there. I like my keyboard shortcuts. Shift, Commander. Ctrl n so. I’m going to call this brush and go. Okay, now I need to paint with white, so that’s X on your keyboard to swap the foreground and background colors around, so it’s white in the foreground now B for brush, which is up there already on it. So make sure you’re on the brush, not on the pencil tool so B for brush f5 to bring out the brush settings and brushes together, but f5 is one of the most important keyboard shortcuts along with f7 when you’re working like this f7 for layers, f5 for the brushes and brush settings and brushes are normally docked together. I need to pick a brush, so come to bra now. I happen to have picked Carl Boenish chunky charcoal. If you haven’t downloaded Kyle Webster’s brushes and they are fantastic. Go to the panel menu of the brushes panel. Go to get more brushes. It will load your web browser. Find the brush pack you want. Let’s say it’s the mega pack, that’s what. I’ve downloaded or spatter or whatever, but I recommend getting the mega pack. Download it to your downloads folder or whatever come back to Photoshop back to the brushes panel. Just get rid of that layer’s panel second f7 panel menu, import brushes, find your dot ABR brush and load it in like so so click on it. Go open, and you’ll have those brushes to use any textured brush will do, it’s just happened. I happen to pick Carl Boenish. Chunky charcoal. I’m going to do a quick trial. Run like that and say well. That looks okay, but what do they change it slightly? I could bring the spacing up and maybe change the roundness. I might make it 40 round, so it’s a bit thinner and just bring up slightly like, so maybe bring the spacing down. I’m just looking for something that roughly looks like that. That will absolutely do now if you’ve been playing around like this. If seven, come on a control ie to make sure. I’m selecting the right layer, so I selected all the layer that all have to do is backspace so if you’re experimenting like that, I always remember that sort of trick can want to control a then backspace to clear the layer so command and control. D will deselect because I don’t need to do that anymore. Shift key kept press to constrain it to a straight line. So I’m just gonna paint across roughly like that, so I’m not taking up everything just that middle section there. What I like to do is come to the move tool and Center it horizontally and vertically So what I’m creating the brushes? I like to do it this way, So what I’m going to do now is run a motion blur on it so filter blur motion blur, angle of 0 You can see what’s going to happen and I’m so roughly going to for maybe five hundred pixels if it looks similar to this, whatever pixels works because I’ve picked this particular size of document, so it depends on the document size You’ve picked so roughly looking like that. It’s absolutely fine. I might drop it down a slight bit like that. So 400 pixels. I’m using there abouts. Then I’m going to duplicate this layer and the best way is a keyboard shortcut, and that’s command or ctrl J to duplicate the layer. Then I’m going to use free transform, which is edit free transform Commander Ctrl T so command or Ctrl T. And I’m going to press the alt or option key alt on windows option on a Mac and drag it out from the center so pressing that key ensures it sort of drags out and keeps it from the center outwards so roughly go quite near to the edges now. I’m going to bring this sort of height down. There’s two ways. I can do this. I can drag down again. Pressing the alt or option key, drag down like so, but it’s a little bit fiddly or you come up here. Make sure it’s unlinked and change the height there yourself, but that looks pretty, okay. I’m going to spread it out a little bit more with the alt or option, Key kept press to around there. Press return or just hit the tick symbol, so what I’m going to do now is put a bevel and emboss on this, and that’s the layer style, so I might make this a bit large and fill the screen actually and get rid of the layer’s panel f7 and the brush panel here by going f5 as well. I’m going to put a bevel and emboss on this, and that’s the layer style, as I said, so I do need the layers panel f7 double click on any blank area to bring up the layer style dialog box, pick, bevel and emboss and make sure the whole thing is highlighted. And you can see it’s already set up, but basically use emboss smooth and the depth is about shading. Now just look in that box there that will give you better feedback and around there, It’s quite punchy because this will make the brush look less flat, and you’ll see what I mean when we come to the end, so I’ve got five hundred and forty two percent there. That just happens to work for me around there. There’s a point where it doesn’t, you know, making your impact so around 600 that’ll do now the size, obviously. I’m looking at the size 95 pixels. You know, that works for me and looks. It looks roughly like that. It’s absolutely fine. Soften, no angle and altitude worked like this if you’ve got a spotlight on the sidewalk or pavement at ground level, shining at the bottom of billboard, and then you move the spotlight from left to right or right to left. That is the angle, but the altitude is the height, basically, so at 0 degrees is pointing at the bottom of the billboard at 90 is pointing into the sky, so 90 altitude will never work but for this. I’m going to pick a hundreds of 70 roughly tab down and roughly around 20 so it’s 1/5 of the way up the billboard. That’s the way to look at it. Gloss contour Línea’s fine antialiased. I like to ticket because it stops the Jaggi. So it’s not entirely up to you. You won’t notice much difference so you can keep it ticked now. Highlight mode would normally be on screen and white. But I’ve changed it to hard light, and I’ve kept the color white, but I put the opacity up to 100% Shadow mode would normally be on multiply and black. I’ve chosen hard light and I’ve clicked here and used a very light Grey. Now Hsb huge saturation and brightness. I’ve chosen 70% of the brightness that 70% gray. So that’s what I’ve gone for hard light and 75% opacity. I’m going to have all this on my website. All these instructions and the brush to download. Do visit my website. All will be there, so I’m gonna go OK on that what I’m gonna do now is create a new lab and drag that down a bit, actually, so that’s shift Commander Control N, I’m going to call this Center and go okay, M for the rectangular marquee tool In the middle of the document, Alt + Shift key kept pressed together, drag out so roughly fills up to the edge of the document around there upon too far there. That’s my fault. Cmon, zero back down, so command said to go away from that sorry. I touched the wrong key. There so alt shift press together, drag out roughly close to the edges. Let go of the mouse first. Then let go of the modifier keys like so, we need to fill this with grey that shift backspace 50% gray mode, normal opacity 100% Go, okay, now we need to render this as fibers, so that’s filter render fibers and I’ve got a variance of about 19 and a strength of 12 I think that will work around 16 and 10 will be absolutely fine. Those that looks roughly like that. That would be fine. I’m going to lose the selection now. And that’s Commander Control D. But I’m going to lock the transparency of the layer so clicking that checkerboard will lock it the transparency, so I’m not gonna work on any transparent areas, only this sort, opaque area here, so just put those back on by dragging down. I’m going to run filter, blur motion blur again and put it on 90 I’m going to look trying to make it look quite blurry for me. It will be different for you. I’ve gone with 625 pixels. That looks pretty much okay now. I’m going to use a gradient tool That’s G on your keyboard. That’s the gradient tool there come up here, Click on that basics foreground to transparent and go. OK, make sure you on default colors, which is D on the keyboard for black in the foreground. So you’ve got foreground to transparent and you want linear, so if your mouse over, you’ll see linear, they’re linear. Gradient mode is overlay opacity, 100% reverses antiqued dither and transparency, dragging from the bottom with the shift key pressed, the shift key will ensure it moves in a straight line. Go nearly to the top and let go and then do a few more shift. Key kept press here and there just to make it look at less obvious, so what we need to do now is load this there up as a selection command or control key kept press. Come to the thumbnail, and you’ll see the hand and the marching ants symbol. Click on it to load it up as a selection, then we’re going to go to filter distort polar coordinates. You can see your starburst effect rectangular to polar. Go, okay, Commander, control. D to looser selection. You could see the black edges. All we have to do. Is this change the blend mode to screen and it gets rid of those black edges. We’re going to use the gradient tool again on a blank layer shift. Commander control. N and call this glow, okay, Gradient tool were already on it swap. The colors around so white is in the foreground. X on your keyboard, Still foreground to transparent change it to radial, so we’re coming out from the center overlay and everything else leave as it is. Shift Key kept press. Come about to sort. Midway and let go, you can see. You’ve got your glow now. We’re going to transform it so it doesn’t look too obvious. I’m going to make it sort of less round, free, transform command or Ctrl T or edit, free transform. Commander Ctrl T going now, alt or option Key kept press, so it stays from the center, so drag it in like that, so it’s more oblong and amok, make it slightly larger as well while I’m there. Press return now we’re going to use another layer style called outer glow so double click on a blank part of this layer, click on outer glow and make sure it’s ticked and highlighted. I’ve gone for 77 percent opacity. It’s entirely up to you. I might even go a little bit higher, softer spread. No, because it does that size. Well, basically, after a certain point, it won’t basically make much difference, so I’ve gone for a hundred And seventy there about 166 that will do range jitter. Everything else leave as it is, that’s at to define now to make a brush. We’ve got to have everything on one. There we’ve got four or five layers here, so there’s. Something called the stamp the way. I like to explain it is like this. It takes all the layers and puts them on one layer and people Call it the claw of the stamp because it uses a lot of your fingers. It’s not in the menu at all, But the way I do, It is the way it works for me. Is command ctrl alt or option shift and then press. E, that’s probably not the official right way round for most people on most keyboards. It’ll be command, ctrl alt or option shift E. And I’ve created that stamp layer there. So if I take all the other layers away like so, you can see. We just got that one layer there now. Brushes work like this where it’s darkest. It will have the most effect, so this needs inverting and that is command or control. I so we inverted the brush now. I could trim away some of the pixels. I don’t need, but it doesn’t make any difference. Basically, that’s our brush ready to be created so edit, define brush preset call it sunburst final or something like that. Whatever you want to name it and the minute you do that, it’ll be available to you as a brush. They can see the crosshair now because that means. I’ve either got the caps lock on or the brush is too big for the view, so command – to make the space bigger. You can see the brush appearing there. I’m not going to use it on this document. Obviously I’ve got an image here ready and you can see the crosshair That means it’s too big for the view. If you haven’t got your caps, lock on so command or control -, you can see the brushes appeared, so I’m just going to bring it down to the middle here and we’re on white. Everything’s up there, normal, 100 Center, pasty and flow etc. So you just stamp down once so off, we go there. You are, that’s a sunburst brush and as. I said I’m going to have it all on my website. So that’s it. Guys, that’s the brush. I hope you got something from this. Thank you very much.