Affinity Designer for ipad volume 6 - Pixel interface, selection and brushes in Affinity Designer | Jeremy Hazel | Skillshare

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Affinity Designer for ipad volume 6 - Pixel interface, selection and brushes in Affinity Designer

teacher avatar Jeremy Hazel, Education Through Creation

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

12 Lessons (56m)
    • 1. Skillshare intro

    • 2. Introduction to the Pixel Persona Interface

    • 3. Selection part 1- selection brush

    • 4. Selection part2-flood fill selection tools

    • 5. Selection refinement

    • 6. 05 050 solution completed

    • 7. Basics of pixel brushes

    • 8. Adjusting Pixel Brushes

    • 9. Importing and Exporting Brushes

    • 10. Making a bokeh brush

    • 11. Making a 5 brush set challenge

    • 12. Making a basic round and square brush

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About This Class

In this course we take a look at one of the most dynamic forms of art in Affinity Designer…..the Pixel persona. Pixel art is similar to those things we do in Photoshop, Procreate, or a variety of other programs for digital drawing. The combination of vector and pixel art makes Affinity Designer a powerful tool for organic sketching in this lesson we cover the following aspects of AD in the pixel persona  

  • Persona Interface
  • Selection ¬†
  • Brushes

We will also be covering some of the tools of professional artists like:

  • Adjusting existing brushes
  • Creating brushes from scratch

In this course we will be creating brushes for later use in Affinity Designer, and working to understand the selection capabilities that make the pixel persona so much fun   

  • How to create a round and linear repeating brush
  • How to create a bokeh brush for later use

This course will allow you to create pixel-based brushes for sale on marketplaces and help you customize your brushes to really mark your style apart even when using pre-made brushes

This is part of a weekly release series designed to take a massive program and break it into smaller digestible pieces, so don't forget to subscribe, we will be releasing one new module a week exclusively on skillshare 

All the downloads for the course are included and the project is outlined below.....don't forget to email or message with course questions ......and above all enjoy 

Meet Your Teacher

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Jeremy Hazel

Education Through Creation


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1. Skillshare intro: Our IT folks and welcome to Skillshare. So this is an exciting thing. You actually found one of the biggest baddest Affinity Designer courses out there for the iPad. So we've taken eight hours worth of material and we've chunked it down today, eight projects, specific projects that you can utilize. And so there's eight volumes total in this thing. We would recommend that you take them in order. We start off with the basics of shapes and then we move up to things like pixel. But if you feel uncomfortable and you want to learn a little bit about a certain functionality, feel free to take the volume that matches your skill level. So we're very excited to be here on skill share and we hope that you learn a lot from Affinity Designer. And if there's anything we can do to help you along your journey, when it comes to infinity, hit us up in the comments and we will respond. All right, thank you very much. Have a good time. 2. Introduction to the Pixel Persona Interface : all right, folks, and welcome back to defending the designer. So it's that time in the course where we start taking a look at the pixel persona. Now we've touched on the pixel persona a couple different times. Throughout the course, you've been shading with the pixel persona throughout. You've been shading your vector art, using the pixel persona. Now that's a lot about how I like to work. Affinity has another product called Affinity Photo that is 100% pixel based. I kind of blend between the two. I like affinity photo, but it's very similar to light room affinity. Designer in the pixel persona has a lot of power, so I think we should devote the last half of this course here. So looking at the pixel persona. So to start with, I'd like to kind of walk you through what a pixel persona is, what a pixel is and how it's different because this represents some very unique challenges . So let's go ahead and touch onto the pixel persona here and now, as we've covered it for a lot of these tools change. Now they're similar, but they're different. We have the ever popular move tool that we've been using the first half of the course. We've got the brush tool, and it works very similar to how the vector brush tool works. However, vector rushes and pixel brushes are quite different. We've got entire lessons on that later. And then there's the eraser brush. Now this is kind of unique. So let's go ahead and begin with the paintbrush here and let's go ahead and just grab any color. I'm gonna go ahead. I'm gonna grab black and now watch what happens when you put your first marks down. You'll see the assistant comes up and it says the assistant is added in raster layer. Now let's look at our layers panel the assistant. You didn't have a pixel there before. So the assistant said, You know what? This person needs a pixel air. Now, the important thing to remember here when we lay down black like this, using any sort of brush. If we zoom in, you can see the pics elation that begins to occur. This, by the way, folks, is what is called alias ing. So when you do this, it's also called picks elation, and this pixel is now locked with this color information. So now, because the pixel air is trapped with this information notice here, we've got another tool. This eraser tool. That's what brought us to this entire conversation. If you slip and click on the eraser tool here, you can now erase. Now, why doesn't that work were not on the layer? Hey, there we go. Notice you really didn't see an erasing option in Vector because it's not really a thing, so you can add a pixel with the paintbrush. Let's go ahead and add some red, and you can erase the pixels with the eraser. So this is probably the purest form of drawing and sketching out there. Now there's some other tools. If you really want to get crazy with it, you could go up to the pixel tool and watch this pixel, pixel, pixel pixel. And now we can zoom in super tight. For those that are using this in game art, you'll use the pixel tool a lot when you make sprites for game art. Now, the cool thing is, you can also smudge this stuff. Watch this, we take the smudge, and now we smudge it. When we zoom out, Look at what that did to this art. Now, let's go ahead and take the fast track to this Here, Come over here. We're going to do this. And now we're gonna smudge and notice that smudge works the same way I can smudge from the inside out or Aiken smudge from the outside in. So that's a few of the tools that you're going to encounter in the pixel persona. And I wanted to kind of go and show you just did a very high level quickly how it was different now because we have pixel information. We're gonna spend a lot of time in the next couple lessons on something called selection. Selection of Vector Art is easy. Selection of pixel art is a little bit challenging. So let's go ahead and get in that in the next lesson. All right. See the next one 3. Selection part 1- selection brush : All right, folks. Now this one's gonna be a little bit longer Lesson. This is gonna be our lesson on selection. Now, selection in the pixel persona is a little bit different. So let's go ahead and let's take a look at what selection tools we really have to work with . Three selection tools that you have to work with are the selection brush, which is my personal favorite. Then you've got the last so tool, which is called the free hand selection tool. And you see the little arrow down there has multiple selections. I'm gonna show you how this works in a common sense. And then there's something that's called the flood selection. And lastly, you can refine the selection. So we're gonna talk. About what? That iss. All right, let's go ahead and create a couple things. Now, in order to do this, I'm gonna come over to my brush and I'm gonna go ahead. I'm gonna choose some pens. I'm gonna choose a very opaque type of red pen, and I'm gonna go ahead and I'm going to go ahead and just put a red mark down here. Now I'm gonna go ahead and I'm gonna put a black mark down here, and then I'm gonna go ahead and use my spatter that we find over here to put a black mark right over inside here. So this gives us enough to start now when it comes to selection, there's a tunnel ways to do it. And there's no substitute for working with selection. You're gonna have to really work with it to figure out what the best way forward is. So the part I want to start with here, I want to start you off on the smart selection brush. Now let's go ahead and go down to the context toolbar notice. There are modes ad subtract, that's it. Goes back to add. Right. So what you're really saying? The conversation you're having is Do you want to add it to a selection? The width controls the brush with and then SAPTA edges and all layers is pretty self explanatory. So I'm gonna make sure snapped edges eyes on, and I do that when I have really good refined edges. So, as an example, I make sure I'm in ad mode and I begin to trace around one of my shapes. Now you see what we call the marching ants, Okay, It's tracing its tracing, its tracing, and we're pretty good. Now we scroll inside here, we scrub inside, and now what we've said to it is you're gonna go ahead and you're going to add everything that is inside the marching ants. And I watched this. If I turn off, snapped the edges, see what happens. It really can't find the edge of this thing. Now there's some tricks here. If you're tool is having problems, finding the edge turned down your tool and then we'll just start moving in. To do that. We're going to subtract. And now look at what this does. Notice what I'm doing. I'm now subtracting. Now you see how I'm eating into the edges. Let's go ahead and turn snapped edge back on, and now see what's happening. Look at how crisp and clean that's going to the edge. Same thing is true here. Now snap to edges, folks, if you've got really good firm edges is awesome. But you do need to make sure you're working with a selection brush that is fairly small and my advice to you get inside. Zoom in so that you can find these edges. But you see, sometimes it doesn't do a great job. We're gonna do the best job we can hear with this, and then I'm gonna show you how to kind of fix that up for you. All right? And I'm not gonna lie Idea. Selection takes a long time now. Once we're there, we keep snapped edges on. We can now come out and affinity designer, we'll try to find the edge. Now, that's probably as close as we're going to get here. Now, when you do this after you do this, you come over here and you can hit refined selection Tool. Now you see the white halo that's produced. You've got a couple different options what you're doing in the refined selection. So the process is always selected, then refine it. You're telling affinity designer to do a better job, so I'm gonna go ahead and I'm gonna turn up my size just to Scotia. And now watch this. I'm tracing along the edge here with my pen and I'm telling affinity designer, look closer. See if you can find a better edge around this area. So think about the selection brush as just fine selection. Rough selection. It will do its thing now. Sometimes it just doesn't work. So what you got to do now come down running in a little bit finer and then see if you can get these areas to come in? You can run this more than once, and you'll see in the areas that were running it. It's getting much closer now. There's a little bit of spray in this, so it's not ever going to be perfect. Okay, now, once you've done that, you can choose to say how you output. Now, let's look at this. This is in the context toolbar. I want to output it as a brand new layer. So what I'm gonna do, I'm gonna cut it off my layer. And when im good, I hit the green check right there. Let's look at our layers menu Pau brand new layer. So look at that. Now, when we select it, look at what we've got. This is how you cut a layer out of a pixel air using the selection brush. I know that was probably terribly complicated for your first time, but let's break it down to fundamentals. Use the selection brush, Add the selection snapped edges of makes sense. Then make sure you go down to you refine selection tool. You know where to find that. And then when you're happy with it, go ahead and determine how you want it. Output and away it goes. All right, we're gonna go ahead and stop this one here. And in the next lesson, I'm gonna show you a couple more of the tools that you have for selection. But again, this is the academic side. There's no substitute for going in and actually doing it. So in the projects that follow, we're gonna be working with it a lot. All right, we'll see the next one. 4. Selection part2-flood fill selection tools: bar ride, folks. Welcome back to affinity designer. So in the last lesson, we showed you how to take this pixel air. We exported it. And so now it sits above the thing. Let's go ahead and turn that off. Turn this one back on. And we're just gonna trash that layer that we did before. All right, So we got this layer. It's a pixel air. It's got a couple solid objects on it. Now, we took a look at the selection brush in the last lessons. Let's go ahead and take a look at this freehand selection tool. Now, the Freehand selection tool allows you to just trace out a selection. And now let's go down to the context to a bar notice you've got new. Now you've also got ad. So if I choose, that is my selection, and I want to add to that and add this black shape here. Now you see that? I can add it now. If I wanted to subtract from a selection, I could come back around, grab this and say, You know what? I no longer want it. The free hand selection tool is really good, especially for rough adjustments like if you're sketching and you wish you made the left hand a little bit bigger, you can absolutely trace around that left hand and then you can also feather the selection . Now, this is done in a number of pixels, so you can feather the selection by 80 pixels if you want. And then there are different types of selection. You go polygon, all magnetic or freehand. So it'll go through and it will be like magnetic can go through and selected. That way you can come through and go polygon all Now, when you select polygon a watch this, we're gonna add 1234 It works in straight lines. Right, So that's polygonal. All right, so now let's take a look at some of the other ones. So we're gonna come up here and we're gonna x out to de select everything. We're in a scorched earth. Now there's a couple other selections. Let's go ahead and hit this. These other things are what are called marquis tools. Now, the Marquis tools are like rectangular marquis, click and drag. And now everything within that square will be selected. Now, what would you do if you wanted to say add to this selection, but she wanted to use a circular marquis. Click on it. Grab the elliptical, make sure instead of mode. Now go to new Goto ad. And now come over here and add that into your selection. Now, both of those are added. So that's ad. And now the cool thing is, if you wanted to intersect, what is that? We haven't really covered that. Watch this. If I grab this, what it's going to do is it's just going to touch those places where the two intersect. So that's the marquee tool. Now again to de select it all come down, X out. And if you wanted to select with a row, you come over here to the road and you move it. Now you see, it looks like a little white line. Let's go ahead and crank that up a little bit and now it selects everything that's in there . Now you see this icon down here? You see the little brush? Watch this. Once you go down there, that is an automatic pass to refine selection. So if you did this, we're back to the same overall selection and I like to export zoo layer. Click it. And now look, the new layers created. All right. So again, selection is very easy. If you get the fundamentals down, you figure out what you're trying to select. You create a new selection, you add or subtract of the selection and then you go out and you refine the selection. That's the fundamental basis of selection. I hate to could bring it back to my four step process, but it keeps coming back that way. All right, Now, let's go ahead and de select it all. And now we're gonna come over to this flood selection that Watch this when you have flood selection, you can come over here and do a new selection. You can increase the tolerance. So this is looking for a certain area and you can also hit contiguous. Now watch this. If I go ahead and I select the black now, if I touch on the black, it selects the black. Let me zoom in here so you can see the marching ants. Now, watch this. If I come over here and I try to add and I hit on the spots, you see how it doesn't hit all the spots. It's looking for the contiguous spots. That means touching spots. Now let's go ahead and ex off this. And now, if I'm trying to add to the selection here, look at how many more points and grabbed because it's looking not only for the black, but it's looking for anything that may not even be touching the black within 45% of black. Now you notice red is not 45% of black. All right, now, let's do this. Let's crank that bad boy up to almost everything. And now, if I touch on this, if it's not contiguous and it's not black, will it catch it? Look at that. It just selected the red. It selected the black. It selected the gray. It's selected everything. So flood fill is a great way. If you have a pixel air in which the same similar color is spread out all over everywhere, flood fill is your friend. It would take you forever and a day to do it any other way, so we see that a lot of times in nature grass. If you're doing photo editing, flood fill on us. We're friends. All right, so that's a little bit about selection. Let's go through in this volume three here. And let's go ahead and take a look at how we refine these things. Just so you understand how to work the masks, and then we're gonna get into a project. All right, See the next one? 5. Selection refinement : all right, folks, public and tired of looking at the same file here. But selection is one of those things you have to drill. So having a common form is absolutely key. All right, so let's go and take a look at the last selection, then the last thing I want to show you here is this tool here. Now this is the refined selection tool. And now, if you've got a image, let's go ahead and use this selection brush. Let's make a new ones we're gonna add and let's go ahead, and I Let's flood fill it, actually practice with something else. We want to turn that bad boy down there. All right, Cool. You see how the tolerance was up on that? All right, so now we've got this thing selected. Let's go ahead and hit the refine. Now. You could do a lot of different stuff with it here. Let's go ahead and grab. The different tool were to come down here. Let's go ahead and grow or shrink the selection. Now let's say here that we wanted to grow or shrink this particular selection. So this modification tool, you have to select something initially first Let's reduce the radius, notice what it's doing. It's holding its form, but it's going ahead and clipping a little bit inside. We use this all the time when compositing, because sometimes you get a glow that you may not want. So you cut in by like, three pixels. Or you can expand out to select mawr of the selection. So the thing I need you to see about this refinement tool first you make the initial selection, you get the rough adjustment. And then, much like the name implies, you refine the selection. All right, now, let's take a look at Let's go ahead and zoom this back to zero here, close to I'm gonna go ahead and cut in just a little bit. You can also, by clicking on here, whether this particular tool. So let's go ahead and feather the selection. Now you feather by a certain number of pixels, so let's go ahead and zoom on in here. I'll show you what I'm talking about. Notice how the pixel changes a little bit. You see how it's really crisp along that edge. Now, as I move this around, look at how it gets kind of weird right. You'll do this a lot when you want to put a nice halo around something, or you may have a green screen that maybe you want to cut away when you do green screen in cinematography. If you have a firm border between your subject in your background, it makes your green screen look a little bit fake. So you want feather by just a couple of pixels. So feathering is about spreading this out just ever so slightly. So the point I want to make as we kind of bring this selection area to a close, because in the next lesson, we're gonna have a challenge. You use the selection, brush your marquee tools, your fill tools, and then you'll use refinement tools to kind of find tune this thing. And once you get it the way you want it, then you go through and take the next steps on it. Because now, if I go ahead and change my colors up and with my brush selected, I decided to paint. Look at how I'm painting, but I'm not actually painting outside of my line, so let's go ahead and grab some green. But because the selection is feathered. Guess what you got. Does that look an awful lot? Maybe like a drop shadow. So this is kind of how you do this. We're gonna use this when we start working with some of our floral challenges here. In the next lesson, that's gonna be the challenge. You're going to select pixels, and you're gonna change the color of flaw of flour. All right, folks will see the next one. 6. 05 050 solution completed: All right, folks. Welcome to the challenge. So we take a look at this, we're gonna make this super simple. Now, let's go ahead and let's place this image that we've included. So we're gonna go place image, we're gonna go from photos, and we're gonna find this particular picture. Hoops. Let's go over here. Place image photos and let's go ahead and find the image that I put in your downloads. How about that, huh? All right. Looks pretty good from here. All right, Perfect. So we got this one. Let's go ahead and drag it out. Make sure that it fills the frame. All right. Looks good. Now, the challenge was to take this bloom and out a little bit of contrast with it. Now, a finicky designer is not affinity photo. So there's some limited things you can do. But I wanted to give you a chance to try some different techniques and get familiar with the selection tools. So this is gonna be very simple. You could have gone about it a ton of ways. I'm gonna show you the way that I like to work again. If you don't like to work this way, find your own way home. There's certainly 100 ways to do it. So I'm gonna come into my pixel persona. I like to use my smart selection brush. I'm pretty much surgical with this thing by now. I make sure I'm in ad and now I zoom in. I'm gonna increase my size and make sure snapped edges is on. And now I'm gonna come down here and I'm fairly inside of this. Now, you see how I'm picking up a lot of extra static there on those sides. If that keeps happening, I'm gonna have to zoom in a little further because what that's telling affinity designer is I can't really find a good edge. Snapped the edges is kind of cool, but it's also kind of problematic. Now, you see, when I started doing that, you see how far out I am on some of these edges. So you're gonna want to make sure that you are working smartly and you're working zoomed in if you use this brush. Okay. All right. They seem having to a lot of manipulation around here because what affinity designers trying to do is it's trying to say, Where are you with this thing. All right, So now I'm gonna color on the inside just to make sure that everything inside is selected. And you might have chosen not to do everything on the inside, depending on what you decided to do. Totally up to you. My goal is to get you to work these brushes. Now, let's go to subtract. And now you see, As soon as I hit that edge, it went right back where it needed to go. It looks good. Same working down there on that tip. That looks good. Um, happy with that up. Got some of the railing in the bannister there. There we go. That looks good. Now, let's go ahead and fix some of this up here. I'm gonna switch over to add, and I'm gonna pull that in. I wanna move to subtract, and I'm gonna shrink my tip down there. And now that looks good. No, see, that took too big a chunk out. So we go back to add That looks good. All right, Now we got to subtract that out. All right, there we go. Now we're in the business, and if you do every photo manipulation, you guys work a lot of Photoshopped. This becomes a relatively tedious. You guys know that selection is a majority of the time you spend with a photo, and then we had to kind of bring that back. That might be as good as we get there. All right, so I think we're close enough for horseshoes and hand grenades on this challenge. So that's how I have chosen to select it. I don't think I need to really do much refinement to it. So now what I'm going to do on the show you how to use a new just mint where we cover this a bit earlier. And when you combine an adjustment layer with selection, Oh, man, it gets pretty cool. So let's go ahead and let's check out the Let's put a Levels adjustment on it first, because it's kind of washed out. So now let's go ahead. Go over to the levels adjustment. Let's push the blacks a little bit. Yeah, that's a little bit better. Let's reduce the whites down a little bit there, and the reason I'm doing the levels adjustment here is because I'm going to re color it here, and sometimes the re color looks pretty awesome. So we put a minor levels adjustment to it. Now you see how that's Onley affecting the selection. Then we come over here and we're gonna go ahead and we're going to color balance it now. I can increase the Reds. I can increase the greens. All right. I can do a lot of really cool stuff with it. And the reason that I'm in a color balance it first. Here, there we go. I think that's very, very cool. So it changes the look of it here. Now, you could have done something else. So let me show you something. I don't know that I would combine this technique with others, but you could, if you were inclined, do some re coloring and you could then re color the entire thing. Now that you've done the levels adjustment to it, that's a popular technique. Let's go ahead and undo that. Or you could even split tone it, which takes the highlights in and change the highlights and then changes the low lights up a little bit so we can saturate a little bit here and you see how the split toning is changing this flower quite a bit. So this one works on highlight hue and shadows kind of independently. All right, so let's take a look at that. I really like this split toning. I think that that looks pretty good. And last thing I do is I might actually white balance it. I like that a lot. All right, so let's go ahead and take a look at our their structure. White balance, split tone, color balance levels adjustment. All with same photo. 234 And let's group them off, all right, and finally was de select. All right, That really changed the look of that photo, folks. So that's a little bit on how to use affinity designer in a photo. It's a little bit on how to work with adjustment layers, which you learned in the previous lesson, and also you learned a little bit about how to work with selection tools. Now again, this election brush the easiest of them. But I didn't want to take too much time with selection because we're gonna be using that a lot of these courses. All right, folks, good challenge. Let's go ahead and take the next step 7. Basics of pixel brushes : All right. Welcome back to a finicky designer. So we're gonna talk about brush adjustment this time and how these brushes being pixel brushes are different than vector brushes. So let's go ahead and open any workspace it. All right. So I've got the trial brush category that we made last time. I'm just gonna use this as an example. So pixel brushes are a completely different beast. So let's go ahead and click on the brush. So we're gonna go ahead and we're gonna long press and you get there by hitting Edit. Now, let's take a look at what we got here. You'll see you've got three tabs now, General dynamics and texture. Now, we didn't have texture in the vector brushes. This is new. So you see, we've got nozzle and texture. These are gonna be different, and we'll show you when you actually created texture. Brush how they're different. So let's go ahead and start with the general. Now, A lot of these tabs of the same you've got your size adjustment. You see how removing the size up and down that's your basic pixel size hardness is how firm or soft the edges are and of course, in shade er's in air brushes. You want soft edges. Flow is how fast it comes out. You turn up the flow and more comes out every time you hit the canvas. Accumulation could be thought of as opacity. So you'll see here, that is, I turned down. The accumulation becomes less opaque Spacing. Now this is interesting. Take a look a texture and you see that the texture is in black and white. If you come over here to the general tab and you turn up the spacing, we turn up the accumulation so you can see it. You'll see that the pattern begins to emerge. If you turn down the spacing, it begins to form a more solid line. So spacing is almost the distance in between the pattern. And then if you have this pattern, you can adjust the rotation. Now, when we do a round brush and a square brush later, in the next lessons, we're gonna show you how this works, and then you can change the shape of things. Now this pattern doesn't necessarily lend itself to changing shape, but a round brush, as you'll see in the next lessons, absolutely do now, you can said, blending modes on a brush. I never do. I like to play with blending modes in my own time. Now the exception to that is, when we get into the flame brush, we will set the screen on a flame brush. And then there's this thing called wet edges. Now edges tend not to build up like you can go over the stroke many, many times, and it will still just uniformly buildup. If you set wet edges, it will get very opaque around the sides. It's used in watercolor brushes a lot. Now let's take a look at dynamics. Dynamics are after you initially put down, say, the splotch or the pattern, how it controls things like size. So if you want to make a nice taper brush, turn up the size and you'll see that it gets real narrow at the tip. And then you have a controller for each of these, whether you want to control by pressure by angle by tilt of the apple pencil completely up to you. Now it depends on the type of brush you're making. If you're making a script, he type of brush, you absolutely want size variance if you're not, you don't want size variants. It keeps a uniform now, some of the ones that I routinely do. I routinely used the scatter in the X and the scatter and the why if I'm using a random pattern like a bouquet brush that we're going to be using later. Now when you set this, if you control through accumulation using state pressure, it will never overdo this settings that you put down here. So if you said that you want to control accumulation through pressure, it will not override the general settings. So the ones that I usually use a lot, I usually use hardness because if I want to press a little harder, a little softer to get a more firmer soft edge, that's one that I use all the time. I tend to use accumulation. All set a high accumulation here, Vario Paige. But because of my background is the tattoo artist. I do a lot of pressure control because the harder you press, kind of the more opaque it becomes. Sometimes you just want to whisper that in so you can play with all of these controllers, and it is three unique combination of the general settings, the dynamics and the texture that create a very interesting brush. Now, let me show you this. We'll do one and then I'll cut you loose here so you can do your own exploration. I'm gonna come over to my normal pen, and I'm gonna grab my large ink pen. We're gonna work in black now. I'm just gonna put down a stroke. Right. Let's go ahead and turn this bad boy up a little bit. All right? We're gonna turn that up a little bit more. All right? You see how it's pretty opaque right there? We're gonna crank this up to a ridiculous size again. Now, if I change the brush values which I know I told you never to do, we're gonna come over here. We're gonna edit him, I'm gonna turn up the pixel count, and then what I'm going to do, I'm gonna put on an accumulation controller. So we're gonna go right about here, and I'm gonna change it to pressure. Exactly what I was just showing you. So now if I press this very softly, you see how I get some very soft and some very hard edges, so if I press hard capacity, I don't press hard. Very, very say transparent. So that's kind of the accumulation controller. And if I just press hard, I keep getting a solid black, opaque line. If I just touch it a little bit now, I start getting a lot of play in it, and I can change the sensitivity by coming back into the brush, clicking on it It. And with the dynamic selected, I can absolutely change the pressure curve. So maybe we're impressed with light pressure. I do something completely different here. Well, okay. And now you see, a little bit of pressure makes it very, very opaque. I can come back into here. Let's go ahead and change it one more time. And I'm gonna come over to my dynamic. I'm gonna grab my accumulation, and I'm going to drop that curve. So it's really gonna take a lot to do this. So let's go ahead and check this out, okay? Now, you see that I'm not able to almost draw at all, so I went too far. Edit that out again. Again. Sometimes with these breast settings. You don't know how far you could go until you've gone too far. And there we dio and I'm pressing pretty difficult here with my Pampa pencil to try to get it to do what it needs to do. All right, let's go ahead and cut the lesson here. That's how you adjust to brush. Let's go ahead. Let's in the adjustment and let's actually make some. All right, we'll see the next lessons. 8. Adjusting Pixel Brushes : All right. Welcome back to a fitting designer. So this is gonna be our lesson on pixel brush is now. This is gonna be basic brush management. In the next lesson, we're gonna talk about brush adjustment. So let's go ahead and let's open up any workspace we want. Let's go ahead and open up. Doesn't really matter what the sizes. So pick a size. It works for you, whatever you want to do. All right, let's go ahead and make sure we're in the pixel persona. So you see that I just clicked over there, and now we're gonna make sure our brushes selected here, and we're to come over to our brushes studio now the brushes studio works just like the vector brush studio. You see that? You've got all your different brushes along this top area here. Now, if you wanted to make a new brush, it functions very, very similar. So let's go ahead. Hit the three lines. Let's go ahead and add a category. And now we're gonna go ahead and we're gonna rename the category. You've seen this show before. I'm gonna call this trial brushes and we had Okay, now here's a little hint for you because this causes people a lot of pain. When you go through, let's say that you go to the pencils and charcoal and you come down and you want to grab this mechanical pencil right now. If you wanted to adjust it, here's what you have to do. We're in a long press on it. Make certain you duplicate it. Now. Where did it go? Come down to the bottom of the stack. You see brush copy. Let's go ahead and click on this. Let's rename it and let's call this try align Mechanical. All right, perfect way It goes now, once we have trial mechanical here, let's go ahead and long press on it one more time and now we move it to our trial brushes. Now where to go? Come on over to the trial brushes. And there it is. One thing. I want to make sure that you guys understand about brushes. If you make adjustments to the original brush and you turn off the iPad, let's say the brush is still remember where they were, so you're not gonna be able to get back to default without reloading affinity? Designer. So my best piece of advice for you to save yourself a lot of heartache and headache. Make certain that you're copying the brushes before you make adjustment, because it's not a simple is going back. So now you know, how do you create a new category? You know how to rename a new category, and then you know how to duplicate a brush and engage in best practices when duplicating a brush to move it into your new category. All right, let's go ahead and cut this. Listen here. There's not much more to say. A broad brush management and let's go ahead and get in a brush adjustment. All right, we'll see in the next one. 9. Importing and Exporting Brushes : All right. So let's go ahead and finish up this pixel lesson by talking about the last little thing, how to import and export brushes. Right? You made some amazing brushes. So I'm gonna show you how do export to go up here and you go to export. And it's his trial to affinity designer brushes. I'm gonna go ahead and put mining Dropbox. I'll tell you what. Affinity designer and the iPad. The iPad lives and dies on Dropbox. Okay, I've done this before, so I'm gonna replace the existing item. You're good to go now. When you go to import, this is key. We're gonna use Dropbox to import brushes. So how do you do this? Were to come to Dropbox. And in your downloads, we included smoke and fog brushes, seven seasons studios, affinity photo brushes and what we're gonna do here. We're going to click on the three little dots and we're gonna go ahead and we're gonna export and we're gonna open with. And now we're gonna copy them to affinity Designer. Now, what's going to happen now? See if we Adam in here. So we go to import brushes, we go to Dropbox and Now what we're gonna look for is we're gonna look for the smoke brushes now. Smoke and fog brushes. Seven Seasons studios go ahead and download downloading for my cloud at Pau. There they are. All right, folks. Have a good time with those. Dropbox will be your friend when it comes to importing brushes. It's not as clean as it could be on the desktop. So that's how you export. That's how import had a great time in the pixel section. Did some amazing art look forward to taking the next step? All right, we'll see the next one. 10. Making a bokeh brush: welcome back to offended the designer. So I know what you think is we go through some of these brushes, right? Well, now I'm gonna create custom textures and it's a super heart. Think do I'm gonna show you how to create a basic balk. A brush using Onley the round brush. Now what is okay? That's a simple light brush that used to show some glow and some radiance. When we created, you'll see exactly where it's used. It's using photography all the time to kind of highlight subjects and to create this really cool out of focus fuzzy effect. Now, you can replicate that here with this brush. So let's go and get started. I'm still in the trial download here. I'm gonna come over here and we're gonna go ahead and insert a new round brush. Now I'm going to begin with the spacing, so I'm gonna go ahead and crank this spacing up quite a bit, and then I'm going to turn down the accumulation, and then I'm going to also want to turn down the hardness. So I'm gonna want thes things to be very, very fuzzy, so I'm gonna turn that down almost to zero turn the accumulation up just a little bit. I'm turned down the flow to right around there. Probably 86 87 somewhere in there. All right, so you see what we've got going on. Now we're gonna move to the dynamic stab and part of the bouquet effect is changing up the hue and we're going to go ahead and just randomize that we're then going to come up and scatter. We're gonna go ahead and crank that up entirely. Not What's that going to do? It's going to scatter the preview. Look at the preview. That happens, your head will go random. You see how it took that preview window and made it random? We're also going to scatter in the why? I'm gonna crank that all the way up and we're gonna make that random. Now, we're gonna come over here now and we're gonna go ahead and change up the luminosity and we're going to go ahead and make that random as well. Part of Brok is about making these random things Now. You see, when I adjusted luminosity, some of the little areas went gray. Some of them went bright white. That's absolutely going to show up when we go down this path. Now, let's go ahead and crank the size. Now, I'm gonna want to put some extreme size variants in there, and I'm gonna want to go random there too. So I think that I'm in pretty good shape. Now, let's look at this. We've changed the size. We've adjusted the Hugh. You know what? I'm gonna go ahead and take that off, actually, because I want to make sure that I'm controlling the colors that I'm using. I want to make sure the scatter in the X and Y is on, and I want to make some adjustment toe luminosity. Notice that flow really doesn't matter. Shape. A hardness was already cranked all the way down, so I think we're in pretty good shape there. Let's go ahead and hit. OK, Now, in order to check this, there's ARB. Okay, brush. Let's go ahead and rename it just so we know. All right. Perfect. And now this is gonna show up most effectively on a black background. So let's go ahead and make the background black. To do that, we probably need to put in a pixel air. All right? Black background check. So now come up to the brush, grab the brush, grabbed the book a brush. And just to kind of illustrate this, let's do something. And kind of like a purple vein there. I think that we can adjust it from here. All right. And the brush size. I'm gonna go ahead and I'm gonna crank this up a little bit if I have to. Yeah, We gotta keep doing that. Let's do this. Let's edit that. We forgot to change the brush size. All right, there we go. Let's go ahead and go anywhere around 1600 pixels or so. And then what I want to do. I think we're good there. Alright, let's try this. Okay, so that looks actually pretty cool. Let's go ahead and see. We can't make it a little more dark here, huh? Now see what we're getting. We're getting a lot more opaqueness than we originally wanted, so we gotta trialist brush a little differently. Let's come into here. Bring this in, added the brush, and let's crank the flow down to maybe 20% and drop the accumulation down to maybe 30%. You could have adjusted the opacity and this is gonna be a fine adjustment of guests and check folks. There is no going to be no perfect here. You just have to go through. Let's put a pixel air down. And then what I'm gonna do ever to just come up here, I'm gonna lock that layer, and then I'm gonna add a pixel layer so that we can play with it. Come over here and let's grab our new book a brush. There we go. That's a lot better. You see how we're getting some variants here? Now we can mix this in with maybe some greens and you see how we keep the colors consistent . We can almost just keep the variants where it needs to be, as long as we keep the hue where we want it. So we got the purples, we got the greens. Let's throw in some pinks here. That's actually really cool. I'm very happy with that. So that's a nice looking book, a brush six minutes on the video and this brush along with the rest of the brush that will be available for your downloads here. So give it a shot. You guys in the next lesson are actually gonna make a five brush downloadable set. And then we're going to show you here as we go into the next lecture. How to make some custom brushes for the large project we're gonna do. All right, We'll see in the next one. 11. Making a 5 brush set challenge : All right, gang, welcome back to the challenge. So this is gonna be about creating a five brush set in order for you to export. Now, I don't watch to drop your affinity photo file anywhere or your affinity designer file anywhere. But what I would like you to do is create five brushes that you would want to export and share with users and then create a piece of art using those brushes. So depending on what you make, I'm really interested to see what you create. This is in an attempt to get you comfortable with making brushes, exporting them because, quite frankly, brushes are big business. So if you have a set of brushes that you like, you can absolutely create a sellable asset later on as you grow as an artist. All right, let's go and get into the challenge. I look forward to seeing what you make, and then we'll get into some more technical. All right, have a good one. 12. Making a basic round and square brush : All right, gang, welcome back to designer. So we're talking about pixel brush is right. The last lesson we went through kind of what a pixel brush was the basics of creating a new the area. So now let's talk for several lessons now about creating new brushes. And the cool thing is, you're actually gonna make a couple. So let's go ahead and make a new round brush. So we're gonna go ahead. We're in the trial category that we picked up before gonna come in here and we're gonna go ahead. And now we're gonna add a new round brush. Now, a new round brush is as simple as it gets. And we're going to explore a lot of these manipulations in the context of making these brushes. So when we go over here, let's start with texture notice. Here, you got zero nozzle. Zero based extra around brush is a brush in its purest form. So texture is a non issue, usually in a round brush, so you could increase the size. I'm going to go ahead. I'm gonna tap on the circle and I'm gonna make this a default. 100 pixel by 100 pixel round brush and I'm gonna go on to go ahead and make it a little less hard. So maybe we'll go around halfway middle of the way. And now I want this to be kind of a soft brush because I don't want it to be really, really pronounced every time I put down a stroke. So let's go ahead and lessen the flow. Now, the accumulation, as I covered before the accumulation is a fancy $7 word way of saying opacity. So if you crank it down, you see what happens to the opacity. And then the interesting thing is with spacing, I want to show you how spacing in shape relate. If I addressed this sheep right now, you see that it takes the roundness and it turns it into ovals. Now, if I increase the spacing now, what I get is a ton of ovals, so that actually might not actually work out too bad. So what we're going to do here is we're gonna go ahead and turn the spacing backup. I'm gonna go ahead and I'm gonna make this shape back to round. And then what we're going to do is, well, let's go ahead and reduce the spacing back. Let's go ahead and reduce that. And let's go ahead and move the rotation. Kind of in line. We're gonna make a really cool kind of seem sort of brush, right? Something that we could have used in that plaid texture project we did. And then what I'm gonna do, I'm gonna go ahead and cranked back up the accumulation, All right? I think that we're in pretty good shape there. No pun intended now, dynamics. I'm not gonna go ahead and set the dynamics on this one. I want the size to be consistent because I wanted to represent stitching. I want the accumulation and everything else to really remain consistent. So in terms of size, this one's gonna be pretty much done. We're gonna go ahead and we're hit, okay? And let's go ahead and try this bad boy. And it's exactly what we thought it waas. This is a basic round brush. Now let's go ahead and make another one. Come on up here. Go to the brushes. Click on the brushes. Let's go ahead. Make a new square brush now a new square brush. Very, very similar to what we saw before again. You've got the same modifications you've got the hardness that could be adjusted. You've got the flow that can be adjusted, and then you've got the accumulation. What I'm gonna do now is I'm going to manipulate the shape on this one to here in order to make it that kind of area. And then what I'm gonna do is I'm gonna increase the rotation a little bit to really give it some perspective. What I'm really going for is that weird kind of perspective. Look, And now I do want to set some limits on this. Now, watch this. We come over to dynamics, and I wanted to be either more or less opaque, depending on how hard I press. So I'm gonna go ahead. I'm gonna crank up the size to about half. I'm gonna then change to pressure, and I'm gonna keep that exactly the same. And then what I'm going to do here, we're gonna go ahead and we're gonna crank up the flow also based on pressure. So you see what that did to my preview? And lastly, I'm gonna crank the accumulation to about 60% and I'm gonna base that on pressure. Now, I think this by the preview is gonna give me a really cool look. So let's go ahead and hit. OK, let's check this out. And I'm gonna want to maybe do this in kind of an orange. Let's do it in kind of a red sea we get here. That is pretty cool. I really like that. So that's a basic type of square brush. Now I'm gonna show you how to do something a little bit different. Let's go ahead and edit it. One last thing on this lesson here were to come over the to the dynamics, and I want the hue to shift. Now, here's the cool thing. I'm gonna go ahead and put this up at random. All right? Perfect. Now what does that do? Let's say that I start off with Green, so let's go ahead and wipe out everything we've got. And then I'm gonna come over. I'm selecting my brush. I'm gonna crank up the sides on this brush and look at the rainbow pattern that's created randomly as part of turning up this you. Now, by press lighter, I get less saturation. If I pressed darker, I get heavier saturation. This is a lot of fun, folks. So you see how you could take a very simple square brush, Modify the spacing a little bit, add in some dynamics. And even with something as simple as a square, a circle, create two brushes that could have applications in different areas of art. All right, let's go ahead and cut this one. In the next lesson, I'm gonna show you how to actually make a brush that you're gonna want to use. All right, we'll see the next one.