All About Brushes in Procreate | Jeremy Hazel | Skillshare

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All About Brushes in Procreate

teacher avatar Jeremy Hazel, Education Through Creation

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

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 (1h 2m)
    • 1. How to use the course universal

    • 2. Brush Adjustment v2

    • 3. Make a Bokeh Brush

    • 4. Make a Lining Brush

    • 5. Making a Brush from a Photo Comp

    • 6. Preparing a Photo for a Texture Brush

    • 7. Make a Texture and Stamp Brush

    • 8. Exporting Brushes

    • 9. Hannya Inking 1

    • 10. Inking 2 finished

    • 11. Inking project 3 finished

    • 12. Thank you video

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About This Class

This course is all About brushes and line art in the program of procreate, we explored the more advanced settings of brushes and actually take you through how to make your own from photographs and your own samples more relying on anyone to make your brushes 

  • How to adjust a brush using presets available in the library 
  • How to make various types including lining and stamp brushes 
  • How to make artistic brushes for your photo work like Bokeh brushes 
  • How to take a photo you shoot , make the shape and texture from it and create the lining brush you will use in the final project 
  • We take all of this into the final project and show you how to tell the story of the image using only line width and advanced techniques like adjustment of "fall off" 

Included with this course you will get 

The 7th Season Studios brush pack...including 

  • Liner Brush
  • Bokeh Brush 
  • Lining Brush 
  • Elephant texture brush 
  • All of the images you will need to make the exact brushes I use 

At the end of this course you will have enough brush knowledge to confidently begin creating your own brush packs for sale and trade with  other procreate enthusiasts

Meet Your Teacher

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Jeremy Hazel

Education Through Creation


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1. How to use the course universal: all right, Jerry Hazel here for Seven Seasons Studios and thank you so much for taking a look at her series, of course, is here on skill share. Now we created a series, of course, is to take you from knowing nothing about procreate all the way to being absolutely procreate, proficient through a series of bite size projects. Steps. So the course you find yourself in that you've enrolled in Maybe somewhere in the middle of that Siri's. Don't worry. We've included all of the techniques at the front of the Siri's in order to get you to the project that we working with in each area. But we do assume that if you're in the intermediate techniques, let's say that you understand the basics of digital painting and procreate, so you find yourself a little bit overwhelmed. Don't worry. Check out some of the other courses, see if the technique you're looking for is in those other courses. They are all published on skill share. So the way that we start you out, we start you off in the quick start guide to procreate, which then flows into the basics of painting in procreate, where we begin doing things like glaring and making the cherry blossoms that you see on the screen. From there, we take him into all about brushes where we make shade, Er's and liners, and we show you all about brush adjustment, how to import how to export. Then we take you into intermediate techniques in which we build this really cool rocketship project. And then we kind of round out the Siri's by looking at what's called a flat scape, using advanced techniques like perspective, depth of field and applies from different adjustments through procreate. So whether you're brand new, whether you're really experienced and you're just looking for this really cool project to do certainly hit us up. And if you find yourself overwhelmed, go ahead, send us a Q and A will figure out where it isn't a Siri's and we'll get back to you now when you go ahead and you begin this lesson when you go ahead and begin this course, all of the resource is that you're going to need and all the reference vials are included in each course, so you don't have to go looking. Just go ahead and look below this video. You'll see a class projects area and all of the resource will be included there. All right, so on behalf of said and see the studios, thank you so much for checking intercourse. Let's go ahead and get into it. 2. Brush Adjustment v2: All right, gang, welcome back to procreate. So this is gonna be our second lesson on brush adjustment. Now, it is not possible to go through every single panel of the brush adjustment in a way that leads you to understand brush adjustment until you make a So what we're going to do here is we're gonna cover. This is the second of two we're gonna cover the shading now. We already covered some of the adjustments, like spacing and such and other videos. And you see that you have common themes, like when you do a stamp brush, you might use a spacing and you might use the stamp preview. Whereas when you make a shader, which is what we're gonna make here, you'll really be using a lot of the apple pencil functions in that menu. So let's go ahead and create a new brush. Now we're gonna add a new brush. We're going to create a shape from the library, and when I do, she aiders. I like to use kind of a square shade. So we're gonna go ahead and the shape sources literally gonna be called shade, and then we're gonna swap the grain from the pro library. We're gonna go ahead. I'm gonna use a soft wax texture. OK, now let's go ahead and title are brush. We're to call this Shader one and done. So you guys already know how to do this? You guys are pros at this, So let's go ahead and work left to right spacing. I'm gonna go ahead and turn spacing down and I don't want anything else. Really Hear the stroke Taper for a shader I don't really want Let's go ahead and take a look at the shape behavior now. I don't want to scatter it. You see, kind of how this changes the entire game there. I don't want to scatter it, and I really don't want it to rotate around for the grain. So I'm gonna go ahead and leave it right about where it is, give or take zero, The shape properties I'm not really worried about. I don't really want a randomized shape. I want to know that I'm putting shade where I'm putting it. Let's go ahead and jump over to the grain Now, the grain behavior. It's kind of a round grain. So what you're gonna want is you're gonna want very little movement in this grain. So I'm gonna go ahead and go grain movement almost next to nothing. Now, what is that going to do? What that does is it says, don't roll it, just stretch it. So if this thing runs from one end to the other, it will take that round image and it will stretch it across. No scale. We're gonna go ahead and we're going to scale this up just a little bit. I want a little bit of dynamics in it. You see how I've got these dark pieces? If I scale it up until there's nothing that's not gonna make for a good brush So I'm gonna go ahead and I'm gonna scale it this way. I don't want the grain to rotate. It really isn't important to me in this particular application. Now I always turn filtering off when I go ahead and do this. Now, what is filtering folks? Filtering refines the grain Now. I wanted to be granular. I wanted to be a little bit Let's say vague. So let's go ahead and do this. I want to show you how this works. I've got black. I've got my opacity down. Let's go ahead now and put a little bit of grain down here. A little bit of shade and you'll see how at a very high level it's going and crank this now , even further. You get this really firm line right here. Okay, Now, let's go ahead and unfiltered. So now I'm gonna put this side by side. You see how it's a lot less saturated. So now when we do this part, come back over here, go to the dynamics. I'm gonna keep it on normal. And now I'm going to work with the apple pencil for shade er's for things that are pressure sensitive. This is going to be one of your most important panels When I press harder with the pencil, I wanted to effect capacity because when I press harder, I wanted to be more, uh, more sensitive. Now size. When I press harder, I want more size and softness. When I pressed her, I wanted to be a little softer. Now let's check out how this is working for me. Oh, that's really nice. Let's go and press hard. There we go. All right, Now we're getting somewhere. That's a nice Shader starting to turn out real nice. All right, Now, let's go ahead and tilt. This is one of my favorite things to do the way that I draw because I'm a traditional artist that became a digital artist. I like to crank the size up, and I like to crank the opacity up when I angle this pencil. So watch what happens with size Will do one of the time. Watch my cursor. Here. Now on holding at 90 degrees, You see him what my cursor is doing. But now I'm gonna go ahead and turn it. You see, Now my pencil is almost laying directly on the iPad looking How big that, IHS that's going to allow me to really work this thing through. And now, as I move my pencil back toward 90 degrees, I'm back to a regular shader. That's the trick on the apple pencil tilt, folks. So I'm gonna go ahead and turn my size up, and I'm gonna go ahead and turn my capacity up, because as you tilt the pen, you're not going to be able to get as much. So that is the difference. Look at that. That is running on the side of this apple pencil. And now, as I move my cursor watch what happens? I move my pen back. Now I'm back to opaque and I move it to the side. And I'm back to what I would British what I would consider a traditional charcoal. All right. Now, in terms of properties, the generic brush behavior smudged that all the way up size limits were going all the way up to 100%. And I think we're in pretty good shape there as it relates to a shader. All right, folks, hope you learn a little bit of something. I've included this shader as a download so you can see exactly what I did. And hopefully you've learned a little bit about the brush adjustment panels being what filtered versus unfiltered means when it comes to grain and some of the adjustment pads for the pencil. All right. Folks will see in the next one have a good time 3. Make a Bokeh Brush : All right, folks. Welcome back to procreate. So in this lesson, were actually gonna make your own book a brush. Now we gave you able k brush. That was in a previous lesson from seven season. But what we're looking to do now is part of this course is teach you how to make your very first brush. So let's go ahead and procreate and let's go ahead and just bring up any old in untitled artwork. Doesn't really matter. All right, so we're just going to start with square canvas. And now when you go to brushes, you know how to create a new category. But let's do one for yourselves. Let's go and create a new category. To do that, you swipe down and let's call it brushes I made all right? No. Now I gotta undo the entitled set rushes I made. All right, Cool. Now let's go ahead and add brush to that. Let's call this the okay, brush. Now, this is where you get all those soft circular lights, right? So we're gonna show you how to make the brush in order to do the project. Now what we know to be true here all brushes have a shape and a grain. So the very first thing you want to do is pick a shape source. So to do that, let's go to insert photo. Now, to pick a shape source, you could create a custom photo. I'm just show you how to do that later. But we're gonna go ahead and use the library. So let's go here and pick one from the library. All right. So we're gonna wanna make cut a round brush, right? Cause thes bo K lights are very, very soft. So let's grab one that I'm going to say is a medium. All right, so there's my shape source. And remember, black conceals white reveals. Now we need to select a grain. So we're gonna go, and we're gonna go to the pro library, and we're gonna pick kind of just a regular old grain. I'm gonna go with, um, one that kind of looks like on a blank. Let's go blank. All right, so this creates an untitled brush. Now we're gonna come up here. We're gonna call it the book a brush again. I don't know why that didn't hold, but it didn't. Okay, now, when we click the book. A brush. Take a look at the source. You've got your source in your grain. We're good to go now. What I'm gonna have you do is we're going to come over to the stroke properties. I want to crank up the stroke spacing until we're right about here. And now, What did we cover in an earlier lesson? You remember we did some things with adjustment. Let's go ahead and turn up the Jeter. So Jeter is gonna begin spreading these things out. This is really what's going to give you that a nice effect. So we turn up the spacing, return up the jitter. We do not want to adjust the streamline or the fall off. That's not what we want. And we certainly don't want tapered stroke. Now we're gonna want to turn opacity all the way up and size all the way up. And now let's go to shape. Now this is key. Let's go here to shape and we put down this shape, we're gonna scatter it. We go to grain. Grain isn't gonna matter because it's just white dynamics. This is an interesting one. You can change this speed to adjust to the opacity and the jitter to also adjust capacity. Now you see what happened? My preview. You can also adjust speed and a Geter for size pencil. We don't have to really mess with any of the pencils. And now size limits. We could go as big as we want now. I wouldn't make it too large, right? You don't want to put one on the page and have it just blow out capacity limits. It goes all the way from high opacity. Too low and size from about halfway to nothing. No sources. Good. Let's give this a shot. So we're gonna do a black background, bring in a black layer. Now, what we're going to Dio is we're going to grab the book, a brush that we used. All right, I'm gonna turn it all the way up, and I'm gonna create a very contrast ing type of color, and we're gonna begin touching it. Okay, Now I'm moving my pen around the screen here to get an idea of what we're doing. I want to make some adjustments on coming back over here. I'm going to stroke, and I will put the spacing down similar to that. There we go. All right, let's go ahead and clear that out. I made a mistake on that. I should have created a separate layer. My bad. All right, let's create a new layer. All right, Now bring this in. And now that's looking pretty good, but I don't like the heavy opaqueness of this, So we're gonna come back into horrible K brush, and we're going to drop down the opacity of it a little bit. And when we go to the general tab, you see that we've got the dynamics for rapacity gonna bring 20 and in general, we're going to go to a maximum of capacity of about 70%. All right, let's clear this out. Let's see what happens now with the behavior. All right, now that's a little bit even too much now. All right, let's raise the opacity limit up to about 80%. Clear it out. And, folks, this is how you develop brushes. You try some stuff and you see what's working and what's not. Okay, so I think that I'm pretty good here. So now let's go ahead and do this. Let's go ahead and clear the layer and Let's actually try let, like we're actually going to use it. So putting down a couple of these lights All right? Now, let's go ahead and change this up just slightly. Let's go ahead and make this a little bit greenish about. What's that? In a little bit of yellow? I wanted just a yellow tinge light. I don't want it to be overpowering. All right, so I think that's a pretty good book. A brush. Congratulations, folks. You just made your first brush in procreate. All right, In the next lesson, I'm gonna show you how to export this so you can share it. All right, we'll see the next one. 4. Make a Lining Brush: All right, gang, welcome back to procreate. So in this lesson, we're gonna go ahead. We're gonna look at some of the adjustments and how you create a good lining Brush in procreate now lining brushes. If we go to the menu and we take a look at the inking brush, procreate already comes with a few. But I want to show you how you can use simple adjustments to create different lining brushes. So let's go ahead and add a new brush. Now, let's go ahead and select a shape being again. Every brush comes with shape. I'm gonna go ahead and I'm gonna use the medium brush because in aligning brush, I don't want the edges to be super fuzzy. And then when we work on a grain, you can use any grain you want. But for my lining brushes, I like to make the lining brush grains relatively smooth. Now, depending on what your artistic need is for these, you go through and create your own. I'm gonna go ahead and use some that are fairly smooth on this. So I'm gonna go through and I'm gonna pull. Oh, I don't know. Let's grab the concrete. All right. Perfect. Now. So I've got the medium shape. I've got the concrete grain but my brush doesn't look anything like a lining brush So this is where we really work with the streamlined We turn that bad boy all the way up to begin with And now we make sure size is maxed out And we increase the taper on the start and we increase the taper on the finish. All right, now we can even drop down the size a little bit of we wanted to, but I recommend to keep it all the way up in terms of general keep your size relatively small. All right, so we've got spacing set to almost nothing Streamline all the way up size start an end all the way up Now again with any brush, folks, you gotta try Elit. So let's go ahead, crank this bad boy all the way up and let's see what we get. Okay, I like that. Let's go ahead and crank it down and see what we get. Now what I might do, I think, streamlines up a little bit high for me. Wait and crank it down about 85 again. This is just the way that I work working on some of the flowing strokes that I would have in there. And I'm looking at the points, seeing how the points there when I turn around, all right. So when you're relatively happy with that, you go into the brush panel and we can call this lining brush to now. There's some really cool stuff that could be done. Let me show you what you might adjust on this and again. There's a an entire lesson on different adjustments. But if you go in here and we go to, let's say, Oh, I don't know, Let's go with the general right? All right, So now if you come in and you decide to go to stroke editor, go back to where I'm going to make this adjustment. So now if you come in and go to stroke and let's go ahead and increase the fall off now you see what this begins to do to the brush. This is a really cool effect. Let's say that you're working on kind, some kind of a calligraphy where you want all the lines kind of disappear. Watch what happens with Fall off. Now you've seen the brush before in action. Let's go ahead and clear it out. And now let's go ahead and you fall off. This is a nice way to watch your lines go into oblivion there. And if you want to increase it, turn the fall of off until you get these really short lines. Now, if you want to shrink that, go out and then it will give you a longer life. This one goes on forever, Right? Up until when does it run out? Right about there. All right, so I'm gonna go somewhere in between here. I want a little bit more fall off than that, but I don't want it to go on forever. Yeah, that to me, that's a good lettering lining brush there. I'm getting a good, smooth line. I'm getting a very natural line. It looks kind of charcoal e. I'm very happy with that. Now, if you don't like the way that looks again, you come into the brushes, we can go to the source and let's say you don't like that grain. You can swap it out from the Pro library again and we can do a green source. We can even make it. Let's just do a standard Old black. Just a white one. Look at that. Go! Here we go. That's a sexy brush. All right, folks, I hope that helped out. I hope now you gotta lining. Brush lining brushes really are a function of the streamline the taper, the max size and then depending on the look you want for your lining brush, you can adjust the fall off and the green type. All right, folks, that's it for lining brushes. Let's go ahead and get on to the next lesson. 5. Making a Brush from a Photo Comp: All right, gang, walk back to procreate. So in this lesson were actually going to take a photo from nature, and I'm gonna show you how to make a brush shape out of it. So we talked about the idea that a brush has both shape and grain. We talked a little bit about the grain part, and we talked about the shape a little bit. Now I'm gonna show you how you can take any photo using Onley procreate and do this. So let's go ahead and start by grabbing a square canvas. Remember what we learned about brushes, folks. It's always, always, always a square. And now, if you go into the resource is for this lesson, we're gonna go ahead and we're gonna insert a photo. And I have given you a photo that I took off a piece that I found in my yard. So we're gonna go ahead and we're just gonna blow this bad boy up. Now, if you wanted to, you could make sure Magnetics air on so that you keep it right in tight. No. With this selected, we're now going to grab our freehand selection and we're going to trace out around this shape. Okay, so the shape is kind of neat from she can find a lot of shapes in nature that you can do things with. Now you remember down here on free hand, there's the two lines down here at the bottom to see the free and selection. Let's go ahead and tap that. And now what's happened? It's made it a new layer. Okay, so what we can do here we go and delete this were done. Problem solved. Problems stain solved on this one. Now let's go ahead. Now let's create a new layer, drag it to the bottom and now you remember that black conceals white reveals. So you really want to break everything down to black and white? So let's go ahead and put this now down on a black canvas. Let's grab our selection and let's move it front and center, right, move into the middle. Now colors don't show up, right? Everything is a shade of gray. So what you're gonna want to do to begin with here, you're gonna want to do an adjustment. Now, how do you decide saturate a layer? You know this go to hue, saturation and brightness and d saturate this thing. All right, Now this is critical. Take a look at this. We're gonna come up here now and I'm gonna show you what to do. You're gonna come up and you're gonna share, and you're gonna export it as a J peg. Save it as an image. Okay, Now you say. Well, Jeremy, you got all these greys in there and everything. You're gonna want this later. You can make multiple brushes with the exact same image. Now on the other side, What you're gonna want to dio is with this layer selected. Let's go ahead and select that layer. Oops. Make sure automatic is on. Go ahead and select it all. Grab this and flood. Fill that bad boy. Now, when you do this part, we can Then come over, grab our hard brush, make sure that you've got white selected and scorched earth on this thing, right? Make sure you got the whitest white selected. All right, so now you've totally de saturated it. You've scorched earth. This thing is ready to go now. Let's go ahead. Go to J Peg. Save That is an image. Very different brush shapes you're making with this. Now we're going for triple points. Here. Watch this. Now, let's go ahead and add in ago, Shin Blur. Now we've got kind of a fuzzy edge on it, and that's a completely different brush shape. So let's go ahead and say That is a J peg image. All right, Cool. Three different shapes made from nature. Now, let's go ahead and go to our gallery. And now you've got to try all these things out, right? So let's go and make some brushes with it. We're gonna go ahead and we're gonna grab a new canvas. We're gonna make it a screen size. Awesome. Now we're gonna go to brushes. We're going to create a new category. Now, you guys not do this. Swipe down on the category. New set. Let's call it leaf brushes. Now you'll use these later in the course. Make sure you get all those there leaf rushes. Okay. Now, I've included all three of these, also as a brush download attached to this lesson. So when you're done, just go ahead and return. Let's go ahead and create a new one. Now the very first thing you dio let's call it leaf brush one. All right, Done. Now we're gonna insert a photo, go to your photos. Let's go ahead and grab this gray one here. Ah, clicked over the untitled brush will fix itself here in a little bit. All right, Now for your grains, I'm gonna go ahead and just pull out of the photo library. I think that Oh, I don't know. I kind of like the rough charcoal. Look at this. So let's go ahead and do that course charcoal. All right, Now we're gonna make this aligning brush, so let's go ahead and call this leaf one. And the way I really want to do this is I see this as being a sweeping, tapering type of brush. So let's go ahead and do it this way. Now, let's make it black. Let's go ahead and take a look at how this works. Well, that's nice. Yeah, that's really nice. Now, if you want to adjust it, you can go through. There's no end taper. So I might have an in taper down and we clear it. Okay, so let's go ahead now. Yeah, that's nice. All right. So let's make a second brush. Now. We're getting back to brushes. We have leaf one. Let's go ahead and make another one. Now, This time, go ahead and insert a photo. This time, let's use the hard image. Now, for purposes of grain, I'm going to just show you how the same shape sources or how the same grain works with different shapes. Sources. So I'm gonna pick the same green. You don't have to. All right? So I'm gonna grab the course charcoal, because that's what we were working with before. I'm going to taper the beginning in the end, same as we did before. And now let's just see what the difference is in terms of the line. It's a much cleaner line. You see the difference in the fuzziness right there versus the Christmas, right? They're very, very different. All right, so now let's go to brushes. Let's go entitle. This will call this leaf too, and done. All right, Now, let's go ahead and do 1/3 1 Folks, you've seen this show Insert a photo this time, we're gonna use the really, really fuzzy J Peg one. And we're going to swap from the photo library and we're going to go down. Teoh. Ah, concrete texture. Course charcoal. We're gonna go up. We're gonna go up and turn my streamline on. I'm gonna call this leaf three and done. Okay. Now, let's see what this one does. Very different side on this. So wrapping up this lesson, folks, you now have a new brush category, complete with three sweepingly brushes. And now you can play with these by adjusting the grain and adjusting the shape in order to get the brushes that you really like. What I would recommend you do, parrot down the two. And those are the two that you're gonna take into the lining portion off this course. All right. Folks will see in the next ones. Have a good time. 6. Preparing a Photo for a Texture Brush: All right, gang, welcome back to procreate. So this is one of most exciting lessons in procreate. This is gonna be our lesson on texture brushes. All right, So what I'm gonna show you how to do is take this elephant texture, which I've included in the downloads. I'm gonna show you how to create a brush out of it. So to do that, let's start out of their gallery. Let's go ahead and grab a square canvas. Now, one of the common things here. The bigger the canvas, the better your texture is going to be. Now, the texture sample that you've got should be, Ah, high resolution. And the canvas needs to be square. So let's go ahead and import the image. So we're gonna import a photo. We come over to our photos and find the elephant texture. All right. Perfect. No. One of the things you're looking for. A good texture needs to be evenly lit. All right, so you see here on a point to it, you see where it's not really evenly lit. It's on these sides there. That's gonna lead to a very inferior texture. So well, we're gonna dio we're gonna go ahead and we're gonna import this bad boy just like we did before. All right? And then you're gonna blow it up until you get a good, nice, even texture out of there. I think that is going to work. Just fine. Notice how I cut out a lot of the under lit in the over lit stuff. All right, so once you've got this on here, go ahead and kill that transformation. Now what we're going to dio we're going to use to adjustment layers were gonna de saturate the thing. Now we're dealing only in black and white, right? So when you do this part, make sure you're in black and white and then you're gonna add a curves adjustment. Now the curves adjustment make sure you're set to composite strength that bad boy over here and then turn this all the way up going all the way up. That's right. I just did that. Okay. And I think we're probably good right in there. Now, the thing you want to remember about this black conceals white reveals. So what you're gonna want, inevitably is you're gonna want to invert this texture eventually. So let's go ahead now. the curves adjustment is done. All right, now what you're gonna want to do, you don't own break up this texture a little bit because you don't want it to look square. So to do that now we have to paint on the white. So we'll grab our white color. The whitest white we got right, the pure white. And then we're gonna pick a brush that really doesn't have a lot of uniformity to it. I'm gonna go ahead. I'm going to use this fat nozzle, and then I'm going to go around the edges of this thing. So I'm gonna strength this bad boy down, and I'm going to drop this down. I'm gonna crank up the opacity, and I'm going to begin clipping away portions what I want to do. You see, I'm breaking up the uniformity of the texture. Okay, this is key. This is how you avoid getting that square look to your texture and you want to make sure your star quite right. Okay. So I think we're pretty good there. So the key to a good texture brush, folks prepping the right image is the contrast. So you know how to get the contrast, you know how to choose an appropriate texture. You know how to de saturate it and you know how to break away the hard edges of this contrast. Now, in order to do this, we're now going to take the next step. You come over here to the wrench, you're gonna share it, and you're gonna save it as a J peg. Then you're gonna save the image. That's all you got to do. All right, Now, here's a pro tip. Keep this file. Because if you make the brush and you want to adjust to the texture, you want this file to be there. You don't wanna have to redo it. Alright, guys, let's go ahead and take the next step will show you how to actually make the brush out of this bad boy. 7. Make a Texture and Stamp Brush: they are a gang. Welcome back to procreate. So in this last lesson, we went through and I showed you how to prep an image for a texture brush. So in this lesson, we're gonna go through. I'm gonna show you how to actually make this work. So let's go ahead and get started. All you got to do is bring up any image. Right? Screen size is fine. And then we're gonna come over here and we're gonna go to brushes I made. Now we're gonna add a new brush, and all brushes have shape. So let's go ahead and out of shape. I go into the photos. Now, this is the brush that we went through before, right? And I loaded in the image that we just did see all the edges of broken up, this the texture that we used. And now we need a green source. I'm going to go ahead, and I'm to keep this grain relatively grainy. If that's an actual term, I'm gonna go ahead and I'm gonna change it up. We're gonna go ahead and do something, maybe in a zombie texture. All right, Now what we're gonna do here, we're now going to go to shape when you make a texture brush, you're going to want to improve the spacing up to a substantial level and then in the dynamics, always like to turn my size all the way up. Okay, so size up, spacing up the same works for a stamp brush. I'm gonna show you how to do a stamp brush as soon as we're done with this. So there's actually two in this lesson. Let's go ahead and pick kind of a mid tone grey and let's go ahead and flood fill this bad boy just like that. Now we're gonna add a new layer. And now what we're going to do on this new layer we're going to drop the size of this bad boy. So let's keep it substantially different. You see the contrast in the size we come over here and now let's go ahead and trial are brush. So we're gonna go ahead and crank up the size. It's gonna lay that down. Now, why does that look like that? That doesn't work for me. You remember? Black conceals, White reveals. Let's go to our brush. Let's check out the shape and see why we're doing that. Now. Let's do this. Invert the shape. Hey, that might actually work. Now you see where the white is. That's what's gonna come through. Now, let's go ahead and pop this thing in. Now that we inverted it, that's a lot better. Okay, so black conceals white reveals. And so now I have a texture brush that I actually like. All right. Now you can go through and you can really drop this thing down to a black. Now, watch this. We're gonna go ahead and crank this bad boy up even further, Okay? So I've got pretty good texture now. Now, check out the power of the blend mode, Come down in here and because we're on a separate layer, you can change the different blend modes you can color burn it, you can multiply it. But now let me show you what else you can dio take the color and move it up above. And now make this normal. And now change up this color and it changes the look substantially because the color is now on top of the texture. So you can do a lot of really cool stuff there by adjusting where the color is in relationship to these textures. So I'm gonna go ahead and I'm gonna keep it on multiply. And now what? I'm gonna dio I'm gonna grab my eraser. I'm gonna grab my soft airbrush crank up my size on this airbrush a little bit. And I'm just gonna go ahead and break up some of this monotony here so you're able to really work with textures quite a bit through this. Now, let me show you something else. So you've seen that show, it's going to delete this. Let's keep this layer and let's just go to a straight white. Let's go and flood Fill this back toe white. All right, stay with me. We're gonna make one more brush now it's the exact same technique gonna come up here and you're going to select a shape. Now you can insert a photo and the photo that I've attached for you here is a very simple rose that I got off line right, because making a stamp brush is all the same thing. And then when you look at grain, we're just gonna create zero grain. This is just a straight up blank canvas grain. All right, Now we go over here spacing fully up. And now remember, Black conceals White reveals. So you're gonna want to come down here now and you're going to want to invert the shape so that the white shows through. And then let's make it bright red. Let's go ahead and make this thing bright red. All right, let's check out the size. Make sure we got a good size. All right, so size up, spacing up. You inverted it and now just happened. That's how you make a stamp. Brush with procreate Now this rose was not a high quality J peg, so when it blew up, it does have some pics, elation, issues, But you got the idea. If you can make a J peg out of a vector image or find a vector image online that you can bring into a JPEG, you can make a stamp brush. All right, folks, that's it for how to make a texture brushing to stand brush. Let's go ahead and get onto the assignment 8. Exporting Brushes : All right, gang, welcome back to procreate. So in the last lessons, we made this book a brush. So if you skipped ahead, you've probably missed a major section. But if you got brushes that you've already made and modified, this is going to apply to you. This lesson is all about how to export rushes. So once you've made a brush that you like, let's go ahead and go to the brushes panel like mine shows here. And let's left swipe. Now, from here, you can share, duplicate or delete. I'm gonna go ahead and hit Share. Now, this is just what I do. I go ahead and I load all my brushes into Dropbox so we'll export the brush to Dropbox. And then it will ask you what the file name is right there. Broke a brush and it'll ask you where you want to put it so you can choose a different folder. I'm gonna go ahead and I'm gonna put it in the seventh Seasons Brushes for download. And then once you're done, you see up here on the right middle, say the leftish area, it so save Save the Dropbox click save, and then it says, Replace it. I just did, because I already had one in there for you guys. But I want to use the one that we used live. So now when you go into Dropbox, you've got it. Let's go ahead and go to Dropbox to check it out. Go to Dropbox. Cancel. Go over here. Let's take a look. Seven season brush downloads. There's the okay, brush. All right, folks, that's exactly how you do it. So that really short lesson is how you export a brush after you've modified it. All right, gang, let's go ahead and get into the next lesson. 9. Hannya Inking 1: All right, gang, welcome back to procreate. So this is gonna be our lesson on inking. So this is actually a project you're gonna be taking this image of Ah ha ni a mask and a Honda mask is a Japanese icon there of a woman turned into a demon through her own jealousy . And one of the things I like about this image is the dynamics between the orange and the green that you get. But I want to tell this story through strictly the Leinart that you're going to use in your brushes. So we're gonna use brushes and line in order to tell this story. I think it's a very powerful image, and I think Judy to root some really cool stuff with the brushes. So let's go ahead and get started. We're gonna come over and we're gonna create a new square canvas. Now, I'm gonna go ahead. I'm gonna shrink down this canvas a little bit and I'm gonna come over and I'm gonna insert a photo now in the photos for the download. We've included this image. We're gonna blow this up and now start thinking about composition. You want to blow this up I want some blacks in each corner of this image, so I want to go ahead and may be adjusted over right to about here. All right, now what we're gonna do on this layer, I'm gonna go ahead and turn down the opacity a little bit, and then I'm gonna come over, and I'm gonna lock the layers that I don't mess with it. Now we're gonna add another layer. I'm gonna grab my technical pen. Now. My technical pens been modified a little bit. You know how to do this so that it's a little bit larger than what you might see. And with the technical pen. Now I'm going to put my blacks in their place. No, in this corner here, I'm just gonna go ahead and paint him in. But you see, when I get over to this area here, watch this. We're going to go through, and we're going to move them all in just like that, so that we can do a flood fill. All right. Coming up here and coming up here. Yeah, we're going. We're going, we're going, and I think we're pretty good and we flood fill. All right, now that's gonna be Step One. Now, Once you get this, let's go ahead and lock that layer. And now I've included in your downloads what is called Leaf version two. Now, this version of the leaf brush, we're gonna be using this brush primarily as our primary and the primary adjustment we're gonna use here is the fall off. You see how I'm moving the fall off? So you're going to use the brush dynamics in order to convey this into a piece of art, So it's going to be a little bit complicated, so let's go ahead and get started. The first thing that I think I'm gonna do is I'm gonna go ahead and turn my image this way , and I'm going to get a feel for how my brush is gonna perform. So I turn the fall off down to probably let's start a 26%. And now you see that there's taper on this brush? No, let's go ahead and create a new layer. How about that, huh? All right, now we're gonna grab it here, and I'm going to begin drawing out the brow, and I think that might fall off Was a little bit light. What I want to do now is I want to come over to the fall off and I want to turn. It may be, too. Let's go to 28%. All right. So fairly happy with that. I want to make one more subtle adjustments. So let's go ahead and turn the fall off down to around 25. All right. And one more time. Now, let's go ahead and crank the size of this brush up just slightly. There we go. Remember, this is going to be one of the biggest mind you've got in this thing. So we're gonna go ahead and crank that fall off. Up to about 1/3. And folks, this is all trial and error. There we go. All right, So that's one of the browse, and you see how that we're using the line to tell the story. So let's go ahead now and we'll take the next step. All right, let's go ahead and do this guy. All right? Good deal. All right, So we're gonna go ahead and we're gonna cut the video here, and then what we're gonna do when we come back, we're gonna continue on with this lesson, and you guys are going to continue on in this method to flesh out Johanna Mask. All right, folks, that this is 110% a lesson in working through all of your brush adjustments in order to tell the story for the art. All right, we'll see in the next one. 10. Inking 2 finished: All right, folks. Welcome back. So we're continuing on, and I'm really challenging you guys to work with the brush adjustments and work with this leaf brush or whichever brush you decided to use in order to work with things like fall off streamline and that kind of thing. So we're taking a look at this and your strokes don't exactly have to match mine. I'm just saying that these are ones that I have found valuable in terms of how I see this image playing out. So I'm gonna go ahead and I'm gonna crank up the fall off here. We're gonna drop this line down until it's a little bit. Maybe it ah, 33. All right. Now I'm making sure that I'm still on my layer three, right? And I'm coming down from here time. Cool works for me, and then we're gonna come up through here, alright? Works for me, and then I'm gonna come up through here. Now, you see, that one was a little bit long, so I'm gonna go ahead and increase the fall off. Asked a little bit long. So let's increase the fall off. There we go. All right. Looking good. Now, let's go ahead and you see how I'm bringing it into the black and then out of the black. It's kind of manipulating it a little bit. Okay? We're gonna crank the fall off even further because what I want here, he's just a little bit all right looking good. Now, this next big sweeping motion, I'm gonna want the fall off to be fairly low. We'll go for a 31. All right, Let's give it a shot. I want to start him here. Work through the face. Okay, let's go ahead and take a look at what that looks like. Yeah, I'm actually quite happy with that. I think that I'm in good shape with that. All right? Perfect. Now I'm gonna go ahead and crank the fall off just a little bit Here. Maybe up to a 36. We're gonna go ahead and switch brushes. I said I wanted you to use very few. So also, when we did the leaf brush example you did a solid one called sweeping leaf brush. So I've included this one also in this lesson. Let's take a look at that. Now you see the difference in the shape source. I did a straight black and white and the grain sources significantly different again. The grain source came from the pro library. Now what I'm going to dio is I'm going to want to do the I. Now. I'm gonna go ahead and I'm gonna grab my sweeping leaf brush. And now this is going to be in activity in really the size. So we're gonna go in and we're gonna crank this bad boy down. And now we're gonna come over here. All right? You see what I'm trying to do with it there? That's a little bit small story and crank it up a little bit more here. There you go. All right, now we're in the business. All right. I think I can make that one cleaner. I'm not that last swirl in there. It's just not turning out the way. So I turned down the size that'll work. Perfect. All right, cool. Let's go ahead and shrink this bad boy down, See what's up. All right, Those look good. Now, the other part here, I want to swap back to my leaf version two, and I'm going to go ahead, make sure my fall off is super low. So we're gonna crank that bad boy down, make for a super super short stroke. And that's how we're going to do that part. All right. Looks good. Now, let's go ahead and crank this bad boy up even further. So he gets a mini baby strokes going on here, one to three. That'll work. Okay, Now, I think we're in pretty good shape here. What? I'd like to dio let's do one more. Okay, Now you see the hair here. I think the hair requires 1/3 and final brush. So let's go here, and we're gonna bring up the artistic. Um, actually, no. Let's go ahead and grab a different type of brush. Go ahead and grab on. Inking. Now, let's go with the painting Decisions, Decisions, decisions. All right, we're gonna do one that we haven't done before. Here, Uh, go ahead and do the read. All right, So we're gonna go ahead and grab the read to make sure we got black. And now what? We're going to dio I'm gonna test this out. I'm gonna make sure that my size is not crazy. I'm starting off my page and I'm varying my pressure on this brush. And the difference in my strokes will absolutely differentiate this from everything around it because everything else is going to be a nice, smooth breaststroke. I wanted something that was going to be jagged and ragged and all of this kind of stuff. Now I'm varying my pen pressures. Okay, Now I'm gonna go ahead and I'm gonna unlock this layer. I'm gonna go in. I'm gonna grab my technical pen, and I'm gonna go ahead and fill this corner in here. The reason that I wanted the black corners is because it gives consistency through the image. All right, let's go ahead and take a look at this. With the underlying image off actually quite happy with that. I think that we've got a really good, readable piece with minimal lines through these different brush techniques. All right, so let's go ahead and stop the video here, and then I'm gonna bring you back for one more lesson. And we're going to kind of add a little bit of color to this. Not enough to take away, but just enough to be dangerous. All right. Folks will see in the next lesson. Keep up the good work 11. Inking project 3 finished: All right, game. Welcome back to the final lesson on this bad boy. All right, so now what we're gonna do, we're gonna go ahead, and we're gonna put a little bit of color into this guy. So what I'd like you do is go to layer one, unlock it, grab the color picker, and then move the color picker up somewhere in the greens. Okay, so you got this green area and again, the colors aren't important. You could do whatever colors you want. This is really gonna be kind of a ah to color type of thing, right? We'll have some darker oranges, but I would just want to keep the colors very basic. And I'm gonna go with airbrush because I don't want to add a lot of texture to it. I think that the simplicity of this image is what makes it powerful. So I'm gonna go with a soft brush, I'm gonna crank it up, and now I'm gonna go ahead. Now, that's a little bit too cranked. I'm gonna go ahead. I'm gonna put some color in this thing now. You can do it this way, or you can go through and let's say If you go through and you delete that, let's go ahead and created just the new layer. All right, well, make it a new layer, and we'll bring the layer down below here, and we'll put the actual color on this layer. All right, so now we got the layer figured out. All right, so we're putting in some color. We're putting in some color. Color's going in now. We don't know how much color is going in, so we'll have to figure that out here in a little bit. Okay? And now the reason we put that layer where we did is because then it's masked by the black . You remember the lesson on using a layer as a mask? All right. Now, let's go ahead and let's go and save. This is a pallet. I'm gonna go ahead and create another pallet, but I'm gonna come down and said it is default and recalled his demon one. All right, Perfect. And then I'm gonna add it over to that palace. All right, good deal. Now let's grab the color picker again and let's go down to a yellow. All right. Perfect. Now let's go here, and let's add that over to the palate Grab are soft brush. Make sure we're on the right layer and let's go ahead now and add in a little bit of yellow . All right. Just a little bit of yellow. OK, cool. Now, let's go ahead and add in a little bit of orange. So we're gonna go ahead and I'm gonna turn this off for a minute by design. When you use the color picker again and I'm coming up now hopes we gotta locked layer. Here, grab the color picker on and come up over to say this color of orange, I think. Got a pubic. Pretty pure orange right there. All right, so I'm gonna come over here. Come over here. I'm gonna crank that up just slightly. I know it's a little bit saturated. That's fine. Uh, let's go ahead and just do a little bit with this. Why is it telling me I've got a hidden layer? Ah, the joys of procreate. All right, well, apparently I've got hidden layer that I don't know anything about, so we'll just create a new layer and moving on. That's what it wants to be. I'm not gonna fight it all right. So let's see what we've got now. All right, so let's go ahead. Now. Bring in our new brush when crank that size up a little bit. Here, let's go back to here again. We went intentionally, like, because we just wanted to know kind of where everything Waas didn't want to go too crazy in any one area. Now, I'm gonna keep this pretty basic in terms of what I'm doing here with this. I really like the image. I really like how basic it is. And so I don't want to do anything to disturb that. And see, this is the power pallets. If we had grabbed all of these with a palette, we'd have to redo the entire thing again. We don't want that. All right, Maybe a little bit more green. All right, so I kind of like that. I think that it's a very simple I think we got a point across, and I think that you guys saw how you could use your brush strokes in order to facilitate the clean, readable image while adjusting Fall off and stroke size and brush type. All right, folks, in the assignments folder immediately following this Go ahead, take the screenshot post up what you did. I'm really interested to see and then we'll go ahead and get into the next year. This course. Great job, folks. 12. Thank you video: All right, so that kind of rounds it out there. So you've gone through. You've got some individual lessons that you've taken You created a beautiful piece. A portfolio are we love to see it. Check us out of the Facebook group. Go ahead and post your work to the Facebook group. And if you're interested, go ahead and check us out at seven Seasons studios dot com. We have a ton of free resource is up there for people that work in procreate, including free brush sets. And we have a whole ton of YouTube videos. Alright, guys, we'll see in the next ones. Thanks for taking the course.