Boost Your Procreate Brush-Making Skills: Understanding the Brush Studio | Jennifer Nichols | Skillshare

Boost Your Procreate Brush-Making Skills: Understanding the Brush Studio

Jennifer Nichols, Leila & Po Studio

Boost Your Procreate Brush-Making Skills: Understanding the Brush Studio

Jennifer Nichols, Leila & Po Studio

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18 Lessons (1h 25m)
    • 1. Introduction

      1:15
    • 2. Downloads

      3:57
    • 3. Class Brushes

      4:54
    • 4. Class Project

      2:00
    • 5. Stroke Path

      5:38
    • 6. Taper

      3:29
    • 7. Shape

      7:28
    • 8. Grain

      9:40
    • 9. Rendering

      3:13
    • 10. Wet Mix

      4:15
    • 11. Color Dynamics

      6:52
    • 12. Dynamics

      3:27
    • 13. Apple Pencil

      4:05
    • 14. Properties

      3:21
    • 15. About This Brush

      2:35
    • 16. Experimenting

      13:57
    • 17. Dual Brushes

      3:54
    • 18. Thank You!

      1:16
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About This Class

In this class we will take a deep dive into the settings of Procreate's Brush Studio so you can develop a deeper understanding of the brush-making process and eventually be able to create any type of brush you can imagine! 

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I'll walk you through each section of the Brush Studio one lesson at a time and you will even learn how to make Dual Brushes!

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I'll provide you with 16 free brushes and 20 free shape sources and grain sources to get you started. This class is full of information and fun! Join me!

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Meet Your Teacher

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Jennifer Nichols

Leila & Po Studio

Teacher


I’m Jennifer Nichols and while I’ve always been an artist, I’m also a teacher, a musician, and a lifelong learner which is one reason I love Skillshare! I love sharing what I know about iPad art and the Procreate app. My teaching style allows you to follow along with me which is a great way to retain information and apply it elsewhere. 

If you are new to Procreate, I would start with the Beginner class and then you’ll be ready for any of my other classes! I gear most classes toward beginner and intermediate level procreate users. ANYONE can succeed at the projects I teach no matter what your artistic abilities are! All resources that are needed for my classes are given as free downloads, including palettes and brushes!

 

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Transcripts

1. Introduction: Hello, I'm Jennifer Nichols of Leyla and post studio. And Jennifer Nichols, design. I'm an artist, a teacher, and a fabric designer. Today, I'll be taking a deep dive into Procreate's brush studio to help you figure out what all of the settings do so you can boost your brush making skills. I already have classes on pattern brushes, stamp brushes, and texture brushes. But in this class, instead of teaching you how to make specific types of brushes, I'm going to show you everything I know about the brush studio so you can start experimenting on your own and achieving fantastic results. I'll provide 16 brush to get you started. I have not put my name on any of these brushes, which leaves them wide open for you to make changes and call them yours. I've also provided 20 shapes sources and 20 seamless repeat pattern grain sources, which are essential when making brushes. This class is going to be full of info, but also fun and playful. Many times, happy accidents happen during brush making and you will end up with brushes that are totally unique to you. Be sure to hop over to my Skillshare profile where you can find all of my links as well as all of masterclasses. See you in class. 2. Downloads: To get to the class downloads, go to the projects and resources tab on your iPad. In a browser, not in the app. In landscape mode. Sometimes there'll be a little See More button and a longer list. So make sure you check that. For today. I have some zipped files and a brush set. I also want to point out there's a link to the procreate handbook over here because there are certain details that I'm not gonna go into in the brush studio. So you can refer to the hanbok to get more information. So the resources are 23 shapes sources in this zip file and then 20 grain sources that are seamless repeat textures. And I'll talk to you about that later. But it's split up into 1010 just because of the file size, I had to do that. And then a free brush set. This brush set is sort of a generic brush set for you. They do not have my name on them. It's for you to experiment with and then call your own. And I will show you how to tag them as your own in the class. So make sure you grab those and I'll show you an example really quickly for how to do both of these. If you already know how to do this, you can skip this. So just tap, this is in Safari. Certain browsers can have struggled with the downloads for some reason. So if you're having a hard time switch browsers, I've heard a lot of issues with Firefox, with Skillshare downloads. All right, so then tap Download. You can see that little arrow bounced there. And the same thing for these other files, which I won't go ahead and do. And then the pressure set, same thing. All right, So it's done downloading and you can either tap here and tap on one of these and it'll bring you over to the files tab. But I also just want to show you what that looks like. So in case you're not familiar with files and it'll bring you to recent or downloads. Sometimes it's seems like it's one or the other. If you have a lot of stuff in here, recency is a good way to view the most recent downloads that you've got. Downloads, we'll have it all in alphabetical order, so you'll need to make sure you know the name so you can find the right file. And if you're in recents and you tap the zip folder, it'll bring you down to downloads. So make sure you remember the name of it so you can find it if you have a lot of other files. So go ahead and tap any zipped files, it pop this down to downloads, and then the folder opens up out of it. So this will still be here, but this is now unzipped and that has 20 shapes sources in it. However you want to store these is up to you. You can create a new file on your iPad. You know, that, that's not what this class is about, but one of the things you can do is tap, Select, and then select all of them, and then share them and save them to your camera roll by tapping saved three images. So that is a nice way to just be able to access them really quickly from procreate. But if you have them stored here in this file's app, you can also access them from procreate that way too. So do whatever works best for you. And then for the brush set, you just tap on it and it'll import right into Procreate at the top of your brush library right there. Alright, so that is all for the downloads. You'll need to go ahead and grab the green sources as well. The grain sources and the shape sources are for this and this. Those are the two images that we can manipulate brushes with. So procreate has their own and I've provided more. So we'll talk about that when we get to those categories. All right, see you in the next lesson. 3. Class Brushes: I'm just a quick review about the brush library. You can create your own brush category by swiping down. Sometimes it's tricky to get that plus scientists stay and you can tap class and you can label it whatever you want it to be called. And then you have your own category. You can drag and drop brushes into it. You can drag multiple at the same time. Tap on the new category and drop them right in. You can add a brand new brush, tap Done. And you have this very basic brand new brush that has the default settings that procreate brushes have. You can delete, share, duplicate each brush that way. You can also tap on the category and have these options here. If you are using Procreate native brushes, you can just grab and drag it out. It looks like he pulled it right out. But I promise it's still there. I wonder what happened to my theme there. And just drop it in just like anything else. And now it's a duplicate. So it now has that symbol on it because it's not the original anymore. Also, a quick note about these brushes. These brushes I created and I did not add any of my information there. So you can add yours. And please make sure that you edit the brushes before you call them yours. So they're slightly different than what you're seeing here then any of these settings. So I've provided a couple of dual brushes. We'll talk about dual brushes later. And then just a variety, pencil, ink, grungy painting, watery watercolor, steeply messy, messy roll brush. I don't know how to say that. There's a Nikko rule brush and I say Nikko rule, but I think it might be Nico role. So roll, roll, roll however you want to say it. This is my version of a role brush. The Nikko rule brash in procreate, in the dry, Knowing the painting section. This one isn't editable. I mean, you can edit it. You just can't call it your own. You can make a different version of it for you to use. But you can't change this information on it. And even if you use a duplicate, most of Procreate's native brushes look like you can't change the information on them. But if you duplicate when, then you can sew and then some of them still have little name there, but it's still something you can edit and call your own. But only if you're making changes, right, you can't call a duplicate that hasn't had any changes made your own because it's not your own, it's whoever else made it, right? So make sure you're following some ethical guidelines with making changes before you call something nurse to get into the brush studio, you just tap on any one of them. And it opens up. And we're going to be going through each category pretty quickly. I don't want this class to be something that ends up being so long and boring. You don't get through all the categories. But I also want to make sure you understand them well enough to start experimenting and playing with brushes and having fun. So I think it's most important to start with a basic. So if you want a painterly brush, you might go to wet paint and duplicate it and start editing this one. And I only say duplicate so that you still have this original because you might want to come back to that one and try a different version, right? So this would give you a new version of this. And then you can tap on this one and start making your changes. Change the name of it, call it your own. And then you'll still have this one to do the same thing with, with a totally different brush if that makes sense. And so providing a variety of just kind of basic brushes of different styles will allow you to just get started with different styles right away, making changes and seeing what each change does to that brush. And I think that's much more fun than starting with a fresh brush and figuring out how to make this very basic line into a painterly brush or into a textured brush, so on. So I hope this is a fun way for you to learn about the brush studio. And I'm excited to get started. 4. Class Project: For your class project, I would love to see a new brush that you made, whether it is a piece of art that you've done like this, or maybe a streak of your brush. Let's see, that was this Blache green brush, which has quickly become a favorite brush of mine. So maybe when a show us a little swipe of your brush and what it can do. And then take a screenshot, simple enough, or save this actual image as a JPEG. I'm anything you want to do. I would love to see maybe the name of your brush. You know, anything you want to show. And make sure you post to in the class projects. If you don't know how to do that, let me show you really quick. You just tap class projects in that projects and resources tab. This first image icon is just for the cover image, and it does crop to a rectangle and needs to be eight megabytes or less. So a JPEG should be fine for that. And then this image icon down here is to add more images to the main body of your text. So that's all you do. And then everybody in class can see everybody else's projects, which is really fun. If you want to write anything to me. I always read these. I tried to respond and then just tap Publish. But the Review tab is a great place to leave a review for everybody to see. I do read all of those. I can't reply to them though. It doesn't let me. So just know that I see all of them in a really appreciate it. And then this is kind of an example of where a class project can look like just a simple screenshot. I am terrible about coming up with names of brushes. So I'm really excited to see the names of your brushes as well. All right, let's get started with class. 5. Stroke Path: The first thing we're going to be talking about is stroke path. And I want you to practice grabbing a brush and bringing it to this category. And then we're going to talk about that brush. So go ahead and go to calligraphy and grab the monoline brush. And it's going to look like it pulls it right out. But I promise a duplicate will be there, tap on brush making and drop it right in anywhere you want. All right, go to the monoline brush and the very top when is stroke path. And I just want to show you really quick what this means. It's a very quick lesson. So a stroke is a whole bunch of shape sources all in a row. So it's just a whole bunch of them. And the spacing is literally just how far away those are spaced from each other. So if I make this bigger, and let's go ahead and choose a color, let's make it bigger and clear the drawing pad as well. Then make a line. The shape if we pop down and look is justice crisp circle. So this is a whole bunch of circles in a row. And if we bump up the spacing, you can start seeing them spread out. That's all the spacing is. This is a great way to make stamps. I do have a stamp Making class. So if you're really curious about stamps, there's a little bit more to it than that. Then you can just play around with the spacing and some of these brushes that the lower numbers don't make a huge difference. Let's go ahead and clear that. Now I'm going to make a little swirly line. So streamline is actually something that helps you be a little bit more smooth with the strokes. So you're not going to want that on really painterly things, but you will want to on outline drawings and calligraphy and things like that. So you can see difference here. And I would suggest really playing around with that because it can limit you in some ways. You can see here how it's really, it's not going to put it where you think it goes when you're drawing. So having it all the way up is somewhat hindering in my opinion. So definitely play around with that to smooth your stroke cout. And then the jitter. If we just draw a straight line here, the jitter is taking every single one of those circles, every single one of the shapes in the stroke. And it's scattering them on the sides of your stroke path. So you can watch that. Hopefully you can see that. So this very legitimate amount just makes this monoline brush have this bumpy texture on the edge, which is pretty cool. And then if you keep going, you're going to have a stipple brush. Pretty cool. Fall off is exactly what it sounds like. The tail end of your stroke can fade away. And you can adjust the amount. You can. I'm not going to keep talking about this for all of these, but you can also tap on these little numbers and manually enter a number. And then some of these actually have an additional adjustments here. You can adjust the jitter either with pressure or with tilting your pencil, just for Apple Pencil. So to do that, you would turn it on and then you can adjust the pressure curve right here. You'll have to find some information on pressure curves. These are pretty complicated to explain, cite it when it go into that. And then the jitter can get stronger with pressure. So it's lighter and then heavier. Loops jitter. Or you can do this same thing with tilt. So straight up and then sideways. So if you can see it's less jittery to more jittery. I don't typically use those. I just use the numbers. So but those are there and there's other settings seal. You can just experiment with those as you go through to figure out which ones have additional settings within these pads. Alright, that stroke path. That's it. I'm, I'm assuming everybody's familiar with this drawing pad. You can clear it here. This preview, unfortunately, this previous eyes is connected to the previous eyes everywhere. So if you go to properties, you have a preview size here. And all of that also affects this. So if you change the preview size while you're playing around here, then it's going to change the preview size everywhere else. So you can see that's thicker now. And then what that means is you'll just need to double-check to make sure that the previous size in this window is, is something that you want it to be if you've messed with it in other areas. All right. Next up is taper. 6. Taper: All right, So that inky brush and go to taper. And you can see I have a taper on this start of the stroke and the end of the stroke. And you can adjust these to a certain point that's about as far as you can go. Just the length of your taper. And of course the taper is that starting Stripe of where it goes from narrow, too thick, and then the ending. You can link those. So when you make an adjustment to one side, it automatically makes the other side the same. This size is so all of these are just referring to the taper themselves. So just the taper. If you don't have a taper, if it's just 0, then it doesn't matter what any of these settings are. It's not going to, they're not gonna do anything because you don't have a taper. So you have to have a taper set in order for these to apply to anything. The size applies to how quickly it's going to go from thin to thick. So if you have and there's other things that affect that too like pressure. So these all sort of tied together. So if you have a brush where you have a big taper versus a small I mean, sorry, size. So the severity of that taper when it's high, it's much more sharp. It goes from the widest part of the stroke to the end of the Taper much more quickly. And you can see that really well down here. Keep watching that as I lower that. So if you have a lower size than the taper, is tapering more slowly, I guess it's kind of hard to explain. So just play. You're going to hear me say that a lot in classes just kind of make some strokes over here and then see what they do. So the opacity is affecting the opacity of the taper at the end. And I'm not seeing it so well on this inky brush AMC and just the very, very end get very faded at the very, very tip on this one. And then the pressure is with the Apple pencil, I should have mentioned this whole section is just for Apple Pencil. So the pressure just helps you get a more natural feel with the taper at the end with your, with your Apple pencil and your pressure that you put on it. And then the tip goes from sharp all the way up to bloat. And you can see those changes happening there to tip animation, you can then check out the Procreate Handbook kits, LinkedIn, the projects and resources. I don't ever really see a difference when I toggle this on and off and play around with it so I don't understand it. And then the Touch Taper is for when you're drawing with your finger or with a third-party stylist that doesn't have pressure sensitivity, then you can make similar adjustments with the stroke without worrying about pressure. And classic taper is just a classic part from a classic version of Procreate. Alright, that's it for our taper. Next step is shape. 7. Shape: So like we talked about earlier, the shape makes up the stroke. So a whole bunch of the shape causes a stroke. And you can see this one is very directional, sits kind of easy to see that this one is set to follow the brush or follow the pencil, I should say. And that's this setting right here. But before we talk about those, I want to show you how to change the shape source. You can tap Edit, Import and then you have these options here. You can import from your camera roll from a file which is where we downloaded our shapes sources. And a source library is procreates and resources that you can use. They let you freely use those to make your own brushes. And then paste is if you make your own source. So let's talk about that really quick. Let's say that's your shape source. You can three-finger swipe down, copy all. And then when you are in the shape source editor, you can paste it. And then of course you have to tap once to get rid of this menu and two-finger tap to invert that. And then once you make a change here, you need to tap Done. If you just switch to grain source, for example, before tapping Done, it won't save this. So I'm not going to tap Done, although that is actually a really cool shape source. So you can make your shape sources in lots of different ways. You can even make them with analogue art supplies. And I have a lot of fun just making them within Procreate just like this. So I'm gonna cancel this. But I think I'll hold onto this for later. So I'll just turn that off and go to a different layer. Let's go back in. You can also rotate. So those are the couple of things you can do in the editor. And then make sure you tap done. The adjustments for the shape are quite a bit and same with the grain. So scatter will take, Let's go ahead and pick a, a fun color actually and bump the size up. Scatter will take those shapes because remember it's a whole bunch all in a row and it will rotate each one so you can watch it happen as you bump this up. Some brushes are really obvious. You can actually see them very specifically rotating. So that is a great idea for certain brushes that you want a lot of texture. This painting brush, you don't want it to look nice and streaky for rotation. If you bump this all the way up, you can see it says Follow Stroke and that means whatever you do, that shape, that shape is kind of following and rotating with your pencil. So it's more like a paint stroke. If it's right in the middle. If you have no scatter on and you have it in this position, you can see as I move my pencil, that shape is just stain in this horizontal position. So that's great for certain brushes. This painterly brush is not so great. And then if you bump it to the negatives, It's the inverse of your stroke direction. The count is how many shaped sources do you want to be smushed onto the paper? Every time? One would normally be smushed onto the paper. So it's on two, so there's two for everyone. So every time you would normally have if you had this on one and you drew a line, and it would be the same line now that it's too, but there would be two every time. Does that make sense? So there's two shapes stamped in every single spot. If it were on one, it would look the same, but maybe a lighter version. Well, here let's look at it. There we go. So it's a lighter version. And two is a little heavier. Three is even thicker, so you can get some thicker paint looks that way. But that's also a really great adjustment for other types of brushes that we'll talk about later. We're going to investigate other types of brushes after we go through all of these really quick. And then the count jitter, if you have this count set up, then the count jitter will just alternate, kind of fluctuate and give it a more random look, I guess would be a good way. So it might go from thick to thin to thick to thin. And in some cases that would be a more natural look. Randomize starts your first, very first stroke in a different spot, a different position. Every single time you lay down a stroke, there are certain ones where it's really obvious what the shape is at the very start of every single stroke. And they're all identical. And that doesn't look very natural. So definitely play around with that. And this is an experimental thing so you can lay down a stroke and toggle these things too and see what they do to your stroke. So as a myth has to do more with the Apple Pencil Tilt and you can draw certain things at an angle and then do a straight up. There's, It's kind of complicated. So for me, hey, I just toggle and go, Oh, I like that better. The x and y-axis takes that shape and flips it either along the x or the y-axis depending on what you have it set to. So the pressure roundness, I don't use a lot. But if you just make a stroke, you can see that you can take your shape, whatever your shape is, and you can squash it and you can rotate it. So to squash it, you just drag the blue nodes. And to rotate it. You drag the green node and angle it. And that will come in handy for some calligraphy type brushes where you can get this nice angle at the start and things like that. And then you can also change the pressure roundness based on or that you can change the shape roundness based on pressure or tilt of your pencil instead. The filtering. This is an option in some other areas too. No filtering just gives a bit more of a jacket look. Classic filtering is an older version of Procreate and then improved filtering is this is all kind of what is a anti-aliasing or something like that. The filtering is just kind of smoothing it out, I guess. So. I mostly leave things on improved filtering. I think there's a couple that don't have any filtering. And they're intended to be very harsh looking brushes. So you can again play around with those. I'm not sure you'll really notice on every single brush. So you can also tilt without pressuring, doing the blue notes too. So you can just tilt the shape as well. All right, That's shape. Next step is grain. 8. Grain: For grain, Let's go to chunky CRAN and go to green. I like to think of grain as doing a cram rubbing. Do you know when you put a piece of paper on a rough surface, any rubber CRAN over the top. So it's kind of under the brush in a lot of ways. And there's two sections here. So we'll talk about when and then the other. And you edit it the same way as the shape source. One of the things that you might want to know about is the Auto Repeat. The grain sources I provided are all seamless repeat textures. So you don't need to do the auto repeat. If you find a texture you really love and it's not an seamless repeat. You can bring it into here. You can do it in all of the same ways. Even the two-finger tap to invert works on this as well. And then you can also make it auto repeat. And you have various settings. And this is Procreate's way of kind of finding ways to mesh the edges of your shape. So if you look at this, I have a nice thick border on this. This is kind of the default setting. There's one tile here, it's showing me the repeated version has a nice thick border on it that can come in handy for certain types of images. For me, I don't prefer this because I can see those edges. You can change the thickness of the border. I still see the lines. I can see a grid, but my eye is drawn to that type of things that might not be as noticeable and depending on your brush, it won't be noticeable at all. So don't shy away from this, but you don't need it for the grain sources that I provided. I'm in and there's different types of adjustments here. And again, just check out the handbook that's linked in the resources section of class to learn more about this or just play around with it. Honestly, playing around is probably the best. So I'm not going to use that. I'm just using my this is one of my sources that I gave you. And the moving section. Let's see, let's go to a color here and a bigger brush. And it didn't clear. Sometimes it clears and sometimes it doesn't. So when it is just on rolling, it's like you've done Akram rubbing, right? And then you can see here that if you change that to a different setting, it's kind of taking that grain and stretching it out. And it's giving your brush and more streaky look. So to me this movie and set all the way up to Rollin is very similar to the textured section. And we'll see that in a second. This scale is just going to adjust the scale of the grain that you see under your brush. Right? Zoom is something that I always mess with. So if you have it all the way down, it's going to say Follow size. And that means the grain size is going to follow the size of your brush. A smaller brush will have a smaller scale grain, and a larger brush will have a larger scale grain. If you bump it all the way up, it's going to say cropped. And that means if you have a, a really large brush or a really small brush, the grain that you're seeing underneath is the same scale, it's the same. And that comes in handy when you are trying to fill in certain areas that are bigger or smaller and you don't want that in green to get bigger and smaller. So you can go in and change that depending on your situation. And then I'm guessing that 50 percent probably means it's sort of changes with the brush size, right? So a larger brush versus a smaller brush, it's not drastically changing. The scale isn't rotation is literally just rotating the grain. So you can see it happening over here. It's given a bizarre effect. So just play around with that. When I don't normally use that. Depth is affecting the lights and darks, kinda of like brightness and contrast down here. So play with those together. So when you have, when you have a source, It's easy to see now that this is black and white over here, black is going to be the most opaque and light gray is going to be transparent. So anything in between, in between is going to be different levels of transparency. So if you have a brush, let's make this bigger again and a different color. If you have a brush that has this white and then the dark, and you change the depth. Now you don't have the white, you have the light blue there. So you can see if it were black and white, that would be gray and black. In fact, let's move it back to black so you can see that. So you can see gray and black. So you can change that depending on what you want for your brush. And the minimum. I never see a need for this, but maybe you will. And then depth jitter is just kind of going to alternate that throughout your stroke, the light in the dark, the, the depth throughout your stroke. Offset jitter is important for pattern brushes especially so when it's on, it's going to offset the grain every time you pick up your pencil and put it back down. So you can essentially end up filling in into solid. So that's not ideal in some situations. But for a texture brush. And you want to, you know, play around and maybe have some darker areas and some lighter areas. That's an ideal situation to have this on. If you turn it off, no matter how much you play around in this one spot, you're not filling in that texture at all. When this comes in the most handy is if you have a pattern brush and I do have a class on pattern brushes, then you can, if you turn this off, you can pick up your pencil and put it back down. And the patterns still continues to repeat, doesn't, it doesn't offset it at all. There's blend modes for brushes, just tap on it to get to blend modes. I somewhat understand blend modes for layers. I don't really understand blend modes for brushes enough to explain it. So again, I just experiment and in the brightness and contrast is similar to the depth. So I'm not sure. I usually don't play with these too much because I can get what I need from the depth setting that you can see how it adjusts your stuff right here. And then there's more filtering options. So if you go to textured, your options change. You still have a way to scale. You still have a depth option. Multiply brightness and filtering. And then this. So for me, this is very similar to what we just had over here in moving. So and I know it's I'm not sure exactly. I tend to use moving and when I want this really textured look, I just keep it up here to rolling. And then one thing I want to show you, I'm noticing with this brush, if I, I wish I could zoom in on this, you know what, maybe I will zoom in over here. So one thing I'm noticing with this brush is this kind of zippered edge is just an identical repeating edge on each side. And so I want to show you how to change that. That is the sheep. So this shape, because it's a jaggedy edge shape and scatter isn't on, a rotation should not be on negative, then this shape is just staying in this one spot. And you can have it even follow your stroke. It won't matter because it's not scattering. Then the edges that are sticking out keep showing up along the side of the stroke. So to get rid of that, you can just turn the scatter up even just a little bit. So you can look at it over here as you turn it. And it's going to give them were random look to the sides of your stroke. So now let's look at that. So you can see a very big difference with that. So this has a very repeating edge and this is much more random. So I'm going to keep that just like that on my brush. And you can probably, you'll probably want to change that setting for yourself as well. All right, next up is rendering. 9. Rendering: Let's go ahead and go to the watery brush and go to rendering. So I'm going to bet my size up my preview size and choose a nice color and just kind of see what the different modes do. That's the best way to get used to some of these things. You can go look in the handbook for definitions on all of these things, but it's a lot of information and you probably won't remember it anyways. So I just like to go through and toggle through oaths and they swim too. So that's uniform blending and intense blending. This is basically set from lightest to darkest or kind of more watery, two or more diluted, I should say, to more intense color. So definitely play around with those. The flow adjust how much color and texture comes off your brush with your stroke, right? So if you don't want it super intense, but you still want this intense blend mode. You can set it lower or higher. Wet edges. I'm not sure we can really see oh, I can see a little bit of adjustment on the little preview. This actually is supposed to soften the edges of the brush so you can get sort of an, you know, inky, blurred look, burnt edges. I'm not going to be able to see that with this preview over here. But burnt edges gives a different kind of a color burn edge to the stroke. And when you overlap with another stroke, you'll be able to see that new edges on top instead of it just being another color. Let's see if we can get it to work with our watery brush. And it sort of worked. You can see the dark here and here. So it works on like a gouache would be a great one. And then the burnt edges mode affects the burnt edges. The blend mode, the blend mode for the whole brush will affect the whole brush instead of just the edges. For luminance blending, the blend modes usually affect color and you can set it to affect light, instead, lightness, I guess. So. Again, experiment and play. Yeah, so I would just really recommend playing, playing, playing. So I'm not really seeing a difference on this particular brush with luminance blending. But that might be because my blend mode is what it is, right? So, and play around with different blend modes and the luminance blending. And also I recommend checking out other people's brushes and just trying to understand the settings that they have. You can check out my brushes. I have lots of free brushes in all my classes. And try to understand why I have a certain settings the way I do for certain types of brushes. Of course, don't copy other people's brushes, but just it'll help you gain a better understanding. All right, next step is wet mix. 10. Wet Mix: For wet makes them stain on my watery brush here and I'm making it clear. Pick another color. Oops, I need about my previous eyes back up. And let's just put a stroke down. I press pretty hard on that. There we go. Wet mix has a lot to do with the dilution of the paint or ink or pigment that you have on your brush. So of course, a higher dilution is going to look more watery. Charge has to do with how much paint is going to be on your stroke to begin with. So higher is a lot, lesser is less. Attack is more about how much paint you want to continue to appear. So if you want a lot of paint, as you know, if you're doing a real paint stroke, your paint's going to run out, right? So this is a way to make it not run out. So you can keep going and going and going and going and going and going and going, right? But if you have it set really low, it's going to sort of run out and get lighter and lighter. So you can see that right there. If you look over here. And poll is, how much strength do you want your brush to have when it's overlapping? Other brush strokes and pulling it around. So if you don't want it to pull the other strokes around, then you have it set low. Let's see if we can see that here. That kinda really made a big difference here. So you can see that with over the top of these other strokes. That's because our poll was basically turned off. Pentameter. Very different. Look, oh, because I set these differently as well. So if you pull, pull, pull, pull to the top, then when you come over, it's not just going over the strokes. It's it's kind of it. And not only did it make a nice thick layer and cover them, but it also pulled them. So let's turn it down a little bit. Yeah, it's still pretty thick. It's shown at pretty thick. So it is pulling the other colors, the other layers of paint. So hopefully you can see that it's kinda mixing them as well. I'm grade is referring to your brush texture. How much texture do you really want that to show in this diluted form here? Blur is supposed to blur the paint that you apply. So you can see there's very little streaks in this brush now because I have blur all the way up and I think that blurs the edges as well. Blurred jitter will make this a little bit more uneven as the stroke goes on. So it's kind of I don't know if you can see that it's a little dark, light, dark light. And wetness jitter as well. Like how? Jitter just kind of means randomizing. So it's kind of going thick, thin, thick thin and its ways of getting little bit more natural look sometimes. I think I like the blurred, watery pen. And I'm also seen just like on the last one where we had this kinda zipper look. I think the shape source. I don't want to scatter it because then it really well, but I like that brush alive. This is one of my favorite types of brushes. So I don't want to scatter it because I want a more streaky look, but I might need to actually change the image here. So it doesn't have this zipper you look on the side. All right, so that's wet mix. Come back for color dynamics, super fun. 11. Color Dynamics: All right, Let's go ahead and choose this Blache grain brush and go to Color dynamics. So there is a title for each section here, and that's important. So sometimes it's easy to look at the whole list and just kinda think you have to adjust the whole list. But these are very specific. So the stamp color, it is referring literally to the shape that the shape is the stamp. So in this one I only have the count to one. So it's not going to do a lot. If I change this stamp color jitter, it's going to actually change it along the path. So the best way to see that, and we can, because there's, it's going to change each stamp along the path. And the best way to see that is to go ahead and put down some color. I already have some color settings here. And if you change the hue, for example, on a brush like this, it is not super obvious because this brush is kind of crazy wacky, but it's changing the color of each stamp. So if you have a brush that has multiple stamps slash shapes, the count is up higher, then as you draw a stroke, It's going to really mix in a lot of different colors. And I'll show you an example of that later. So for the Hue section in color dynamics, if you set that number, say to 10 percent, you're going to get different colors just in this little loops, 10 percent area on either side of this color. And that'll also depend on the saturation of that color, depends on where you have your color placed here. And if you set it to a higher number than the hue is going to come around higher on both sides and grab all from all of those colors all the way over to here. So if we go back to a color, make a stroke, change the hue just like I did before. It's grabbing from a larger area of that ring versus a smaller area. So it's keeping it all within that same section. And then of course, saturation is going to change the saturation of the color and have it change with each stroke. And lightness and darkness are going to change again, all the stamp, lightness and darkness options. So it's going to randomly choose lighter and darker. And then secondary color is this right here. So this is your color. You've selected your primary color and then the secondary colors, you can tap that and change that. And then you have your primary color and your secondary color and UPS. So if I go right here, oops, if I go back into here and I change this, Let's just put it all the way up. Then my sting My each of my stamps because we're still in the stamp section, is going to choose various colors from the primary and the secondary colors that I've chosen here. This is also applying some of these other color changes that I've got set to. So that kind of added a little more complexity there. Right? So first stroke is every time you put down a stroke, oh, it's not letting me do multiple, multiple. And so every time you put down a stroke, you're going to have adjustments made to each stroke depending on these settings. And then for color pressure, every time you do lighter or heavier pressure, your color changes are going to happen based on these settings and then tilt. So tilting your pencil and probably won't for work for third parties dialysis. So for this one, I have the hue for the stroke set just a little bit. So every time I make a stroke, it's not the same exact color. It isn't drastically different either, and that makes it a bit more natural. I also have it set to have slightly varying saturations every time I make a stroke, and slightly varying likenesses every time I make a stroke. So all three of those are being applied every time I make a stroke. Also, when I use heavier pressure, I'm also getting some huge changes and some brightness changes. So let me show you what happens if hue, for example, on the stroke, is set higher. Right? That's because it's grabbing from the whole, entire ring of colors. And it's random. So when might this come in handy? Let's see my scenes class. I have quite a few color changing brushes on here. The paint splotch, texture, color, color change. It's really hard to see. This one has a stamp. You can see the stamp right here of three. But the count is also high. So every time it's stamps, it's doing like, I don't know, five stamps. And then I have the color changing on it and I have jitter, so it's scattering them as well, right? So that is like an instant beautiful background, right? One of the things that comes in really handy with color changing is when, let's say you're making a little a little grass plume here. And you don't want to have to keep going in and changing the color. So if you can see this, hopefully you can see it. I can just keep going and going and going and it's never just going to fill in solid green because it's changing the hue a little bit and then lightness and darkness a little bit with every stroke. So it can come in handy for actual nice illustrations. And it can also just be a nice fun thing to play with it. Like this. How fun is that? Alright, see you in the next lesson. 12. Dynamics: We're gonna go back to the monoline brush for this one, I'm going to bump up the preview and draw a stroke. And for this one, I'm going to space out my shapes so that you can see what's going on here. And let's go back to Dynamics very quickly with the speed for size and opacity. Those are things that you can adjust. Just, it truly depends on the speed in which you're drawing. So that's pretty straightforward. The jitter is actually applying to the stamps or the shapes. And so you can change the size jitter. You can jitter the size, I guess would be a better way to say it by bumping that up. And you can see here that now we have random different sized dots. So this is a nice way to see what it does. But of course, you don't have to use it just for a dot brush. You can use it in lots of situations to get maybe thinner and whiter and thinner and wider and have somewhat more natural look that way. And then opacity for the stamps to, you can have this varying opacity of every single stamp along the way. It looks like there's a pressure option here, but I don't know why it's not highlighted. So that's interesting. And that's it for dynamics. This is great for stipple brushes. Now that stipple brush has all sorts of different sized opacities and dots. That's not great for actual fos stippling, digital stippling, I guess we could call it. But that is a really cool look to add to something. I can kind of picture that being on some ice cream or all sorts of things. I'll zoom in so you can see that more closely. And speaking of stipple while we're here, the stipple brush I provided is similar. It does have the jitter for the size and opacity. They're just not quite as strong, but it also has a very textured shapes source. So definitely play around with those settings on your stipple and also your color dynamics two would also be really fun to play with on stipple. This stampede circles brush down here is somewhat of a stipple brush, but if you look at the shape soreness, it's two. So it's this more crisp but faded in the center and then this kind of similar one but very blurred. And so every stamp that you do has one of each of those. And then the dynamics on that are also set to have the varying sizes and opacities as well. So what you get for that is, and there's some color dynamics and play here too. So this is a lot like bokeh lights. Not quite, but very similar. I use the same shape source because that's a Procreate shape source. If you've taken my valentine class, I have a hurt when two. So then I made the shape source for that one. Super fun. And this one I played with the Grain Source 2, and that's one of the grains I provided. All right, so that is dynamics. 13. Apple Pencil: I'm sticking with this monoline brush to show you the Apple pencil section. And I can see here that this isn't true. This isn't truly monoline. There's a taper on this monoline brush, so we can go up and taper and there it is. Sure enough. We need to turn the tapers off at both ends and now it's not tapered. How silly? We don't need to press Done only in the shape editor and the grain editor. You can go ahead and go back down. And there we go. So the pressure setting for the pencil is going to let you adjust the thickness of the stroke, which won't make it monoline anymore. So watch this. I'm going to do a light pressure, heavy pressure, light pressure. So on this example over here where I did light, heavy, light, you can see exactly how the size is changing with pressure. If you don't want it to be too drastic, you can turn it down a little bit sometimes that can get to be a weird transition from the lighter pressure to the heavier pressure, which is where smoothing comes into play. Smoothing is a lot like the streamline for pressure settings. So it's smooths out, the pressure changes. It also, just like streamline, can get a little weird if you set it too high. So definitely play around with that. Then you can change the opacity with pressure as well. I'm not sure it'll show on this monoline brush barely shows. So if I have it all the way up, I have a lighter, more transparent taper here and here. And you can also see that this looks a lot like a taper. So kind of a lot of these settings, of course, you know, kinda intermingle. So if you want more of a taper, you can change your taper settings as well as the size pressure here. And this brush doesn't have any taper. This doesn't apply to anything because there's no taper turned on right now. So this is strictly at making this taper with pressure flow helps you adjust the amount of paint your brush lays down with pressure. So if you have that high, it's you need more pressure to have a heavier flow. So if this is something that I like to adjust when I'm finding that at the very beginning of a stroke, I want it to be darker. I don't want to have to press harder. So with it set high, I can press lightly to have a light stroke and press harder to have a dark stroke with it set to the middle. I don't have to worry about my pressure at all to get a dark stroke and that can be easier on your wrist. So that's nice to know. So this is an interesting one as well. And you might see some watercolor brushes do this where when you have it on the negative numbers, it actually gets lighter with pressure. So that can come in handy with watercolor brushes. Bleed is kind of how much your brush is going to bleed around the edges with pressure. To me, I don't fully understand this based on the example that's being shown over here. So that's an interesting one. And then of course, you can make similar changes to your brush based on the tilt of your pencil. All right, That's Apple Pencil. 14. Properties: All right, For properties I just stayed on monoline because there is no real playing around with brushes. In this section, using the stamp preview allows you to see this preview as the stamp shape, the shape source that you use on the brush. So that's really handy for stamp brushes where you have a shape. So for example, my logo brush oriented screen helps you keep your sheep source. If you have a shape source that has a direction, for example, a stamp as shape stamp, right? Then, no matter how you have your screen oriented, it's going to keep it upright. So if you rotate your screen and stamp it, it's going to keep it this way. No matter what angle your screen is, your stamp is going to stay upright. Preview again is showing you what you see here. Smudge is, of course, you can use any brush to smudge with. So you can change the intensity of the Spanish for each brush. And then the behavior is really important. You can bump up the maximum size. So I love having a big monoline brush sometimes. Of course now you can see I have to go back and shrink the preview size down. But having a giant modelling brush is so nice to have sometimes. So I do like to bump up certain brushes pretty high. Sometimes you can get a brush that just won't, no matter how maximum you go, it won't be very big. And if that happens, you can go to Stroke Path and bump up the spacing a tiny bit and then come back down to properties. And you'll notice that you're able to bump that up even more. Let's see if it'll show us that right now. See how it's not on Max anymore. So those two things are tied. And then I'm always check though on a regular Canvas, not just over here, the minimum and maximum size settings because some brushes just don't look good at a really tiny size and some don't look good at a really big size. And then you can also adjust the opacity ability for a brush like maybe you don't want something to have full opacity. I don't do this because you can adjust the opacity as you're using it. And if you have an opacity set fairly low, then you'll never be able to have a full opacity brush. You'll never be able to have it be solid. So I just set the opacity over here as I'm using a brush instead of the setting of the brush itself. Let's bump that previous size down and see what that looks like. That's much better. Well, it looks like it has a taper on it again. Do they not save that yet, but there's the taper. Get rid of that tap Done. Okay, can see that taper is gone now. Right? So that's Brush properties. Next is the final end about this brush. 15. About This Brush: Our rate, pick any brush and let's go to the, About this brush section. This is a nice way to lock in your information on a brush that you want to call yours. So change the name. Let's call it inky, scatter and type whatever you went for your name here. Sign it however you want to sign it. And even with all three of those things, you actually do need to add a photo. So what should that photo B, that photo can be a picture of you, a picture of your little signature, anything you want it to be, if you have a logo, that would be your logo and so on. So for an example, I just did a little signature on a canvas and saved as a JPEG. So now I can go to photos and I can just do this as a quick example for some reason it always goes back and highlights that, but I just walk away from that note. No big deal. And then you can tap Create reset point. I'm gonna go ahead and get rid of the keyboard. You'll have to get rid of it later if you don't do it now. And what creating a reset point does is it sets all of the things you have in your settings exactly how you want them. And then if you make changes later, you can always go back to the basics. So let me show you that. So if you create, reset, point, save, and tap Done, then that brush is now locked in with your information. All right? Now you can share that brash and do whatever you want with that brush. But let's say you come back into this brush and you decide that you want to make some changes. Tap Done. Go over here, see if you like those changes. Go back in to about this brush. If you like those changes, then you tap, create a new reset point and it'll lock in those changes. If you don't like those changes, then you can reset the brush. Kids. What if you don't remember all the changes you made? You can just reset the branch and it'll go back to the most recent reset point that you have made. All right, That's it. Stay tuned and we will play around and experiment more with brushes. And I'll show you, I think it'll help you to understand the settings a little bit more. All right, see you in the next lesson. 16. Experimenting: Before we start experimenting, I wanted to actually come back to this splotch that we made as a new shape source and just tell you really quickly that you can make any shape source. I use a 10 inch by 10 inch canvas at 300 DPI. It needs to be square. And then you can make your shape source and save it. You need to save it with the white background. So it is either black on white or white on black. And as you know, you can do the two-finger tap to switch those in the shape source, in the editing of the shape source. So it doesn't matter which way that you make them. So go ahead and have tons of fun making all sorts of really crazy shapes sources yourself as well. So I thought I'd show you what I do. I have been playing around with the brushes quite a bit. So I'm just going to go back into files and download them again. And now I have a fresh set of brushes at the very top of my list to play around with some more. So I'm going to start with inky brush and I'll show you how we can make some changes to that. I love this brush because it has a lot of texture and I like texture. But sometimes that texture can be a bit of a nuisance. For example, when you have a shape that you want to drop and fill the color in. Well, my threshold is set really high, so I don't have this halo, but sometimes you can get a halo here. Let's just say you don't like texture so much and you really like the flow and the pressure sensitivity and the taper. You like all these other things about the brush, but you don't want that super textured edge. So what is that causing that edge? There's a few things that can be causing that edge. So think about class and I know we, we played with jitter at 1 to make the edges can have bumpy, but the jitter is down on this one shape. Definitely this jagged shape is probably causing that edge. And the other thing that could be causing it, yep. Is this size jitter. So that is if you remember that dotted line that went big small, big, small can have randomly, that's the size jitter. So if you look really closely at this brush, well, it's hard to see with the jagged shape source that we have. But there's thinner areas and thicker areas caused by that size jitter. So you could turn that down and then see if you like the brush better. It's definitely different. I kinda like the size jitter actually, but I still have this really rough edge. So let's go back and change the shape source. So for this, let's go just pick one of the shapes sources that I provided. How about this one right here? It's fairly smooth but still has some texture. We need to invert that tap done. Tap Done again. I like to test them on a canvas instead of that little drawing pad. All right. Before I change the shape source, one of the things you can check is this scatter. Sometimes this scatter is what's causing such a bumpy edge on things. But that shape was so jacket that it probably wouldn't have made a difference. So this one now has just a little bit of texture. I think I might actually go back and bump up the size jitter a little bit again. So that's just sort of how you can start thinking about a base brush, just something that's already got similar settings to what you're looking for. But tweak it to make it more of something that will be useful for you. Another thing I like on inky brushes is a little bit of texture and one thing, one place you can go find that as in the default brushes on dry ink. So you can see that bubbly texture. That's a little too much for me, so I'm not going to do something like that. But let's see if we can get it a cool texture on this inky brush. So we go to Grain Source and we bring in some grain. He doesn't have any green right now. So I'm going to import a photo. You're seeing my, my getting ready for this class. Actually, I'm publishing it today. Alright, so the grain sources, hm, well, you can just test out different ones. I really like a couple of these. Let's go with this one. I'm not sure that made much of a difference. Just look up, looking right here. This is where the depth and the brightness and contrast come into play. Oh, there we go. Get a little bit of that grain showing more. So with this one that depth didn't do much, even having it all the way up, because there's not a lot of contrast in that to begin with. So I think I like that I can commit bump the scale up a little bit though. Let's test that now. So here's the dry ink brush, and here's the brush, what it was before. We put some texture on it. Let's do a little stripe here. Well, that's a lot of texture. I like it, but I think the green might need to be smaller again. Yeah, it's getting closer to what I want. It looks a little too free to me still. But that's just an example of my thought process when I'm going through and experimenting, like I've said throughout class, play, play, play. So let's look at a different style of brush. Let's look at the grungy dry brush. The grungy dry brush has a lot of color when you press hard. But when you're just barely pressing, you don't get a lot that could come in handy. I'm not sure. I like how much of a change that makes from light to dark. It, it changes to almost an entirely different brush. So I think I might, maybe make the, the start of the stroke be a little bit denser with color. So we have a few places to look. So taper, it doesn't have a taper. So we, none of these settings will work on that. It says pressure is all the way up. That's one of the default settings when you start a brand new brush. But because there's no tape percent, none of these are being applied to this brush. Alright, so let's think about whether, what are the other places where we could affect that start of the stroke? Well, it seems to be affected with the Apple Pencil pressure. So let's go to Apple Pencil. I think flow might be it. So if you go back to the Apple pencil lesson, the flow is where you can adjust how much pressure you need with your pencil. You can have it at 0 so you don't need any pressure at all to get color. I'm still needing a little bit. Let's check it on the regular. Well, so now it's nice and dense the whole time. I think I like that a lot. It still has the same look when you press hard. But I like that I can to make small strokes that are nice and thick with color the whole time and not have to press hard. So I like that setting changed. Maybe I might want to bump it up a tiny bit and I think it might drop the size down. So that's how big it can get with pressure. So it got really big with pressure. Now it doesn't get as big. So I like that. That also though, made it not get as small as well. So there's a little bit of given take their having that size up kind of gives you the ability to go from small to large. But then you'll went a little bit of smoothing for the pressure. All right, and then let's check out the grain. I like the green. I like the shape. I might bring the green little more gritty here. Same thing we just did on that inky brush. So now it's a little bit even more textured and it's still quite streaky and that's because the shape sources those dots. All right. And let's take a look at Laci Green. This one doesn't look anything like the color I've chosen, which is more of a teal. And that's because of the color dynamics. I'm not sure I like the wood grain. I really do, but I'm just pretending. So let's go into grain. Let's go to one of our greens provided leopard print. Anyone with this to see what it does without. So we're really cool. Oh wow. Okay, so this is going to be a fan brush. I can't wait to see what you guys make with this brush. Can you see that? Can you see that? That's amazing? Other settings have we not played with in the experiment? We could bump up the, well, the maximum size is already up. Do we like that maximum size? That maximum sizes really big. Do we like the fact that, that leopard print stays the same size, no matter what size our brushes, what may have gotten a tiny bit smaller. So remember that setting is ingrained. No, it didn't. It's cropped so it's staying the same size. So if you want it to. Follow the size of the brush. Then you have a small brush has the small leopard print. And a larger brush has the larger leopard print. That could come in really handy. I'll leave it like that for now. I'm not sure I like the color dynamics on this, so could come in. I'm not going to play with the stamp. Yeah. I like this. Yeah, maybe a darker too. Okay. Guys, I hope you realize how awesome this brush is. Have fun with that. That's a really fun brush. And finally, as another bit of experimenting, Let's start with a brand new brush. Ran new brush. Let's first of all get a shape and a grain. Let's do it from are provided sources here. Let's grab this one with three inverted tap Done. And let's get a nice green. Maybe the rocks tap Done. All right. We can see here it's just kind of making some streaks. I don't want that. So I went to jitter that. That's pretty cool. Space them out. I don't need a taper rendering. I'll come back and play with rendering if I need to. I don't want it to be wet. I don't think. Now, if we go back to shape and we bump up the count, let's make the count four or so. That means every time you stamp four of these are going down on the page k, which means for color rendering your stamp color jitter is an awesome thing to play with. Let's pick a color though. So let's bump up Hue really high, just for fun. Saturation. Let's just start there. So before when you have a stroke with a brush that only has one the stamp each time is just stamps, stamps, stamps, stamps, timestamp. Then using the stamp color jitter kind of just makes it alternate. It makes it kind of like a row of coins that you've spread out. And you can see the edges of each of those coins. Whereas this one, every time I stamp, I have four different colors going down. Yellow, pink, purple, reddish. I can bump that up even more. Every time I stamp. Every time That's for stamps go down at a time and they're all four different colors. Let's go down to properties and bump that size up. And let's see what that brush looks like. By hate to clear this, this is so cool. This is really cool. I might play around with this without so much color change, but I also think it could be bigger. Right now, they're not so big. So half and plain. I think that the rest are going to be pretty straightforward playing with them. And I hope you have a ton of fun. And next up I will show you how to be dual brushes. 17. Dual Brushes: To make a dual brush, all you need to do is pick two brushes that you want to combine and play around with each of those brushes. You can do that once they're combined. You can do it before you combine them. It's recommended to make duplicates before you combine, but you can uncombined them. So let's look at how we do this. Let's mix our stampede circles. This is what that one looks like. So I'm going to duplicate that. Well, let's do Blache green just for fun. Oh, and we made that the cheetah look to who? So I have a duplicate, which is why the one shows up. And I need to decide which do I want to have as the primary brush and secondary brush. So let's just do stampede circles as primary, say select it first and then you swipe on the other brush that you want to combine it with and that'll make it the secondary brush. You need to move any brushes that you went to combine into the same category. You can't switch between categories. And once you select two brushes, you have an option to combine them. I've been noticing that it doesn't look any different. Right, when you combine them. But if you exit and then go back in, it does. So. Must be a little bug. Okay, let's just see what that looks like. I think it's going to be a little weird. Very weird. So we can go in and see what we've got going on here. So you can tap on each brush. If you tap on when, you'll get to a blend mode for the brushes, for how they work with each other. And I really can't explain this to you. Anything I see on this just says, and here's the blend modes for the hint doesn't really tell you what that means. So let's just see what it looks like with overlay. And experimenting is really, of course, really important. So it's interesting. I can't really see the Blache grain brush. I mean, there's some texture coming through, but so then if you tap the bottom when, then you can see it's called secondary. If you tap it again, you can uncombined them. So before you do that, Just know that depending on which ones highlighted up here, the blue bar on the side, you can change the settings for those separately while they're combined. And it can do all the things, call it something, and do all of that. Just like before. If you don't like this combo and you think that it's just crazy, crazy, just uncombined them or delete it. You really could just delete it since you used duplicates to begin with. How about we try this static brush. Duplicating that with the duplicating the duplicate of the stampede circles. So I chose stampede circles on top again. Oops. And then tap combine doesn't look like much. Well now it looks interesting. Well, I can see some static on there, so that might be interesting. Yeah, that worked really well. All I did was add the static to the brush. So that's going to call just added more texture. So this stamp be circles brush already had this stripy painting, the grain texture behind it already, and now it has the speckles as well. All right, That's dual brushes. 18. Thank You!: Thanks for taking my class. I hope you learned a lot and don't forget, I have three other brush making classes that are specific to textures where you'll learn how to make seamless repeat textures in Procreate and a stamp brush class and a pattern brush class. Each of those classes does have a theme, but you don't have to do anything about that theme. It's just about learning how to make those types of brushes. And the theme is just to make it a little bit more interesting and fun. If you just type my name into the search box, you can find my Skillshare profile. You can also find it at the top of each class. And this is where you'll find all of the links for me online and also all of my other classes. I would love to see your class projects. This is some of the projects from this stamp brush class where we did hot cocoa just to learn how to make stamps. So these are really fun. And by posting class projects, everybody can see your work without being on Instagram and Facebook and things like that. And of course I left reviews as well. So again, I hope you had lots of fun. I really like teaching these classes and seeing what you make. See you in the next class.