Create Your Own Custom Procreate Brushes | Jon Brommet | Skillshare

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Create Your Own Custom Procreate Brushes

teacher avatar Jon Brommet, Crusoe Design Co.

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

14 Lessons (50m)
    • 1. *NEW* Class Trailer

    • 2. Class Trailer

    • 3. How To Make A Stipple Brush

    • 4. Source Panel Settings

    • 5. Stroke Panel Settings

    • 6. Shape Panel Settings

    • 7. Grain Panel Settings

    • 8. Dynamics Panel Settings

    • 9. Pencil Panel Settings

    • 10. General Panel Settings

    • 11. How To Make A Texture Brush

    • 12. How To Make A Inking Brush

    • 13. Thank You & Goodnight!

    • 14. A Message From Future Jon

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About This Class


If you’ve ever looked at the brush settings in procreate it can seem a bit overwhelming. But surprisingly, making your own brushes are really easy. You can even just duplicate and customize brushes that came with procreate, or ones you’ve purchased online. That way you can start with a brush you already like, and make small tweaks to your preferences.

In this class I will breakdown all the settings that make a brush as well a teach you how to make a stipple brush, texture brush, and finally, an inking brush. That way you can start drawing right away with a toolset that is unique to you.

You’ll never look at brushes the same again!

Meet Your Teacher

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Jon Brommet

Crusoe Design Co.

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1. *NEW* Class Trailer: Hey, what's up Skillshare. I have an important announcement from you. Ever since this class came out, Procreate actually released version 5 which really overhaul the way that you create brushes by adding something called the Brush Studio. It actually rendered this class a little bit obsolete and for that reason, I've put out a brand new class teaching you exactly how to use Procreate Brush Studio. But in order to watch that new class, you need to click the link below or go over to my profile and you'll find out my page. It's called Procreate Brush Studio, create your own brush. Other than that, I will play the trailer for the new class right now. But just be sure to click on over to that. Otherwise, you'll be watching my old class, which was filmed for procreate version 4 and like I said, it won't be very easy to follow on with now assuming you have the new version of Procreate. So thank you so much for your interest. I'm going to play the new trailer and make sure you click find the new class. Okay, bye. What's up Skillshare? My name is Jon Brommet of Crusoe Design Curve and welcome to Procreate Brush Studio. Create your own custom brush. If you've ever opened the Procreate Brush Studio, you may find it a bit overwhelming but surprisingly, it's actually really easy to go ahead and start creating your very own custom brushes. Plus to start with, Procreate has made it really easy to go in and edit any existing brush, whether you pay for it or it came along in Procreate studio. So you can always start there and then work your way up to the more advanced features. It's really important to create your own custom brushes because it can really make your art stand out from the crowd. As artists, we're all unique. So even though if you find a brush that you already love, chances are you can make some changes to make it perfect for you and your tastes. In this class, I'm actually going to be breaking down every single setting in Procreate Brush Studio. There will be no more mysteries as to what setting actually does what. I'm also going to be teaching you how to create a stippled brush, a texture brush as well as an inking brush to get your feet wet and get you inspired to start making your own unique brushes. This class is aimed at intermediate users that have a pretty good idea of how to use Procreate, but have either never messed around in Brush Studio or maybe have created some basic brushes but didn't understand what all the tools do. By the end of this class, you'll have all the confidence you need to create your very own custom brushes, or at least edit brushes because you'll know exactly what you're doing. If you want to know more about me, I am a Skillshare top teacher. I've been teaching on the platform for over six years and I've taught over 30 classes. In that time I've taught 70,000 plus students and they've watched together almost two million minutes of my content. Professionally, I'm a graphic designer and illustrator, and I've worked on a wide variety of design work over the past 12 years. I now specialize in branding, T-shirt graphics, and illustration. I've worked with brands like Blink-182, brands like Hi My Name is Mark, and RPM Training Co. I've collaborated with a wide variety of companies like New Era to produce my own merchandise. But that's enough about me. If this class sounds interesting to you keep watching. I'll see you in a second. 2. Class Trailer: Hi, what's up Skillshare my name is Jon Brommet and welcome to creating your own custom brushes in Procreate. If you've ever opened the brush panel in Procreate, you might find it a bit overwhelming. But surprisingly, it's actually really easy to create your own custom brushes. To start with, you can even duplicate brushes that came in Procreate and make changes to them to your preferences. Making your own custom brushes are really important because it can make your art really stand out from the crowd. As artists, we're all unique. So even if you find a brush online that you paid for and is amazing, making small changes to it might actually benefit you and make it even more perfect for your specific taste. Because again, we're all different. In this class, I'm going to break down the settings that make a brush in Procreate, and I'm also going to teach you how to make a stipple brush, a texture brush, and lastly an inking brush. This class is aimed at intermediate Procreate users that know the program and are fairly comfortable with it. But who have either never looked at brush settings or just don't quite understand every aspect of them. By the end of this class, we will demystify all the brush settings. You can either make your own custom brushes, or customize brushes you already have. We'll remove all the guesswork so you can efficiently make your own brushes and just get drawing. So without further ado, let's get into the class. 3. How To Make A Stipple Brush: Before we get into every single little setting in the brush panel, what I want to do is start with just making a quick brush first, just to give you an idea, especially those that are a little bit more new to it, how easy it truly is because it is quite easy to make your own brush. I'm just going to show you one example right now. I do have a new brush pack coming out called Shady Characters, which you can purchase, but I'm actually going to show you how to make two of the brushes in that pack. The first one is one I've called the Dubious Dots. Now this is just a different type of stipple brush, so you can see here, instead of drawing a million little dots, we've got this cool stipple brush, and the more we go in certain areas, the darker it's going to get, so it will give you that cool stipple effect as a few drew this all by hand and took hours and hours. Now there's many ways to make stipple brushes and I made a few different ones in my pack. This one is probably one of the easiest ones to make this a really easy brush. What I would suggest you do is to make a new brush library, so you just click there, and we're just going to call this new for now, you can call it whatever you want. Then over on the top right, we're going to hit that plus, and the cool thing about Procreate is it comes with some pretty good brushes to start with. We're going to pick from the swap from pro-library, and we're simply going to pick a hard brush. Again, this is the beauty of it, you'll be able to make changes as you want, and we're going to go with just Swish. If you scroll down, you'll get down to the textures here, down, down, keep going, and we're just going to use a blank texture. It's very easy just like that. That's already the basis of the brush. Now we just need to make this actually stipple. If we drew right now you can see it's just a big snake line and it has tap with two fingers to undo and assuming that you will have an idea of how to do those things. The main thing you want to play with is the spacing. What we do is if we crank this spacing up, you can see that it's actually shrinking those dots. It's taking out dot that source and it's bringing it real close together, if the spacing is nothing where they're overlapping a lot and as you crank it out, you can start to see the circle and further and further until you actually can see basically the full circle. I'm not going to mess with this stream line and I'm going to crank that jitter all the way up so you can see that it's moving the dots. It's got that path, but the dots are going to jump around on it. I'm not going to play with any of these tapers of strokes or anything, and again, I'm going to explain all of this stuff in much more detail later. But now you can see if you draw that you're getting some different dots, see how that's working. Now if we crank our brush down, you're already just like that getting your stipple effect. That is a really, really quick way to make a stipple brush. It took all of two minutes and there you go, you already have your first custom brush, which you are going to be able to customize as much as you want. We're going to start showing you how to do that in the next video. 4. Source Panel Settings: Next up, we're going to show you all the nitty-gritty settings of the brush panel. What we can do, is that we are going to keep this brush selected, but basically we're going to go over to source. I'm starting at the furthest right and then we're going to go back to stroke, but basically the source to me almost should be the first column because it's the most important as far as actually, how the brush is going to look. Again, I'm going to use the same one that I already made in the last video just to show you all the crazy stuff you can do. If we swap from library, you can see there's a lot of different effects that come in the Pro Library. I'll show you how to make your own later. Of course, if you're making that, you can already see that those look a little different. If I blow that brush up a lot, you can definitely see what's happening there. That is a cool part of the source, that is your shape source. That's a fairly obvious those dots instead of a circle, they're going to turn to whatever your shape is. As you can see there, there's a rectangle and so on. That is a pretty easy to understand thing. That is your source of the shape. Now the grain is what is in the shape. For a minute, I'm going to go back, because that already has some texture to it and some lines, so I'm going to go back to just that hard circle. Now if we swap the grain and again, you've got to scroll all the way down. For some reason they keep them all together, so we'll scroll, and now you can start to see some different things. If we click a grunge texture, you're going to see that that grunge texture is showing within the shape. Again, fairly straightforward. There's your grunge showing within their shapes. Now, you have some weird simple brushes. Clear it, and then if you go over to your stroke and you crank that's facing down, let's get rid of that jitter, you can start to see what happens, and that's the basis on how to start to make a texture brush. The more you space it out, the more you're going to start to see the circle shapes in that brush. It's cool that they have this preview for it. It makes it a lot easier to know what you're doing with your brush as you're going. Talking about two more things under the source. You have three options for your shape source and you have three options for your grain source. We already know how to swap from the Pro Library. We've learned that an insert photo should be fairly straightforward. When you click on insert photo, you can go to your camera roll. Here's some old brush shapes that I made, so I'm just going to select, it really doesn't matter which one, so let's go with this one. This is now a custom shape. This is not something that came and procreate, this is one I made myself what I actually did, is I used some ink pens on some textured paper and I scan them in, and selected these little pieces, and then that gives me my source. If you see here, if you see if I were to draw, you're getting some weird things happening. Basically it's inverted. The brush is actually painting where the white is in the shape source, so that's where that third effect comes in. Now, we know how to swap from Pro Library. We know how to insert a photo, so if we just click invert shape, now it is using the actual shape as the brush as you can see there. The same idea goes for the grain source. If you simply insert a different grain, you can pick one that you've already pre-made and now that is the source of your grade. The cool thing about that, is inverting the grain is going to give you a little bit of a more subtle texture as you can see there. I find that I don't use the invert a whole lot on the shapes source, but I use it a lot on the grain source. That's it, that's how you use the source panel. It's very easy to understand. They've laid it out really great. That's why procreate such a great program. From here, we're going to use these two things together however we want and then we're going to make lots of little changes throughout the other settings in the other panels. That's how you're going to get to make your own custom brushes. Right now, I've got a fairly unique brush. It's not set up well, but I've got a new brush with my own shape that I made myself and my own grain that I made myself, and of course, I will show you how to do those things. That's the source. 5. Stroke Panel Settings: We're going to play with the Stroke settings. Using the same brush I just made in the last video, we're just going to go over to Stroke. We've already talked a little bit about spacing because we made that in our stipple brush, then we'll go ahead and we'll just crank that stippled brush out so you can get an idea of the space, that's how we made that. Again, I'm going to go ahead and clear my art-board here and zoom in. You can see that that's not really ideal for any Texture brush. What we're going to do is, we want to make a cool Texture brush. If we overlap it just enough and you can decide whether you're streamlining it or not. If you're wondering what a streamline is, let's use a different brush for an example of a streamline. I'm going go to my Dirty Inkwell brush kit, again, available for purchase, small plug there. You can see this one actually has a bit of streamline on it. If we click it, let me go on to my streamline, it's set to 20 percent. If I turn that down, let's write it down again all the way then nothing. It's really jagged and it follows my brush really fast and easily and my lines aren't too smooth. If I try to make a circle, you see it's a pretty jagged, now the brush is a Jagged brush, but if I click that , let's crank that streamline all the way up. Now, you can see that it's really trying to smooth it. The brushes isn't following you as quickly, but it's trying to make your lines smooth. If I make a circle again, it's going to do a little bit better of a job, smoothing everything out and making my lines a lot cleaner. That's what you get if you have a little bit of a shaky hand or just in general, most people aren't going to be able to draw a curve as smoothly or perfect, or even a straight line that's not perfectly straight. Meaning that if I click and hold, then it gives me a perfectly straight line, that's how Procreate works. You can go over here and here, but a lot of artists, they don't want necessarily quite that perfect streamline, they want to be able to have it pretty close, but still a little bit hand-drawn, so it's a little bit less perfect. That is exactly what the streamline setting does, so streamlines pretty straight forward. We'll go ahead and put that back to 20. I don't want to mess up my brushes for future use. I'm pretty used to them working like that. Then we'll go back to that new brush. One neat thing about when you're making these brushes, is if we go to "Spacing" here and we crank it up and down, you can see that it's going quickly on the percentage on the right of it. Let's say 53, 50. Let's say I want to get to 50, it's not that easy like take my pencil off the screen to leave it at exactly 50. What you do, is a little trickier, while you're holding, just click and drag down away from that line. What happens is, you can select in smaller increments. I'll go up and I'll make it quicker, and then the further I go down to the bottom of my screen, it's easier to get an exact percentage. I got 50 percent done on. I guess that's just an OCD thing. I'd like to have them done on. I don't need to see it like point three or something like I have here on the streamline. Again, if we crank that streamline up, let's just say that we want that at 20. Again, we're just making this one up as we go with it. It's also very unnecessary probably for a Texture brush to even have a streamline at all. That way we've got the streamlines working for us, it's a little smoother. Again, a streamline is probably only going to be used for inking brushes. That's pretty unnecessary for this. We'll crank it back off. Jitter is pretty straight forward. You have this kind of source line that's following your brush that it draws on. When you're drawing, you want the shape to follow that basely dead-center of where you're drawing your brush like that and as always we'll clear this. If I'm drawing a straight line, the brush is basely dead-center of the line I'm drawing on. If we play with this Jitter and we crank it all the way up, that's always the easiest I think to see it. What it's going to do is just randomly put that brush point, that source point all around the line I'm following. If I draw the exact straight line, you can see that my brush is all over the place. That's useful when you're making something like a stippled brush. If I turn my brush size down, you can see it's jumping all around and it's not following the line dead on. If I crank that Jitter back down, now it's following my source line nice and smoothly. Again, beautiful for making a stippled brush. Fall off is a little bit different. All it's going to do is, when you first start drawing, it's like as if you're using an actual ink. If you're drawing with an actual Ink, not like a pen, but like a fountain pen or something, you're going to have a paint brush, you're going to run out of ink as you draw along. Of course in Procreate right now, I can keep drawing this line forever and ever and it's never going to run out of ink. That is different if I crank up that fall off. In every example I like to crank it up pretty high so that you can easily see. I'm starting with full Ink and very quickly it's fading basely to nothing like I have no ink left. If we put that more settle, I'm drawing with a light or dark ink and as I continue to draw the lines getting lighter until eventually is not there anymore. That's what Fall off does. That's a good way to make your brush a little more realistic if you're painting with ink like you would do in real life. Now, we're going to talk about the Stroke Taper. This is a little bit better illustrated in a inking brush. I'm going to go over to the "Studio Pen" and I'm just going to duplicate it. That is, I swipe it to the left, click "Duplicate", and then it says Studio Pen 1. That way you're not recognizing any of the default settings that came with the Procreate brush. The Pressure Taper is something the Stroke Taper in general has completely changed in the newest version of Procreate. In the past, it just had a start and opacity and sizes, very simple. It was easy to understand, but it didn't give you quite as much control. At this point, I don't use Tapers a lot when I'm drawing. I think it's useful for certain types of art, comic book art and certain things of that nature. At the moment I'm not doing a lot of that, so actually I don't use this very much. Because it's so overhauled, it's not the easiest to understand compared to the rest of it, at least for me because I haven't experimented in it quite as much but nonetheless, we'll play with it just a little bit. The idea here is that you can control the amount of taper, and that's going to basely be depending on the size. If we just turn this right down to nothing and we crank out the size, you can see that in this top right corner where the example is that, it's going to taper a bit there. If you play with the tape, you can change it from sharp at the very bottom, all the way to blend and that gives you a little bit of control. I found that it's going to depend on the amount, so if we crank the amount up, that's going to make a big difference on the left, and if we crank this right amount up, it makes a bit of a difference on the right. I think the idea too is that you can also hit the link there and they will control together, so now you have them both going. You can see it's going to taper and in general hit the taper a lot more on the left and then a little bit more on the right. The size of the Taper is up to you, of course, in this size setting. Opacity is pretty straight forward. If you crank that up to max, what's going to happen is, it's going to actually start as a light basely invisible ink, and then get a little bit darker as you draw depending on the pressure, and of course the pressure is going to allow you to control that. If we're drawing here, and we just draw a little lighter, you can see it's getting just a little bit of a tape there if we crank that up. You're finding that it's going to matter too on your pressure, but no matter how hard I'm pressing, I'm getting the same result of that taper, so that's important to know. Then of course, we must have the Opacity. You can see that start's light and gets darker. Again, I'm applying the same pressure throughout my stroke and it's giving in that taper. Now, pressure can be played with so that you get different effects. The lighter you press, the more it's going to taper and so on. The same idea, the tip can be blunt. Before it was really quite thin and you can control exactly how much it's going to start with and how thick that is at the start and that's the basic idea. You get a lot more control and same with the adding that animation to it. The touch taper, I believe is if you're actually using your finger, it's touching. But I have mine set up so that my finger is actually not recognized. I've set that up Procreate a little bit differently. It's more advanced, but basically, I found that once in a while I'll be drawing here and maybe my finger or this finger hits it and then I'm drawing over here. I didn't like that, so I turned it off. Now, my iPad does not allow my finger to draw it, I only use the pencil to draw. Which, if I'm using a pen, I can't suddenly accidentally use my finger to draw with a pen in real life, that doesn't make sense. To me it makes sense to keep my settings the same in Procreate. That's the basic idea of Touch Taper. That one, I know I didn't explain quite as well, but that's because it's something that I pretty much never use. You'll have to just experiment a little more and because this version is so new, the update, I couldn't get enough information really to break it down perfectly, but that's just so to give you a pretty good idea so that you can still play it with it. 6. Shape Panel Settings: So now we're going to get into the shapes settings. I think the shapes settings in this example are going to be a little bit better shown with one of my brushes that I was making. So I'll go back to that new brush we were making earlier and I'm going to clear this layer again. Basically what we're going to do is we'll head over here, we'll leave all those settings the same and then tighten that spacing up just a little bit for this brush and then we're going to head over to shape. Now a plane with the first setting, this scatter will actually change the angle of the brush. Now the cool thing about that, let's just crank out that spacing a lot so you can see it there. I'm actually going to invert the source so it's really obvious and really strong and see you. You can see right now that's what's happening when I draw with this layer. They're too big, but that's the idea. So I'm getting brush, brush, brush and it's all the same angle. So if we go over to shape, and again that's playing with your shape source there, so you go to shape. If we play with scatter, you can see now if it's cranked up all the way that each brush is going to hit at a different angle. That's pretty cool because it's going to make sure that your brush isn't quite as predictable and it's a little bit more unique looking. So if I drag that together and you can see that with that scatter on, we're getting some interesting things happening. You're getting like really jagged lines and stuff like that and the more you crank it and you might get a a fuzzy line. This is how I have worked with some of my inking brushes to get a really cool fuzzy line there. So that's a cool effect for adding that. But of course, the less that you have the scatter. Now the brush is basically just being smeared exactly at the same angle and you're getting a different result. Keep in mind too that the tighter your spacing is because the brushes technically overlapping itself, your texture is not going to show through as strongly. So if it's actually spaced out a lot more, you're going to see your texture file show up more in each piece. But as you tighten them, you're not going to get the same effect. But anyway, so we go back to the scatter. That gives you the idea once again, you can see, and the tighter you get it playing with that space and you're going to get a little bit more of the new thing. We'll leave it at around there for the scatter for now. I'll clear this again. So that's scatter. Then the next thing is rotation. Now rotation is going to do the same effect even more. So now on top of moving it, you're going to also be able to rotate each brush just a little extra more. So you can go all the way a 100 percent to the left and you can see it in the preview here how it's playing. It's not a big effect. I don't think anyway, not when using the scatter and that way it's going and follow your stroke. So again, these are just ways to make your brushes a lot more unique and interesting. Now if we click randomize, what's going to happen here is that in this brush every time I start it, and you can see it's starting with that same shape on the left. It's only that same left piece. Whereas if you start randomized now it's really just going to grab a very random point of that brush so sometimes you've got that little dots on the left and sometimes you don't have it because it's using a different point of the brush. Randomize is nice if you're going for this kind of effect. So for ozim if you're going to have ozim on and off, it's more effective when using more like a calligraphy type pen because basically it's making it so the brush shaped sort of follows the same as the canvas and the Apple pencil. So turning it on, we'll make the shape follow the perpendicular angle of the pencil that you're using if you're using an Apple pencil, which you probably are if you're using Procreate. So it's not going to be super useful or obvious in this, but you can use it, it makes it a tiny little difference. Then we're going to go over just shape filtering. So I have to, and you should download iBooks. You can download the artist handbook. These are actually made by the developers of Procreate, and it goes over every one of these settings. The newest version at this point it's not exactly right so it didn't have the stroke stuff, but it's really good for these tiny little things that you are not understanding. So the shape filtering, none is fairly obvious, but if you use improved it applies anti-aliasing to your shape , which again is getting pretty technical but it's just a little thing like that. Classic is using earlier versions of Procreate. So this is also a kind of settings that are happening in Photoshop. So those are going to be personal preference. You should just try drawing and playing with a different shape filters and see if you can notice a difference. I find that I can, if I zoom in really tight here, you can see that the brush is really sharp. It's got very sharp edges, with shape filtering set to none. Classic, you can see that's quite a bit blurry. Then improved is in-between where it's a little bit sharper, but it's not quite as sharp as none. So again, that's all going to be preference. I think we will leave it as improved, I guess for now. But that's going to be depending on the look that you want as all settings are basically going to be. But that's it for the shape settings, so that one's a lot easier to understand. 7. Grain Panel Settings: Okay. Now we're going to talk about grain settings. If we go on and hit the next tab over. Just like shape was mainly affecting the source shape, the grain is going to mainly affect the grain texture. Let's just go ahead and clear our board. I'm not saving any of the stuff, but it gives you the idea. Some movement is rolling. Some of these things are going to be really obvious depending on the texture you're using. So what I'm going to do, I think for the sake of making this one a little easier to understand, is I'm going to swap my brush setting, my source, my shape source, from the Pro libraries, and now I have that nice clean circle. So that's really going to show the texture, and as they get tighter again, the overlap is going to ruin the texture a bit. We'll get a nice smooth like that. So there you go. It's getting a light texture and your textures are shining through quite as strong because the circle is overlapping as I've mentioned before. But now if we go to grain, you have this movement thing. So if grain is straight, what it does is it's putting the grain exactly the same on each dot and because the dots are overlapping, you're finding that it's getting really filled. So you can only really see the grain at the start and at the end. So that's not very useful. Usually, the more you crank the movement up, it's actually going to follow the movement of the brush. So generally, you're going to want it all the way crank to rolling, and that's where you get that nice kind of rolling textures. Just like if you're rolling a paintbrush you're going to get a nice little texture like that. So you're going to want rolling, if you're doing like a texture brush thing. Now scale is the size of the texture. So think about that little square that we made here, the square you can see, and how big it's going to be. So you're either going to sample a very small amount of it, so the smaller it's shrunk you are using that scale really tiny, and it's repeating over and over and you're not getting a lot of detail. Or you're getting a lot of detail, but when it fills in, that's when it gets so thick. Or if you crank that up now you're using only a tiny little section of that because you have a crank so high. So again, that's all going to matter on your texture. This is going to be a little cooler too if we invert that. So you're getting that kind of little more light grain. So you get like that. That's a cool way to add a little texture to your artwork. Going back to our grain there, that's pretty straightforward. That's the scale, that's the actual size. You can see if I zoom way out, you can actually kind of see the texture repeating. That's going to depend on how you make your source texture, because this is one I made. I hadn't played around with making it seamless. You can actually see sort of the edges, that's a little less obvious and that's a good reason to actually increase the size of it. So the thing with scale is it's actually enlarging the texture, but at that size, if I use a giant brush like so, or use a smaller brush, the grain is still the same size, so if they overlap, they look about the same. This changes a little bit when you're playing with the zoom setting. So if we crank zoom out, what's going to happen is if we have a giant brush like so, and then we'll use a smaller brush, the texture is actually sourced differently. The texture is smaller along with the size of your brush. I don't usually use that too often because that means that if I'm using a big brush like this and I use a smaller brush now the grain is a different size, so it actually looks very different and doesn't flow as nicely. So personally, I don't really ever use this zoom, but again, in certain situations, you'll want to use it. Rotation is the same as using it in the shape where if you rotate it, you're rotating the texture. You can just do that to your preference. That is cool because it's giving you again another different look, and that's a really good way of hiding that imperfect, seamless pattern. If you're creating the pattern yourself, you don't have to worry too much about making it seamless, which isn't quite as easy to do in procreate as it is in something like Photoshop, but you won't have to worry about that because now it's rotating, it's scattering all over the place, which will make this seem a lot less obvious. Grain filtering is the exact same as shape, so I'll go over that, but the same thing, none, classic and improved. This is giving me a really good idea how to make a texture brush. I mean, we basically completely made it already and we're just playing around a little bit more with settings, but this is giving you a cool texture brush, and the more obvious it is, it's depending on your art style, but you can put it over top of your art and give your art a little bit more of a hand-drawn look. That's the nice thing about using texture on digital art, is that it makes it look a little rougher and a little more like you actually did it by hand on paper or using different mediums. 8. Dynamics Panel Settings: To play with the dynamic setting, I think what you're going to want to do is go into your brush library and head over to water, because this is the most obvious in watercolor. I'm going to use a wet sponge and what we want to do is duplicate it. We're swiping to the left and then we're going to click that and now we're just going to head over to dynamics, which is already set for me. Normally it's pretty straightforward. There's not a tone of settings here. We already understand jitter and stuff from using the other ones. If I draw over here, you're getting a real sharp color. If I crank that speed up, the faster I draw, I'm getting a different effects. See how it gets lighter there and if I put that back to zero, it doesn't really matter if I draw fast, I'm getting that think ink flow all the way throughout. That gives you an idea of speed jitter we already know it's how it jumps off the line. That was for the opacity. Size dynamics is the same thing. It will actually change the faster you draw. If we crank that down, same thing and jitter, again, it's going jump all over the place. That's pretty easy. That's straightforward for the normal one. Once you get into the wet mix and things like that, things get a little more complicated. It's the same with this glazed. We're going to use this glaze setting over here. Now this normal setting affects all this other stuff. What I'm going to do is I'm going to put that to zero and calm that jitter down. I think what I'm going to do actually, I'm going to delete this brush and I'm going to once again duplicate that sponge so that all those settings are still there. Go over to glazed, and we'll just draw this out first and this is how it's pre-set up and we can see that if we put a cumulative on, you can see right away the difference. It's accumulating the ink as you go through it so it's getting much darker and the flow is the same thing. The darker the flow is, the more higher percentage it is, the thicker it'll be. The lighter it is you can get some really light shading stuff going on. You can see there like that. That gives you an idea of how you're using those two things and that is affecting actual brush. This is opacity. Once again, the faster I paint, the lighter it's going to get as I go on. Where as if I turn that all the way down, the faster I paint, it doesn't matter that brush goes all the way throughout the stroke and the size dynamics is the exact same concept. The faster I draw the lighter or smaller the size gets, same thing like that. These are all in the jitter again, once we already get the idea of that. These are all very specific. It gives a watercolor artists or someone who wants to use these types of brushes, a ton of control and the wet mix is a little bit more complicated than that, but it's the basic same idea. You're just getting really control everything. You've got dilution. We'll do the same as we always do here, we'll crank that to nothing. You can see it's really thick. You can see every little detail and if we crank it to real low, it's getting a lot diluted. Basically you're adding water to it in the digital sense. We'll crank that down and charge is the same thing. It's how strong it is. Again, a lot of these are similar, but they're just giving you that little extra control so that you can really pump up the effect. A lot of these are really set fine. Like the attack, the pull, it's just all terms for when you're creating with watercolor so you can really play with these settings, grade, same thing. I don't personally see a ton of effects and a lot of changes with all these different settings. But I know that with a good combination, you can get a ton of control for that watercolor brush. The opacity and size dynamics are the same as the other things. That's why we wanted to use a watercolor brush to show the dynamics because I think it's really important if that's the type of art that you can create. Of course if you go into my brushes that I've created before, all my dynamics are basically always set to zero because I don't do watercolor art or that stuff at that at this point. All of my dynamic settings are always basically zeroed out or should be zeroed like that. It's just not something that I personally use. But hopefully that gives you enough idea that if you're into that style of art, you will now know an idea of how to use dynamics. But it's going to take a ton of experimenting and just playing with the little nuances of each setting to get something that you really love. 9. Pencil Panel Settings: Next up is the pencil setting. We'll go over here and we're just going to go over to my ''Dirty Inkwell'' set and I'm going to pick my ''Sketchy Shade'' here. I'm just going to duplicate it. This will be a good way to show off some of these pencils settings. The pencil is definitely interesting. Because you're using the Apple pencil, you get all of these crazy controls and it's really going to change how your pencil actually interacts with the iPad and therefore interacts with the brushes. You've got their size here that you can play with first of course, so you can see how heavy it is going to be with your size. The more we crank this up, it's going to be different interaction and it has to do with how hard you press. You can see Apple pencil pressure, so the lighter I press the thicker. You can see that that's even because it was at zeroed. If we max that out, the lighter I press, the brush is smaller, the harder I press the thicker it gets the lighter, it goes back to smaller. That's just playing around with the actual pressure settings. Like I did there. Opacity is the same thing, so the lighter you press, you're getting basically no opacity, the heavier you press you're getting real thick ink. This is good, of course, for sketching, which is why I have some of these settings play with for my pencil sketch here, and of course, if you turn that down to nothing, then the lighter or heavier you press, you're not getting any difference in the actual opacity. Those things are pretty straightforward. Bleed is an interesting one. It's different because the harder you press, it's just giving you only bits of that texture. It gives you a very different kind of grains. You can actually see that's really thick and sharp, whereas as you crank that bleed down, it's a lot more blurry and stuff like that. It's like a threshold of setting to the entire brush, and it has to do with how hard you press to get that threshold settings. Bleeds is an interesting one to play around with. It gives you a lot of interesting control. Angle's fairly straightforward, so the actual angle of the brush, binary. If you hold the brush on an angle, you're actually going to get a different result than if you draw straight on as you can see. I'm getting a much different result, and again, this is all going to be how you adjusted, but I've tried to make it because this is my pencil, I wanted it to react like how a real pencil would be so that if you put it on an angle, then it's going to react differently and you can change the angle setting so that they're going to have to really turn their pencil in order to get that effect. Once again, these are all pretty simple, so the opacity is going to be the same. You can actually control the opacity on the angle rather than when it's drawn straight on. You can press lightly while the pencil is sideways as I'm doing here, real light, and then the harder I press, the thicker it's actually going to come in, and that's at 50 percent, so pressing lightly, pressing really hard. You can see it's very subtle and you might not even be able to pick that up on the screen. Gradation actually affects and it's really hard to see on this, right now I'll do with the size. It actually affects the outside edge of the pencil essentially, so it's applying the opacity to the outside edge. These are very subtle things that I don't personally use really very much and the bleed is the same thing, so it's going to allow that to go with your tilt so it actually lightens and of course the size. Basically the same but you get to control how the pencil reacts whether if it's tilted on the screen, whether it's almost parallel to the screen or if it's completely perpendicular like 90 degrees to the screen. That's your up top pencil pressure so you get to play with that a lot. Your size, compression is similar it's just going to allow the brush to be compressed while you're simulating the behavior of a traditional pencil. 10. General Panel Settings: We're going to go back to our untitled brush, the brush that we were playing around with this entire class. The one that has that nice texture on it and, of course, we will clear our layer. That is so that we can go to the general settings. The first few things are fairly straight forward. You've got your brush name, so you can click here and type your name. You can also click up here and actually type your name and name it whatever you want. I use stamp preview. Sometimes, you're going to want that, that's showing you just that one stamp as if you just tap once right in the middle of the screen with that source and that gives you an idea. Sometimes, you're going to want to stamp brush, a lot of the times,you probably won't use that, so let me turn that off. The preview is quite simply just the size it's going to show in this little section. When you're over here and you're looking at your brushes, how big it looks on that screen. You can see that's bigger, it gives you a little bit of an idea and then that a little smaller. A lot of times I try and keep that preview the same throughout all my brushes so you can see how they look compared to each other as far as size goes and I usually leave it around 30. Brush behavior, this is a bit interesting to orient to screen. This can be a little bit different depending on your texture. I put on that rolling texture, but let's just change that down to just zero for the moment basically, so it's down. What will happen is depending on the angle, sometimes you're going to be tilting your iPad, portrait mode or landscape mode, it's going to draw basically the same if you have it oriented to the screen or you can turn that off so it doesn't. That's the option there for drawing. The classic taper again is playing around if I end edge taper. Blend mode is going into the Photoshop world or you've got overlay soft light and hard light and that's going to react differently, and you can go in all these different crazy blend modes. It's going to react differently to things underneath it and on top of it. So that's going to be your own preference. Luminance blending, basically when it's on, it's going to give you the nicest gradient possible, so that's something that if you're going to be doing a lot of using the opacity to get a good gradient, you might want to use that. This module depend on how much it smudges as you draw over top of each other. Size limits is one that I definitely use a lot. Sometimes, I won't put the minimum to none. You can see the minimum is none right now. I find that if you're drawing that small, it's basically impossible to see anything. If you're making a texture brush, in my opinion, you want that minimum to be, it's going to depend on your personal preferences. You'd probably go a little smaller, so let's just say five percent roughly. Again, if we drag that out here, so close to the screen it's hard to get that light thing, but roughly five. So that's a good small brush size. If we crank this all the way up to max, you can decide if that's too big or not big enough. If you wanted even bigger, you can go crazy so your [inaudible] brush size takes up the entire screen, and of course, you can control it. That's giving you a lot of controls if you're selling your brushes. There you just assume that someone maybe doesn't want a brush that goes quite that big, and it has that much of a scale here, so you can control the scale that the brush has actually changed on the left. Same on the opacity limits, you can control how dark it is, and how light it is, so you can control how that reacts to the pencil settings. These are useful I find to have your artist integrity if you're selling your own brushes. We did already talk about the source, so we don't need to go over that. One little cool thing I was thinking about that I hadn't showed you guys yet, is if we go over we swap one of these, one thing I didn't know is that if you actually click in there, you're using your fingers now and you twist it, you can actually change the angle of the brush shape and the texture. That's something that I didn't show you as before and something I didn't know for a long time. That's just a quick little tip for using the source and that's it for the settings. We went through all those crazy settings. Let's make a new brush. 11. How To Make A Texture Brush: For creating our own textures, what we can do here is to simply search "Free Textures" in Google and we can find whichever one's come up. I don't have any preferences. We'll go here to this texture king one and give it a shot. We'll just see what texture we can find. You can use these different settings. We can maybe click "Concrete". That'll be something interesting. We'll just find some texture that we like. I'll go with this one. I'll click "Download Now". We're getting that texture nice and big and we're going to click and hold on it so we can save the image. Then I'm just going to swipe up at the bottom, hit Procreate, and now we're in here. We're going to hit the gear, make sure that your canvas again is at 300 dpi and that it's square. That's going to get you the nicest thing. We're going to insert the photo from our camera roll, one that we just saved, and we're going to blow that all the way up. Not too worried about the resolutions, we're going to blow that all the way up like that. Now, with that layer selected, we're going to go over and we're going to play with our adjustment. Then what you're going to do is go to hue, saturation, brightness. I'd like to make it basically black and white to start with. You can play with how much, but we are going to crank that up so it's got the texture nice and easy to see. Then I think we'll sharpen that up a little bit. It's dragging. That's pretty good. That's already a nice texture right there. Now, of course you can take a photo of any texture that you see out in person. You don't have to use one from online. That's just a faster way to do it for the sake of showing you guys. We're going to save this. We're sharing it as a PNG. We'll save that image there. That's how you get it as your brush. We're just going to hide that layer or make a new one. We are going to this on untitled brush, and we're going to insert photo. We're going to make that texture that we just got. Now, we can leave this on circle and we can invert grain or not, but that gives you an idea. Now you're seeing that texture that you just made. I think that spacing is a little bit too far, I will tighten that up. There you go. You've got your texture brush. Now, don't forget too because that looks a little bit almost just like noise. If we play around with our shape, and we get the different grain size, so I'm going to blow up that scale a lot. Then don't forget that we'll be able to see more of that gray and see that there. That's just how you make a texture brush. This whole class I've basically been showing you how to do it, but that's how to create your own texture source and, creating your own actual shape source is pretty straightforward as well. I can show you how to do that now. You can pretty much use any of these, whatever you're feeling at the moment. We'll use that stucco. Why not? Any brush that you want to play with, and pretty much you can just go like this and draw it out. Thinking that your whole piece here is going to make it. This is an example. Again, what I would actually have done in mine, is I've actually made it so that I've done these by hand using markers and things of that nature. But this is just one way to do it. We'll just go ahead here, say they'll add again as a PNG, just showing you how easy it is because you can create it without even leaving Procreate, which is nice. We're going to insert the photo for our shape source, and we're going to use that shape that we just made right there, and you can again invert it. There you go. That shows you how fast it is. That's a cool way to make your very own texture brush and play around in that case. Now you already know how to make a texture brush, and you know how to make a stipple brush that we showed you earlier. Let's show you how to make a inking brush. 12. How To Make A Inking Brush: Making an inking brush can be as easy or as difficult as you want it to be. You could, of course, start with one of the inking ones that comes and procreate, and you could play around with that. That's definitely one of the things that I suggest you do to start with to get comfortable with making brushes, is you can go in here and you can do as simple as changing what the shape sources and then play around with the texture source, and that'll give you some really different effects. That's a cool way to start making your own thing because now you know how all these settings work, you can pretty comfortably play with anyone else's inking brush or any brush that they're making. But if you want to make one yourself, then you can do that too. What am I actually going to do, is I'm going to show you my inkwell. A dirty inkwell thing was all about inking brushes, and one of the popular ones is this ripper brush here. I'll show you what it looks like. It's got a lot, a little grit, a lot, a little texture. That's what all of my, the idea is that they're all dirty gross inking brushes, but they give you some real texture, maybe too much, that might be something you want to customize. Now in order to get this, one of the things that I definitely need to do is play with my source. You can see my grain source actually doesn't have any because I felt that it had enough bits and pieces in the shape source. I made that again by using a actual brush that I had ink on and I painted it on a canvas and I just scanned it in and I cropped that little sections. That's as easy as it is to make your very own shape and make your own inking brush from there. Then from there, of course you're going to play with your spacing, streamline all those effects. That's how easy it is to make an inking brush. Again, if we go to one of their settings, and we are going into the ink bleed. Sometimes they're going to play around with these different things. You can go in here and you can use any of their sources for the file. But that's basically how easy it will be to make your very own inking brush. I would definitely take a look at all the behind the scenes settings of the ones that came with procreate before you play around too much with making your own. A lot of times your grain source might actually be nothing for a nice inking brush. But that's it. Pretty straight forward. I could go into a lot more detail, but that gives you the idea of how to make your own inking brush. This entire class has showed you how to play with every setting. You should be comfortable basically making any type of brush you want to use for your own custom work. 13. Thank You & Goodnight!: Thank you so much for taking the class. We've been doing this whole class on the iPad, so we may as well stick with it for this part. If you head over to and you're following me, obviously, you're on Skillshare, watching this. There should be a little button somewhere here near my name, just click "Follow", that way you know when I put out a new class or put out a new discussion or anything cool like that. So please do follow me, otherwise, you won't know if I'm putting on any other amazing classes. You might fall behind that office thing. Of course, I'm always most active on Instagram as well, that's @jonbrommet, just like all my other social medias, Twitter, Facebook, whatever else exists. If you head over to and you can check out My etsy shop for cool physical items, or you go to my digital shop and you can buy cool Procreate brushes like my Dirty Inkwell one. Soon, you will see a very new one here, and I will show you it as a secret. It'll be coming out very soon, either the same day or just after this class. It is called Shady Character for Procreate. As you can see, I have not added a feather. I want to add a fellow here. My friends suggest that it's a good idea. There's sort of like, I don't even know if this is even the final cover , but this is a secret little inside thing. Soon, [inaudible] going to have stippled brushes. I guess you have your halftone brushes, crosshatching brushes, different type of hatching, and all different ways that you can shade a cool-looking character. So please check that out. It should be out in a second or it'll be out in a day or so. I'll put it in the session. Thank you so much. I hope you guys enjoying the class. Enjoy the class, not enjoying. Anyway, thank you so much. It's been a little bit since I put out a class. It's nice to be back. Make sure you follow me on Skillshare. I'll see you guys next time. 14. A Message From Future Jon: Wait, one more thing. I'm adding this, this future Jon Brommet I'm talking to. I hope you enjoyed the class that you just watched. Some of these classes have been recorded a few years ago, so I just wanted to give a little up-to-date on what I'm doing now. You can see that, I've put out a ton of classes potentially from the class that you just watched as you may have been watching one of my older classes. If you go over to my profile, you can click it somewhere on the Skillshare website or go to spelled just like that with no H, just the ON. You'll see here, I've got things broken down in my newest classes. This may even look slightly different for you because I'm putting out classes once a month right now. I've got my most popular classes, illustration, efficiency in illustrator, Photoshop stuff, and then all of my other classes. Make sure that if it's not already selected, you click see more, to see the rest of it. So many different classes, I hope you guys will be inspired to learn lots more. Hopefully, you're enjoying my classes and want to see more. If that's not enough, I'm at jonbrommet on Instagram, so you can check out my Instagram as well to know what I'm doing, I post all of my new artwork there, and of course, I let you know when I'm doing new Skillshare stuff. I've started a YouTube channel where I put short videos that are instructional. Obviously, advertising with my Skillshare class, but short videos that I can't really put a whole-class out I put here on YouTube. I even do things like, have conversations with other teachers like Tabitha Park plan to do that stuff more often. If you head over to, I've newly updated my website. I have a Digital Shop, or you can grab my ProCreate Brushes, or other things like that. On top of seeing at my different portfolio elements and things like that, I've also got a Etsy shop, which I'll click here, and it would open this. You can buy all of my prints and different art things that I've created. I will ship them to you from me, I've got them all produced here in my home, and they look awesome, and I know that they're cool. I just recently started a Threadless shop, which you could click here. Of course, it's about Skillsharing contact. Everything's linked from our website. This new Threadless shop has all my image that can be printed on demand on a really weirdly wild variety of things like, I don't know, let's just click one of these things here. It's going to open a t-shirt. But let's just say, maybe instead of a t-shirt you wanted, I don't know what duvet cover or shower curtains. Why wouldn't you want those things? I don't know. Anyway, I've got lots of different things going on. If you'd like what I'm doing and please check out more of that and I'll keep making more things. Thanks everyone. Bye-bye.