Design Your Own Creative Brush Packs in Photoshop & Illustrator

2. An Introduction to R&D: - So now that you've committed to making a brush product with me, - the first step is really more about research, - brainstorming and putting together creative brief. - So you have a general action plan and understanding an idea of what you want to make and - for what audience. - Um, - you can start looking at inspiration everywhere. - You can go to creative market and take a look at some of the brush is that people are - making and selling over there. - You can dig into Pinterest. - You can pull out a blank piece of paper and start writing down a short list of potential - objects or illustration types that you want to practice that you haven't maybe been able to - and kind of nailed down that idea. - So the other thing to think about is two different approaches. - So there are embellishment, - brushes and utility brushes. - So when you're thinking about your idea in terms of embellishment brushes, - think about pre made finished artwork that someone can just drop in using your brush right - on top of their projects, - and it immediately adds value and enhances their project. - So things like, - uh, - you know, - out of the illustrations and drawings, - seals and frames and badges, - sort of that artwork that doesn't need any editing that someone could just immediately get - some awesome use out of in their project. - On the flip side, - as you're coming up with your idea, - if you want, - explore utility brushes, - those are more of like the raw material types of projects where you're gonna wanna source - things that maybe are more textural and tactile, - that a designer is gonna have to manipulate and maybe layer multiple times to really get - the most use out of it for their project. - So there's two different approaches there. - But in general, - if you get stuck or you need more inspiration for your brush packed project, - I'm happy to help you again. - There are sort of it's sort of a blue sky. - You could be as creative as you want to, - but I really encourage you to think about how people might be using your brush in their in - their projects and but a photo shop and illustrator. - So dig into the product steps below. - If you need help, - I'm here to help 3. Filling out your Creative Brief: - in this video, - I wanted to share with you the most important take away from the research and development - phase. - And that's really the creative brief. - So here I've got the sample template that I put together for us to all use. - And essentially, - it's really important to come out of this section knowing what you're gonna create and some - of the details behind your action plan that you're gonna take and also who's potentially - gonna be buying and using this brush. - So in this fictitious project, - I've given my brush a working title of natural wood texture brushes, - and I'm thinking about sourcing. - Some found wood samples from a scrap yard. - Now I might collect more than 20 samples of wood, - But here I'm calling to shoot for 20 final brushes, - depending upon how the photography of the wood turns out. - Now this approach in particular for me is utility. - So I've selected that for the approach, - and the creation path is finding that Goodwood samples taking photographs from a top down - view and then bringing those into Photoshopped to create a BR brushes. - So what I'll need to do that is my camera and scanner and then also sourcing wood boards - and scraps and pieces that looked pretty good, - um, - from a local store, - whether that's a scrap yard or or other, - and the content and the visual style of this is pretty straightforward. - So the woods gonna be in its natural state. - I'm capturing it. - As is. - I might have pieces that are both distressed and some pieces that air clean and also just - picking up various types of wood for the different grain styles that that I'll be shooting - the target uses for my particular brush might be things like digital art. - People might be overlaying the wood grain textures to enhance their illustrations or use - them as backgrounds, - either in art pieces or websites. - That sort of things. - So really describing the target uses will give you some ideas around how toe manipulate and - capture that artwork, - to turn it to a brush. - And then finally, - so I already mentioned this before. - I'm looking to produce a BR roster brushes and gonna throw in some extra file formats to - make it more flexible with tiff and J pic files. - So after you filled out your creative brief, - it's time for us to actually go start sourcing or making our artwork 4. Path A: Create Physical Illustrations: - So if you chose physical illustrations as your starting point to creating a brush, - Um, - I'd like to just share with you a couple high level considerations in order to produce the - best work. - So the 1st 1 is this is all about experimenting. - It's really all about having as much fun as you possibly can on the page through using your - specific chosen art tools and just exploring a variety of styles for the type of content - that you're creating. - And ultimately, - what you really need to consider is just producing high contrast ID artwork instead of less - contrast, - id artwork and do as much or even Maura's, - that than you think possible in order to have a big batch of artwork to choose from, - to edit things out that maybe aren't working and give yourself a really good chance of - producing a great brush pack. - So the first start tool we're gonna look at today is some pencil work. - Um, - and I've got a couple pencils here. - I'm gonna sharpen them. - And essentially, - when picking out pencils to use, - you're gonna want to make sure to get in the B range because they're much darker than the H - range. - Um, - and that will help you produce more contrast id darker artwork that will actually get you - much further when you're, - um, - scanning it in and creating brushes. - So depending upon if you're doing a utility or an embellishment approach for utility, - you can just sort of start creating swatches on the page so you can start with shading - blocks like this that are more, - uh, - linear from left to right, - a horizontal block. - You can also take different angles and think about the motion of the strokes in your mark - making and create more of a grid. - If you're thinking about producing these utilities, - watches that will ultimately be turned into brushes that create some good layering effects - for illustration. - Alternatively, - if you're doing more of an embellishment approach, - you can look at producing patterns and pencil so you can start with simple shapes and lines - and produce pattern bricks or swatches that you could look at producing as brushes. - Or you could actually draw something specifically that's going to be an object that you're - looking at. - So if I was looking at my eraser, - you could actually sort of start doing some contour line drawing. - Make sure your hands really loose so that the artwork really translates the night's action - and quality of the pencil. - Now, - if drawing from scratch like this is too much, - you can actually use tracing paper if you have a flat object and you can do some tracing - work as well. - So that's a little bit about the pencil. - It's really fun to play around with the line work, - and you can actually do more shading by holding it in a different manner to get different - effects. - So really encourage you, - depending upon your concept, - to just really explore and let loose here. - If you're doing patterns, - it's important to do as many iterations as you think possible appropriate to your project. - And if you're doing texture swatches, - it's really great idea to just do as many as you possibly can stand, - Uh, - before you take him in to the scanner. - Another set of tools that can create some really good effects, - especially if you're looking to build utility brushes, - is charcoal. - Now they're a couple different types of charcoal Here. - In my right hand, - I have non compressed charcoal and hear my left F compressed. - I really recommend using compressed. - You're going to get a darker, - more highly contrast ID image, - and you're going to get better effects. - But I'll just show you some of the other types are softer. - They allow you to do smudging so you can use your hand to get some different effects with - compressed. - If you're looking for a lot of motion and action, - you can get really good work going just through a loose wrist and drawing swatches that - really capture the essence of compressed charcoal. - In general, - you can change it to different angles on its sides. - It really depends on your concept what you're working into. - If you're looking at badges and seals, - you could create these circular or shapes swatches. - Really explore the diversity there, - and you can also take an eraser, - either for pencil or for charcoal, - and start to impact the artwork that you've created in order to make different effects. - So you'll note, - though, - as we have darker imagery happening here that's going to scan and produce a really solid - brush. - So the lighter the greatness of some of these pieces of artwork, - especially in the pencil range, - is going to produce and replicate that level of greatness versus some of the higher - contrast black pieces. - So depending upon what you're trying to accomplish, - I always say to air on the side of of darker effects. - Now, - if just drawing free style by hand is a little too intimidating for you, - there's another method you can use with charcoal. - Specifically, - you grab some tracing paper and have a flat object such as this leaf. - You can smash it down, - and we can do what we sort of did back in grade school and get some nice rubbing effects - happening. - So this is part of your concept. - Could really explore a variety of objects within a Siri's and get some really nice effects - to that would scan in pretty well great some nice artwork for a brush. - But really, - it's all about having fun. - Charcoal works best if you're a little messy and if you actually are very quick with your - wrist in exploring the emotion of your mark, - making so another art tool that is very common and is easy to work with is pins and markers - . - Lots of us have sort of grown up as doodling, - and you can get some really nice effects through your pens and markers. - I use my crones for my intense drawing and lettering. - If I'm gonna do that type of work, - you can also describe off the shelf sharpies or highlighters. - If you're looking to create more swatches or sort of hand drawn patterns and illustrations - . - The important thing to note here is markers are a lot more bold. - So instead of getting a range of contrast, - like the charcoal and the pencil samples have done here with markers, - you're really making a strong, - definitive mark. - Um, - you can try to go on a side angle and get more of AH texture quality, - where you can see some of the lightness showing through. - You could just be bold if you want and use the marker. - Teoh. - Do what it's meant to do. - Just create 100% black stroke designing patterns illustrating all types of ribbons and - seals. - You can really explore a variety of content through markers. - Now, - with my Cron's, - it's a little more fine and refined, - so the line work potentially is going to be a lot smaller. - You can start with a no fiber and eight if you want to start with lettering. - It's a good idea to maybe get paper that has a dot pattern on it, - a grid so that you can so that you can follow that, - but essentially just to keep your wrist loose and just start exploring what it means to - write individual lines. - Or actually, - you know, - fill it in a couple times and create the letters or motifs that you're looking to build out - . - So beyond sharpies and microns, - you can actually use some bigger Prisma color markers. - There's a lot of different types on the market and different brands and explore what it - means. - Teoh go from over transparent look. - You can use colored markers or black and white if used colored. - Keep in mind that we're actually going to be stripping everything and de saturating it toe - black and White State. - And some of these markers actually have different tips, - so you can get a lot of different effects here as well. - Some of the tips are actually really big, - which is really great if using tools like pencils are charcoal or markers and pens doesn't - really sit well with you, - but you'd like to try to explore physical illustration more. - Uh, - some water based mediums might be the thing for you. - You can look at it water brush colors. - You can look at a doing wash or acrylics, - so let's explore little that real quick on. - And it's important to have ah lot of different brush sizes on hand, - and you really don't need to paint with different colors, - since in photo shop will be stripping out the color and make sure you have a lot of water - on your brush, - but essentially depends on your idea. - But it's a good idea to start spreading out paint and getting a variety of darkness and - lightness, - because when you're producing Photoshopped brushes out of this, - you're really gonna want tohave. - Some contrast. - If your water coloring on Lee turns out, - is like gray, - that might be your intention. - It might create a little post production work on the backside, - but again, - you can really express and do a lot of really interesting mark making and work with brushes - . - You can get a lot of motion and create some really interesting work going on here. - If you get a bigger brush, - you can obviously do bigger strokes, - which will let you scan in higher resolution, - so it's great to do a really large batch of iteration and you can see that just by applying - black I'm already getting like a very strong bolt image. - A lot of motion in the mark making could really provide some really interesting uses for - illustration and design work. - So one last art 12 like to show you if you're feeling a little bit more ambitious and want - to work with your hands is you can get some rubber, - a look craft store, - and you can work with stamps. - You also need one of these I would just made by speedball, - and this will help you cut into the rubber. - So I've got a couple samples here that I've already cut. - But essentially, - the process is pretty easy. - You just dig in with the groove and you start to impact your image and shape your image. - What you're pulling out of the rubber is actually gonna be white space. - You have to think of your image creation in the reverse way than some of the other art - mediums. - But once you have some stamps created, - you can just grab a solid black ink pad, - and you can start to come in here and make patterns out of them. - If you make embellishment type shapes like here, - we've got a sand dollar. - You want to get it nice and dark, - and you get some really interesting textures from stand making. - So this could be another path. - Teoh producing artwork that has a unique spin on it, - show one more here, - so hopefully had a lot of fun experimenting with your physical illustration. - Exercise in the main point here is to just let yourself play. - Capture a wide variety of mark making specific to your art tool and also your content and - style of the idea that you've come up with. - Make sure that you range different contrasts. - Go for darker pieces and more middle grayscale pieces, - and that you really explore what it means in your mark making toe have motion and strokes - and different sizes and scales. - But ultimately this is all about having fun. - So hopefully was a lot of fun for you, - and you have a big, - beautiful batch of artwork that we're ready to take into digital to start enhancing and - adjusting to create your brush pack 5. Path B: Using Found Objects & Surfaces: - so if he chose found objects and surfaces as the artwork that you want to produce a brush - out of. - This is all about being as creative as possible with materials around you. - And so the first thing to consider is, - if it's a flat object, - you're gonna probably get better mileage out of it by scanning it. - You can get higher resolution if it's more three dimensional than you're probably going to - need to photograph it from a top view or a side view on white surfaces to get it into into - digital. - But ultimately, - this is about gathering. - It's It's about gathering the biggest batch of materials that relates to your to your - project and thinking about capturing them, - either as they are or fun ways in which you can arrange them or edit them or manipulate - them to create a really useful piece of artwork that's gonna be turned into a photo shop - roster brush. - So let's get started. - So the most natural place to look for found objects and surfaces is obviously outside in - nature, - but you might have things in the home, - uh, - maybe office supplies or things in the kitchen or food, - so I want to look at a couple of of those types of objects and services first. - Obviously, - you could capture leaves in a variety of way. - You can focus on leaves that are green or in particular, - dried leaves might have a little bit more interesting contrast happening in them, - which is great. - There are other objects in nature you can explore, - such as like Berries and different types of needles from pine trees and evergreens. - You can arrange sticks in a particular way. - Those could make type. - Or you could build out little frames with them grasses, - rocks, - pebbles, - dirt. - So there's a wide variety of objects in nature, - obviously that you can go out and look at and then do really interesting arrangements with - them. - You could just isolate them, - or you can you can enhance the meeting in the way that you, - uh, - you place them so some other really cool objects that you might find in the home could - potentially be craft supplies. - So here I have some washi tape, - which has patterns the steps really cool. - You could just tape that down on a piece of paper and scan it in. - You could dio different shapes with, - um, - you could make type out of it arrangements, - seals, - frames. - And this is really useful for people that are looking for taped to use in their design work - as well as a digital scrapbooking. - Other objects they might find around the home potentially could be type. - So if you are looking around antique stores, - antique shopping, - some type like this, - you could shoot the straight on. - That could be really interesting as a brush, - and there's a variety of things you can do. - Also, - if you have some twine or some string lying around, - you can shoot that as it is where you could tie it in a bow, - or you could make letters or words out of it. - So it's really up to you how to push some of these materials. - And obviously the lighter that the material is, - say, - for instance, - in this rope, - it's not gonna make a strong a brush, - so you're gonna have a little bit more work to do in a photo shop after you you photograph - or scan that in. - So if you're looking to create some utility brushes, - that arm or in the spirit of texture, - distressing particles dust that sort of stuff. - There's a couple easy ways you can do it. - Obviously, - you can go out and photograph dirt or distress concrete, - copper, - all sorts of surfaces. - But if you want to stay in the home and make this a little bit easier for yourself, - you can actually use spices from the kitchen. - Um, - so here I've got some spices that a little bit darker in nature. - This is poppy seed, - and if you wanted to just get a very nice loose miniature particle sort of texture, - you could spread some of this out. - You can also use things like paprika and pepper and get more of a focused look. - You could try to shape this in the type if you wanted to, - or circles triangles. - Lines like you name it as creative as you want to get. - But if you just gently tap this, - you can see that you can actually get are really nice sort of particle texture there. - So that's one quick hack to creating some textures that are really desired in the design - community for adding sort of a dimension and physicality to their projects. - Other things you might have laying around the home obviously money and change. - You could have seashells that you picked up from from a trip to the beach, - so there's a lot of opportunity to capture things from nature in the home and in the - kitchen as well. - So I want to share a couple other types of objects or actually surfaces that people may - find really useful. - These air typically really accessible and what we're talking about. - Our textures and tactile surfaces like papers, - leathers, - fabrics. - You name it like it's the whole gamut of flat surfaces that are really easy to get in. - You can scan them so you can see here. - I have some paper samples. - There are different types of papers. - You can get more textural papers like water, - color and printmaking, - and you can actually impact those papers so you can see here. - I have a piece of paper that I t died, - and that's brought out some of the richness in the surface of that. - You can also mixed mediums a little bit more to these air. - Some samples that I painted on a long time ago with the acrylic paint so you can actually - impact the paper and created to be a little bit more of an interesting resource as a brush - . - But beyond papers, - you conduce fabrics and those sorts of services. - Here I have an example of some leather. - So if you're able to get some of these swatches, - you could actually scan a whole series of fabrics, - leather, - linen, - cotton, - you name it. - You can scan or photograph both topside in the bottom side to get a variety of options in - your brush pack. - And also, - if you have old books lying around those air really wreak Great resource is well, - you could scan and covers Ah, - lot of old vintage books or sort of out of date, - and you can probably get away with scanning in some of the patterns in here for historic in - nature. - The paper inside. - These books are also pretty aged and nice, - so they create a great resource is well, - and sometimes you find Little Jim's of illustration inside that are beautiful - embellishments that might produce a pretty cool looking brush. - And also there's a couple other surfaces that are really easy to grab. - You can go to a local scrapyard and get all types of metals. - You can get wood samples like I've got here and scan in a variety of wood grains. - Depending upon how many pieces you have. - You can even impact those and look at exploring some dies and transforming some of that - work into a different look. - So there's a lot of opportunity out there when you're sourcing objects, - and I really encourage you to go have fun, - make a day of it on the weekend, - just go out. - Try to collect as much of one type of material is possible that's relevant to your project - , - and then see where we can take it. - Alternatively, - if you didn't want to tackle surfaces, - you could look at going antique shopping, - which I think is a lot of fun. - And you can get really interesting pieces like this that might make for a really cool - brushes that people don't expect from you. - So have fun with it and go collect your material, - and then we'll move to the next step of getting it into the digital world. 6. Path A: Refine Physical Illustrations: - in this video lesson, - I'm going to share with you some quick ways to enhance and adjust and refine your physical - illustration. - Work in photo shop to prepare it to be output his brushes. - So you want to isolate each individual piece of artwork you created in a new document. - You'll see here the layer conduct click background. - Click OK to remove that lock, - and the main goal is to increase the brightness and contrast. - Just get a boulder visual to produce a better brush that will have some transparency to it - So to do that, - . - we can go toe layer new adjustment layer, - and we can use these four different layer adjustments to enhance the image. - You can use just one or you could stack multiples. - We'll try brightness and contrast. - Click OK. - You want to make sure that the layer is actually above your original artwork is a great way - to non destruct your original artwork, - but adjusted so in the properties panels that pull up for these adjustment layers, - you want to just mess with settings and always try to increase the brightness and contrast - , - especially since increasing the brightness removes the paper texture that was showing up - from the original scan, - so we get a much cleaner brush piece of artwork, - right click. - Out of that, - I can double click it and pull a Batic open. - I can click and drag this to create a new copy of itself to double the layer effect. - We can actually click and drag and copy the charcoal duplicated and start to apply some - multiple or color burn and get a very rich, - unique effect. - So for the other adjustment layers, - they're very similar. - Levels actually has sliders as well, - so you can start to play with lightness and darkness. - Slider curves is a little bit of a unique one and gives you a white X Y coordinate grid. - You can click in the North East position and southwest pulling that north east one up in - the Southwest, - one down to get the same effect. - And exposure also has sliders, - so these are all very similar, - and you can stack multiple of them. - You can turn on multiple layers just to get the best version of your artwork as possible, - and you'll want to repeat this for all your artwork and save individual PST s so that we - can output your brush pack 7. Path B: Refine Objects & Surfaces: - in this video lesson, - I'm going to quickly show you some tips about how to refine your found objects or surfaces - . - If you chose that path for your photo shop brush. - So here you'll see I have one of my scanned in leaves. - Um, - this is the original, - and we're gonna create new adjustment layers to impact the brightness and contrast of this - so that it makes it more useful brush. - So therefore, - adjustment layer options in here. - You can explore each one as you create it as a adjustment layer will show up here in your - layers panel, - and you can start to mess with settings so you'll see in this specific example of the leaf - brightening. - It actually removes a lot of the greatness that was around it, - but it's still not a very clean finish for a brushes. - Some of the shadowing came through in my scan. - I'll show you about that in a second, - but you can actually layer and choose any of these curves has a grid you can hit here in - the north, - east and southwest. - Caught quadrants and pull up can really start to get some nice effects going on. - Um, - so in order to create the cleanest brush. - If you're objects are oddly shaped, - you need to use the lasso tool, - and you can try the polygonal lasso or a magnetic tool, - and you actually zoom in using command plus and click in here an outline and select the - whole piece. - And it will look like this with the marquee selection. - So what that will do actually clip it out, - which would look more like this. - You can apply a mask after you have the selection done through this button right here, - and it'll look like this. - And so that's pretty much it. - You're gonna want to adjust all of your artwork the same so that you haven't even brush - pack. - But if you need to clip it out, - that is a really good approach to go, - and you can layer these different effects. - You can click and drag them to a new layer to create some really nice, - bold imagery will create for a better transparent brush in photo shop. - So that's it. - Go ahead and produce all of your artwork this way and read through the written steps. - If you need more specific help and tips and insights 8. Path C: Refine Digital Illustrations: - in this video lesson, - I'm going to walk through quickly how to prepare your illustrator artwork document in - orderto output vector brushes, - So the first thing we need to do is open the brush panel. - You can go to the main menu windows and click on brushes, - and we need to clear out this panel in order to not include any of these in our brush pack - . - So click the top left most brush preset, - hold down shift and click on the bottom to highlight all of them and then click the trash - can the bottom right corner to delete all of them, - some pretty straightforward and simple. - And the purpose of this document to is toe have a clean display of all the artwork you want - , - including your brush pack. - So lastly, - just make sure that your brushes, - if there are multiple pieces of vector illustration in click and drag to select them all - and go toe object group to make sure they're grouped or used the keyboard shortcut. - Command G and that's pretty much it. - You can choose whether or not to leave artwork that's using strokes as is, - or you can expand that into just fills by going to object, - expand and making sure that's grouped. - So it's pretty straightforward and easy. - And now we're ready to create our illustrator vector breath pack, - whether that's going to be a scatter, - a pattern or an art brush. 9. Path D: Bonus! Physical to Vectorize Art Refinement: - in this video, - I'm going to show you an extra bonus if you created physical illustrations using our tools - and then went through the path A. - To refine them, - save down a tiff or JPEG high Resolution one and then open it up in Illustrator. - So here you'll see that I've got a charcoal swatch I want to click it, - and I'm an illustrator here and I'll go to the image trace option, - and I can use the black and white logo or sketched art options there to vector rise it. - Those both produce good results. - I'll click on it. - It will process that information, - and then it's essentially translated the grayscale image into black and white vector bits. - So wall selected, - I want expand that, - and now you'll see that it show me all the points and the Phyllis black. - So with this, - I can create a really cool scatter brush that will then repeat itself along a path. - Um, - another piece of artwork that would be a good candidate for actually a vector art brush are - straight strokes and dashes like this, - so I'll go through the same process this time on select black and white logo for the image - tracing vector rising and expand it. - Eso in this instance, - it actually gave me two layers. - I'll need to Owen Group that using the keyboard shortcut shift command G. - And if I click and drag, - you'll see there's a white layer I want to make sure to select, - um, - the same fill color. - So I get all the white and hit delete on the keyboard so that all I'm left with is the - black. - I'll select it all and use command G to group it. - And this is a great candidate for an art brush, - which essentially draws it once along a path. - So there's a great bonus and benefit if you feel ambitious using your physical illustration - . - Artwork if it makes sense, - and you can create a separate product an illustrator for flexible vector texture brushes, - so we'll explore more of this in the next steps. - Make sure to follow the written information below in Path D of this section. - If you want to choose this option 10. Export your PS Brush Set: - in this video lesson, - I'm going to show you the four major steps to create each of your individual brushes and - then how to output the whole thing as a brush pack. - So essentially, - the first step is to clear out all of the brush presets by going to edit presets preset - manager. - Then you want to click and hold down, - shift on the top, - left one, - and then click the second time in the bottom right one to select all of them. - You're not delete all the brushes out. - Got to clear it all out. - Next, - you want to merge the adjustments that you made for each of your brushes. - So you click on the 1st 1 hold down shift, - click on the bottom and use the shortcut Command E or in the menu, - go to layer merch layers, - and next we'll want actually create the brush. - So to do that, - you go back to edit and down to define brush preset. - And now, - once you click that you're creating your first brush. - So think about naming this, - making it relevant to the pack that you're creating. - Um, - if you've got 10 brushes, - perhaps a name for this one might be like charcoal swatch number one. - So I'll go through and actually do this process for all 10 just like I just showed you and - click. - OK, - and I've created the brush. - If you want to see that, - it's actually been created. - You can click the brush tool and go up here and you'll see that There it is. - It's 3000 pixels. - If I wanted to, - I could turn that off and create a new layer and actually hit the page and take a look at - it. - So looking good, - there's our first brush. - So after you've gone through the process of doing this with all your artwork, - the last step is to export everything that you've put into the preset manager. - And to do that, - you go back to edit presets, - preset manager, - and at this point, - you should see all of your brushes in here 10 20 depending on how many you've created, - you want to highlight all of them, - so you click on the 1st 1 you're hold down shift and then you'll click on the very last one - in the bottom right position, - and then you'll save the set, - and that's it. - Now you've got a new a BR brush back 11. Export your AI Brush Set: - in this video lesson, - we're gonna show you how to create individual vector brushes based upon the artwork you - created an illustrator, - and whether that be a scatter pattern or aren't brush your intending to produce all then - show you how to export the whole set as a brush library. - So it's pretty straightforward and simple. - You grab your first piece of artwork, - you drag it into the brush panel and you'll get the three different options that we're - looking to create. - Scatter brush, - Arte brush and pattern brush. - So say, - for instance, - I wanted pattern brush. - It's gonna bring up a specific dialogue box with options to address there. - So I highly recommend reading through the written materials of this step so you can get a - sense of what those options will do for you. - And after you've created it, - you can get the pencil tool and create a path and then apply the brush to get a sense of - what you just made. - So if you came from physical illustrations and managed to refine and vector rise them, - you can follow the same process. - You can click and drag that piece in there and say for this charcoal Swatch. - We're going to use it for a scatter brush. - You can adjust the different settings which are listed and discussed in the written steps - on this project, - and then you can try it out by removing the stroke, - drawing a path and applying that to that path. - Alternatively, - if you have rather straight artwork, - they're good candidates for art brushes. - So again, - click and drag it in and select Arte Brush. - Make your adjustments in here that you want to see happen, - and then you can try it out by drawing a path and applying that. - So after you've gotten all of your brushes into the brush panel, - created individual brushes. - You'll click on this icon down here to open the Brush libraries menu, - and then you'll save this file as your actual brush products your brush pack and that's it - . 12. Tips for Creating Screenshots: - In this last video tutorial, - we're gonna talk a little bit about creating compelling copy and also some tips about - creating a compelling first screenshot in order to bring your new brush product to the - marketplace. - So after you've gone through the first project step of really thinking about a final title - for your product and a description, - the next part is really putting together a nice primary screen shop. - And here I have an example of one of my products, - which is a texture kit. - You can see that in this sample. - I have just put the title very large and big created some color swatches that are hosting - three different pieces of textures from the kit and given some diagonal motion for visual - interest. - So one thing that I failed to do, - which is probably a really good idea, - is distilled down, - um, - part of my description into a sub line that helps this further describe the product at hand - . - So with with this particular sample, - saying that there are 15 different texture brushes in this pack is a really good idea. - Now there are a couple other ways that you can do the layout of your first screenshot, - and those can look like more of a centered approach in the second sample for the same - product. - I've put eight swatches on the page in circles cropped, - cropped, - amassed in, - and those textures are floating in there and you can see that they're more samples - available to people. - So look at and the title and the description copy is locked up in the middle. - Alternatively, - you could split the copy and put the title at the top and the description at the bottom and - really have the samples in the middle. - Or you could actually float these things on top of each other. - So this is just a quick crash course is starting to think about putting the visuals upfront - and being very bold and concise with your copy. - The additional screenshots that you may want to make after your primary one can really help - you share all of the brushes included in your pack, - as well as give some example usage to people to compel them to buy the product. - So hopefully that's really helpful. - And if you guys have any questions, - I'm here to help and happy screenshot creation and getting it up on the Internet. - Thank you guys so much