Digital Texture 101: Get to Know Your Procreate Brushes | Kristina Hultkrantz | Skillshare

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Digital Texture 101: Get to Know Your Procreate Brushes

teacher avatar Kristina Hultkrantz, Illustrator & Surface Pattern Designer

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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 (2h 43m)
    • 1. Welcome to Class!

    • 2. Supplies and Class Project

    • 3. Favorite Paid Procreate Brush Makers

    • 4. Digital Texture Intro

    • 5. Tip for Finding Your Digital Texture Style

    • 6. Getting to Know Your Brushes

    • 7. What We've Learnt & Advanced Techniques

    • 8. Create a Custom Brush Menu

    • 9. Project: Sketching

    • 10. Project: Build Out the Scene with Flat Color

    • 11. Project: Adding Texture Part 1

    • 12. Project: Adding Texture Part 2

    • 13. Project: Final Details

    • 14. Final Thoughts

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About This Class

Digital Texture 101: Get to Know Your Procreate Brushes is the perfect class for beginner artists just getting into the incredible world of digital art via Procreate app. This class is a comprehensive deep dive into Procreate brushes, both native brushes and paid. We go over everything from how to use these brushes? How to swatch them? How to discover new textures? and how to make texture your own? We will also draw a textured digital illustration of the Swedish countryside together.

Plus you get 3 free Procreate brushes from Maja Faber! (more info below)



All illustrators, artists or surface designers of any level who would like to learn more about working with digital textures, and discovering new techniques in Procreate.


Supplies you will need to create the class project:

  • Preferably Procreate with the iPad and apple pencil (to follow along exactly as I do.) Otherwise any other drawing tablet and similar drawing program such as Photoshop.


In this class I will be sharing my process for creating a textured illustration in Procreate.

We will cover the following:

  • How to swatch your digital brushes.
  • How to manipulate digital brushes.
  • How to find your digital texture style.
  • How to save favorite texture discoveries.
  • How to save texture references.
  • How to save a custom favorite brush library.
  • How to build up an entire illustration with texture.


Check out the Download-freebies-here.PDF in the Projects and Resources section to instantly download 3 free brushes from Maja Faber. Thanks Maja!


Lisa Glanz Instant Artist*

Lisa Glanz Aquareal*

Lisa Glanz Effortless Gouache*

Shelly Laslo Lush Brush

Asia Orlando Brushes

Maja Faber Procreate Brushes

Eliza Moreno*

Bardot Brush Pencil Box

Retro Supply Co. Transfertone

(Links marked with an * include affiliates)

I am so excited to share my tips with you and to see what you all come up with in your class projects!

xoxo Kristina


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Meet Your Teacher

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Kristina Hultkrantz

Illustrator & Surface Pattern Designer

Top Teacher

Hello Everyone!

I'm Kristina Hultkrantz an illustrator and surface pattern designer based in the super quaint small town Mariefred just outside of Stockholm, Sweden. You might also know me as EmmaKisstina on the internet. I've been working with illustration and design since 2007 and have worked full time as a freelance illustrator since 2010 and now a teacher since 2018.

If you'd like to learn more about me or see more of my work or just would like to say hi the best place to find me is in my private Resources for Creatives FB group, EmmaKisstina Insiders or on Instagram! You can also check out my YouTube Channel for free video content or visit my Portfolio Website if you really really want to know all about me :)See full profile

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1. Welcome to Class!: Confession. I'm a Procreate brush addict. I just can't help myself, they're all so good. There are so many skilled brush makers who create digital brushes that look like the real deal and I got to have them all. Like gorgeous flowing watercolor on textured cotton paper or messy painterly strokes that you can build up and blend, or that perfect grungy pencil that's smudgy and sketchy, or dreamy, grainy speckle brushes that instantly bring life to flat drawings. Always no mess. But what do we do with all these texture brushes? In this class, we're going to fully nerd out and deep dive into the incredible world of digital texture. I'm going to be taking you through my process of testing brushes, manipulating them, experimenting, and discovering methods uniquely your own. Once we feel like we've explored the world of brushes enough, we will be drawing in digital textured landscape of the beautiful Swedish countryside together. Hello, everyone. I'm Kristina Hultkrantz, an illustrator and surface designer from Mariefred, Sweden. I went to art school about a million years ago in 2006, I graduated. I consider myself a self-taught digital artist, because I've been spending the past over a decade learning how to use Photoshop, Illustrator, and now Procreate. I was blown away by all the incredible brushes and the textures and how intuitive it is to draw in that program. I truly fell in love and I've been spending the last few years adding more and more digital texture to my illustrations. I'm really excited to share all that I know in this class and look forward to meeting fellow Procreate brush addicts in class. Let's get started. 2. Supplies and Class Project: To fully and best follow along in the class, I highly recommend that you work in Procreate like I will be doing on the iPad Pro with the Apple Pencil. I have the latest version, but you can easily work also in Photoshop with the native brushes there and try to find similar things or a similar drawing program on another tablet or device. But I highly recommend the iPad Pro, with the Apple Pencil and Procreate because it's such an incredible combination. Procreate is so intuitive and the Apple pencil and iPad make drawing digitally so incredibly easy and fun, I would say. That's my recommendation. For the class project we'll be drawing a landscape with tons of juicy digital texture of the Swedish countryside. I've taken a few photos around where I live and you are happy to choose one of those for your class project or the same photo that I will be using. In class, I will be sharing all kinds of different brushes that I enjoy using both within Procreate, the native brushes and paint brushes. I'd love to at this time go through a couple of my favorite brush makers in order for you to learn what I like to use. We're going to jump into the computer and go through those. But you can of course, use all the native brushes too in Procreate. It just becomes really fun when you start digitally drawing, trying to find those brushes that are uniquely your thing or not what Procreate offers. I think maybe I've gone a little bit overboard and I buy way too many, but it's fun, and it's a good way to support fellow artists who create brushes as well. All of the links to this brush packs that I will be mentioning, I will leave links in the class description for you to check out if you like. Also, another big bonus for this class, fellow top teacher and Swede, Maya Faber, my friend has offered us three freebies from her brush packs to use in class and outside of class, of course. You can download those as well through the class description. There's instructions how to find those. Thanks Maya. Let's jump into the computer and I'll show you a couple of my favorite brush packs. 3. Favorite Paid Procreate Brush Makers: All right friends. Let's jump right into Procreate and start looking at beautiful brushes. Here is my Procreate. Of course, I have tons of different stacks of different projects and things like that and how my brain works. We'll just get into one of them. I have a brush pack swatch. This is where when I buy a new pack of Procreate brushes, I go in here and I play around like crazy. I'll just open up a new screen-size Canvas so we can play around for a little bit. Now, in this class, I'm going to be sharing tons of native Procreate brushes, but also I'm going to share some of my favorite paid ones as well because as beautiful as Procreate the ones are, and you can 100 percent create beautiful art and amazing illustrations with the brushes in Procreate. I think once you do start working in Procreate, there are so many other brush makers that are so talented and you can get a slightly more unique look sometimes when you get other brushes that maybe not everybody else is using. I like to use brushes. It's addicting to buy these brushes. They are usually quite affordable and they're fun to play with. It's really fun to support other artists who are making brushes as well. I'm going to share some of my favorite brush makers. I think my favorite brush maker is Lisa Glanz. She is an incredible artist, but she's also incredible brush maker. I have many of her different sets. I really like her Instant Artist set. I think it has a really good selection of different brushes. I can swatch a couple for you. But she has a beautiful sketching brushes and grungy pencils and big pencil like this. I think this set is perfect for getting all different textures for your artwork. Shading brushes as well, they are really nice. Look at this. This one looks like a Canvas. Really strange textures that can be a little bit too much, but if you use them in little areas and use them very subtly, they can be beautiful. This set even has a little pattern brushes which finally you can add to different sections of your work, that's fine. I really like things like that. The stripe and the clothing. There's also lots of stamp brushes that you can stamp into your work too. I really like her. I not only like her because of her incredible brushes and that they're really well done and easy to use, but when you purchase them, she has lots of guides for how she was thinking when she created these sets. She has video tutorials about how to use the brushes and things like that. I really enjoy her work, her brushes. She also has an incredible watercolor brushes that look real. It's insane. If you like the watercolor look, these are ridiculous. You push down and get more texture. Look at this. This is what I think is insane. I haven't really played with this that much, but it would be fun to create his bloom accents. Look, beautiful. So obsessed with Lisa Glanz's brushes. There we go. We can look at one more set that I have. I have a gouache set as well. It's also really choosey and painterly. It has subtle textures in here, so nice. I've created one collection of artwork with these brushes in a more painterly style, and it was really fun to loosen up my work a little bit for my portfolio. These are incredible if you perform a more painterly look. I really like a wet juicy paint. That's enough of Lisa's brushes. I think I gave you a nice taste of what she has going on. But she has so many different packs, and I love them a lot. Another artist who is a brush maker is Shelly Laslo. I just purchased her latest brush pack called Lush Brush. They also have that traditional media feel. I really like these because I've been working on my children's book illustration style, and I want it to have more of a traditional look. This one's like a wet colored pencil, has beautiful texture in there. Shows other more traditional pastel brushes and lots of different waxy pencils and detail brushes like this. Really nice texture. Here's an oil pastel also that's really juicy and beautiful. I've been really having a lot of fun playing with her brushes. My friend Mya fall Bey, who's also a top teacher here on Skillshare, is a great procreate brush maker as well. I have a couple of her sets. She has also a beautiful gouache set. I would say compared to Lisa's gouache set, Maya's is a little bit more dry. It depends on what you like. The texture of more dry paint or if you prefer the more juicy wet look of Lisa's gouache set. They are very different. You get two different looks depending on what you're going for. But these are really beautiful. Lots of dry textures. I really love this first brush. Has a good filler, but it still has some texture going on so as when you build-up work and then add some nice texture on the edges. Maya has kindly offered three free brushes from her brush sets for this class that you can download. There'll be a section in the class description where you get instructions how to get those three brushes and again, show those to you quickly now. We have her all-round filler, which is again a beautiful brush to fill in the large areas. But you still get some nice texture around the edges. This is going to be really fun to work with in the course project as well. There's also a great brush that you can reduce the size to use as a textured detail brush. It's a very versatile brush like that. I like brushes like that can be used small and large. We have that one, we also have this squash from the gouache set, the soft green, and this is going to be gorgeous to overlay on top. We'll get into that soon. Then we have another speckle green that's also incredible for adding just some extra fun texture on top. But again, we'll get more into those later. Another illustrator who is also an incredible brush maker is Asia Orlando. I really enjoy her brushes at the moment as well. She has such an incredible illustration style and she uses so many different layers of brushes. It's interesting to see what brushes that she uses. I really enjoy them as well. I love her pastel pencil, it's just the perfect, in my opinion. Like that pastel Delhi textured pencil, but it's not too much, not too little. She has other nice, noisy. I love this moment, the tiny little speckles in there. She also has a beautiful grain brush that's really easy to build up. She has tons of different brushes, but she's also another one of my favorite brush makers and I've been using her brushes a lot lately. I love brushes like this that are flat. You can easily go in and add lots of texture to something with a brush like this that has lots of brushstrokes in it. It's another brush that I enjoy. It has different buildup if you use it softly or hard. That's another brush maker I love. I will be leaving links to all of these artists who create brushes that you can purchase them if you would like to you or just check them out in the class description below. There's also another new brush maker, a new Illustrator to me, and that is Alina Mariano. She has a beautiful set called the Storybooks Studios set which has a very nice collection of brushes that have this smudgy traditional media, but a little bit more chalky, so hard to explain in a screen there. Lot of these chalky beautiful textures. I think these are gorgeous to lay on top of other fills so that you get a nice look like that. I really enjoy that set as well for all these are small little textures that add some depth to the piece. They're nice and chalky and subtle, so it's not too much. I really like these ones. That's Alina. Then I think just honorable mention, I should go talk about Lisa Bardot and Bardot brush. She has of course, incredible brushes as well. I also admire her way of marketing her work show. It has lots of tutorials and she also goes through how she's thinking with her brushes when she creates them and she tells the different uses. She has very unique brushes sets as well. This is her pencil box set. I think it looks exactly like crayons and big pencils and colored pencils like from a little kids coloring book. I really like the style as well. She has some interesting brushes like this to fill a background. It goes really quickly, but you get that scratchy look like this one. Little squiggles is fun, other textures like that. She is great. Then Petro Supply Co is also incredible. I have their Transfertone set which is also a really fun set, it's just lots of patterns. I can show you later how to use these, but it's just lots of pattern brushes and I like to add these to the clothing of my characters or little details in my work. Really handy to have all these tiny little textures to add in Hopi dots and squiggles. Plus signs or a little random flakes like that or retro. Here's like a marble look. These are unexpected, small, regular patterns that you can add into your work, halftones, things like that. That's my run-through, not-so-quick run-through of my favorite brush makers. I will explore these in the next coming sections as well as you can get to know them even more and how I use them and manipulate them and make them my own. Let's jump right into it. 4. Digital Texture Intro: Now it's time to get to know our brushes. The first texture brush I want to talk about is your general textured brush. What do I mean by that? It's some filler brush. Let's choose a different color now. Let's take a nice blue and we can go back, let's see. Let's go to my brushes again, this textured painter. What do I mean about this, is there is brush that you use to fill an area and it has lots of texture already in it. You can build up entire piece of artwork using brushes that have tons of texture in them already to create a textured look. We use the pencil box. There's some artists that love to create artwork with just one pencil or one brush their entire piece. You can do another brush like this, change that. I can build up an entire piece using one entire brush and using that brush to create the texture of your piece. A pencil like this to build up your work. Many artists work in that way. Another Procreate brush that is native to Procreate is the dry ink brush. I'd say that's my favorite most used go to brush, and it has a beautiful texture like this. It has that pastel look. They named it dry ink, I assume it's a dry ink pen on textured paper. This is my favorite, most used brush in Procreate. It's still my favorite even with all the different brushes that I paid for, I still like this one to fill in most of my work because it has a slight little textured edge, and when you fill in an item, it has these little white speckles. Sometimes I think the white speckles are a little bit too much, and I have created another version of this and I've smoothed out the pencil. When you start using different brushes, you start wanting them to do certain things when you become more used to working with digital brushes. You can manipulate them slightly. It's always good idea to make a duplicate so that you can always go back. If you mess around with all these things, you can always reset them by going about this brush and you can reset the brush here. But there's so many different things that you can play with. But the thing that I think that I play with the most is less movement, and we did less movement to make it have less of that texture in there or the scale. Maybe I brought the scale down to make it just slightly, something like that, is just something you have to play with yourself until you get the texture that you like or how it works. It's hard to explain sometimes anyways. I don't need to have that so I can just delete it because I already had the original there and I have my other version that I really like. That's the first textured brush that you can work. Your entire illustration can use that to build up your illustration just with different texture brushes without overlaying. The next brush I want to talk about is pattern overlay brushes. You can start off with a very smooth brush, it depends on the look that you want, of course. Let's see. There's a studio pen available in Procreate that is very smooth. Almost looks vector. If you want a very smooth base, if you build up your illustrations with shapes like this that are very smooth, there's no texture whatsoever to your work on the edges like this, you add some blobs here. This shape, you can of course fill it as well. I can do that too, like this and you pull it in and there's no edge here like some of the texture brushes. I can show you with my favorite dry ink smooth that I manipulated slightly, I can fill that. There's going to be this white edge because it has a textured edge, so when you fill it, it's not going to fill properly like that. I can make it bigger. Make sure you have a textured edge. It's very subtle, like this is completely smooth at the top and this one's slightly textured and I like that look. I'll do one more just for fun. I can use my S brush as well. The all around filler just to show you as well if you want an even more texture for your filler brush. This would be great for animals or something to get that furry look. I have it quite big, but if we make it smaller, it'll be a lot more subtle. You can see there. If you make it even smaller, it will become even more subtle. You can continue to fill this and you can leave some white space to make it look even more textured. Again, depends on what the look you prefer. I'm just going to fill this. See that the texture is so light. I'm going to fill it a little bit more around the edges. Let's see if we can fill it now. Again, you see there comes that white line because the edge is so textured. Now we have some circles and we can overlay textures on top of this. If you build up your illustration with different flat shapes in different layers, then you can then overlay textures on top and you can get tons of different looks. There's two ways of going about doing that so let's jump up into alpha lock and clipping mask right away. The first way of adding texture to these shapes that you build up your illustration with is to directly draw on top of them. I'm going to duplicate this so I can have two examples for you. You swipe with two fingers to the right, or you can click on here and go to Alpha Lock, on and off there. You can see that has the checkerboard background on. If we choose a different colored pen, then we can overlay texture. Let's try the gouache soft grain film layer on top of these first ones. There we go. You're directly drawing on top of this in it and all the color only sticks to the shape but it's on top of that shape. It's a part of that now. Let's see, and we can do that spectral grain here to the other ones in the middle, and then we can try it all around filler again, just to show that you can use a brush on top as well. You could do little shading here, a little scribbles, something like that. Those are now part of this shape and you can't go back and edit that without starting over. That's the only problem with alpha lock, but alpha lock is great if you have not very many layers to work with and you're pressed for layers and you can just automatically add that on. Sometimes it's not a big deal to just go back and redo something. But the other option is creating a clipping mask, you create a layer on top of the object that you are wanting to add a texture to, you click on the square, add clipping mask. This means that you will turn that off and we draw on here. We can also turn that off. We can erase a little bit of it so that if it became too much in certain areas, we can erase it. We can alpha lock it, change the color and fill that again, alpha lock that and then you choose a new color. We'll do another one over here, and then click it and fill. You can hardly see that. You can change and adapt the colors and edit that way more. This is great if you're not quite sure about the texture that you're adding, and it's okay if you have enough space to add more textures. I can continue on alpha lock that by swiping to the right with two fingers and continue to color on these to give you an idea of how this looks. This one, this brush, the soft green is pressure sensitive. If you press hard it's more opaque and if you have a light touch it only has the slight smudge. Now I'm pressing really lightly and now I'm pressing really hard. Then the speckle, those are also nice. Again, if you want, sorry, it became too much over here, you can erase. There we go. [NOISE] I also want to mention a trick with the eraser is that you can of course use your eraser as a texture maker. By choosing a specific eraser and a shape that is texturized you can erase with a texture. Here I am erasing with more pastel waxy crayon brush. You can go back to our shapes. If you wanted more shape, you can erase the edge to give it more texture. Rather than using a textured brush you can use the eraser to create texture like this. Because it's an eraser you of course can go back and edit that but that's okay if you are confident with your shapes and things like that. That's a way of adding texture that has this see-through quality because then if we add in another layer behind and you, let's pick something else. The filler and you can see that color now between that's beautiful to see. The textures between layers [NOISE] could be fun to show up some of these texture stamps [NOISE] that I've shown before from for example Lisa and we can do this by filling a layer with just a flat color. It could be a shape or anything and we go into one of her, she has the texture stamps and these are great for making a background. Just take a darker color and stamp up, that was huge. Build up texture like this with stamps like that. You can do different ones. Again, huge like that. Also I can give you the example of creating a shape again. See, make smooth. We have egg shape here. Just fill that in. Create another clipping mask on top of there and then use one of the stamp brushes again, let's try this one. You can build up texture in that way with stamp brushes. That's another fun thing with texture. As you can see, all of this is just so much fun. The next thing that I want to talk to you about is [NOISE] adding texture with magic Canvases. Lisa has a couple of these for sale as well as Lisa Bardot of Bardo brush. She has an incredible collection of magic papers of magic Canvases. I can show you Lisa's here with her gouache set and the watercolor set they come with magic Canvases to work with because they make the paints really come to life. You can see this gouache standard one, I have just put in one of my illustrations. I can turn that off really quickly. Here is the illustration that I created with some textures already in it but there's some areas that are quite flat. When you turn on this magic Canvas it makes it look like you've painted it without you actually painting this texture from paper in there, there's brushstrokes that appear. There's tiny little imperfections that come out which are really exciting and makes it look a lot more traditional like you've done it on paper rather than digitally. I think that's really exciting. Here's another example with another illustration that I created and it really looks like I painted this on paper. Again, I can turn off the paper so you can see the white is super flat. There's no much variation in the yellows but when I turn it on you can see all this grit and paper texture and I added excitement. Here the swatches of the Lisa gouache set. You can see that the paints, they look way more painted when they're put on this Canvas like this. I can turn it off and you can see that they are much flatter. Then when we put that Canvas effect on they come to life which is really exciting. Also artists like Shelly Laslo, see her collection also came with a Magic Canvas that brings her brushes to life. It is quite crazy how much of a difference that these Canvases make. I really enjoy these especially if you want that look, that looks like you're doing traditional art, like watercolor or paint or a mixed media like gouache with colored pencil on top. These things really help. I'm going to show you here, I have these gouaches of all of the different brushes. When I turn off the Canvas they look so much more flat and not as vibrant. I can do that, I can Zoom in and turn it back on again. You can see the colors change dramatically, some of them. I suggest if you're going to be using one of these Canvases that it's best to work directly on the Canvas rather than creating your artwork then putting it into the Canvas because there's many colors that might darken or change. It's best to do that. I wanted to talk about Magic Canvases because they're so neat, because there's so many different kinds. Lisa Bardot also has a set of Canvases and here again show some quickly like this has a crinkle effect, old paper. This one has a brushed look, fibers, look more like a handmade paper or something like that. It's really interesting to create artwork in this illustration was completely flat colors and just by adding these magic textured Canvases they'd really bring your artwork to life really easily. They're fun to play with. That's my introduction to the different textures that we're going to be playing with in this class and I look forward to nodding out with you even more. In the coming lessons we're going to start swotching and really diving into our brushes. [MUSIC] 5. Tip for Finding Your Digital Texture Style: I would also like to mention a big tip. If you're struggling to figure out your texture style, you're going to of course, spend hours and hours checking out different brush packs and swatching different brushes, and seeing which ones really stand out to you. But if you want to speed up that process and be really intentional with the style that you are trying to develop, you can check out my defining your signature style class. I have so many tips in there and I've used them myself when I've been trying to do my own children's book illustrations. I have been speeding up that process by really looking and examining the art that I like and how I want my artwork to look in the different textured style. I would highly recommend checking out that class. Especially the section where I go over doing studies of other artists work, you can check out 3-10 different artists that you admire their texture style and do studies of their artwork. It's not about copying them. It's not about stealing their style. It's about figuring out ways that you enjoy creating artwork. I can show you quickly some examples. I love trying to figure out how other people work. One of the artists that I really admire is Rebecca Green. Her work is so much incredible texture. She does work for the most part, traditionally, but when she works digitally, she has the same sensibilities. I was playing around with different Procreate brushes to get the same textured look. There's so much fun to play around with the textures and layering on top and creating notes like this to see if I can capture something that feels the same, and does it feel right to me? I also admire people like David Sierra Liston, and he built up his artwork, it seems like only with one textured pencil brush. Trying to figure out the perfect pencil is quite the fee. I have swatched pretty much every single pencil that I own here to see if I can get a look that I like. It's a fun project. Again, it's not about stealing someone's else's style, it's about discovery. That process of finding your texture style can be boosted by looking at other people's work to understand how other artists interpret shadows and building up work and you can make so many ideas and because you don't know the artist sack process, you figure it out on your own, it becomes your own thing. I also want to mention that it's not important to know exactly what another artist tools, what Procreate brushes they are using because they'll probably use them in a different way from you anyhow. It's not going to be the answer to creating incredible work by using the same brushes as somebody else. There's many times that I've asked artists that I admire or I've seen them talk about it on social media and they show the brushes that you use and I try to use them. They don't work with me. I don't like them. It's all about getting to know your brushes and the way that you like to use them and making it unique to yourself. Now it is your turn to figure out the texture style that you would like. Again, check out my finding your signature style class if you need a little bit of help in navigating that huge process and start to play around with the textures that you think that you'd like to play with the most. If you want more painterly look, or colored pencil look, or a very smooth pastel look, there's so many different things that you can do, and this is just a starting point. Just start playing with your brushes. 6. Getting to Know Your Brushes: Now we're seriously going to nerd out with our textured brush swatches. This is seriously one of my favorite things to do. Every time I get a new pack of brushes or I get tired of the brushes that I'm using, I can go through all the different brushes that I own and swatch them and see them in a new light. You never know what you'll find because some brushes are just so different. Here we are again in my brush pack swatches stack, and we're going to start swatching. I can just show you quickly. I love to just swatch every single brush I can have. This is a great way to go back and think about if I'm looking for different textures, I can remember quickly what they are and what they look like. Here are all the Shelly Laslo lush brushes, and here this is without the magic canvas texture. I can go in and see what kind of brushes they are and what they look like again, where edges have messy, crazy look where I'm just testing out different things and this probably won't make any sense to me in a month's time, but at the moment, it does make sense to me. Let's do some swatches together. I can use this artwork again. Just get rid of all these tests that we were doing. Here we go and what patch do we swatch? Let's just do some Procreate brushes so let's start with sketching. You can go through and when you're looking for different brushes that you enjoy in Procreate itself, you just go through every single one, and this is how I swatch. Pick a nice color that you're going to enjoy working with, it doesn't really matter. Let's take this swampy, weird green. Here's a nice texture. Again, you can check out different ways. This is at the maximum. You can see how it looks even smaller, really detailed. Some brushes, if you use them on the side, you get a nice sketchy look. Nothing happens. It turned to white, sorry. If you turn your Apple pencil to the side, you can get a smudgy look and that's always fun to test out. You can also see if you do light on the upstrokes and heavy on the down, you can see if there's any variation like that. That's a good way to get to know your brush because zoom in, see if it's something you like. Let's choose a different one. I love the HB pencil from Procreate. I think that's an incredible pencil brush for sketching. Has a nice texture, you can see what it looks like to fill areas. You can see how it reacts when you do squiggles or on the side again to see if that's the look that you like. Again, you can just randomly go around and create different swatches or you can go one after the other, like I showed you with Shelley's. Here's the artist crayon, which is another native Procreate brush that I really like. It's really grungy, but it also is kind of soft at the same time, if you use it really lightly, you could have really soft texture. If you use it with more pressure, it becomes a lot more hard and grunchy. That's a great brush. Here it is on the side, weird and smudgy looking, but that could be useful. I really like that brush. That's how I'm going to go through and check out all the brushes that you have and go through meticulously and make swatches like this and test them smaller, and test them larger. You can always double-tap to make things go away. You can also play around with the opacity by pulling down the opacity slider, and what does that look like? There's so many things that you can play with these brushes to make them your own and make them feel right. Like this would be gorgeous to add some texture to your background, just to make it look like you painted it on a canvas. It's really subtle if you make it subtle. I suggest you do both things. I suggest just go through and try to find different texture brushes that you enjoy, just by randomly choosing them. You can swatch really systematically as well. I can start another screen size one. I haven't swatched out Maya gouache set yet, so we can do that together really quickly. Here's her gouache set and I would start at number 1, I can change to this peachy color. Again, I would choose, I'd see how it works kind of smaller and larger and with light strokes and with heavy. You can see the variation there and play with it like this for a little while. Then I would go through all of them and see how I like to use them the most. I can change the opacity here to see what that would look like. Put that back, play with them all first. Then once I've played with them enough so I can get to know how I like each of the ones, then I'd go back and I would swatch them properly. I do may be a light swatch and a heavier one, depending on what kind it is. Here's a lighter and then a heavier. The next one is textured paint to light and then heavy swatch. I'll just keep going through and doing that. Sometimes for certain brushes, it can be nice to have them separate as different strokes so you can really see what that looks like. I might add a stroke to some of these, maybe it's too big, like this. See what it looks like when you just use do certain lines. Some of these more textured brushes, it can be nice just to do an example like that, just a thick band of pictures doing from light to heavy. One was interesting, we go. That is all of those brushes swatch so I can look back. I could number them if I wanted to, but there's not very many in this pack so it's easy to just count out, how many, which one, which order? I can go back and name this Maia Fabre Gouache, so I know which one this is so I can refer to them later and I really like. That's a traditional swatch test of certain brush pack. I do that with all my brushes then I of course go in and find which ones are favorites. Sometimes I like to create another layer and I can choose a different brush. You can take this green and just a regular brush. I can put a little star to the ones that I really like the most just to remember them. I really like this top one. These ones are really great. All of these ones is texturizer. These ones I'd have to play with a little bit more. This one and this one I feel like I'd have to play with it to see how they look. That can be helpful when creating different lists of different favorites. That's traditional swatching and now I'm going to get into even more nerdy stuff and I think that we can talk about comparing and contrasting your favorite brushes. This is when it starts to get insanely nerdy. Like I mentioned before, I love looking through all of my brushes that I have and trying to find the perfect one out of all of them. Here I have all my pencil brushes on the left side, brush makers and I make sure to write who they are by and have nice clear swatches. You can see here I have the name of the pencil and also the swatch of what it looks like when you smudge it on this side. Some of these look like they could be so similar, but when you look closely they are quite different and they smudge differently. Trying to figure out which one that you like best or for what project to what look? It's really nice to see it in this way. Again, the same thing. I have all these pastel looks and which one do I like the most for a certain look? That's something that you can do as well. Test comparing and contrasting all the ones that you have in a similar style to see which one you like the best, something like that. Another way that you can really test out your brushes and figure out how you can use the different textures is to create little overlay texture swatches. I did this with the [inaudible] Lasso Brush Pack. This is with her magic canvas and I really like it because it has all these little specs and little almost hair fibers or little paper fibers within it and I think it looks really nice. I can switch it up just so you can see how flat it is without it, and when you add the texture, it looks really nice. Again, with these magic canvases, you can unlock them and manipulate how much of these come through, like the paper texture, you can bring it up or down, here we go. That's another thing that you can manipulate and make your own. What I did with this, here I made a note that I use oil pastel as the base on the left side and set as the base for the right side. Then I went through all of the different brushes and I tested out them in order. I named them 1-2 through 20. There's 20 brushes and I swatch them out. In the beginning there were more of the pencil brushes so I made little lines and circles to show what they would look like and I did scratchy fills to see what it looks like overlaying like that. I went through all the different packs and create clipping masks that I can turn on and off so you can see all the different ones. We can turn off this layer, we can put on the next one with the next set of four brushes in that pack and you can see how different they layer and how differently they can be used. This is a great way of learning more about your brushes even more and it continued on. There's even more. Here's more of the wet pastelle wet crayon look that she has in this pack and they continue on to be bigger textures and more juicy and can get an idea of how they work. You have this reference that you can go back to when you're looking for a specific thing, one of your artworks. Also, one last thing that you can do to learn more about your brushes and to have a nice reference is to create different landscapes to show. Here I can use this one as an example. I created this landscape with different layered landscape chunks that look like a mountain or something like that from going to be. Then I added clipping masks on top of them. This is with the Lisa Glanz's Squash Set. I used all the different brushes and I layered them on top. You can get an overview of what each of these packs looks like. All of these brushes layered on top of a simple flat background. That is something you can do. Here is that pack. I also have Maia's Green, the same thing to see the different green brushes look. I also did it with Lisa Bardot Brushes Texturrific Shaders. Sometimes when you just see the brushes as they are here in the brush menu, don't really remember what they look like. Texture fix. When you see them like this in the brush menu, they all look the same or when you have a reference like this, you can quickly and easily see which one would work best. That is the final section of really nerding out with your pen, with all of your different texture brush packs. You can go through all older brush packs that you have, you can go through the newer ones that you're looking at, you can go through all of the Procreate libraries and see if there's anything that stands out to you now. 7. What We've Learnt & Advanced Techniques: [MUSIC] To summarize what we've learned so far, I want to do a little exercise with you. We're going to open up a new screen size Canvas because this is just for test, this isn't for our final illustration. We'll go and I thought that we could draw some autumnal leaves. It's that season here in Sweden. I have a photo that you can use as reference. You can use your own photos, but I will leave that in the class resources section. In the Canvas section here you can add a reference photo and I'm going to choose an image. I'm going to import my image of my autumnal leaves. I'm going to have it over here. You can take a look at that just to have something to reference when drawing. The first technique that I showed you was to use a textured brush to create your artwork. Let's do this cute little leaf over here. Simple leaf like that. What brush should we use? We can use Maya's all-around filler. I'm going to choose an orangey color. See how weak is this is, that's good. You use a textured brush to draw the entire image. Then this gives more of a traditional feel. You're not using different layers and things like that. We can change the color in order to add in more details. We can change the size of the brush to have different looks. We can add some veining and things like that. Shading can add-in. There's some yellows in here. We could do that. We're just adding more brush strokes and just using your textured brush to create the textures. There is some red in there so we can play with that as well. Darker. There is some dots and things like that. Here's a very rough look at some details like that. There's one example of creating a textured image with a textured brush and build it up in that way. Has more of a traditional look. This is a look that I really like, but not as comfortable doing as this might look a little scratchy to me, but I do like how loose it is and that's something I tried to incorporate in my work a little bit more now. Moving on, we can talk about the next example, and that is to create flat artwork. You can still use a textured brush, but then we're going to overlay on top with lots of textures. Which one should we do now? Maybe we will do this little red, nice one. I will pick a nice red color and we can be on the same, I'll do a different layer just because. Then I'm going to go for my dry ink brush since that is my all favorite dry ink. We will create some nice leaf shapes. Because they want to have some of these speckles, I'm going to color it in myself by hand rather than filling. That texture can be there in the base as well, which I think looks really fine. Then once you have a base layer like that, that you're happy with, with one black color, then you can start to add more textures on top. I'm going to choose to do a clipping mask because I love how much more flexible that is with testing different things. I can start by adding some shadows with a darker red color to make some variations there. Let's see. One brush that I haven't showed yet is one from Lisa called pressure cooker. I've really enjoyed using this one. I love how it's like a hard tube. Has a very varied, scratchy look, there's not too much and you can build it up. I have it on a lower opacity too. The more you use it, the darker it gets. You can stamp it, I really like that look. We can go in and add some lighter tone to another brush. Lisa [inaudible] again has a really nice pencil brush that I enjoy. Because you are on a clipping mask, I can draw right right at the edge and it will stick to that. We can add texture in this way. Little shadow. If you want to add these little splotches, is nice to add some. Let's see we have this grungy pencil. I'll start with that first, sorry. We can add to the stem here. I can add some shadows in here. It's a little dark but it works. Shadows like that. There's not much veining in this one, but we can add it anyways for fun. Can we get some veins? That's not showing up. Like that, just to give it some variation here. We can go a little bit crazy here and add some watercolor effects. Here we can add some blooms at the edges. We'll see how that looks. This sounds really big brush. Just to play with coming from the edge, add some variation like that. We go and also in this one by Lisa [inaudible], she has lots of nice splatters and that can be fun to add some speckles. Again, you can always add different layers just to test. We can add a clipping mask to add these speckles. That one I think look great and you can always turn it on and off to see what you like. I think that looks really neat, so we'll keep that. Again, because it is a clipping mask, we can edit it if you press the cursor button. We can move this around just so that we can put the splatters in a way that we like better. Maybe something like that's nicer. Something like that. That's the overlay section. Then we'll do one more because this is just so much fun. Let's choose one more of these leaves, let's do one of these big. Let's do this one. We'll create a new layer. This one has a base of yellow. Again, I will use Shelly's brushes. We can do soot I think is a good one just to create the fill. Fill that in. What's great with these textured brushes that have a little texture on the edge is that, when you create a clipping mask on top, the color that you put on top is not going to stick to those areas as well. It's going to be open there, and reveal the color or the paper underneath. If you leave little white gaps and things like that, then that's going to show up even when you add more color on top. Here I'm going to do an example that's in between both. I'm going to create this quite textured look, but have overlaid textures on top as well. Here we go. We have a nice base here, and then we're going to create a clipping mask on top, and now let's use some of our other brushes to create. Here's a greeny powder brush that I like. Let me use this red. By using different pressure, I can get softer textures and darker, more opaque. Try another. There's some more red color in there. You can use this wet crayon, also has a nice texture. [NOISE] It could get darker and more opaque in some sections. Again, we have some veins here, so let's use this wax bloom one to give some of these veining. I don't like that one. Let me do crayon. What about bold graphite? More like that. The stem is quite red so we can just color over that a little bit with a little of yellow. Again, as you can see, you can just go to town with different textures, and this is just so much fun. I love it so much. Just add some random scribbles of red here. Shelly doesn't have a speckle brush, so let's see if we can find another one. Procreate also has some things like that. Let's see Organic. No, that's too permanent. Flicks sometimes works. Let's try that one, a little darker. Works, but it has a lot of dots to it. We use that snow here. That one works quite well too. Now it's too big. Let's see. If you just use a lower size. That's fun. What else can we do? There are three examples of some textured leaves that we have created. I'm going to close out my reference because I don't need that anymore. Three is enough. I'm going to show you what this looks like if we were to put it on a Magic Canvas real quick, just to show you that as well. I'm going to save this as a JPEG just to my iPad. Save image, and I'm going to open up one of my magic Canvases. Let's do Shelly's again since I used her brushes. I can go in here and I can just turn off that, and then insert a photo, and do my illustration here. Here we go. Now you can see how they have changed completely. This, especially the one that I created more with a sketchy style, it does look like I created it on this paper, melts a little bit more in. They're a little bit more dynamic. I really think that they turned out nicely like this. [NOISE] Well, we are going over what we learned. I'd love to just quickly go over a couple of advanced techniques with you so that you can get even more out of your brushes. I'm going to just turn this off and create another layer, and I want to talk about manipulating your brushes a little bit. I want to show you one thing that you can do, especially if you want that traditional look of mixing, like this oil pastel by Shelly. Here we go. Looks like this. This is really beautiful, especially on this Magic Canvas, has this really rich tone. I'll do it a little bit later. When you're working with traditional media, often when you're creating backgrounds and things, you don't want one flat color. Usually do a little variation and smudge it together to give backgrounds a little bit more life like this. You can even smudge. Here we can use the powdered sponge to smudge this together and mix. One thing that you can do with Procreate brushes is create color variations with them. So keep this red color. I already have a brush like that, and I can show you how it looks like, make it a little bit bigger. Here, when you're drawing, as long as you don't pick up your brush, it's going to be one color. But if you instead pick up your brush all the time, it's going to mix color variation, so sometimes it goes a little bit more orange, sometimes it goes a little bit red. Depending on the settings that you have, sometimes the variation will be a little bit more. This is a quick way of adding a little bit more life to your backgrounds and colors. Here it became the same when you overlapped it a lot. It's a lot more noticeable depending on your settings. [NOISE] Let me show you how you change those settings. Go into your brushes, and again, if you're going to be manipulating your brushes, it is a good idea to create a duplicate, to go duplicate, slide to the left, click on your brush, and then we're going to go into the color dynamics, here. The Stroke Color Jitter is something that you can play with easily without changing any of the other characteristics of the brush. We're just going to be talking about the color. We start with a hue. If you bring it up to about 10 percent, then we can change it to a nice and blue color. [NOISE] Here you can see that it's starting to change. Hues, 10 around the 10 percent different around that main color. When you are coloring with a background like this, you can get some variations in colors and then you can smudge it all together so it doesn't look as crazy, but depends on the look you're going for. I'll use the same oil pastel to smudge it together. There you can get a lot of variation within your artwork. Another advanced technique that I'd like to share with you is with these texture pattern brushes that I showed before. If we take these from RetroSupply, some of them are very not textured and they could be a little bit jarring to use in your work if everything else is super textured and all of a sudden you use a brush like this that's very digital or flat. But you can rectify that by creating a clipping mask on top of that brush and choosing maybe a slightly darker or the same tone. Then you can choose one of your texture brushes. Let's use Maya's soft grain that you got as a freebie in this class. You can go over that with a slightly different color and create some variation in there. It will match the rest of your artwork. You can also do the eraser trick like I showed you before. If you erase with a very textured brush, you can get some texture there as well to make it a little bit less digital. That's another technique that you can do to make these brushes that maybe are a little bit too flat for you to make them work for you. It's a little bit more advanced techniques for you. Also, of course, we can start. You don't always just have to use one texture like I showed you with the leaves, that you can layer and layer upon layer your different textures to make something that works for you. Going back to our leaves, I'd love to show you one more advanced technique with texture to top all this lesson off. That would be to use blending modes. we're going to go back to our original leaves. We can add some more layers here. If we take, for example, the red little leaves that did when we were doing another clipping mask and we're going to choose another color, maybe this yellow. We're going to choose, we can use this squash soft green. We're going to add as if we're doing some sunlight or something like that or Interesting lighting like that, just like the sun. We can go into blending modes. Here you can do all kinds of effects. It has a lot to do with lighting such as adding a glow or something like that to your work or shadowing, which is good. Here we'll start with this yellow color and we can test out different blending modes. I honestly can never remember which one does what, but you just go through and you figure out. This is a cool look. It really made the leaves become very bright, vibrant. You can tone down that effect by using the opacity filters, you can bring that down. I think that looks a lot better than the first one a little bit too intense. If you bring it down, that's an incredible look to bring to your artwork and you can play with these blending modes so much in the opacity. Another thing when adding shadows, I love to use Multiply mode, blending mode. Do another clipping mask and we use a cool color for the shadows is a good idea. We have a lot of red in here, might do a purply neutral color. We'll try something like that and see what that looks like. We've used the same soft grain brush just because it's really nice. You can add some shadowing down at the bottom, some more than others in different sections. Something like that. The stem a little bit. Here again, my favorite blending mode for shadows is multiplied because it's going to multiply the two colors that you're adding together. Because they blend together a little bit better, here they always turns out quite dark. When you pull down the opacity, it starts to show this effect better of how it just darkens your leaf, but with a slight tone and purple. I think it has a really nice effect of bringing shadows in without looking too harsh. That's another blending mode that you can play around with. Same thing goes for adding shadows behind a leaf or something, we can do it with this more scratchy leaf. We can add a little texture, shadow behind it. Let's see, what should we play with now? Go back to the lush brush. I like to oil pastel one, we can choose this greeny gray. We'll see how that looks. Just playing around, it doesn't have to be a perfect shadow, it doesn't have to make sense like exactly scientifically, but just to give the illusion of there's something behind it like that, something scribbly like that. Again, I like to go and do multiply and bring that down. That looks really nice, 36 is good. The multiply mode is a little bit more apparent when you have something other than a white background. If we change the background to a beige, you can see how it changes there to match, it melts into the background color a little bit better when it's on multiply mode. You can try darker color as you see if you change it, this is going to still mesh with the background color. There we go. Those are my advanced techniques for texture playing. Now we're ready to get into our class project. [MUSIC] 8. Create a Custom Brush Menu: Now that we've played around with tons and tons of textures and we've learned all about the different ways of using texture and the kinds of texture and we've made swatches and we've been playing like crazy, it is time to organize all of this information so that you don't get too overwhelmed with all of your brush options. I think the best way to do this is to create a favorites menu. If you go back into this test where I'm just playing, I have tons of different favorite lists of the different kinds of brushes. I went through all of the Azure Orlando packs that I purchased and I picked out my favorites from all of those and created a new brush library. You do that by pressing this brush library and you can rename. Get the keyboard out and write something like favies. Then you can start to add in your favorite brushes. You can do this with all of your packs, or you can just go through procreate and pick your favorite procreate brushes. Again, if we start with drawing, you pick a brush that you really like. Here I like this evolve one. Test it out. If you really want to add this to your favorite, I'm going to use this brush all the time, you would swipe it to the left, press ''Duplicate'' and bring this one. You hold your pencil on it or your finger and you pull, you find your new menu wherever that is, at the top maybe, favorites, and pull that in. Now you can have a menu with all your favorite brushes. You can have different menus for different projects, or different styles that you do, or different packs that you do. I have my favorites for Azure Orlando's brushes that I like. I have another pack with tons of different brushes from procreate, from different artists. It's a complete mix of different things for this children's book look that I'm creating. It's a little bit different from my other illustrations. I wanted to look a little bit more traditional media, so I have all section of brushes with that look that I like. I have an older set of pixel brushes that I really enjoyed for awhile and I still do. That was for another look for my more traditional EmmaKisstina illustrations. I have old favorites, these are even older. I think these are all from procreate that I enjoyed using. You can create tons of different brush library so that you can easily go in and understand what brushes that you like. We're going to continue to add our favorite brushes. For this class, I'm going to create a favorites menu from the procreate library plus the three brushes that Maya gave us for free in this class. Those when you upload them will come into a folder called imported. I'm just going to swipe them to the right, all three, and I'm going to bring these into my favorites menu. You pull them over like this and hover them on top. Now we have those three freebies from Maya, and then I'm going to continue on to adding in some more of my favorite brushes from procreate into this menu. This is a great way rather than always having to remember where in procreate your favorite brushes are. They all live in this one menu. When I'm thinking about creating a complete texture, or library, or set for myself, there are a few brushes that I like to have, so let me just quickly go over that quickly too I'm going through this process. I like to have a brush that I can sketch with to create my first initial sketches. That would be in the sketching section. I have cited that my favorite is the HB pencil. I'd swipe that to the left, press ''Duplicate'', and bring the duplicated texture into my favorites menu. Click with your finger not that. I usually have that at the top just because it makes more sense because that's the first one that I'm going to be using. Then I want some sort brush. Maya's great all around filler, but also I think I need to have my drying brush just because it's the best. It's in the inking section. Here it is. We'll duplicate that. Let me choose another color, we can swatch out some of these. It's good to have some brushes to be able to fill with. In the inking section, I also really like this thylacine. I think this is a great brush to add some fun brushstrokes, especially when it's a little bit smaller, and you can also use some huge. I'm going to duplicate that one as well to bring in. I like this inca as well because it has a nice dry edge and that can also be nice. In our class project, we'll be doing a landscape. Having hills, or rocks, or something, or have slight texture to them can be really nice. I'm going to bring those as well. I swipe it to the left and duplicate and highlight those three by swiping to the right. It's a lot of directions here. Then I can hold those and pull them up using my other finger to find the other menu. You can add those in. I have my evolve that I put in here quickly when I was showing you how to create a menu. I'm going to go back in the drawing section. Here again, evolve looks like this. It's a grunge-pencil look which is nice. If you bring down the opacity, it has the look that I was showing with Lisa's pressure cooker. Especially if you use it with a light hand, it has that grunge texture. If you press down more, it has opaque. This one's really neat. Let's find some other ones. Freycinet. This also has a cool texture. Could be something. Of course, every single texture brush that you bring into your library doesn't have to be your favorite thing ever. I like this one as well for the streakiness. I think this is great if you had trees or something, for the bark. When you are swatching, you think about different uses. This could be also for water or it could be even sky, cloud. I think I'll skip this one, but I'll keep this Styx physical, yeah. Just go through every single brush that you have until you find different ones that you really like. Let's see what this little pine looks like. No, I don't like that. See what I like, you might not like. This is so, what is it called? It's called personal what you like and what attracts you. I like this one, this is grungy and cool. This color look cool. This looks like rocks to me, like this would be a good rock face or old paint or something. I like that one. We'll choose that one, Eaglehawk, Duplicate, and Styx. Duplicate, I'm going to bring highlight those and bring them into my procreate favies. Here we go. Then I also like to keep them in different sections. I have my HB pencil. I'll keep my highest favies here at the top so they're easy to find. That's fine, dry ink filler brush and I have more fillers like this. Eaglehawk, I feel like that would be more overlay. I'm going to keep all the overlays at the bottom and my funky texture brushes like these really textured line brushy stroke brushes. Then there's one more that I would like. I love that sketching, this artist crayon any tab as well. I really like that one. That one looks like this. Is also a cool, grungy texture. Hoping that went in. I think the only last brush that I want, we do have a speckle here from Maya. I don't think we need a speckle. Maybe we're all set with these. I think we're going to try to keep it simple, so I don't over-complicate it with my explanations and if I need something later, we can look for it. But for now I think this is a good selection. Let's see, 1, 2, 3, 4, 5, 6, 7, 8, 9,10,11 brushes, and these are my selections. You can create your own swatch sheet to swatch all of these favorites that you can save them, but mainly these ones you can know what they look like, and if you create lots of swatches with them together, you can start to see that looks that you'll be getting when you mix all of them and just make a mess and have fun. To pull all these favorites together, let's create a swatch page with these, so that we can really remember them. What colors should do? This weird golden brown? We're going to go and we have a sketchy pencil, and this is great for sketching, but I like those sketchy details like this sometimes in my work. We have Maya speckle grain. This is great for little extra textures on top of anything really. Again, if this becomes too much, you can always go in and erase a little bit. We have our all around filler from Maya that is also a great brush like this for scratchy lines, but it also, when it's bigger, we can make really textured larger areas. We have Maya soft grain, which is going to look great overlaid on top of these larger flat colors in different tones. Remember, if you press down, it becomes more opaque. We also have my favorite concrete brush, dry ink. I just love those little speckles, but it's still quite opaque and filled in. We have inka, which I think gives some nice painterly strokes. You can use this as a filler or you can also do overlay on top if you choose different color, you can do like a very dramatic shadows or things like that. We have this evolve brush and I especially like it when it was pulled down the opacity on there. You can see the grunginess and then add onto it like so. You can create a very unique texture like this with a brush like that. You have the artist crayon, which I just think it's such a nice fun grungy brush. It works really nicely when it's a little bit larger scale. Again, if you press lightly, it has a lighter texture. Now you have Eaglehawk. Has a similar look to the artist crayon but a lot more opaque and there's a lot more variation with small grungy details in there. We have Styx, which again has these nice brush-dry, brush- strokes which I think would look great in trees or grass or different things. Then last but not least, we have Thylacine. That's also another textured brush that we can add in unique stripes and dashes. This could also be great for grass texture. We'll see or we'll figure out. These are my chosen brushes. Feel free to use the same ones if you'd like to. But I highly suggest that you go through, Procreate, and find the ones that you really drive with the most. Now that we have fully noted out with learning all about our procreate brushes and we've explored them and we manipulated them, and we've talked about transparency and all that good stuff, and we just are totally obsessed with texture right now, we are completely ready to get started on the class project. In the next sections we can get started on that. 9. Project: Sketching: For this class, I have taken some photos just with my phone, I am not a photographer. But around where I live of different Swedish red houses because one, they're insanely cute until they have good texture in them. I think learning to draw a house in a landscape is a really good way of learning about texture. I have taken some photos like I said, and I will have a section in the class resources section where you can download a few to choose if you'd like, or you can of course use your own photo. They're all quite similar. Here is an abandoned house out on a field, it was so gorgeous. This would be a really interesting one to do, but this little shed was super cute. I have no idea what this tank is, but that could be cut out of illustration. That was really good, and you of course can build out of these if you also want to test. I took some photos of birch. A birch tree that fell down with some different things like that that could be fun to play around with. But I think I'm going to do this little hatch, or whatever it is, I don't actually remember where this one was. We're going to go into Procreate. Now, here's a little lobster guy that I've been playing with lately. We will go into another section. Let's see, I like to work at 11 by 14 inches just so that it's a really large poster size so that if I wanted to get it printed or use it will be high quality to use. Rather than creating a digital size, make something smaller just for Instagram, just 1,000 pixels or something. Eleven by 14 is the standard size that I usually use. In RGB, I like to work in 300 DPI. Here we have our Canvas, and I'm going to open up this favorites brush pack that we created here. I'm going to use my HB pencil to sketch out. I'm just going to use a darker color, here's a dark green. I'm going to use the new feature of being able to have a reference. I'm going to bring in my photo import image, and here's my preference. I can put him up there for right now so large. That'll be great. I'm going to use this to start sketching. A sketch is just a way for you to see. I'm going to do my horizon line somewhere here, and I'm going to input my house in the center with a little perspective. Been a while since I did anything in perspective really. That could be too big for my composition, but we can scale it down, that's one of the things that's so awesome about working digitally, and it's made out of logs. I want to just hint at that. What's going on there? We've logs coming up on that side too, and the lines going through. Delete here in the center. It's sitting on some rocks. You can hint at that as well. Then we have the windows to sketch in. We're at the windows, that one is a little bit wonky in perspective. I didn't follow that very well, but that's okay. I don't like when everything looks too perfect anyways. I think my cabin is a little bit too large, so I'm going to just reduce that because I wanted to bring it down a little bit. It's a little off-center, I think that would be great. Then the tree, I'm going to do on a separate layer with a different color. We're going to do green for right now, and so I can move it around if I want to, to use the overall shape of it this or something. Maybe I want to move that slightly over, that's okay where it was. I want to make sure that it's going to stop so it's not in line with that corner there, that. Then I want to do some background sketches. I'll now take an even darker color and hint at some of the shapes that we're going to have in the background, to have some pine trees and some other fluffier birch trees, is it like that? Another fluffy goes up a little bit. You don't have to fully make sure to follow the photo of course you always make it your own background. Pine tree here and two more pines. Then a hint that some bush there. I think that's good composition. Then here in the front we're going to have to have some other areas of grass and things to make it interesting. I make group like this or something like that. There's no clouds in the sky, but I think a little cloud would look nice. Something like that is a basic landscape illustration. Mainly it's important that we are going to be learning about our texture is not that this is the most incredible illustration ever created of our Swedish red house in the countryside. That is my simple sketch. Please just make sure that I have a way of knowing where everything's going to go. I feel comfortable with how my composition is. It's like my main focus of the house is slightly off-center. It has that house there in the middle also to compliment it. I think this is a good start. There is our first sketch completed. 10. Project: Build Out the Scene with Flat Color: [MUSIC]. All right. Now that we have this sketch completed, my next step when I'm creating my illustrations is to build out the entire illustration with flat color. I like to do this because that's just how I work, but I like to make sure that I have the full illustration completed in flat sections of color and in different layers and then I can add textures on top and bring it to life afterwards. We'll start with the background color. I'm going to bring up from my newer palettes. This is my so-called children's book palette. It's a new palette that I've been working with. I'm going to use that one. This is a nice darker grayish blue color that I think could be interesting to work with here. We'll see. After that, I start with layer by layer. What's in the background and moving to the foreground. After the sky, comes all these trees in the background. We're going to figure out which brush we want to use for that. We have many options. For trees, I think it's great not to have a completely straight-edged line unless that's your style obviously. But it could be interesting to try out this all-around filler from Maya's brushes. Remember, it doesn't matter what colors you're choosing right away, but we can always change them. I'm going to start with this and see what this looks like on these pine trees. I'm just mapping out the shapes and then we're going to add more texture and definition to them later. I just want to map out what they look like. Here's one. This tree is going to be covering that, but it might be open-end spaces so I'm going to make sure to go in and make them a little bit more. I'm going to keep those two on one layer. Good. I did the classic thing that I drew on my sketch. I'm going to redo all that. I do this all the time. I wish there was some warning that you can put on. Anyways, here we go. We'll do that again. It's good practice. Here we go, so I have two of those and because they're not touching, they could easily be on the same layer. I'm going to create another layer and choose a slightly different color. Maybe this one will be more bluish. Here we go. We have my four main pine trees and then I'm going to add some bushes in this swampy green in front of those, and they're just going to be different like this. Also with this textured brush so that it has a nice fluffy edge so you can imagine that there's lots of leaves and things coming off of it. Continuing along the entire background. I'm not liking how yellow it is looking in comparison to all these other ones, but let's change that later. I'm going to go back in and add more trees behind and these ones I'm going to make more fluffier. Take this grayish-green color. Here we go, so those in the background. It's just messy because it's just the first layer with those of course. I'm going to bring my sketch. I'm going to merge down my sketch layers into one because I'm happy with how that is, I'm going to bring it to the front. I can still see these colors, so I'm going to still continue with this as we move on. I'm going to continue a new layer for the foreground area and I'll do another maybe in later section for that. We're going to get some great variation and texture in definition here and shadows later. But just having a base is nice. I think it is nice if it's not perfectly covered and you can see the background peeking in through in some places is completely okay by me. It's looking way too yellow for me so let's change all these colors now because they're not working. I'm going to go into the hue saturation brightness area in on layer and orange, no pink. I'm going to try and make it look little bit more green, and a lot less saturated, and a lot less bright. There could be more of what I'm going for and I'm going to choose this color brightness slightly darker version to bring to that section that layer. I'm going to just swipe to the right to make it alpha lock and then put that color on top. That looks more like a landscape green. I'm still going to keep this bluish tone and that grayish because it melts into the background and I don't want those to be so prominent or important, some of those trees back there. This feels good. That goes much better. I'm going for this tree in the foreground, I'm going to choose a color that is in-between or maybe a little bit more saturated. I think I'll continue. I'll do that one later because I don't think I want it not to be as filled in. I want to just be lots of leaves, so we'll skip that for right now and move on to our house. The house is going to sit on top of this base layer and we need a nice reddish color. This house is very dark red. I think I'd want to do a little bit more of the traditional red color. To fill that in, I want to use my dry ink brush because I want it to be a little bit more, not have as much of a textured edge. I'm going to fill in that shape. I think I'll just pull in that color. Make sure to go around my edges a little bit to get rid of any weird stray lines. There's more light hitting on that side, so it's going to be a lighter color. I'm going to choose a darker version of this for the upset side, also add another layer, I'll do that one underneath. The next piece that we want to work on is some of this underneath. I think I'll do that on top. Here it's like a grayish. I'll use this grayish, blue for it now. We'll see how that looks. See. Just adding lots of rocks. Most of these will probably get covered up with grass and things like that, but it's still nice to have them their just so they're there. They do peak out and look really nice. As you can see, I don't really fully follow my sketch. It's just there to guide me and help me if I need to know where things are for the most part. Then we can move on to the roof. The front piece, I'm going to do one section, and in the back piece, add another section. Front is a wood color. This might be too light, we'll see, layer on top of the red. This looks way too light, but we can darken it later. This one I might want to fill in for hand so that we can get lots of that scratchy details in. There we go. That looks nice. Then I'm going to turn that sketch back on. Underneath that front layer, roof layer, I'm going to choose another roof color. I'm going to brick red, a bit less saturated, and put that in. This still so looks pink and I'll that. I'm sure there's a shadow that we can't really see, but I want to add it in just case a darker tone of that color. Oops. That's way too pink, but we can again adjust that. We can do that by choosing that layer and going into the adjustments. Hue saturation, brightness and make the saturation go down. The hue I want it a little bit more orange. Like that maybe. Now, we have this little piece of wood here on the house. I could skip that because I don't really understand what it is. I'm going to skip it. Then I'm going to just work on my windows. I will start with the inside window color, I guess. I'll start with this skyish color, sky gray. That's going to be inside to start with. Maybe I'll fill in, which I want through red picking through this one so much. Same thing over here, and then a layer on top. We need the inside window, so this is a slightly beige grayish white. Here we go. On top of that, outside of that, I want to do almost a pure white but not quite to the trim. Sketches in a way, I'm going to reduce the opacity on that so I can barely see it distracting. I'm going to do the trim. This one I want to fill in so you can get the red from the house in there. It looks nice. Notice that I left a little gap on the other ones, so I'm going to go make sure to close that while I see it. There we go. Here we have the house ready. All the base layers with that. Now we just need to get this tree in there, and that is ready for this section. That's on top of all of these house sections is this tree. The tree seems to be a birch tree, so it has this light, coldness stem base of the tree. Then I'm just going to put in random lines for the branches. I can't really see what's going on there, but just random shapes. This is pretty much going to be covered with leaves soon, so I just need to make sure that for the most part, it looks tree-like here, too perfectly straight. I'm going to make that a little wonky. Can turn off my sketch. This is our base illustration. It doesn't look like much right now, looks boring and horrible, but we're going to fix that. Now we're going to move on to adding all the beautiful layers of textures and bring this illustration to life. This is the part that is the most fun. [MUSIC] 11. Project: Adding Texture Part 1: [MUSIC] Before we get into adding other texture, I think it could be an interesting idea to go out into the gallery and make a duplicate of this flat illustration. That way, if you want to test different styles of texturing, you have a second copy. I will go in again and find my image, because now it's not as important, but I do want to see where the lighting is and things like that. I'm not going to do crazy realism here, but a little bit, so let's see. Where should we start? I think we should start with the house because that's the most fun, most over the house. Let's see, go into the brushes that we chose. One thing that's really nice about having just a selection of brushes rather than all 500,000, that you have to pick through is that you choose only the ones that really are going to work for you. With the side of the cabin, I want to do several layers of different textures, I think that'll be really interesting. I definitely want to have one of these brushy brushes on top to mimic the lines, the different logs of this log cabiny thing, but I also want to have a grungy texture because in this there's a lot of texture in that wood there, and I don't have the patience to draw every single log in here, or all the texture, so that's why these texture brushes are so good. Here we go. I'm going to start choosing a darker version and I'm going to test out some of these. Also, I'm going to use clipping masks on top of this. I think with this size canvas, because I have the newest iPad Pro, and depending on how much memory and stuff, I have quite a few layers that I can have. I think I can have up to 47 or something, but depending on your iPad, you might have less or more, so you might need to work some layers on Alpha Lock, which is totally fine as well. I can show you that process as well. I won't be creating clipping masks on every single one. We'll start with this, the facade of this one, this side, the left side here that's hitting the light, and we're going to add some grungy textures in there, so let's test out what is my soft green brush look like. That makes it look a lot more dirty. That looks cool. Here I painted right on it. What Am I doing? New layer Clipping Mask. Now we can go in and add some grungy texture just to make stuff happen in there, so it's not perfectly red. That's great. I like that. We can do some different colors. I can do slightly lighter over here where it's hitting the light a little bit more. We're going to do a little bit more darkness over here where it's really grungy and shadow. I'm going to add more shadow over there, but you can add more to begin with. Underneath the roof there's some very slight shadowing, not much. Because it's on its own layer, it's always nice that you can go in and reduce the opacity if you went overboard without having to redraw it, you could just reduce the opacity if you want it really subtle. I think I did make mine a little too intense, so bringing it down a little bit is nice, but we'll keep it at the biggest. [LAUGHTER] That's a good one. That looks nice. I like that. You can also test. Because we have the ability, we can test out the different things, they can [inaudible] with that one, and test out a different brush. I'll choose this red again and choose a darker version, and we can try what the artist crayon looks like. It's a little bit more of a texture. Much more intense, intense and grungy. We can see what they look like both of them. Now because with that one underneath. Now, I can choose the opacity, so both come through. Which looks cool. Can keep that. I think that's a good base layer, and then I want to do another layer with an even darker one, and I want to try out, I think this one, thylacine. That's way too intense. [NOISE] I didn't put it into a clipping mask yet, so there we put it into a clipping mask, and then this one definitely would need to be lowered. You can also test out different blending mode like multiply, I think it's always a good one for making things melt into the layers below, so you can see that you have the texture on there as well. It's a little bit wonky, my brush strokes could have been a little bit straighter, so I'm going to try that again just to make it look a little bit cleaner, even though I want it to look messy. [LAUGHTER] I make no sense. Here again, dark color. I'm going to twist my canvas since that is a thing. I like that it became a gap there. I want to make that, and then I'm going to go back in and make that, I think multiply was great. Multiply is going to first be really even darker when you apply it, but then it's nice to reduce it down to 50. That's my facade there. On the corners there is where the logs, the edge, so that's a different texture. On top of that, I'm going to create a lighter color, and let's see. This one look like eagle or hawk. Soft there, that's nice, look, and then I'm just going to hint at the edges being an edge there, and do the same thing over here. Here we go. Now it's flat, because this is clipping to the house, if I make a clipping mask on top, it's going to be on top of the houses. Well, so this one we would have to Alpha Lock if we're going to manipulate in there a little bit. I'm going to add a little texture, and we'll use the soft green again just to give it some variation in there, so it doesn't look so perfect. Later I'm going to go in and add more details, find the last details but I'll do that last. This is just the first swipe of texture and then we'll go in and add lines and definition and things like that. That's one side of the house and we're going to continue on to mine as well on the other side and we'll do a similar thing. I'm going to create another clipping mask on top. I'm going to choose, that one is in quite a harsh shadow so I'm going to do quite dark. I started with the artist crayon first to get some really grungy stuff going on over there. Add another one, go slightly later with the soft green brush and then slightly lighter just here at the edge. Really dark with this entire lesson. Something like that and bring that to multiply again and reduce the opacity. There's way more life in that now. There is this huge shadow that goes over the house and the facade in there that I can attempt. Again, we're going to do a clipping mask on top of this main red corner shape, clipping mask and I'm going to choose a color for the shadow. It's nice to use a color that maybe is not gray because it'll be too obvious. A bluish tone. We can try something like this. blue or purple, something like that usually makes the shadow really look like a shadow, so we can try that. Let's see what brush should I use for that. We can try this evolve one maybe or the ink one. What does this one look like? That nice thick. You put it on other opacity and this is still see-through, whoops. [NOISE] Around the windows as well. It's just messy. Right now it doesn't look very good because it looks too on top, we need to melt that in. Again, we're going to go to that layer and make it into multiply. It goes very dark in the beginning, so it's easy to reduce that. I think having a very sharp shadow there looks nice. I think this edge looks a little bit messy so we can go in with this eraser with the same brush and I'll reduce some of that. It's a little bit too big. Make the edge more sparkly. Now I like that. There we have a nice shadow in there already. The other side is quite shadowed as well. I think I'll add another shadow on top of there as well with the same color because I think it worked nicely. This brush, I'm going to have slightly less at the bottom and then get darker and darker as I go to the top and click. I do second layer closer to the top. Here we go and then I'm going to maybe multiply and reduce that a little bit but I still want to keep it quite dark because I think that looks very dramatic and cool. Here we go. Now we have to work on the roof and the windows, lets see for the roof, I don't want to really make all those tiles by creating individuals but I could later create some lines just to hint that they are a tiled roof. But for now I need to bringing some shadow into this front piece because it's way too light and bright in comparison and here I can see that it goes in and it's a lot more structured but I'm going to keep my image a lot more simplified. 12. Project: Adding Texture Part 2: Now we have the window to work on, so we have to make sure that it doesn't look so insanely white. The windows on the inside, I can alpha lock those to save on my layers and add some shadow in there as well. We'll use this evolved as well, I think that looks nice. Just to pay attention to it. Looks like it doesn't have the perfect, it is just like hint that something going on in the Windows. That looks nice, with these lower opacity with brushes that are on a lower opacity. You can get some really nice layout effects, it looks like you put in way more time than you actually did when you're doing that. I think it became a little bit too much. I'm going to pick the original color and go over with one or the other. Was an eagle-hawk a little bit softer? I'm just softening that a little bit so I don't want the window to take over too much, there, so it's a little bit more subtle. Then I'm going to go in and add texture to these windows as well. Again, by just choosing a light, slightly darker version of that one and adding one of our textures for these would be the soft grain again, make them look not so perfect. White one same thing, alpha lock this one to save space and use this slightly different color on the speckle as well, just to make it look slightly, it's very subtle, but it just makes it look less perfectly clean. It helps that we did the base layer with all that little speckle already from the brush, the dry ink brush, so then it looks better like that too. There we go. That is the house pretty much done. I think that the windows are popping out a little bit too much. I want to add in more shadow underneath them. They are very white and they are white. I'm going to add a little bit more shadow to them because there's some shadowing on certain sites. So I'm happy with the textures are looking on those, so I'm going to merge those sections down. I just have one layer for the entire window so that I can do a clipping mask on top of that for the shadowing. I'm going to choose this darker bluish-green color for the shadow color. I'm going to use evolve again. I'm going to go ops over entire window up here to mimic the other shatter that we have going on. Then this one doesn't get hit like the other one does. But I still wanted to bring in some shadows here and underneath. Again, bring that to multiply and then reduce it a little bit. That looks a little bit better. Again, we need to go in and make some, a little bit more defining lines and things like that. So it doesn't look so flat and just floating there. But that's great for right now. That is that and now we just to grunge up these rocks so they don't look so flat and white. Where are my rocks? They're up here. Again, I think to save space, they're not that important. I'm going to just alpha lock them. Let's see. This artist crayon has such good or grungy textures perfect for rocks, I'm going to go in with that. The speckle that we used on the roof could be really nice to add in really dark details. That looks like rocks. I'll do a couple to have slightly light so that they were peeking out at the top here, the top ones. That's good enough for me. Now the illustration looks so weird when everything else looks so flattened. Scribbling is that we need to give attention to the other areas. Might as well do this tree since it's right here. I'm going to do a clipping mask on there. Birch trees, they have that black and white texture. Can't really tell here, but I'm going to put some shadowing on here. I'm quite like this eagle-hawk one because it's like gritty look to it. Since you can't see the majority of the branches, I'm just going to go over very haphazardly. Then over the rank of the tree as well. In different sections like this. Just hinting at the different variations in color on that bark. I think we need something a little bit darker as well. I might even try this all-around filler and a little bit smaller just to do those like the details of the birch tree that has the little patches of black, sometimes like little stripes visible in a hint that you don't have to make it look exactly perfect because this is such a small detail, but just having that hint, I think really does a lot. I think this looks like birch, adding a little bit more up here as well in case somebody's stick out. The leaves are going to cover up lots of the other areas. I want to start working on some of the other areas so we don't get confused. We can always of course hide that layer, but I think I want to work on something else right now. I want to go into the sky and just give that a slight texture, just so it's not so flat. Let's see, we'll do slightly wider at the top. It is in the image a little bit, so which we use for that one, maybe this eagle-hawk base is really large. Let's see. It's quite streaky but I like that, it can have even lighter in some section. It's okay. If it looks a little bit too much, I can always bring down the opacity, so it's very subtle. Bring it down to 50. I want to add in clouds, and to do that, I will also not use a pure white. We'll see which brush will be good for that. I think this evolve again will be good. Let's see, too small. Because now I can build up the clouds. Here's a really light hand. Then if I go in and add another section, there's a bazillion ways to draw clouds and so many brushes that would be great for this. You're going to spend whole hours looking for brushes that would mimic clouds in an interesting way. But I thought this one was quite painterly nice. You can add one more in the background like this. Moving on to our trees, I think this tree is a little bit too prominent. I'm going to just bring the opacity down a little bit. Don't want it to melt into the clouds, but almost. For that one again, it's not that important to be able to manipulate too much, so I'm going to use a brush. Let's see. Let's do the soft green and I'm going to darken it on the way down and keep it light at the top so something even darker. Not in love with how that looks. What would it look like if I took them away? I think maybe that looks better. I think they looked a little bit too messy there. I'm going to go in and work on my cloud again, just so that they will make sense now that I took away all those other ones, those trees. That looks better. Now I'm going to go in and I'll make a clipping mask on these since I want them to look nice. I'm going to do a lighter color, and I'm going to use the same All Around Filler but quite large to give them some variation at the top, and at the bottom I want to make them a little bit darker, give them some shadow down here, like that. That might have been a little bit too over the top. I can just use again the opacity to paint it down to make it look a lot more subtle. Now it looks way nicer. There we go. Same thing we're going to do with the bluer trees. Clipping mask on top. I'm going to start with a lighter color to give some dimension at the top, the trees like it's getting some light from sun at the top and then it gets darker underneath. I'm going with a darker color. Again, I'll just reduce that so it melts into the back. The base color again, yeah, something like that. They're not too prominent there, but they still look like something's going on with them and they have tons of juicy texture there in the clouds. The same thing we're going to do with the background. We want that to melt into the background, not have too much in definition in there. Also because we want the house to shine and the things that are happening in the center. I'm going to, maybe for this one, do a little darker. We can try the artist crayon again, but use a very light touch on this one. It looks like a rolling hill. Again, I like to do a darker version, a slightly lighter one, so is like hitting. The sun is hitting slightly on there. That looks nice, and we could add in a couple of strands of grass and things at the end, we'll see. Then we're going to do the same treatment to the front area. But this one, I wanted to add a little bit more variation of different colors. I'm going to choose my color and try a darker version. Again, I like this artist crayon in the back. I might bring my sketch up because I added some sections. Yes, I want the back section to melt into the background, and this in the front. [NOISE] We can use even lighter one maybe with the soft green just to mix it up and add in patches of lightness being random here. But also I'm going to look at my photo, here a little bit patchy, lighter area in the back behind the house where it's hitting. Then I want to go back in with a darker, to the artist crayon because it's quite a lot of dark here. A little bit around the house. Under the house and the tree, I need to make an intent shadow. I could attempt to do that now. We're hinting at grass and variations in the texture there. In the front, maybe it's a little bit too untextured. Do the artist crayon up here as well. That looks nice. I'm going to turn off my sketch again. There we have that first section of texture, and now we're going to go in and create even more to that shadow underneath the house and the tree. We do clipping mask again, I'm going to find that nice grayish greeny color. We used Evolve before. I'm going to shadow up all these rocks underneath here. Then I'm going to make more intense shadow around the house, and this Evolve had such a scraggly edge. It really looks like the leaves and things like that. That is a perfect fit. See what that looks like. I multiply very intense shadow. Bring it down slightly. There we go. Here's my first section of texture, and we're going to continue to define it with smaller details and the little leaves and things like that to bring it to a stage of being finished. 13. Project: Final Details: [MUSIC] Now it's time to do the final small details that's going to really bring this to life. Let's start by adding the lines and things to the house. You can do this all in one layer on top of the house to make things easier for yourself to a layer on top of all the house layers. We're going to start adding and defining lines and things like that. Just to bring in a little bit more structure. I'm going to use my dry ink brush for this I think. I'm just going to go in and add some lines to make the roof look like it's been built out of different little pieces or most sections. Put a darker color inhere in the bottom. For the same thing for these windows, I'm going to add some defining light. [NOISE] Another tip is if you're struggling with choosing the different colors, you can put, this is lines. If you're using a relatively grayish tone, it doesn't have to be perfectly gray, you can bring that to multiply. It's going to just darken that color with the color that's underneath and it's going to mesh together better. I'm going to do that. I don't have to worry about choosing the right colors constantly. A hint that these being made out of wood by just doing the scribbles for the inner circle lines of the tree is enough to bring that to life. That feels like it's real or whatever. I don't like that curly cue. Same with on the top of the roof. I want to put some of those tiles in here, but without having to draw every single one. Just a couple of w wavy lines is enough to make you think that it's made of different tiles, which is cool. Same thing with these rocks, millennium definition on some of them that are going to peek through. It can be really messy with stuff like this because there are details that are important to make the illustration come to life, but they're not so important that you have to pay too much attention to it because nobody's going to look that close up and see that. It just looks okay from a far. Here we go. That's I think is the house done, I think. Now we can move on to other sections of the illustration to bring those to life. You still need tons of the leaves on our tree. I'm going to use a nice bright different colors of green. I'll start with a darker one. I would choose one of those. I think I'll use this from all around filler from Maya. Just reduce the size. I'm just going to create random strokes like this and build up my tree with different shades of green. It's going to melt in to each other and make sure there's some gaps and things. [NOISE] Over here is quite the same tones. I need to darken the leaf color to add some variation here so they can stick out and you can see them. As you can see, I'm being really messy and totally random with this. There's no strategy other than just going for it, I guess. We need a really bright tone here. This really light one really brings the dimension to the tree. I think this one really lights it up. It's going to cover up some of these light ones over here. It's going to be mainly light on that one side. That's good for me, I think. I hinted that as a tree. I think the trunk is way too contrasted, so we need to bring that down with a shadow like we've done with all the other things. Something like that, and we'll use Evolve again. Make sure we have a clipping mask on here. Something like that. Again on multiply and bring it down slightly. There we go. That melts in a lot more. It's not as prominent. Now we have to make sure that this area up in top of the tree is melting in a little bit better. I'm going to use the same all around filler. Then I'm going to make like a little patch of grass here as if it's. You can do a couple more patches of grass around. We're going to have some that go over the house as well. Keep on the same layer actually. Over here we have a patch of grass that is going over these rocks of it. We can erase some of that so it melts in better. You can do more patches that look a little bit more like mounds of grass in different tones. These look slightly random for right now because they are. What happens if we go and prove with a little green as well to help them in cover shadow. Smelt in a little bit better now. On top of those, we want to just have some sprigs of grass and maybe a little flowers if you want just to hint that. There's things coming out of the grass, it's not like this perfectly cut lawn or something like that. You need to pick a more darker. I think my dry ink will be good for this. Just to do different sprigs of grass randomly everywhere on this snow mound. I want to make them a little bit more prominent. Make sure to go over the house a little bit. The house looks like it's a part of the landscape and has been there for a long time. You can have some of these little lines and things throughout the piece just to bring it to life. We need to change our colors so you have a really bright one again as well, in contrast to the really dark one as well. I think this background area, I'm going to leave that one alone. It's not as important as these front bits. If we want to again, I will scribble to think that there's little flower going on. I'm going to add a new layer. I'm going to test out this pink. Just add a little pink flower to a couple of them. That brings a little bit more life into your image. You can of course go on to add even a little characters, a little animals or butterflies or something. It could be really cute if you had a laundry outside hanging from the tree. Pink is something we can do. Just to feel like this scene is more lived in and more interesting to add to your portfolio than just a serine. I don't want to say boring, but boring landscape. I'm going to choose another lighter pink just so we have some variation here in the tones. It looks a little bit more real. It's funny how just simple scribbles like these can really hint the flowers in something else here. Brought so much life already into the piece like this. Well, there we go. Because it is quite boring, I'm going to turn off my reference right now. We're going to look at what's going on here. It is very serine, it's very quiet. We could say that it's done now, but I just want to add in just a couple more details that are really simple to add something else. For this gap up in the sky, I think it could be interesting to just cut in a silhouette of a bird or something. Two birds. That adds something to the sky. Maybe I want them a little bit more subtly and hardly just like in the sky. That looked really sweet. Feel free to continue to add more details and bring life to your illustration without characters and things like that. But this is the main image with lots of texture and things like that. I really hope that you've gotten a lot out of learning how to use your procreate brushes and thought that this simple exercise was fun as well. There's so much you can do with digital texture, and there's so many different types of textures. It's just about exploring and finding what you like the most. I'm so excited for you because you get to test all this stuff out. It's so much fun and I hope that you will continue to explore digital texture. [MUSIC] 14. Final Thoughts: That's it. Thanks so much for taking this class with me and exploring digital texture with me. It's been so much fun to share all of these brushes and techniques and draw with you. I hope that you have gotten a lot out of this class. Your next steps are to continue to play with digital brushes, do all of the exercises that I shared in class, nerd out with your procreate brushes. Also, after a few months of using these brushes, go through your entire library of brushes and look for new brushes or new to you. Again, brushes, you can always find something that maybe I didn't notice before. Your digital style is always evolving the same as your art, and it's okay to switch out your brushes and try new things. It might give you a new outlook or creative motivation, so I always recommend testing out new things and evolving and changing. I would also love it if you would post your project to the project gallery so we can all see your digital texture style and how you're working, and that's going to be really exciting to see. Remember to write down notes so that you can refer to them later because I know when I'm exploring and I'm doing lots of huddles of colors and textures mixed together, after a week, I already forgotten which brushes I used and which blending modes, who knows? Make sure you create notes of things that you really liked, so you can reuse that look over and over again. Also, please remember to press the "Follow" button here on Skillshare so that you can be notified when I post more classes. You can also check out my profiles to see the other 21 classes that I have posted on the platform so far. I'm sure there's more here that you would like to check out. If you'd like to hang out with me outside of Skillshare, you can find me on Instagram @emmakisstina. You can also check out my website I also post a very supportive and beautiful Facebook Community and you can sign up via the link in my class description. In that group, we do free feedback sessions and we talk about what we're getting done this week and how our weeks have gone. It's very supportive and [inaudible] really would love to see you there. Until then, see you in my next class. Bye.