How To Make Oil & Acrylic Style Brushes for Procreate | Celeste Duffy | Skillshare

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How To Make Oil & Acrylic Style Brushes for Procreate

teacher avatar Celeste Duffy, Make Beautiful Things.

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

8 Lessons (45m)
    • 1. Introduction

      1:34
    • 2. Supplies

      4:23
    • 3. Let's Make Marks

      8:58
    • 4. Digitizing Marks

      4:01
    • 5. Making Brushes

      8:49
    • 6. Brush Shape Vs Brush Grain

      1:44
    • 7. Final Thoughts

      0:37
    • 8. Oil Painting Project

      14:52
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About This Class

Would you like to make original brushes for Procreate that look and feel the way YOU want them to?  Would you like to have brushes that look more like real brushes you are familiar with in your traditional art practice?  I did too and now I'd love to share with you how easy and rewarding it is to make your own Procreate brushes so that you can more seamlessly bridge the gap between your traditional art practice and digital painting.

In this class we will walk through making the brush shapes by using acrylic paint on paper and then digitizing those marks in order to get them into Procreate.  We will convert those marks to digital paint brushes and fine tune them so that they work the way you expect and want them too.  We will be making several common acrylic/oil brushes.  

Lastly we will paint a simple still life together using the brush set you've seen being created which will be available for you to download.  Painting this still life using the brushes will show you tips and techniques that hopefully ease any frustration or fear you may have transitioning to a digital art practice.

I'm so happy you are here - I LOVE painting with traditional media AND in Procreate and can't wait to see what you paint!  

Please note if you prefer watercolor, I have a class on how to make Procreate Watercolor brushes which can be found here:  

Meet Your Teacher

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Celeste Duffy

Make Beautiful Things.

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Transcripts

1. Introduction: hi and Celeste and I'm a full time professional illustrator and artist in California, and I wanted to talk to you today about this course on how to make oil and acrylic conspired brushes for the application procreate on your tablet or iPad. Making brushes is a great way to be able to get, um, digital art, um, to look and feel the way you want it to look. So sometimes it could be a little bit frustrating to use procreate on brush sets because they just don't look and behave the way you're used to, especially if you have an established art practice. Um, so I found I was often frustrated not being able to get that look and feel. But really wanting Teoh explore procreate and digital painting because you know it's a great way to practice your skill and to practice. You're drawing. You're painting your tone ality. All those types of you know it's just a great way to augment your art practice, whether it's in the real world or in digital. And so I found that making my own brushes was a great way to connect. The two and Teoh not only get the look and feel, but also understand more how procreate works, how brushes work and really like, peek beneath the hood of the application to really fine tune and get it to work the way I wanted to work, just like he would with traditional media. So we're going to get these into this and make beautiful things. So follow along. I can't wait to see in the next sections, and we'll walk through how to create digital brushes because it's really easy. You can do it. I can do it. Let's do it, okay? 2. Supplies: Okay, So the point of this class is specifically to make oil type, um, acrylic type brushes, which, if you're already familiar with the medium there, they kind of look the same because they hold the shape of the brush that was used to lay down the mark. So it's going You're going to see those little ridges, that beautiful texture, that imposter Oh, if you will, that makes you know, just beautiful, interesting texture, especially when you're painting digitally and procreate. Because that's one of the shortcomings. I think of the digital paintings that you lose some of that really, you know, beautiful texture. That's so beautiful. You know, I don't know. That's just such a wonderful thing about paintings. And so, um yeah, but if you make these using traditional marks that you would make with that medium, it's a little bit easier to get that kind of, um, visual texture to kind of, you know, not cheap, but, you know, achieve that look, so but you're gonna need a couple things. Um, if you're already familiar with oils, don't use them because, as you know, I mean you could, but it's there so expensive you don't want to waste them. So you know, don't do that. Just go to your craft store. Um, and by even, you know, like a child's grade acrylic pain is just fine. It doesn't have to be anything fancy or expensive. Don't, because it's really just about feeling free to make its many marks, as you can think of so you might go through a bit of pain, so keep it affordable. This is just, you know, the cheapest one from a craft store. If you have a more expensive tubes like you know, your goldens or whatever, you're wherever you live. Whatever's the most, you know, quite widely used. Golden's quite popular here in California. This is obviously an amazing, you know, nice, heavy bodied, really concentrated pigment. It's a beautiful one to use to, but again, you're gonna be using, you know, a fair amount of it for very little. You know, you've achieved much with the actual pain, so I go this way. But whatever. Um, you're also gonna need some acrylic brushes. Um, which are great. You can use old the older brushes, the better. Do you really want? You know? Course marks. You want a lot of texture in those marks that you're gonna lay down. So this is an old, old old brush sold so bad I can't get rid of it cause it makes really cool. You know, the bristle marks are really pronouncing this one. You know, tiny little brushes or five cheap craft Store brushes are great, too, because they're, you know, usually not really great brushes. So they you know, the bristles spray and you know your paints not very precise. So that's actually what would you want? Um, angled brushes, round brushes? Let's see, um, palette. Knife's are great, too. There's different shapes and angles, this one's angle. This is a long straight one. If you can see it, it's, um, you know, for mixing great marks with this to, um, see, big brushes, small brushes, sponges or great credit cards are great. Um, your fingers are great if you use your fingers. That's fine, especially with an acrylic that's a little safer. Do not do that with oils. Some are toxic. Um, but if you know your acrylics, okay, use your fingers. That's totally fine. Anything and everything organic materials leaves. I can't think everything else sticks. Whatever. Anything in anything that you can find that's gonna make a mark that you think could ultimately become, um, an interesting mark. Yeah. I'm just realizing that this paint on this still that's bad. Uh, okay. Anyway, um, go grab your things. You're gonna need paper. You're going to paper that can take wet media because, you know, it's water based, and so it's going observing with paper. And if you don't use that kind of paper a good paper, it's gonna buckle, And it's gonna make your mark look bad. So please don't do it. At least do that. Get a paper that can take, you know, a little a little bit of water. Um, you you won't be sorry. You'll need some water to clean your brushes, which clearly I need to do with this one. Um, and that's about it. Yeah. Paper brushes, acrylic paint. You're good to go. All right. Oh, you're gonna get your tablet your iPad, because we're going to get these into it and make beautiful things. Okay. All right. We'll see in the next section. 3. Let's Make Marks: Okay, great. Let's get started. Banking are marks, so oil and acrylic are very similar. And so your brushes that you make are going to be suitable for both media. Um, so but for the sake of mark making, you're really not gonna gonna want to use an oil paint. Because if you're familiar, you probably already know that the drying time is just too long to be suitable for our purposes. But to get the same look, um, your are going to want to use on acrylic soaker like these is just pulling your most affordable brand you confined from a local craft store in America. Anyway, golden acrylics are great because they have a nice, heavy body. So they're gonna really retain the shape of the bristle, the tool that used to make the mark. So, um, buy whatever curlicue confined doesn't really really matter with regards to color. Um, I would experiment, and I do often experience with different colors of acrylic dark and light in this example. In my sketchbook, I've used metallic. And so I'm just curious how that it's gonna look in procreate. Um, yeah. Do you have any other anywhere else? No. Pretty much just this page and here I've mixed tones with the purple that I had on hand. It's a great chance to use that paint colors that you probably don't really get the most use out of because it's kind of not wasteful for pain. But, you know, pain is expensive. So here's a color you're not so happy with, Um and just experiment. I highly, highly, highly recommend using a sketchbook for this reason. Because, as you can see now, I have all these and I'm not gonna lose little sheets of paper. And then I can, you know, make marks in them later as to which ones worked or which ones were totally rubbish with regards to specifically appropriate mark your brush brush shape Source. Rather, um, you're gonna want to use something that's suitable for mixed media. That can take a little bit of water because otherwise the page will buckle in. It will really ruin the beauty of your flat mark and just cause problems. So be sure to do that. Um, the only problem with using a sketchbook is that because it's curly can it is wet. You can't turn the page, you know, to do another set. If you've filled all this and you want to keep going, you're gonna have to wait for this to dry or dry with a hair dryer. Um, or just be patient. So, um so sometimes, if I am a patient, I will use just shoot the paper like this. And for this. Yeah. So these air just again. Water, water, suitable paper, Nothing fancy. Nothing too expensive. Just explored. Half done experiment. But I'm going to use this for the sake of this demonstration and what I actually do. It's just go ahead and lay down a blob in the sketchbook so I don't have to get anything dirty or messy, and I'm running out of blue, and I'll just leave the block there. And that could become its own mark eventually, um, tools to make marks experiment. Anything and everything you can think of. You know, acrylics. Um, you're pretty safe to get messy with, So even if you get it on your hands, not gonna be a big deal. I'm an experiment with a sponge, just dragging it and seeing. And that's kind of cool and interesting. Maybe to another one. There. Cool. Maybe some dabs, just whatever. Um, is that the site palette knives are really cool and exciting to use. And you just, you know, Bob Ross, scoop up a little curl of paint on the backside and just experiment with dragging it, um, spreading it out, maybe doing some dry, really getting that off the brush, that kind of thing. It's a palette knife. Different. They're different shape. Pellet knifes. This is an angled one. This is a long skinny from mixing. Sometimes they're interesting. Well, see, it's pretty dirty. I'm not using that much paint, so we probably need to add some more. I will add some more to that. Just have a little more to work with. Now let's try some using straight paint. As you can see, I'm not diluting it. I'm just letting this flow over the top of it. It's very pretty on. And now, of course, you could use your brushes any brushes? Sometimes the more like cheaper, older destroyed, falling apart brushes the better. Like I have these, like craft store, really cheapie sets there. I mean, they're so stiff, but they might make interesting marks because of their state that they're in. So experiment with that just going ahead and continue to destroy the brush. Why not? This is an angled brush. Cool. I like that one. And as far as size goes, um, you know, bigger is better, but sometimes it's hard to get. That's a really pretty It's hard to get. Um, you know, with a big it's useful to use that much pain. And it's, you know, sometimes it's not. I don't know you. It's hard to get the shape you want to because it's it's big. So using this super duper old I don't think I've had this for over 10 years. This old oil brush, hog hair and you can see it's like basically glued hard. But that could make something really need anyway, So I keep This will keep it forever. It's special. Just experiment with what that can make you know, painting it, stabbing, twisting, you know, anything you can think of to kind of experiment and then different shape. This is around a large round. This is the Filbert. I'm also equally dirty. As you can see, I really need to take better care of my brushes, I guess. And I just continue Teoh, see what I'm going to get, um I will say, like getting great contrast between your paint color and your paper is probably a good idea , because you know, when you scan these and you're gonna want to remove the white, you know, you have in this case, all these beautiful little, um, dry marks as it leaves the page, I really want to preserve that. So if I don't have good contrasts between the paint color and, um, the paper, it's gonna be harder to edit. So now I'll try the the A different color the raw Sienna just for contrast. I just like I like the color combination. Anyway, on I might actually go ahead and dilutes this paint here again. I'm choosing old puku brush and I'm gonna get it wet and just see if that does anything. This brush is awful. So throw that away. In fact, gross. Um, I tried this one from before this angled wanted to see even with the mix, the color mixing doesn't bother me. It's going to be converted to black and white eventually anyways, so it's just not gonna matter. On In fact, I'll just go ahead and mix it. That then see that those kind of subtle tones might pick up when it's converted degree. Skill that might actually result in a really beautiful, you know, subtle texture. Um, so I'm happy with that. Um, lastly, I think a great thing to do is to go ahead and leave your your paint really, really thick. And bodies like this how it holds acrylic and oil retained the, you know, dimensionality of the paint, this, the fibers, the texture. And so, you know, if you use quite a bit quite a heavy in your application of paint, um, or even leave this this leftover paint here in ST, you know, don't go ahead and try to use that all that Just leave it blobby, and we'll see what happens with that when we go toe, make a brush. And again, just, you know, different waste pains. You could even because it is acrylic. Don't do this with oil, please, cause some of them are toxic. Um, you know, see what happens with even your finger. Like, who cares? Songs. That's, you know, nontoxic paint. Um, yeah. So there you go. Just, um, get all your stuff about, you know, credit cards. also make great mark sponges leaves. I mean, I think have a leaf somewhere. Let me. This is Rose and old Rose petal right here. So you mean you could even experiment with those kinds of organic materials just to see, you know, if anything comes of it and that's kind of interesting. And that's just literally dipping an old rose petal into some acrylic paint and sim pushing it on the page. So go explore, have fun, get creative. And I will see you in the next section when we go ahead and make these march digital and then get them in to procreate to make our brushes, okay? 4. Digitizing Marks: Okay, so we've made our beautiful Mars, and now we're going to go ahead and get them into, um, procreate so that we can make our brushes out of them and how to do that. I find the simplest waste. Let's go ahead and use my iPad to photograph the brushes that I made and you could do to also do it by scanning and, you know, doing a photo shop at it on your desktop. But I find that just an extra step and it's just so much easier. Just go ahead and use your iPad to take a photograph of the mark as and when it's ready. So I will do that right now. I just Ochoa head and use my iPad and I'm going to photograph. I'm gonna choose this mark just for just to see how it looks on the click on focusing on the area. Hold, study and click. There you go. I have photographed it lives on my iPad and now let's go ahead and edit it. So to edit it, um, one of things I find easiest you is to use an application that is free on the iPad called Photoshopped Fix. I will link to that. But meanwhile, I will just go ahead and launch the application. There's a brush I made from our earlier and you're going to open it and click on plus here . And I'm gonna navigate to my recent files, which is on the iPad. I'm gonna choose that. And as you can see, I'm gonna need to really do a lot of editing toe isolate this particular shape within with the photo. But it's super easy to dio. I'm gonna start with the crop and procreate, likes their brushes to be square. So go ahead and use the square preset and drag its until you've isolated the mark that you want. Um, you're gonna want a little bit of breathing room around it. You don't want it to fill the entire space but don't work. So don't worry about cropping out these extra images. Extra marks there. We're gonna do that in a second. So go ahead and crop it, make sure it's centered and now we're gonna make some adjustments. Actually, what I'm gonna do first is go ahead and paint away these extra marks here that I don't want in. So click on the paint tool here. Unclip blends. Make sure that you're a passive. He is full on your sorry and your color is white on. Your size is large and go ahead and just pains away that extra information, and you can go ahead and get it's close to the mark as possible without destroying those organic edges. That's just fine. As much as you can paint away the better. Be sure to concentrate on your edges to because that if there's anything stray, it will show in your brush on Ruin it. So make sure that you go over those edges and that's as close as I can get. Safely slammed could check. Okay? And now we're gonna go into some adjustments to further get rid of some of this gray area here. And I like to start with exposure. There's a little slider there. You can't see a little circular slider. I go in and drive that back and forth until I feel like it's starting to disappear. You can work on contrast, additionally, and to get rid of some of that, you see, even more has gone away. Um, you can work on their shadows as well, to bring up some of the values within the mark itself on, like that's and your highlights the same thing that's going to go ahead and bring up and down those highlights within this This the shape. But just be sure, toe concentrate on that halo of paper that was behind it. That's really what we're gonna make sure and eliminate this point. And I am pretty okay with that. I'm not gonna worry about the fact that it's blue, because procreate is gonna make that a grayscale once we import it. So I'm happy with going ahead and starting with this shape, I might I'm not sure about this little extra blip over here. Um, so I actually think I'm gonna go ahead and eliminate that by using the paint tool again just fine tuning it just a little bit. And that's totally fine to Dio. Okay. And happy with that, I'm gonna go ahead and say that to my on camera saved general, and then we'll get it in to procreate 5. Making Brushes: Okay, so we've edited our markets nice and beautiful. We've saved it to our camera roll here. And now we're going to leave this application, and we're gonna open pro creates. And we are going to make a new brush of God and click a new canvas. Just for the sake of being able to experiment on this page, I'm gonna click on the brush tool. I'm going. Teoh, I haven't entitled Set that. I'm working with experimental brushes. So, um, within that it's just my place base, my safe place space. And I'm just gonna click on the plus time here, and it's gonna launch a new brush menu. I'm going to insert a photo here, which is going to be the mark that we made unedited. I'm gonna navigate to where it is on my iPad, and it's going to import it. You can see it right there in black and whites. Procreate is going to convert that color to black and white. So don't worry about the fact that it was blue. This is how you want it. Um, now you you have to select a grand source eso for this first brush. We're gonna go ahead and swap it from the pro library. It's a great place to start and scroll down until you find the blank square there and you need to go back to your source because it jumps for some reason online. You want to be sure to invert this shape by clicking invert shape, and now it's going to reverse that because everything that black is going to be massed out . But the shape of the brush is what's going to paint on our canvas. Okay, so this is all set to go to start experimenting. But one of the first things you want to do is go pick next to the general setting here, and you're gonna just your size limits and you want to go ahead and max that out and you can see also, if you click on stamp preview on the same menu, you can still see your brush shape there. Okay, so start there, and we're gonna we're gonna tap the brush on the canvas and you can see there you've already painted with the mark that you just made. Awesome. Right. Okay. But to use it as a paintbrush, we're going to need to make some setting so that it doesn't so that has more flow and paints in a more painterly way. But if you did want to use it, Justus a stamp brush like we just did, it's already set to go, but we do need to make some more adjustments to make it more painterly. Let me clear out this layer and let's go back to our brush on. Let's make some adjustments. One of the great places to start is with your stroke. Still go all the way to your left at the bottom. Click on stroke and we're going. Teoh. Sorry, we need to turn off the stand preview so that we can see it. We're going to back into the stroke menu, and we're going to adjust things like spacing. See how spacing adjust the instances of each mark that we made, so we wanted to be quite close together so that it's continuous. We want Teoh play with streamline. That means it's going to follow your pencil as you go ahead and paint with that. Jeter means that it's going to have a little bit of noise at the edges, so that's kind of a personal choice, whether you want it to be the edges to be clean or, if you want it to be rough like that. Usually with oil and acrylics, the edges are smoothed. So I'm gonna go ahead and make sure that it is smooth on the borders of the brush. And you can paint within this window here to see kind of how it's starting, starting to take shape. Follow just means basically how much you know. If you're going to load your brush full of paint, it's going to start off heavy, and it's going to fade as you drag the pain along. And that's quite a natural, intuitive feature of paintbrushes. So I do like to have a little bit of fall off just for that, so that it's not, um, you know, one solid continuous line, because I like it t mimic real brushes, so I would keep that one thing. You can also experiment if you like a round brush or a tapered brush. Um, you can experiment with the points of your shape, meaning with the brown brush. It starts and ends pointed, and it's got exaggerate. See how it has a point there. So if you have for example, a filbert brush or a round brush that is going to look like that. Um, I might leave it a little more rounded to mimic something like a You know, I really like Filbert brushes, so I will go ahead and leave it kind of filbert brush shape. Um, those things I don't know you mess with one of the other things that's great Teoh play with are these shape itself and you can again do scatter, and that's going to give you some interesting qualities within it. I feel like that's a little more watercolor esque. So I'm gonna leave it relatively still. Watercolor, Maybe not do that at all, um, rotation or something's going to rotate the shape within it again. This is looking very watercolor. So I am going to go back and go back to the beginning and maybe not do such an extreme fall off and see um, that's just okay to me. But now I might go to my grain and adjust that as you remember in our source, we just used a a plane grain. You can go to the pro library and experiment with using one of their textured squares, but for the grain. You do want to stay in the square sections because these textures will tile, meaning they'll repeat. So if they're not perfectly, um, Tyler Ble, then you're going to have some weird issues in your paint strokes. So to something, choose from the pro library. It's It's totally fine. Let's try the oil pastel just to see what that does. Okay? And you see, that makes it quite a bit more like a dry brush. But you can see the canvas, so to speak below on that mimics that look and feel. So that's interesting. I'm gonna go ahead and keep that on. The great thing about making brushes is you can keep duplicating them by dragging duplicate . And now I have left this brush here alone. I'm gonna keep that, and I'm gonna see if I want to keep it later. But I want to continue to explore what I can do with this particular brush. So again, duplicate that, leave it alone and then work with a copy of it so that if you make changes, you haven't lost this in case you did want to keep them. So I do like this combination. I might go back to the grain. You can. You can specify in the grain menu how the grain is going to react and movement. It's one setting. Okay, great. And all you as you can see, that started a little bit more, um, oil paint. Ask. It's a little more, you know, smooth and oily. Those qualities on I like that you can scale it up or down. Probably would only really want to go down because two big would make it just look a bit odd. Um, maybe just the middle ground type of thing. Soon thing. I really just encourage you to jump in and experiment. You can't really do any wrong. I'm really I like this instance of the brush. I don't like the one that I just made. So I'm gonna go ahead and just just delete it and start over. I just don't like it. Um, and I might go back to expression duplicated again. And experiments. I think I prefer actually the plane for me. I like the plane. I'm green source because I just find it a little more, um, predictable. And then I can add grain later at the final stages of the painting, and I'm kind of happy with that. I'm just still not sure about the brush edges. So I might go back to my stroke, Um, with shape and make sure that those air down just continue to experiment with how that is going to paint. And that's OK, um, tons more fine tuning you could do. I might go back to general and scale it down, skilled on my smudging. There we go. And that's I want a little more drag to it, I guess, is what I'm after. And I don't want to be quite so big. So I'm kind of happy with that. For this. I would probably label this Filbert for now, and then I would just move on and keep experimenting. So really, I mean, I really just want to urge you to jump in and have confidence and just, you know, play with all these menus, paint on your canvas, see what you're going to get. It's really the best way to dig in and see what each of these settings is going to effect on your particular mark that you made. So it's really 6. Brush Shape Vs Brush Grain: Okay, so I wanted to talk a little bit about how brushes work in procreate when you're making them within the application. When you launch a new brush when you're gonna make it, you are going to see that a dialog box comes up and it's gonna have to sections is gonna ask you for a picture of your shape sores, which is going to be basically what's you want, the tip of your brush toe look like. So, for example, this is a round brush on. It's got, you know, brown shape. It's a little bit splayed because it's old and use. That would be the shape of my brush. And then underneath it is the grain source, and the green source is kind of the quality of the kind of pain, if you will, that's gonna be applied. So you've got this shape and the grain, and it's a little bit why I found it difficult to kind of really grasp initially. But let me show you another example how they work together. If you consider that your brush shape is going to be like this, it's a little window. I just painted some acrylic on a piece of acid Tate. So this is going to be the shape of your brush that's going to reveal a grain texture beneath it. And this is just I've just put charcoal on a piece of paper, so you're going. Your shape is going to reveal the grain beneath it. You don't have to use the grain. You can get away with just using a solid, and that's usually what I do just for simplicity. But this is an important feature to know if you are going for a brush that's gonna have quite a bit more noise or visual texture within the brush. So again, this is your brush shape. It's the window to your grain beneath it, and these things will explore a sui move along and get into actually making our brushes. Okay, hope that helps 7. Final Thoughts: Okay. So I wanted to say thank you so much for following this course. I hope that you were able to make some beautiful brushes of your own. I'm sure you were. I hope that this gives you greater confidence to use procreate or other digital painting applications to really further enhance and grow your art making practice. I can't wait to see what you've made. Please share it with me if you have it. I'm sure you made beautiful, great brushes and I hope you'll continue. I hope you feel more confident making brushes and using procreate to really augment your are making practice. So go out there, make beautiful things and I hope to see you next time. Thanks. 8. Oil Painting Project: gonna go ahead. We're going to paint oil style. This simple pair. It's a great subject to use because it's semi spherical, easy, easy to paint the form. But it also does have some variation and color texture. And it's just, you know, good little study. Just Teoh. Just play with our brushes and see what we got. So I already have photographed this pair in a still life setting just very simply, And I'm providing this as well in the course materials, to look out for that if you're interested. And I'm also gonna hadn't just made a simple sketch line of that to for you to go ahead and use. So let's go to procreate and let's launch a new canvas. I'm just gonna use a fight by seven preset that I have. And I'm gonna import the sketch, you know, to be completely honest, you, of course, could import the picture of the pair itself. Go ahead. If you want to do that, it's fine. But, um, I highly recommend not doing that simply because the whole point of using pro creates is to , you know, augment your your skill to improve your skill, to grow as an artist. Um, so I would just encourage you to go ahead and take the challenge of importing the sketch or even sketching it freehand. That's also fine, but I'm going to insert a photo. I like to work with a sketch as a guideline. I'm gonna put that in its own layer and I'm gonna go ahead and I'm gonna reduce the the opacity of the layer. So it's just just a faint reference. And do lock that layer so that you don't accidentally paint into it. Create a new a new layer. And I like to start with the background. So I've also created a palette of the still life for you so they can easily draw from it cause she's in colors is one of the more challenging aspects of appropriate too. Because you're not mixing paint from a tube, you have to directly, you know, not work towards it, but selected. And so anyway, I've just given you a head start with a premixed or whatever pre prepared palette of this still life photo. Um and I'm going Teoh Also something that I recommend is to use the image as a reference and how you do that is. You split the screen on your iPad. So you want to drag up, um, your menu bar here and click on your photos, click and hold it until it becomes wiggly and just drag it to whatever side of the screen you prefer. I'm left handed, so I tend to go on the left. You can do it on the right. That's totally fine. And it's gonna share screen space with procreate like that. Um, star, I'm gonna choose. Where is my pair? This one. And you can zoom in so you get a good reference of that too. So just like your painting from a photographic reference in real life. Okay, Now, let's go ahead and I will mask using the rectangle tool the background because I just find it cleaner and simpler. So when you mask like that with this tool a drug I dragged out a rectangle. Now, only this area I can paint into, and I'm gonna use the darker grays for my palate. And I'm gonna use See, this brewers are filbert. I'm used the filbert that we made. I'm gonna scale it way up, and I'm just going to apply it. You know kind of random because I'm gonna blend this out like you wouldn't you know, in the background covering large areas. I'm gonna choose some variation in tone like this one, too. And as you can see, it's not going to go below. It's just gonna mascot nice out nicely out. Then I can choose my smudge tool here, and I'm gonna keep it. Um, the Filbert selected press and hold on this much tool and that uses the brush that we just used as the smudge tool itself. And I'm gonna go ahead and use that to really just blend like you would like a fan brush type of thing. Just get a bit more visual texture and variety. Not a solid black solid background is that would be pretty visually boring. Just and just blend until you're happy with the variation. It's totally good Greets. Okay, so that is the background for now. And I'm gonna click out of that and out of it. And I am going to go and hide that and I will work on the, um foreground now. So those values are kind of the light blue ones thes two over here, and I'm gonna do the same thing. I'm gonna make sure in its own layer. And I'm going to use the master again. Also draw a rectangle along my guide and I'm going to paint to that, using the same brush and again giving it some variation from light to dark, just as you would in a real seen maybe a little more the darker blue over here. And I'm gonna smudge that out again, using this much tool just took lend it or the blender. I think it's called. Sorry about them. It was splendid out. Leaving some variations is really great. So don't worry about that. Click out of that. And now you see, we have when we combine them, the background on the foreground. And now let's work on the pair itself. So again, choose a an additional layer and you can go and unlock these two because oftentimes, if you don't, you will accidentally paint into them. And that will thank you. Very sad. So lock those. I'm gonna go and turn them off so that I can see my sketch. I'm gonna use the same brush again that Filbert that we made and I'm going to choose I'm gonna go and paint in from dark to light. So I'm gonna choose my darker pair of value here, and I am going to you. Could freehand mask the pair of you wanted Teoh. Um, and you do that by again the mass tool, click on free hands and just trace around. You know, it doesn't have to be perfect because we're going to turn off the sketch. And so if it's not the same shape, that's totally fine. You see the little marching ants line that indicates that it is mast. Click on the brush, um, and then go ahead and paint in the form of that scale, your brush up or down. If you need to get smaller areas, little form, let's go to our mid tone. Only that value and largely the most most of the body of the pairs. The Midtown, I would say. And then you can lay in your highlights the lightest value on top and, well, we're gonna be giving it, you know, she a bling of highlight at the very, very end. For now, those are your basic thes air going to create the form of it. And now let's go ahead and blend that out again. What? The blending tool. I'm going to scale it down and just gently because we do want some texture. We don't want it to be perfect. So do more of a tapping motion and said it was sweeping motion like you would, um, you know the small brush just to kind of blend these colors in tow one and lose edges and really pushed that paints around like you would in real life. Continue to two uses its of reference and pairs or such interesting shape, So it's starting to look a little bit more three dimensional. Um, but it's a good start. I would say it's not perfect, but it's kind of where I think I wanted can. We could go even smaller with the brush, and I could even go ahead and paint over again with the Phil birds. Maybe just scale it down. Do some of regulators because in the Peach that story in the pair itself, there's a lot of variation with marks and texture, so you don't do not want it to be a solid, um, monochrome or sorry monotone. Um, you know, object because it's not in real life and so giving this kind of variation just being patient and working with that it's going to give you a much more interesting result and kind of really move away from that flat digital look that it's so easy to get. And, you know, for me, I'm not really a huge fan of that super smooth on texture. So there we go. So I'm gonna stop there for right now, and I'm gonna get out of the mask tool and I'm going to turn on my background foreground, and you can see it's starting to blend. But we need the shadows. We still need the stem. So I will go to those up again and I will work on the stem portion again. I'm still using the same filbert that we made. My dog is having an issue. I'm just gonna scale it way down and zoom in and work on this This now on, painted in paint in the lighter side of it, little pit and still in a little more of the darker value, and I will even give it it. Some of this blue just for a little tiny continue to give that and maybe blended out just a tiny that it's like such a minor a me elements of the scene of the still life. I think that that's going to be going to be enough. And then I'm gonna go down below and I've sketched out this shadow and the shadows of the pair also included. They are This one is going to be most direct, and I'm still painting on the same layer is the Parer, and that's totally gonna be fine going up in under its if it's if it's I'm not asking in this case. And that's, I think, a good thing, because it's going to create a more a little less perfect uhm mark Asian mark beneath it, using the lighter value now really getting under there. And then I'm gonna go ahead and smudge again. Everybody really used a small setting small scale of that and again, just kind of just like you would in real painting, pushing pool those those two areas of color to kind of blend them, soften them the transitions and get it to be a little more realistic. And you can even pick up some of the pair of green and pushed that down into to kind of soften the edges. It's that lost and found edge concept that you hear so much in oil painting, Really especially the borders. Quite soft lighting. It was natural light. So, you know, I didn't see perceive a hard edge on my cast Shadows. So, you know, I'm making that's on a little softer on the edges. It's fine. And it's also my artistic choice, and so I'm gonna stick with that. Okay, so I think that's almost, you know, good. Good enough. Start. I'm gonna go and turn off my sketch, Turn back on my, um yeah, background and foreground. And I'm actually pretty happy with that. Um, I would continue, I think I think a highlight up here would be great. Go ahead and choose this one. Um, I'm not sure it's bright enough, so I might go to the palate. Um, if you do need to make little adjustments, just choose the one that's closest. Click on the disc your and drag that value just a little lighter or deeper, depending on what you're what you're going for. And I just want to maybe catch the light that's falling right here, right there and I would still blend that out softly like that. Okay, so it's taking shape, and I'm happy with how it's progressing. But I wanted to show you also how the second brush that we made works, and it was a stamp style brush. And so, Filbert, I'm going to go back into this one. Here are bold, are bold stroke. And I'm gonna show you how I would applied that to get a little more visual interest. And I would probably do it in the foreground. I don't compete with the pair, but I do wanna, um, just add a little bit more of that kind of hand touch. Andi, you know, feeling to it. So I might go when the foreground colors was Were these light blues, I would maybe go ahead and choose the grave, and I'm just gonna top it to see Okay, it's way too big, scaled way down, tap it to see how that looks. Kind of super super like that. But I'm gonna go ahead and put that in another layer because I don't want to disturb my hard work on my pear, the background foreground. But I'm gonna use this as my experimental layer and lay in, um that color and just experiment with the size and scale. Um, because I want to keep some of these ridges of the brushes, but that's obviously a bit too obvious, not quite subtle enough, So but I could blend that out using the blending tool and even though it's on its own layer , might adjust its transparency to you can adjust the layer transparency to see how that's OK . I like that there so you can see that it it kind of blends in. Aiken. Still, I I do still need to work on it to really make it even more subtle. But I see you know a physical brush, and I love that, and I love that you can do that in a digital medium, but it's what still looks analog to, And I might even adjust and lay you know, if I made a different shape, something that maybe this one if I just tapped that in somewhere, um, we pick up this color tepid int look one I see. Let's go back to our Filbert and see if I can tap that in. Yes, so that works. If you tap that Filbert that we keep working with. If I tapped it instead of stroked it, I'm going to get the texture of the bristles that we that we managed to create. Um, you just want to place it so you can see it and then, you know, adjusted and tweak it, that kind of thing. So you play around with that. And don't forget the last and most important of all on it yet again. Another layer in a beautiful color. I'm still using this Filbert. I'm kind of liking it, but I'm a skillet down and I'm gonna do my autograph there. That's not my autograph. My light, That's it. I have to go backwards. But anyway, so don't forget to autograph your work, and I hope that that helps. I hope that you diggin use those two brushes and really explorer, using them to create oil piece masterpieces and procreate. Okay. All right,